The
TWO FACES of ART
By
Peter S NELSON
ATA Dip Ed BA
Design (pt) TH Cert
INDEX
Cover The TWO FACES of ART
Index
Introduction
Chapter 1 – What is this all about?
Chapter
2 - The two faces of Art:
Artistic
Excellence
Tangible:
Intangible:
Subjective:
Collectability
Chapter 3 - Inbred Philosophy
Chapter 4 - Why Art
Money
Acceptance
Uniqueness
Propaganda
Politics
Decoration
Chapter 5 - Universal truth & Natures
Laws/Rules
Chapter 6 - Craft skills
Chapter 7 - Concept
Chapter 8 - Cross Discipline
Chapter 9 – Leonardo
Conclusion
Introduction
Many books are lengthy and drawn out, which often entails the effort of
searching to discover the essence. For this reason I have kept this short and
to the point and it is written as if I was speaking to you, but I do apologise
if some of the words are the response of 26 years in teaching.
Visual art is suffering at the hands
of political administrators who are not in the art field themselves, but hold
the purse strings. They cannot comprehend “why?”
or “what is?” and we, the artists,
are to blame for this. If something radical is not done to reverse this western
trend, then our cultural existence today is under a severe threat. 
Artists by their very nature are
individuals, and therefore have great difficulty in acting as a group.
I am writing this because I have
grave concerns over the exploitation and confusion that exists in the visual
arts today. This stems from an inbred philosophy perpetrated by some artists,
teachers, technicians, designers, art critics and judges, and the people in our
affluent society who often buy or sell only for posterity. Their perceived
‘excellence’ in knowledge and their skills of articulation brings about a situation
whereby society is being ripped off.
Is
art really in the eye of the beholder?
My opinion is that it is definitely
not. I believe there are distinct rules that can be used to place a value of
excellence on a work of art. My argument goes against the trend within the
modern art world which tends to argue that art excellence is mainly spiritual.
Possibly yes, if all people are able to tap into what is truly a part of their
nature.
This
will be seen by many as an exposé and a threat to their existence, but for the
integrity of visual art and my peace of mind, this book has to be written.
STOP !
Chapter 1 – What is this all about?
Have you ever wondered why certain works of art have been accepted by our society? Or purchased by a gallery or friend? Or promoted through galleries and competitions?
One of the most controversial pieces
of its time would have to be Jackson Pollock’s ‘Blue Poles’. Does the word
‘abstract’ produce a quiver down your spine? Or, does the word non-objective
art sail over your head into oblivion? The language of the unexplained.
I have found myself on many
occasions as a teacher of the visual arts over the past 26 years, having to
explain an inbred incorrect philosophy to students. These students, in their
pursuit of understanding, often feel the need to question why a certain
philosophy exists.
I also question, and have grave
doubts as to the validity of, much that is called good art today; I am
consistently questioning why I am in teaching, when much around me is deceit
and lies. These lies are perpetrated by a philosophy rather than by an
individual.
Many of the people who pretend to be
artistic gurus and who buy or sell for money, acceptance, uniqueness, propaganda,
politics, or decoration – ignoring the relevance of the craft skills required,
both tangible and intangible – then have the audacity to call it good art!
There are many
artists/teachers/students/critics/judges who do not have the basic understanding
of the artistic skills necessary in the production of a valid work of art.
Worse still, they perpetuate this myth further by propagating that as long as
the message of art is outside the comprehension of the masses it must be
unique, and therefore good.
Concept, creativity and material usage comprise the singular skills necessary in the production of good works of art.
Leonardo
Da Vinci had the ‘true inner spirit and philosophy of art’, and applied that
philosophy once he had mastered the skill. In addition to the skill of
application, this spirit and philosophy are fundamental to the production of
artistic excellence. Not only could he come up with outstanding concepts in a
creative way, extending beyond the normal everyday art form, he also used his materials
so well that they have repeatedly proved to have survived the ravishes of time.
I have found that since the
discovery of this philosophy, I can enjoy all the other art forms. And, just by
mastering some of the fundamental skills, I am also able to participate at a
higher level. I feel a far greater fulfillment as a
human being – totally one with all.
Can you apply this
understanding to all disciplines? If not, I feel you should question your
artistic appreciation.
