He Said She Said: Artistic Reaction

The great artists who we speak about and praise are those who took the status quo and said "but, wait! look over here! look what I found!", went with it, whether people followed or not (most didn't), and rode it to their deathbeds.

They were of the same creative line and thinking as other artists, as most fellow artists are, yet slightly askew. And because their ideas were new it took time for them to define exactly what they were trying to achieve.

So when they found it, they had PASSION for it.

Figure 1

The original bad boys of art had the hardest time convincing the already establish art world that their new ways were just as, if not more, beautiful and acceptable than what was being regularly shown. They saw the world in a way that wasn't represented in the arts, and had the balls to share what they saw, how they saw it.

They were inspired by a lack of something in the art world, and the rule-breaking artists who followed were inspired by them. Impressionists were inspired by natural colors and capturing life en plein air (Figure 1) rather than precise figurative art that featured mythical and religious scenes. The post-impressionists used impreciseness of figure to achieve a precise feeling, and some even used their imaginations (!) rather than striving to capture what they literally saw en plein air. While others wanted to infuse Impressionism with discipline through scientific color theory and, dare I say, sketches (Figure 2).
And so on...

Figure 2

Cut to today and we're in a mish-mosh of "What the fuck IS art?". The difference between seemingly "rule breaking" artists today and the original ones (Figure 3) is perception and education.

It's in artists' nature to think differently and break the mold, but, unlike many of the great modern artists, most contemporary artists haven't a fucking clue what's going, and has gone on, in the arts. How can great artists be inspired by a lack of what's being presented in the art world if they don't know what's there? How can they react and create respectively without having an understanding of what's come before them? History tells us, that what makes art great is relative newness with an intelligent and educated twist.

Figure 3

Conclusion
Recently, a friend of mine who has been deeply involved in the art world for over 40 years came back from touring an artist collective space in Brooklyn. When she came back, her first response was "I saw the same thing 20 times. It was all lips, tits and dicks."

Without appreciating what others are creating and have created, we look to societal norms to rebel and think "creatively" against. Yet, society is supposed to look to art for inspiration. This is fucked up. As a young art community, we need to look within ourselves — our person and our world —, stop worrying about getting a repost on tumblr or empty reactions (see, lips, tits and dicks) and start collaborating on ideas by sharing them and having a sincere interest in what others are creating.

I say this as a newcomer, but maybe it takes a wide-eyed newly educated perspective to notice something's wrong... or needs a good artistic rebelling against.

My take on water lilies.

Arting Around Town

Problem: I know almost no one in the art world.

Solution: I'm going to go where art world people go and get to know them.

Where the Fuck Do they Go?: NYC Art openings, open studios, and events... I think???

FUuuuuuuuuuuck, it's the last nigh of Channukah tonight, so I'm going to miss the few NYC art events I wanted to attend, but, I'll try to make it out for a few in the later evening, and then the rest of the week.

NYC Art Events I'll Probably Attend

Wednesday (today)

Noon - 5pm 

"Madhattan"

ALU Showroom, 50 greene st, 3rd floor

6-8pm

"May Allah Forgive Me", Zakaria Ramhani

133 Orchard St

8-11pm

"What is What", Hannah REber

Con Artist, 119 Ludlow, basement

Thursday:

Double fuuuuuuuuuuuuck, tomorrow (Thursday) is my mom's birthday and I had the grand idea of all the kids cooking her dinner. Well, fuck me because now I'm realizing Thursdays are the night for every type of art event I want to attend. 

Friday:

6-8pm

Guts, curated by George Terry, Johnathan Durham

Agram Arts Center, 466 Grand St. 

6-9pm

"Ticklish Object", curated by Baris Gokturk, Georgia Elrod, and Sarada Rauch

Heliopolis/Sun City Project Space, 154 Huron St, Greenpoint

(this one is a maybe)

6-10pm

"The Snow Show" (photography), curated by Arianne Cullye

Picture Farm, 338 Wythe Ave., Williamsburg

7-10pm

"Too Art for TV 7", curated by Liz Artinian

Bunnycutlet Gallery, 158 Roebling St., Williamsburg

Saturday:

7-10pm

"Remnants of Arcadia", Graham Wilson

Peninsula Art Space, 352, Van Brunt St, Brooklyn

Sunday:

3pm - ?

"Possibly Painting",  a panel discussion about contemporary painting

Life on Mars Gallery, 56 Bogart St

5-8pm

"Flights of Love"

Gallery Molly Krom, 53 Stanton St.

This worked when I was networking the fashion and business worlds, I imagine it will work with wanting to break into the art world as well.

