In theory, you could look at art and like it or not. Actually in theory you do nothing of the sort. Theory posits all sorts of conceptual pathways and constraints to how we engage with art. Sometimes, I go to an exhibit and the theory postulated behind the work seems utterly ridiculous. Sometimes, theory seems to be all the work has going for it. And sometimes, some very rare and gifted artists manage to produce work that is totally wonderful and has a theoretical conceit–I am thinking here of Cy Twombly, whose work I am currently particularly engaged.
One of the recurring issues is the degree to which art relates to reality. Is it an analysis, presentation, insight into the current state of things? Should it be? I could start with Plato, discuss Hegel, mention Ruskin, all of which I may do as I continue to circle around this issue but for now, as I am reading Breton this fall, I will talk about his take on Tanguy.
Despite Breton’s approach to art as being engaged in a meaning full dialogue, in a 1942 essay on Tanguy, Breton distances theory from the creative production process. Tanguy's works are excellent and are entirely intuitive. Their relationship to theory can only be identified a posteriori, he claims. Theory and creative works may be swimming the same channel but they are coming from two different sources. Theory, in particular psychoanalysis and Gestalt theory for Breton, posits the same quest to recognize the Mother, that is the darkness of the origin, the womb, the cosmos and the conscious that Surrealist art attempts to present through their own efforts (think here of Goethe on the Mother).
Dali famously wore a diving suit, at the 1936 International Surrealist Exhibit in London, to represent the way that he plumbs the depths of the unconscious. Though the images that the artists offer may not be those of ‘reality’ they are at the very heart of the real. What is particularly real-ly funny was his inability to take off the mask, so that without the aid of the delightful Edward James (a surrealist patron and poet) he would have suffocated.
Reality sometimes intrudes on art, without a theoretical basis for doing so.
The Model
An artist's model is a different thing from a fashion model.
A different thing! Have you objected to my objectifying the poor creature, naked in front of one person or a classroom of people? Not always naked, of course. Sometimes in full regalia of costume and jewelry and divinely resting on a settee. Notoriously, however, the model is known for being naked.
I used to sit for an artist who had long since married a very religious woman. She had decided that he could no longer draw or paint from the nude female form. His portraits were perfect depictions of statuesque elegance. The painstaking detail with which he painted kept everything visible, the shades in each strand of hair, the shadows as the clothing rippled attire, everything but personality was presented. We all wondered what she must fear since we took for granted that the model's nudity was impersonal.
In a figure drawing group, the model is a living object. At least in my experience. I may pose from every angle but when the timer announces the break, I put on my robe. I do not wear it because I am cold; there are usually heaters in the cooler months. In the summer I wear a lighter robe, but nonetheless wear one. The reason being that as I chat over a cup of tea with the artists, I suddenly appear as a person and I am disinclined to have a conversation about Milton, even Milton, in the nude. Once I am posing again, the conversation may continue, but my mind, expressing assorted opinions, is separate from the naked body that is being drawn or painted.
This separation of the mind and body is one of the reasons I enjoyed modeling when I was in college. Deeply engaged in my philosophy studies, busy running various school activities, the moments of quiet as pencils scratched across the drawing boards allowed me to still myself. Later, when I became interested in meditation, I never found the stillness sitting that I uncovered during those poses. I understood even better why more advanced meditative techniques would require certain postures to achieve particular states of mind.
In a one minute pose there is not time to capture the "spirit" of the person. Nor is that the intention. Rather the shape of the arm, the leg, the angle of the head must be quickly sketched as a brief warm-up. Building to a fifteen minute pose, the body of the model offers a view of a human anatomy. If he is grimacing, it is not his pain that is being portrayed, but rather the form of a figure grimacing that is being presented. If I thought it was me, I might be a little upset at the ugly renditions I see as I walk through the room later. Even when I sit for a portrait that takes months, as a model, I am rarely what is being painted. I am an actress, in a sense, pretending to be a fine lady in an elegant green hat or a mythic character fallen from the moon.
A different thing! Have you objected to my objectifying the poor creature, naked in front of one person or a classroom of people? Not always naked, of course. Sometimes in full regalia of costume and jewelry and divinely resting on a settee. Notoriously, however, the model is known for being naked.