Chapter 2 - The two faces of Art:
First and foremost we need to
establish what sort of art we are talking about. I prefer to divide works of
art into two categories to make this argument easier to understand. These are
the two faces of art: Artistic Excellence and Collectability.
1. Artistic Excellence
Art in the pursuit of artistic
excellence must seek quality by innovation, concept and use of the relevant
media. I do not believe these should be separated. Every time we discuss or
look at art we make judgments. To make a judgment about anything one must have
criteria. These can either be objective or subjective, which I believe are both
bound by a set of rules. And it is here I set my first argument: ‘objectivity’.
To be objective is to be impartial
in our assessment or to deal with what is real. To provide un-biased
information yet remain neutral. To be able to easily explain the idea or goal.
Thus, there have to be specific
rules.
The language of the visual artist has as many elements as we have knowledge of. The language that we individually take on board is reflective of what we call our style. The more our knowledge, the more flexibility we have. Place these elements together and you have an arrangement, defined as composition.
Composition is created within the
laws of nature of which we are all a part. If we are all inherently
a part of nature, then it must remain that we are all bound by the same rules
in our every day lives as exist in the objective side of any subject. Because
they are part of us, these rules are fundamental to our understanding, and
influence our appreciation of everything.
I must therefore assume that if
every living person were in touch with the Laws of Nature that they co-exist
within, then they must intuitively be able to make sound objective judgments to
any
work of art.
Many of life’s `rules’ speak to us
through experience, yet at the time we do not realise what is happening. Surely
if a painting were visually heavy on one side it would upset our feeling of
equilibrium? Intuitively, wouldn’t we feel uncomfortable?
To be
subjective to, is to be influenced by. If the works didn’t conform to
nature, would this again make us uncomfortable, or would we be influenced by
our personal bias? Is not subjectiveness a personal slant allowing for variations
to the rules? To vary the rules means there must also be rules to vary, but to
do this one has to know them, and one is therefore
subjecting oneself to them.
I have found no work of art in my time that has not had some form of rule
applied to it that dictates how one looks at it. Using natural phenomena
combined with motor skills and the thought process utilises one of Nature’s
rules, ie contrasts. I believe we kid ourselves if we think we do not use
rules.
But these same rules can be applied through the heart
intuitively as well as with the head logically. To do it instinctively allows
for far greater freedom as the head does not always give us the un-biased
answer we seek. To be in touch with the spirit of what you are is to be in
touch with the rules of what you are. Because life does have a universal
pattern.
If the aim was for
excellence, then surely we should strive to achieve the highest ideal, and
should this highest ideal not be attributed to all elements used in the
production of a set of works?
The elements I refer to are:
- Expressed idea (the story or concept)
- Evoked natural or
unnatural response, (the effect the art work produces in communication
with the artist or
viewer)
- Compositional journey
– visual balance, harmony, discord, etc
- Subject –
relevance to us, the viewer, artist and environment
- Idea –
the experiences that go together to make up this.
·
Use of materials (craft skill) as applied to canvas,
surface treatment, paint quality, framing, glazing, etc.
·
Physical communication
- the affinity one has with ones body movements in application.
I believe the artist has a
moral obligation to include all of the above elements within all works of art.
Now, it is here that
confusion really starts!
Man traditionally
collects for many reasons,
including personal
inspiration, but the most
common as far as works
of art is concerned
is uniqueness. This
uniqueness is quite often
propagated by some art
critics, gallery owners or patrons to the detriment of artistic excellence.
Many times this uniqueness is pushed for the wrong reasons, and often by galleries and art auctions, critics, patrons and judges. Many times this proves to be an effective barrier to a far better work of art. Fortunately every so often artists will break through this barrier if they happen to be in the right place at the right time, have the gift of self promotion and motivation, or have such excellence in artistic achievement that the work speaks for itself. This I consider to be the hardest and rarest way to the top, yet many artists hope for this miracle, which can be harder than winning the lottery.
Many artworks of excellence have passed through life unnoticed due to
lack of personal motivation by the artist. Lack of selling skills, lack of
knowing the right people or having the right timing – these all amount to lack
of business acumen.
Then you have those who have
sound business acumen, but who lack what is required in excellence. These are
the people who are quite successful with their marketing of works of art.
As soon as one mentions
the word business, some artists run for cover.
