a multi-disciplinary dialog
We have recently been discussing the role of photography in painting (e.g., Art News Blog, Making a Mark, Edward Winkleman). Yesterday I travelled to Amsterdam to interview Dan Bodner, an artist who has achieved success painting from cityscape photos. What impressed me, along with the quality of the work, was the way this artist has conceptualized the photo’s role in his creative process. The artist’s words and paintings will appear in the next post.
The answer to the question, “What is art?” will no longer be “That which is in museums and galleries”, but, “That which looks good on the internet.”
I’m not so concerned about the accuracy of the prediction; I find it a reasonable bet. What bothers me is the extent to which the digitalized image separates us from the essential physical character of the artwork.
In creating an artwork, especially from imagination, the nature of the materials influences the process. The subtle traces of this which remain can be some of the most powerful aspects of the physical work itself. And yet these are easily lost in the digital reproduction. A striking example I have seen of this is in Michelangelo’s drawings. The drawings which I studied in the recent exhibition in Haarlem have great power, but this is mostly lost in the internet reproductions.
The Sistine Chapel ceiling does as poorly on the internet as the study drawings, but for a different reason; the awesome, encompassing quality of the work is lost when it is reduced to a miniature flat image on the computer monitor.
If this can happen to Michelangelo, what are the implications for artists today who wish to use the web as their exhibition space? Will the medium distort and degrade the artist’s methods as he or she attempts to create “That which looks good on the internet”?
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Related:
Fall of the Art World
The conventional wisdom is that the rise in selling art on the internet will swamp the market with mediocre work. The implication is that a more restricted art world, with dealers and curators as guardians, would protect us from this fate.
In fact, a marketplace swamped with mediocre work is exactly what we should hope to see. If there is a large quantity of artwork produced, the average quality indeed may be low. But the average is not the important metric. What matters is the variance, the overall distribution. If there is a broad distribution, there may be a small fraction, say the top 1%, that is remarkable artwork.
In speaking to many artists, I have heard about the hopeless feeling of never being able to break into the art world, the world of dealers, curators and collectors. This sentiment discourages artists and discourages artistic production. Fewer artworks mean fewer great artworks — probabilistically speaking.
If the internet becomes the dominant art market, then no one need worry about breaking in. The focus can be on the more important question, “How to make the best art possible?” The more that artists feel empowered to produce, the larger the number of paintings that will be in the top 1%.
Of course, the discerning buyer will have to search for that top 1%. But since when did shopping become unpopular?
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Related:
Fall of the Art World
Why is it so difficult to be an artist? CB responded:
How can any one living in the developed world, with enough money & free time to waste it dicking around with a website and on [an art discussion group], in anyway consider their life or even their work “hard”? Living in Iraq would be hard, farming in Sudan would be hard, having a degenerative painful disease would be hard. But for artists to pretend to be in the same boat is just self-involved nonsense. Certainly it was true prior to the 1900’s ( when no sales amounted to starvation), or for those who had to face down a Stalin or a Hitler or a Mao, but now? just suck it up and quit yer whining….
Here is what CB makes me ask myself:
CB does not aim at popularity with his writing style. But I think his advice — “just suck it up and quit yer whining” — is valuable. The reason is that I think “the art world”, as we know it, is about to fall apart. There are going to be tremendous opportunities for artists in the near future, but it will take some guts to make the most of them.
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Related: Why is it so difficult to be an artist?
To be an artist today is to confront continual uncertainty. There is economic uncertainty, and also uncertainty of purpose. Modern society seems to value art — art is preserved in museums, and purchased for large sums by “collectors.” And yet the normal artist is strangely disconnected from the top levels of success. Compare this with other professions. A competent pilot, trained at a good flight school, is more or less assured of a successful career. He or she might not get the opportunity to fly the biggest and newest commercial planes, or fancy jet fighters; but a stable career is a reasonable expectation, certainly compared to what an artist can hope for.
The profession of art has not always been so uncertain. For example, Cennino Cennini discusses the motivations of those entering the profession in the 14th c. “There are those who pursue it” he writes, “because of poverty and domestic need.” In 17th c. Holland, parents would encourage a talented son to pursue art as a profitable and respectable occupation. Nowadays, “poverty and domestic need” would better describe the results of becoming an artist, rather than causes for becoming one.
There is far more wealth in the world today to purchase art than in any time past. The difficult position of artist today is therefore something of a mystery.
If there is a general appreciation of art, and money to buy art, then why is it so difficult to fulfill the role of artist?
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Related:
Is art school worthless?
Fall of the Art World
The design of web-pages for displaying art is a matter of great practical as well as aesthetic importance. One design that I find striking, because of its boldness, is Jannie Regnerus’ web-page. This site is minimal to the extreme. It is so unlike what one is used to in a web-page that at first it seems confusing. But it is precisely this unusual quality that makes the layout a successful frame for Regnerus’ photography. One has the feeling of having left the noisy bustle of the internet and having arrived in a quiet place.
I say the design is bold is because, by departing from expectations, Regnerus takes a risk that visitors may be confused and leave the site before they see anything. For those visitors who do look more closely, the simplicity of the layout serves the intended role of providing a quiet context for the artwork.
Is minimalism inherently good for the internet?
Is Regnerus’ site a model for other internet sites?
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Related:
Internet as a frame
Fall of the Art World
Cennino Cennini devotes his Il Libro dell’ Arte (late 14th c.) to a practical explanation of the materials and techniques of painting. And yet Cennino also writes of painting as an occupation that deserves “to be crowned with poetry”, because the painter has the ability to compose from the imagination, “presenting to plain sight what does not actually exist.”
It might seem there is a mismatch between focusing on the physical aspects of the work, and at the same time emphasizing the role of imagination in creating art. But this combination of the mundane and the fanciful is appropriate for a simple reason: an artist creating from the world of the mind must nonetheless work in the world of the materials. The physical nature of those materials, and the way the artist uses them, will inevitably influence how the inner world of the mind is discovered and expressed.
Contemporary artist Hanneke van den Bergh recognizes and makes use of this interplay of the imaginary and the physical in her clay sculpture. She explains “I like to make the heads by moving a little lump of clay until I can just see the face. I like this quality of the imaginary form beginning to emerge from the raw material.” Van den Bergh does not attempt to disguise the properties of her materials. In the example shown here, Danae III, she leaves visible the coils with which she constructs the main form. The contrast of the repeating pattern of coils with the rhythm of the body contributes to the expressive effect of the work. “By avoiding too much detail,” she says, “I maintain the contrast between material — the physical — and the imaginary.”
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Related:
Art and imagination: Cennino says…