I used to sit for an artist who had long since married a very religious woman. She had decided that he could no longer draw or paint from the nude female form. His portraits were perfect depictions of statuesque elegance. The painstaking detail with which he painted kept everything visible, the shades in each strand of hair, the shadows as the clothing rippled attire, everything but personality was presented. We all wondered what she must fear since we took for granted that the model's nudity was impersonal.
In a figure drawing group, the model is a living object. At least in my experience. I may pose from every angle but when the timer announces the break, I put on my robe. I do not wear it because I am cold; there are usually heaters in the cooler months. In the summer I wear a lighter robe, but nonetheless wear one. The reason being that as I chat over a cup of tea with the artists, I suddenly appear as a person and I am disinclined to have a conversation about Milton, even Milton, in the nude. Once I am posing again, the conversation may continue, but my mind, expressing assorted opinions, is separate from the naked body that is being drawn or painted.
This separation of the mind and body is one of the reasons I enjoyed modeling when I was in college. Deeply engaged in my philosophy studies, busy running various school activities, the moments of quiet as pencils scratched across the drawing boards allowed me to still myself. Later, when I became interested in meditation, I never found the stillness sitting that I uncovered during those poses. I understood even better why more advanced meditative techniques would require certain postures to achieve particular states of mind.
In a one minute pose there is not time to capture the "spirit" of the person. Nor is that the intention. Rather the shape of the arm, the leg, the angle of the head must be quickly sketched as a brief warm-up. Building to a fifteen minute pose, the body of the model offers a view of a human anatomy. If he is grimacing, it is not his pain that is being portrayed, but rather the form of a figure grimacing that is being presented. If I thought it was me, I might be a little upset at the ugly renditions I see as I walk through the room later. Even when I sit for a portrait that takes months, as a model, I am rarely what is being painted. I am an actress, in a sense, pretending to be a fine lady in an elegant green hat or a mythic character fallen from the moon.
Hang the Show- The Guest List
Opening night. Who to invite?
Perhaps there should be a pre-show event? Who to select?
Ought the artist's questionable friends be allowed to mix with the best buyers? Perhaps not...
The artist does not want a stuffy event with moneyed ties and died hair walking hand in hand wondering if the work will match their sofa. The artist wants to remain edgy, represented by the diverse group of friends who live in seemingly Bohemian neighborhoods–even if they are married, go to sleep with the baby, or own a business of their own. It is their attire that suggests a willingness to flaunt the rules.
Precisely responds the gallerist, who wants to ensure that her clients are comfortable and will spend money. Alternatively, the gallerist wants edgy chic, more fashion world than downtown music scene. Or, would prefer all the art lovers who haven't a dime to please stay away and not drink the chardonnay.
If you get invited, enjoy it because no one will enjoy you unless you buy a painting, and if you can buy a painting then you can bring your own guest list.
Perhaps there should be a pre-show event? Who to select?
Ought the artist's questionable friends be allowed to mix with the best buyers? Perhaps not...
The artist does not want a stuffy event with moneyed ties and died hair walking hand in hand wondering if the work will match their sofa. The artist wants to remain edgy, represented by the diverse group of friends who live in seemingly Bohemian neighborhoods–even if they are married, go to sleep with the baby, or own a business of their own. It is their attire that suggests a willingness to flaunt the rules.
Precisely responds the gallerist, who wants to ensure that her clients are comfortable and will spend money. Alternatively, the gallerist wants edgy chic, more fashion world than downtown music scene. Or, would prefer all the art lovers who haven't a dime to please stay away and not drink the chardonnay.
If you get invited, enjoy it because no one will enjoy you unless you buy a painting, and if you can buy a painting then you can bring your own guest list.
Walking A New Museum
On a rainy day, I entered a new museum with all the excitement of being sheltered as well as the thrill of seeing works that I had heretofore only seen in books. I might have planned somewhat better so that I would know what was on display, where the assorted works were located, and the layout of the museum but I had done none of this. I have a propensity for appreciating the increasingly rare, child-like, experience of getting lost. So I entered the museum and wandered to the left.