These artists will
rarely make it in the business world of today. I hear so often from very
talented artists that they do the art for themselves. Then I believe these
artists should keep the art to themselves and find another way of paying for
the materials that will give them more freedom of exploration. I think this can
be an excuse, which often develops into an inbred philosophy. This philosophy
is often propagated for self preservation.
I believe that the
ability to produce works of excellence is either a valuable inherent gift, or
if learnt, hard won, and should be shared with society for the betterment of
mankind. Unfortunately many artists are unwilling to share the fruits of their labor,
and are like leeches. They are quick to use
others who are not so selfish, such as teachers and nurses, or any person who
will give to or do the job for them.
Chapter 3 -- Inbred Philosophy
There exists within the Western culture a trend that somehow must be
broken if we are to move forward.
Many artists are really technicians who have learnt their craft well. As soon as they
are questioned about nature, perception,
intuition and the inner spirit they panic, as in truth they have trouble
communicating with this part of themselves. Society recognises this, making it
difficult for artists to have their work accepted.
To overcome this, many turn to teaching, but without knowledge of this
inner spirit that is in touch with nature intuitively, they have difficulty
explaining this area to their students. Their students will in turn either find
out through hard work themselves or become a product and therefore a propagator
of this inbred philosophy as many do.
They tend to rely solely
on their technical skills.
Conversely there is the
other group who promote concept and intuition, ignoring the craftsmanship,
again because they themselves feel it is the trend to throw away the technical
skills required for completeness of excellence. But unfortunately they also
further extend this lack within their students.
The system of Higher Education is amongst the worst offenders. I have seen this over and over again where numbers are sometimes more important than ability. Students are misdirected as to quality, and further proliferate this scenario.
The reality is that not
every person has the basic ability necessary to achieve great individual
excellence, although many have the potential. I believe those teachers who are
promoting this are doing their students and our society a grave disservice.
But if taught and
directed toward greater personal development in a balanced way, all humans have
that potential to achieve greater excellence, and their works will become more
worthy of collectability.
Chapter 4 – Why Art?
I will talk briefly on some of the
stumbling blocks on the journey in the pursuit of excellence.
Money
Often an unrealistic price is placed
on an object, working on the assumption that “the higher the price, the better
the product”. This is a myth. Many artists have great personal collections of
their own work at home because they have priced items so high as to make much
of it unsaleable.
There is also the problem of low
personal esteem where works are under priced.
If one’s work is to be placed on the
market then it must be considered saleable. A good starting price with framed
oils or acrylics is for the artist to believe he is entitled to at least the
same price for his works as the framer. Thus I always start with the
professional frame, e.g. frame $100, painting $100, gallery commission $100 =
$300 = starting price. From this point it is
far easier to take variables into account.
Then there is the gallery owner who
only works in a certain price bracket, using this as his criteria. He will
quite often promote an artist to maintain a sizable commission.
I have found that whenever money
dictates, quality is compromised.
Acceptance
Many artists will deny it, but I
truly believe every artist wants acceptance of some kind. From the public, a
teacher, a partner, peers, critics or self. This need for acceptance, unless
controlled, can deter an artist from his true objective.
Uniqueness
To be unique, original, and
individual is difficult in today’s world. In the Renaissance artists used to go
into insane asylums or city morgues in an endeavor to explore the new. These
days some even experiment with drugs to see how it feels to go to the edge. Van
Gough cut off his ear because he pushed himself too far.
Yes, we do need to push ourselves beyond the immediate, though sometimes this can be emotionally dangerous. Alternatively uniqueness can be achieved through the use of new technologies to create a cohesiveness with the inner spirit.
But the real answer is to become one
with your art. Push your lateral thinking ability in inventiveness to its
limit, for concept, nature’s instructions, body use, form, materials, and technology, etc. This I believe can be achieved without
gimmicks or drugs, and without behavioral or social extremes. Art has certainly
been given a bad name by those people who turn to extremes as a simple solution
instead of tackling the real problem – themselves!
They separate themselves from, or
place themselves above, society in their endeavors to be seen, and they try to avoid the hard work of self
development by looking for a gimmick or short cut.
Propaganda
Where a concept has a bias or a
purpose – be it political, social or racial – the visual art medium can be a
very powerful tool. As I had reason to find out after a visit to the Sydney
Olympic Games. I found a closed-off city with no parking and plenty of tow
trucks. No ice-cream vendors or vendors of any sort. Big business had taken
over along with the military, as helicopters continually buzzed the city.
