Does subject dictate message in an artwork? 11 May 2009
Posted by pcNielsen in Art, Ceramics, Criticism, Realism, Sculpture.4 comments
Cinnamon Soup’s question of the week is as follows:
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What do you consider to be more important, the subject matter of an art work or the message it conveys?
My response to that question, which touches on something that’s been in the back of my mind for the past few weeks anyway, is below:
An artwork’s message is contingent to a large degree (but not entirely) on its subject, isn’t it? Then again, messages aren’t always received by viewers as artists intend, even in the case of realism.
For years now ,clouds (mainly thunderstorms, but some more of the fluffly kind recently) have been a significant part of my inspiration and subject matter. When I’m crafting storms or clouds from clay or wood I have my own reasons and hopes for how a viewer will receive that message, but I’m fully aware that’s often not the case. People see whatever they want to in clouds — bunnies, ducks, firearms. In fact, we [Americans] expect to see things in clouds that aren’t there.
And here I am creating fairly realistic sculptures of thunderstorms and fluffy cumulus clouds hoping the viewers see, at the outset, storms and clouds. This paradox intrigues me, and is, perhaps, itself becoming part of the subject matter in my sculptures the more I continue in this atmospheric vein.
Adding: Thought this related to the question above:
Art is not merely or even partly a “communication” of “messages.” It is not a visual illustration of a philosophy, idea, or sign. It is not a preformed idea that is wrapped up in artistic material that the viewer then unwraps to “get.” As I never tire of telling my students, art is a complex and tense hypostatic union of form and content; it is about its “howness” (form) as much as its “whatness” (content). There is nothing to unwrap. This is why art should not be “read,” “decoded,” or otherwise considered to be the sum of its constituent parts. It is to be experienced—contemplated and communed with, dwelt upon. This of course is dangerous, because an aesthetic experience can do unexpected things to you. And given our own differences in experience that the work of art engages, our responses to the work will be different.
From The Other Journal
Interview with Etsy founder 2 February 2009
Posted by pcNielsen in Business of art, Ceramics, Craft, Etsy, Handmade, Painting, Realism, Sculpture.add a comment
Michael Arrington, founder of TechCrunch, and tech blogger Robert Scoble interview Etsy founder Robert Kalin.
Some interesting tidbits from the interview, 97% of Etsy’s user base is female, thus the largest segment of sales comes from jewelery. Etsy did almost $100 million in sales in 2009. An average sale on the site includes two items and totals $15.
See these new shops for some nice works:
Megan Chaney Studios for ceramic sculpture.
Old World Swine for still lifes and landscapes.
R.I.P. Andrew Wyeth 16 January 2009
Posted by pcNielsen in Art, Artist profile, Criticism, Drawing, Illustration, Painting, Realism.4 comments
This isn’t something I normally do, mark the death of a significant artist (Of course, I’ve only been blogging for three years or so, and perhaps there haven’t been very many notable artists who’ve passed in this time.), but I thought I’d make a note of it this morning.
Andrew Wyeth died today at the age of 91. Wyeth was an American realist known for Christina’s World (1948, above) and a series of studies of his neighbor Helga (below, 1971-1985). Critics have long complained that his work is little more than illustration, although shows of the artist’s paintings often draw record crowds.
Not knowing much more than I’ve already stated about the artist, I still disagree with this recurring criticism. There is, in my opinion, a depth of content by means of his composition and subject matter that I don’t generally associate with mere illustration. While not quite as surreal and evocative as, say, contemporary realist works by the likes of Patty Wickman, Wyeth’s paintings draw out a contemplative emotion far beyond a Rockwellian nostalgia — who’s works aren’t really contemplative at all. Wyeth’s painting was, probably, poorly received simply because he happened to be a realist in a Modernist world.
More pottery in paintings 15 August 2008
Posted by pcNielsen in Art, Ceramics, Northwest Arkansas, Painting, Realism, Siloam Springs.2 comments
My postman came to the door with a delivery over lunch yesterday, and as he and I are wont to do we chatted a while. Through unfortunate circumstances he’s ended up with a Timothy Tyler painting. Tyler is a very successful, from what I know of him, Siloam Springs painter.
After lunch I decided to look him up online again, as I couldn’t remember anything he’d done. After a couple minutes browsing his website I ended up on a gallery page full of still lifes. Almost every painting features what appear to be hand-made pots.
[Per the artist's request, certain links previously included at the end of this post have been removed for the time being.]
