Who Decides Whether Art is Good or Bad?

This week I watched an interesting video featuring the Japanese artist <a href="https://www.hauserwirth.com/hauser-wirth-exhibitions/6073-takesada-matsutani-3/" rel="noopener ugc nofollow" target="_blank">Takesada Matsutani</a>, who has been practising since the early 1960s. Matsutani is not a household name in the history of contemporary art even though he was pioneering back in his early career. It made me think once again about how and why certain artists come to be recognised as ‘significant’. Matsutani was born in 1937. As a young man he became a member of <a href="https://www.tate.org.uk/art/art-terms/g/gutai" rel="noopener ugc nofollow" target="_blank">Gutai</a>, an avant-garde group of artists set up in Japan in 1954 whose radical ideas and approaches to making art in the post-war years presaged the later performance and conceptual art of the 60s and 70s. He was one of the younger members, joining the group in 1963. In his search to create three dimensionality on the surface of the canvas he tried using vinyl glue as a material. He described that important moment like this: <a href="https://thegallerycompanion.medium.com/who-decides-whether-art-is-good-or-bad-e831b27f6792">Visit Now</a>