This all proved too much for me so I
painted a slightly distorted
I really enjoyed the freedom of
communication that existed through the art medium being used at the time. But
for all that we still should not forget that for this painting to become a work
of excellence, all of the previously mentioned elements must play an equal
part.
Politics
Politics and propaganda can become close
entities and hard to separate. But in many societies politics dictate what the
arts can and cannot do. This means that for artists to have the freedom
required for innovation, they must rely on the political controllers having a
sound understanding of the language of art – which many do not. Alternatively,
artists must themselves have the basic understanding necessary, and be able to
articulate their needs to the politicians.
As I said previously, we are our own
worst enemies and we are certainly not helping our cause by failing to take on
board our total responsibilities as artists.
Decoration
Last but not least – decoration. An artwork might look pleasing
in our lounge, or as an apparel design, as a fabric, on a book cover, on a web
page or poster, etc. Many of our top artists are really designers of decoration
who, being the flavor of the month, work to justify a demand with a complete
lack of spiritual connection to their works.
The temptation to push decoration is
very real, as gallery owners mostly rely on what sells, and tend to promote it
above all else. Should we really bow to a fashion trend?
I remember a West Australian artist
who was approached by the City of
Is it possible he could
have avoided this situation – still maintained his spiritual connection, his
language and entity – yet still given them what they required? Sometimes, as
artists, we feel we have to make a statement to educate. Maybe – just maybe –
there are times when we must realise that to undertake a certain commission and
still maintain our spiritual connection, we must accept that public
communication is also required.
Universal truth & Natures Laws/Rules
In the world we live in, we are
bound by natural laws that we follow in order to survive. Whenever we break
these laws we risk retribution of one type or another. As artists we need to
consider the visual impact of these laws.
An example of one of
these laws is balance. To manipulate this law using distortion or illusion, we
still must first fully understand it. Visual balance has a psychological
relationship to physical balance, and most people at one time or another have
experienced the unsteadiness or dizziness which can accompany visual
disturbance.
A work of art, if visually unbalanced, can be just as disturbing. A
painting out of balance can give one a feeling that the painting is tilted when
it isn’t, or give the viewer a sense of being out of equilibrium.
Focus
Another example would be our need in life to be able to focus on one point (not area) at a time. Can you imagine how disturbing to the brain it would be if you were simultaneously able to focus on a small insect with one eye, and a flower with the other? Or worse still, two subject points with the same eye! This phenomenon in a painting or other work of art would give the illusion of being very busy and would confuse the brain.
Compositional Journey
We do have the ability to continually vary our focal point. We do this in life when we go on a journey. The same rules apply to a visual journey. Composition or arrangement of the elements in a work of art gives the viewer a sense of order and logic. Apply the natural laws of any journey to any work of art and you have a stimulating visual experience. Such a journey could be considered the story or sequence of events essential to holding the work together.
Examples:
·
We have a start and an end
·
We travel at varying pace
·
We tire and require rest
·
We meet many exciting challenges
·
We go through many different emotional experiences
·
We come to cross roads where decisions have to be made
·
Within one journey there could be many different
routes, still ending up at the same destination
·
Within one journey there could be many different
routes ending up at different destinations.
Now apply these same
considerations visually to any work of art and you have a stimulating visual
composition. The artist Constable was a master in this art of composition.
I could go on providing endless examples of natural laws, but to do so
would extend this book beyond its topic so I will reserve this for one of my
later books. I hope the examples that I have given are enough to explain my
point.
To visually go against a law of nature would provide us with a very
disturbing experience. An unnatural
experience! Again, this is still acceptable in art but the artist needs to be
aware and have acceptance of the law to be able to manipulate it either consciously
or subconsciously (intuitively).
Craft skills
A craft can be described as
dexterity, expertise, ability or technique.
Composing elements in a suitable
arrangement, use of materials, choosing a concept and the application all could
be considered craft skills. However I will only deal here with the use of
materials.
In today’s world of throw-away products and exposing the nuts and bolts, I can understand the philosophy that has led to partial disregard for some product quality and durability. But is the art-buying public aware of this when they buy at exhibitions or from a gallery? Most other products have to be labeled by law to protect the public.