Does photography make artists lazy? 28 July 2008
Posted by pcNielsen in Abstract art, Art, Ceramics, Drawing, Photography, Realism, Sculpture.4 comments
Last night I spent some time sketching after a photograph I found on Flickr. With some regularity, I surf said photo repository for new images of storms. This one was taken by Flickrite nicholas_t in Mt. Bethel, Pennsylvania last year.
I sketch before I get into the actual sculpture to give myself a better understanding of the subject. Sketching serves as a second level of observation, as well as time to brainstorm new ways to use clay or wood in my sculptures.
It seems, in some respects, that everyone wants to be a photographer these days. By everyone, I mean an awful lot of people who might not necessarily possess a natural giftedness in the visual arts. There seem to be pros and cons to this movement, if I can call it that, but those are for another post. Regardless, the implications on the tactile arts of a camera and process that so realistically reproduce a given subject remain significant.
Don’t get me wrong, I enjoy photography. However, I often think we don’t understand its limitations in accurately portraying the objects, situations and atmosphere within its frame. As amazing as the medium is, it’s easy to overestimate a photo’s ability to convey a space and time.
Does the often insane pace of life around us and our resulting impatience — and therein lack of intentional observation — keep us from really seeing a photograph? Are we so used to photography as part of our environment that we only glance at the products of this amazing visual technology, not giving it proper attention?
Has photography made artists lazy? If not, does it have the potential to strip artists of the desire to create tactile works? I asked myself this as I sketched last night. The question was born of, in part, this next question: Why would I bother sculpting storms in clay on such a small scale, not being able to render a lot of their detail, when we can just look at photographs? Sculptures take up shelf or table space people don’t have. Photographs can easily be hung on walls, which are usually more plentiful. Since I’m so infatuated with storms like the one above, why don’t I just become a storm chaser (which I would love to do) and photograph the things?
First off, I’m driven to work with my hands, hence the focus on this blog on the tactile arts. Secondly, even if my sketches and sculptures don’t/won’t rival the immaculate vision and presence of a prairie storm, they represent a personal level of investigation that goes beyond casual, or even some more serious observation. Thirdly, I’d like to believe there is some validity in my own interpretation. The third point is a bit dangerous; this kind of thinking can place too much emphasis on an artist’s personal interests. You can’t — and shouldn’t want to — completely separate the artist from the sculpture; however, art is bigger than any individual.
“Make it your goal to live quietly, to mind your own business, and to work with your own hands . . . so that you may win the respect of outsiders, and have need of nothing.”
Kudos to nicholas_t for using a Creative Commons License.
Lilias Trotter illustrations 17 December 2007
Posted by pcNielsen in Art, Art and Missions, Art and faith, Christianity, Painting, Realism.2 comments
Some time back I found a Lilias Trotter eBook put online by the Project Gutenburg. Parables of the Cross and Parables of the Christ-life were both available, and I quickly downloaded and printed them for my own collection. I’ve yet to read them, but I wanted to share a few of my favorite images from Parables of the Cross (the image quality in Parables of the Christ-life is lacking). I can see why Ruskin thought her the next best thing in the art world; her craft here is exceptional.
Her handwriting is gorgeous as well.
I like the composition of these three works, as well as a certain softness that seems to be her style. It gives the subjects certain kind of handmade beauty without compromising the rendering, the realism.
Artist becomes a nun 16 August 2007
Posted by pcNielsen in Art, Art and faith, Artist profile, Painting, Portraiture, Realism.1 comment so far
Via the Ruah Arts Blog, from a website dedicated to Annie Heyne’s paintings, from her own bio:
So I’m off to the convent, folks! After receiving my Bachelor of Arts in Art History from the University of Dallas, my Masters of Fine Art in oil painting from the New York Academy of Art, I set out for Florence to do post-graduate work at the Florence Academy of Art. It was in Florence that I became familiar with the Religious of the Sacred Heart.
This semi-cloistered order, rooted in St. Madeleine Sophie Barat’s Society of the Sacred Heart, houses a community of 15 nuns, the only community in the only house of this new reform order. As every Roman Catholic religious, these nuns take the vows of poverty, chastity, and obedience. Their special fourth vow is one of education of the youth.
Annie Heyne at work on a painting.
Many of the rooms of the convent building are used as classrooms. The school is co-ed with kids from 3 to 18 years old. Some of the nuns teach others busy themselves with the boarding students, while others deal with the business aspect of things. Whether it’s with the house, the school, the infirmary, or of course with prayer, you can imagine these nuns keep busy!
The convent stands as a large, white pillar amidst two-hundred olive trees, fruit trees, small vineyards and honey-beehives. While simple on the inside, it is bedecked with every sort of flower and greenery throughout the year on the outside! And of course, there is the view! As the building is just far enough outside the city-center, it lends itself to a breath-taking view of Brunelleschi’s Duomo and really all of Florence. And how amazing it is!
