In a supersized world where value and size have been inextricably linked, monumental scale artwork is undeniably enticing, but also rife with problematic contingencies most notably that cost of production and exhibition, are with few exceptions, proportionate to the size of a work, making large work inherently classist.
The origin of modern museums provides a possible alternative. Cabinets of curiosity, essentially armoires stuffed with curated collections of oddities, were interesting because they held so many things, not because the doors opened to reveal a thirty foot tall stainless steel balloon animal.
Merging the mechanisms of proto museums with the aesthetics of modern galleries provides a possible answer to the bigger is better conundrum. Tiny art is an egalitarian alternative which maintains the awe inducing characteristics of grandiose scale without its biases. One hundred tiny objects can exist where five large works would. Tiny art is affordable. The barriers of material, shipping and installation cost are mitigated by scaling down. Tiny art is accessible. Fifty or more artists working tiny can be represented in a gallery designed for a restrained solo show. Tiny art is easily reproduced and distributed through digital social interaction. Tiny art works at two scales simultaneously. Viewers experience the intimate scale of the miniature as well as the grand assemblage. Tiny art is democratic. Discrete objects with individual ideas come together to weave rich collective narratives. Tiny art is environmentally friendly; it resists the mechanisms and supply chains of conventional art production. Tiny art does not require fleets of trucks, armies of installers, gallons of paint, or yards of canvas. Tiny art is important. Recent history has demonstrated that tiny messages can dominate discourse and topple governments. Tiny art is fun.