Chemical companies spend thousands
of dollars developing a product that will do the job, yet every day I see
artists abusing the materials they use in the name of creativity, sometimes
dangerously, to themselves and others due to
their lack of knowledge of many of the materials we use today.
I have seen more of this abuse fostered
in Higher Education than at the primary school level, including:
·
Poisonous chemicals mishandled in paints etc. The
painting Industry won’t even entertain artist media because of its protective
laws.
·
Exposed canvas in finished works that attracts mould.
·
Lead in glazes that are released in fumes to the
ceramist, even though considered safe in the handling.
·
Acid formulated from fumes breathed in at kiln
firings.
·
Fiberglass fibers used without adequate protection,
which produce silicosis – the effects of which are just as deadly as
asbestosis.
·
Tools and materials used without any instruction on
procedure.
These are just some examples, and
although the Arts Industry is continuously trying to
improve its products, it is about time the artists accepted more responsibility
for their own actions.
Where is artistic excellence if the product falls apart within two months? Or if the paint fades or cracks, pot cracks, glaze fractures, canvas slackens (distorting painting), stretcher breaks or bends over a short period, welds fall apart after a short period, etc.
Artists have often even encouraged accidents to develop, and then used them in the name
of innovation.
Concept
A concept or idea in the sciences is built on basic principles learnt early, then developed through a logical process leading towards a greater objective. If ignored or randomly explored without a basic understanding of the physics being applied, disaster could ensue. I hate to think what may have happened in the development of the atomic bomb, space shuttle or modern medicine and other surgical procedures had this principle not been applied.
Artists sometimes explore concepts
with a complete moral disregard for the fabric of social order. Children are
exposed to art that is just as deadly to their well being as an R-rated movie.
Artistic concepts have no boundaries. It would seem that anything goes in the
endeavor to achieve an unreachable concept or innovation. It is to the artists
we must look for self control and a better acceptance within our society.
Chapter 8 - Crossing Discipline Boundaries
Only within the last century has it
become accepted that the artist is a different animal to the rest of the world.
In the name of individuality, we dress, talk and act differently. I believe
society accepts this with reservations. But what of our credibility? Are we
taken seriously?
I wish to discuss the future of multi media, or crossing the discipline boundaries.
Artists now are extending their
media even further. The boundaries of the arts are fast becoming undefined. For
us, the artists, to be in a better position to move into cross disciplines we
must master a philosophy that will better equip us to greater works of
excellence once we have mastered the various skills that will be required as new technologies evolve.
Chapter 9 -- Leonardo
Here was the greatest
master of them all. He is well known for his ability to move between differing
disciplines. We can all do this. Learn from the master himself. The answer is
very simple.
Conclusion
There are two areas that deal with
the visual arts that need to be separated.
Art for life’s sake. (Art that communicates through the
natural norms of life, and relates to the rules for our existence.)
These arts are built on the
fabric of our existence, and are bound by the rules and structures of nature.
Thus we relate to its relationship with life in past, present and future. And a
lifetime of skill.
Art for our self sake. (Art
hat goes outside of the norms of life and seeks to push us beyond without
taking into account the present and the past.)
A collectable of individual
achievement purchased for posterity, that aspires not necessarily to nature,
but more importantly to uniqueness as its most essential quality, proclaiming
its ability to inspire you into new areas beyond the fabrics of existence,
proposed because of man’s inability to take charge of the life that we exist in
and his inability to come to terms with the rules
that apply. Thus we relate to its ability to take us outside of any existing
relationship in life.
I believe
the fundamental basis of art is within us in its entirety, and when
acknowledged and applied it has the ability to transcend all boundaries in all arts. This will lead to a better appreciation
and understanding of those various disciplines, thus allowing us to expand on
existing life skills.
I believe that all we do, say, see,
hear, taste and feel are a reflection of life’s eternal web or structure that
is the basis of our existence.
All that is natural provides the
structure that is the very core of our existence.
The RULES
of Nature are the RULES of all of the Arts.
But the visual arts for some
reason seem to think it is above all of the other arts in that it can ignore
nature and man’s place in it.
I.e. the skills of relating to natural composition
I.e.
structure and organisation, accidental realisation, skills of material usage
and longativity, intuitive perception, creative skills, individual innovative
skills.
All of
these belong together and collectively form a masterpiece.
A lot of emphasis today is being
placed on an individual skill in producing something new, regardless of any other intrinsic qualities that should be
applied.