Finally, here's a random photo of mine because I don't believe in blog posts with no images:

Breakneck, NY. November 2013. Nikon D800.

WHAT ARE YOU LOOKING AT? - Predicting the Art Market

BIG IDEA:

Predicting what new buyers of art will want surfaces if you pay attention to what their new new is; what is their new luxury or representation of it? What do they want to feel connected to?

(Was street art so suddenly in high-demand by fucking art buyers because today's new modern buyer identifies the ability to break rules and freedom as the a sign of success and power?Above, work by street artist Banksy.)

Inspiration:

"The enlightened modern man and woman would want to acquire art that reflected their exciting new world, not stodgy brown paitings full of acient religious iconography." (pg 41)

Example in Practice:

As Gompertz explains it in "WHAT ARE YOU LOOKING AT?", art dealer Paul Durand-Ruel predicted that during a post-revolutionary time in Paris and London (mid 1800's) the new social class to note was the bourgeoisie, and, for them, "Leisure was the new thing... and that, he predicted, was what the punters would buy: images of people similar to themselves..."(pg 41). Cue in impressionism, and turns out The Fucker was right.

How to Use It:

This approach isn't for everyone, but certainly for those who find it hard to break in and connect to the traditional, regular, seasoned buyer. Fucking forget them, and hone in on a group that could...or will...connect with your work. Whether through them looking up to its subject(s) and therefore wanting to associate with it, or having it reflect their views.

The flip side is to change your artistic approach to have this type of connection with a more desirable buying group, or market. But, that miiiiight lead to a dirty, dark, create-for-them path. You've been fucking warned.

Idea Source: "What Are You Looking At?", by Will Gompertz

As I get deeper into my journey of becoming a self-taught photographer (not to be confused with ready-made), I want to know more. Ideas and inspiration can come from anywhere... I went to a Kanye West concert last week and ended up leaving with three new notes in my "Photo Series Ideas" page of the iPhone notes app. But, what the fuck do they mean? Relevant to the rest of the art world, do they mean anything? Does it even fucking mattter?

I'd like to be confident in my answer to these questions so I can pursue... no questions asked (or well answered if any.)

I present myself; The Sponge. 

First stop is Will Gompertz's "WHAT ARE YOU LOOKING AT?". My learnings, inspirations and realizations from this book will be documented here, for myself to look back to, and for others to use should they happen to google anything relevant to what I find.

What the book is about, and why I chose it:

"WHAT ARE YOU LOOKING AT?" offers a high-lighted and light way to read about art history, but with an emphasis on what had the most impact, from whom and why. My hopes and expectations are to soak in what helped shape the art world into what it is today so I can be inspired to help shape it into tomorrow.

Connecting with Art Critics

Last night the Academy of Art held a panel with art critics Christopher Howard,  Hrag Vartanian, and Lilly Wei (pictured below). This is what I learned.

Connecting With an Art Critic:

1. Be generous with time.
2. They DO try to look at all their emails.
3. DON'T be pushy. But, be persistent. By keeping them up to date with what you're doing. They might meet you today, but write about you in two years.
4. Give them options. Sometimes a review can come in the form of an instagram from your show.
5. If you want a critics attention, try doing something with them. Or BC it's more time sensitive, invite them to come to a group showing. But not too many. Try to combine your resources.
6. Get to know a critic's practice. They have areas of strength and interest in their practice and art form, just as you do as a fellow artist. If they  have a blog, fucking visit and comment on it.
7. DON'T send attachments in your email is something that was put out there, but critic Christopher Howard later explained; " Downloading big files of five or more megabytes may have been a problem for some ten years ago, but high-speed internet is pretty much everywhere these days." Lesson? Just watch your fucking file sizes, think about who you're sending to, and be weary not to end up in spam folders
8. DO make sure your website is up to date. Things to include; dates, sizes, materials used, press, your words on your work... if someone wants to write about your work, make it easy for them to get the fucking information to do so.
9. STUDIO VISITS: Be prepared, be professional. Print out some fucking corresponding materials and have a plan for what you want them to see. This isn't a fucking hang out. This is their (and your) job.

What Art Critics Look For:

1. Something fresh, new.
2. Be topical. What are people interested in in society right now?

Other Things to Note:

1. 60% of published content is submitted rather than commissioned.
2. It's better to be able to talk about your work in your own words. So, get fucking ready.
3. This is their job — to look at art. Go from there.

How to Deal with a Bad Review:

1. Fucking learn from it.
2. It's free feedback form someone who knows what they're talking about.
3. It WILL be admirable to show improvement based on this feedback.