Synopsis:
Art captures emotions, experiences, and ideas, but its legacy is unpredictable and beyond the artist’s control. While some artists like Van Gogh or Vivian Maier achieved recognition posthumously, others, regardless of their efforts, may see their work fade or be rediscovered with changing cultural values. Historically, female artists faced barriers that limited their impact, as their contributions were often overlooked or dismissed. Artists should focus on authentic expression rather than preoccupy themselves with legacy, as it unfolds naturally. Once art is shared, it belongs to the world, shaped by audience interpretation and the passage of time.
Total Words
Reading Time in Minutes
5
Key Takeaways:
- Legacy is Unpredictable: Artists cannot control how their work will be perceived or remembered due to cultural shifts, and changing values over time
- Art is About Expression, Not Control: The true role of the artist is to create from a place of honesty and passion, responding to their personal and external experiences.
- Historical Barriers for Women in Art: many women’s contributions were overlooked or attributed to men, delaying the cultural shift toward a more inclusive and diverse art world.
- Family and Market’s Role in Legacy: After an artist’s death, the family or market can significantly influence how their legacy is maintained or shaped.
About Zanya Dahl:
Born and raised in Dublin, I spent 17 years running a successful branding and design agency before deciding to pursue a lifelong passion for painting. At the end of 2019, I committed full-time to my artistic practice while also delivering creative workshops to leadership and management teams.
I am often seen cycling my bike around Dublin and very much enjoy being mother to two amazing girls.
Contacting Zanya Dahl:
Zanya’s art can be viewed via ZanyaDahl or on Instagram.
By Zanya Dahl
Art captures experiences, emotions, and ideas in the moment, but its lasting impact — or legacy — is often beyond the artist’s control. As artists, we focus on expressing what resonates with us now, not on how our work will be perceived in the future. While we might wonder whether our creations will endure or speak to universal truths, it’s ultimately a waste of energy to try to shape that outcome.
Once a piece is completed and shared, it takes on a life of its own, subject to the interpretations and biases of the audience, critics, and the passage of time. Legacy, then, is unpredictable. A work may be celebrated, ignored, or misunderstood, and these judgments can shift dramatically as cultural values and perspectives evolve. What resonates in one era may fall out of favour in another, or vice versa.
All an artist can do is create from a place of truth, responding to their inner world and external environment. Once the work is released into the world, it becomes something else entirely, shaped by how others experience it. Creation is about expression, not control, and an artist’s legacy will always be a mystery, unfolding in ways we can never predict.
In van Gogh’s case, the unpredictability of legacy is most apparent. During his lifetime, he struggled with both his mental health and financial instability, selling very few paintings. Despite this, van Gogh persisted, painted obsessively, driven by his need to express his internal world and his connection to nature rather than any conscious concern for legacy. Yet he posthumously became one of the most celebrated artists in history.
Similarly, photographer Vivian Maier, who never sought recognition, became famous only after her work was discovered. Primarily a live-in nanny and caregiver, she only printed a tiny fraction of the hundreds of thousands of images of bustling city life she snapped over the course of fifty years. She showed them to almost no one, amassing boxes and boxes of negatives and undeveloped film. There’s no indication that she ever tried to sell or showcase her art. It seemed to be a form of pure creative expression without concern for an audience. Her recognition came after her death, sparked by the sale of her Chicago storage units at auction in 2007, when she stopped paying rent. It’s another reminder of the sheer unpredictability of legacy.
Historically, female artists faced great challenges in leaving any legacy of their creative soul. Barred from formal training and prestigious exhibitions, their contributions were often overlooked or attributed to male relatives. As a result, their work had limited impact on the broader art world, and their absence hindered the cultural shift that might have inspired other women to pursue creative careers Their absence from the public domain delayed the cultural shift that would have empowered more women to embrace art, limiting the richness and variety of artistic expression in history.
In contrast, some contemporary artists actively cultivate their legacies. Sean Scully, for example, has built his reputation through unabashed self-promotion and clever control of his work’s supply and demand. Yet, despite his efforts, his long-term legacy remains uncertain — will his reputation endure without his active involvement? Maintaining an artist’s market value after death requires ongoing exhibitions, academic discourse, and a continuous presence in the public eye. This is no small feat, especially considering the constant shifts in the art market and changing tastes among collectors and institutions.
In light of this, it’s interesting to consider the role families play who inherit the work of an artist. In some cases, the value of the work can skyrocket after the artist’s death, creating newfound wealth and recognition for the family. However, this can also bring unexpected responsibilities. For some, it can become a deeply fulfilling mission to keep the artist’s spirit alive through exhibitions, sales, or public recognition. Others may feel the weight of preserving their loved one’s artistic legacy, ensuring that the work continues to be appreciated and valued by future generations.
In stark contrast to Scully’s approach, Banksy has earned a legacy by challenging legacy using subversion, anonymity, and social commentary. His street art, often altered or removed, emphasises impermanence over preservation. His “self-destructing” piece, “Girl with Balloon,” sold for over £1m, solidified his reputation as an artist who rejects conventional notions of art’s value and legacy, making the impact of the moment his primary concern.
As for my own work, I have no expectations about its future. The art I’ve created is an expression of my voice, vision and spirit. If it shifts perspectives or inspires others, that’s a truly wonderful thing, but I won’t be around to control or judge what happens after I’m gone. My daughters will inherit my paintings, and they are free to do what they wish with them. They may sell them, give them away, keep them or do a mix of all three. Some pieces may hold sentimental value, just as my father’s hand-crafted furniture does for me.
Every creator, whether known to the masses or not, plays a role in the evolution of their field. The ripple effect of every artistic endeavour, no matter how small or seemingly unnoticed, contributes to a larger creative ecosystem that is continuously evolving.
Legacy, then, is not something for an artist to preoccupy themselves with, as it unfolds naturally through their work. The impact they leave happens of its own accord, shaped by the authentic expression of their creativity, often in ways they may never anticipate.