Not knowing what to expect I was unprepared to dive into the first exhibit. About halfway through, I realized how much I was enjoying it and, pulling out my notebook, went back to the beginning in order to jot some notes. I often take notes in a museum because I can not remember most of what I see and like to refer to photographs, postcards and my thoughts to jog my fading memory. Sometimes, I even use it later for my own work and then I am especially glad that I have the help.
After that first exhibit, I started to get into the groove of my time in a museum and nearly sauntered into the next section. I wandered through it and into another room, up a flight of stairs through that little exhibit on color and line and found myself walking down some stairs towards an auditorium that was not in use, a set of empty restrooms and a guard by a glass door that said Do Not Exit. I was lost.
This happens. I retraced my steps, seeing everything again, and went into a different room. At the end, again I found myself at a wall having to retrace my steps. Then I wanted to see something again, but could not find it. I was now deeply in the labyrinthine quality that a great museum of art can offer. I saw works I had no interest in seeing. There were other works that I had never heard of but could now claim to have witnessed in all their curated glory.
After many hours of this, I stumbled across the entrance and discovered the outside which led me to the next museum, where I did this all over again. I got a cup of tea on my way to fortify my journey.
Not knowing what to expect I was unprepared to dive into the first exhibit. About halfway through, I realized how much I was enjoying it and, pulling out my notebook, went back to the beginning in order to jot some notes. I often take notes in a museum because I can not remember most of what I see and like to refer to photographs, postcards and my thoughts to jog my fading memory. Sometimes, I even use it later for my own work and then I am especially glad that I have the help.
After that first exhibit, I started to get into the groove of my time in a museum and nearly sauntered into the next section. I wandered through it and into another room, up a flight of stairs through that little exhibit on color and line and found myself walking down some stairs towards an auditorium that was not in use, a set of empty restrooms and a guard by a glass door that said Do Not Exit. I was lost.
This happens. I retraced my steps, seeing everything again, and went into a different room. At the end, again I found myself at a wall having to retrace my steps. Then I wanted to see something again, but could not find it. I was now deeply in the labyrinthine quality that a great museum of art can offer. I saw works I had no interest in seeing. There were other works that I had never heard of but could now claim to have witnessed in all their curated glory.
After many hours of this, I stumbled across the entrance and discovered the outside which led me to the next museum, where I did this all over again. I got a cup of tea on my way to fortify my journey.
Hang the Show- The Gallerist
The gallerist, or art agent if you prefer, is a salesperson. Their job is to sell art. This requires the cooperation of the artist who, leading up to the show, can be rather difficult. Nonetheless, the publicity must be posted, the guests must be invited. Faith must be maintained that the work will be produced, that it will be excellent, that buyers will buy it.
Of course, buyers will not buy it, if the gallerist does not push it. In this current global economy that is not as easy as it once was.
Nothing sells itself...even if once it seemed as if it did. I used to work in sales and learned a great deal from my difficult boss who was a wonderful friend. A common duality in sales managers. When the economy collapsed in the autumn of 2008, when we all thought that nothing could be sold as companies and families slashed their budgets, she proclaimed that there was still money. The trick was simply to convince them to spend what money they were spending with you, rather than the other person. Whereas before, money could be sent in both directions, now everyone would have to choose between you and your competitor. She was right and we all worked harder to maintain, develop and enhance new and old relationships.
Likewise, it seems with me that the art market is still in action. Art is still selling. But a certain amount of effort is required. The promotional materials can be developed, albeit creatively if the work is still in progress. Clients can be cultivated even if the artist is still trapped in the studio, too neurotic to be allowed to speak to potential buyers. Hype can be established through the absence of the artist as easily as with their presence. It is all a matter of angle.
As with anything, a good agent continues to sell work. My boss put so much effort during that horrendous fall and winter that she has built a base of too much work and had to request additional hires. She was exhausted by the work but is now proud of the capacity to keep going that she did not know she had. Perhaps more caffeine was consumed...
Needless to say, I encourage my artist friends to plan as best they can with their representation for that trying time before a show. Work can be sold. Or rather, good work can be sold with a good try.
Of course, buyers will not buy it, if the gallerist does not push it. In this current global economy that is not as easy as it once was.