Continue reading via this link. Haven’t made time to really read the bio yet, but my question is “Will she still be able to paint as a semi-cloistered nun?”
Women in art 30 May 2007
Posted by pcNielsen in Abstract art, Art, Beauty, Painting, Realism.1 comment so far
Interesting video with a myriad of well-known paintings, progressing from the time of Da Vinci into the 20th century.
Early morning abstraction 18 May 2007
Posted by pcNielsen in Abstract art, Architecture, Art, Art and faith, Beauty, Realism.add a comment
It’s a bit early in the day for me to be thinking about abstraction, so I may come back later and edit this post as necessary. But certain things in this recent Trees Walking post captured my attention.
“I think it’s safe to say that much modern art (and architecture) suffers from a sterile, monolithic, boring oneness.” I’m not sure what Stephen, the author on Trees Walking, means when he says “oneness,” but I concur that much modern art is sterile and monolithic. This is particularly true of architecture in my opinion. Reading magazines like Dwell might be fun, but living in 95% of the homes they feature would be like institutionalization.
“Art (the skillful making of things to evoke beauty) is, when man does it, by nature representational, because man himself is an image of God, a representation, an imitating creature who makes by the law in which he’s made.” First off, and I probably don’t need to remind most of us of this, art is more than about making beautiful things. Sometimes I wish, personally, this weren’t the case, but creating works intended to convey specific messages or move people to certain action or record certain events (as in the case of painting and sculpture before the advent of photography) is also a valid part of the definition of art. Secondly, I agree with Stephen’s statement above, but I must elaborate on it. It seems to me, and I’ve said this here before, that creating non-representational works is a way for man to flesh out his being created in the image of God. God created out of the void. Man cannot do this in the same way; we don’t have the ability. Nor should man try to be God, a futile effort that will end you up like the pretentious Lucifer. Yet, if God created ex nihilo (and to do so is therefore part of who He is), would not that be infused into who man is? And would not abstract and non-representational artwork display this?
Realism or Abstraction: Why does it have to be one or the other? 27 April 2007
Posted by pcNielsen in Abstract art, Art, Artist as genius, Painting, Portraiture, Realism.add a comment
R.H. Ives Gammell, author of Twilight of Painting, once referred to anything that didn’t resemble French academic painting as “Misplaced intellectualism imposed on ignorant execution.”
More recently, Gage Academy (a bastion of realism) invited a prominent art dealer to judge a competition. The judge, Greg Kucera, said of the works that “There seems to be a good deal of showing off what one can do but very little that caught any kind of emotional depth. It’s like hearing a violinist who can hit all the notes in a complex sonata by William Walton but not give you any satisfaction of the passion.”
(The students replied on an obnoxiously large piece of paper, “The Passion is in trusting yourself even when the rest of the art world tells you what you are doing isn’t valid. The Passion is in beginning an endeavor like this in the first place. The Passion is in spending 30 hours on a painting struggling to keep it fresh and alive.” All well and good as an artist, but you can’t fault the judge for not seeing trust in yourself or thirty hours on the canvas.)
The above snippets are taken from a long article titled Art School Confidential in The Stranger. One of the Gage Academy students, someone who already has an art degree, said of her university experience in Hong Kong: “It was like, here’s a brush, go paint, you are an artist. After I graduated, I felt like I couldn’t paint, I couldn’t do things.” She dismisses her university art education—”I feel like it’s a lot of BS.” My own art school experience was not quite so stunted, thankfully, although there is precedent for such things.
Both Gammell’s and Kucera’s commentary is valid. Much modern art can be overly-intellectual (or emotional) angst lacking in craft. Likewise, academic painting can be just that, academic — dry and unengaging. However, it doesn’t have to be this way.
Abstraction or realism? Why does it have to be one or the other? Must we establish such extremes, diggin into our own trench and throwing bombs at the other side? Both abstraction (and non-representational work) and realist works have their place. Both can be, if passionately planned and executed, engaging works, beautiful works, socially challenging works that spur viewers on to better lives.
And perhaps we even need both of these extremes, and everything in-between. People think differently. People respond to different visual stimuli in different ways. Maybe it is a right-brain/left-brain thing.
This isn’t a sappy “Can’t we all just get along” line. However, our inbred bickering (”bickering” to be clearly distinguished from discussion) does neither artist or viewer any good. It would do us well to acknowledge the value in different artistic expressions, even in ones that may not suit our personal taste.