Nothing sells itself...even if once it seemed as if it did. I used to work in sales and learned a great deal from my difficult boss who was a wonderful friend. A common duality in sales managers. When the economy collapsed in the autumn of 2008, when we all thought that nothing could be sold as companies and families slashed their budgets, she proclaimed that there was still money. The trick was simply to convince them to spend what money they were spending with you, rather than the other person. Whereas before, money could be sent in both directions, now everyone would have to choose between you and your competitor. She was right and we all worked harder to maintain, develop and enhance new and old relationships.
Likewise, it seems with me that the art market is still in action. Art is still selling. But a certain amount of effort is required. The promotional materials can be developed, albeit creatively if the work is still in progress. Clients can be cultivated even if the artist is still trapped in the studio, too neurotic to be allowed to speak to potential buyers. Hype can be established through the absence of the artist as easily as with their presence. It is all a matter of angle.
As with anything, a good agent continues to sell work. My boss put so much effort during that horrendous fall and winter that she has built a base of too much work and had to request additional hires. She was exhausted by the work but is now proud of the capacity to keep going that she did not know she had. Perhaps more caffeine was consumed...
Needless to say, I encourage my artist friends to plan as best they can with their representation for that trying time before a show. Work can be sold. Or rather, good work can be sold with a good try.
Hang the Show- Sleeping
The artist hasn't slept in weeks. Potentially, the artist has not slept in up to and including 53 hours.
The gallerist is not sleeping well. Even melatonin doesn't help.
The artist's family isn't sleeping because the artist, in a sleep-deprived fury, said horrible things about them, the past, some random other person, and now the family is wondering what to do.
If the artist has a partner, then he/she hopefully has reconciled themselves to cooking and running errands for someone who will return to them, when the show is complete, a depressed shadow of the ego-driven artist currently barging around. The partner sleeps only a little bit more than the artist.
The artist's friends have disappeared and are presumably having a good time, sleeping in or around–depending on the person. They are looking forward to the opening when their friend will hang out all night and, after the show, enjoy much drunken revelry.
Sleep is portioned to the work. It is necessary but disdained, until the eyes droop despite caffeine, the brush shakes in the stiff hand, and the electric bill suggests that some time off might not be such a bad thing.
The gallerist is not sleeping well. Even melatonin doesn't help.
The artist's family isn't sleeping because the artist, in a sleep-deprived fury, said horrible things about them, the past, some random other person, and now the family is wondering what to do.
If the artist has a partner, then he/she hopefully has reconciled themselves to cooking and running errands for someone who will return to them, when the show is complete, a depressed shadow of the ego-driven artist currently barging around. The partner sleeps only a little bit more than the artist.
The artist's friends have disappeared and are presumably having a good time, sleeping in or around–depending on the person. They are looking forward to the opening when their friend will hang out all night and, after the show, enjoy much drunken revelry.
Sleep is portioned to the work. It is necessary but disdained, until the eyes droop despite caffeine, the brush shakes in the stiff hand, and the electric bill suggests that some time off might not be such a bad thing.
Hang the Show-Selecting
For several years, or several months, the artist has been producing work. Some is hidden before anyone sees it. It does not even get considered for the final selection. The rest are placed throughout the studio to be studied.
What naturally goes together?
Which ones will someone want to buy because of x, y, z?
Which ones have already been sold and so need others to offer like work?
Which ones are reminiscent of previous work?
Which ones are suggestive of work to come?
How do they go together again?
And if it is done once by the artist, it will be done again by the gallerist, possibly by the gallery, and likely when the show is hung for good measure. The process edits cruelly because each painting was produced at some point with care, and then it gets dismissed, rejected possibly simply for its suitability.
Unless you are one of the required selectors-avoid this time assiduously.
What naturally goes together?
Which ones will someone want to buy because of x, y, z?
Which ones have already been sold and so need others to offer like work?
Which ones are reminiscent of previous work?
Which ones are suggestive of work to come?
How do they go together again?
And if it is done once by the artist, it will be done again by the gallerist, possibly by the gallery, and likely when the show is hung for good measure. The process edits cruelly because each painting was produced at some point with care, and then it gets dismissed, rejected possibly simply for its suitability.
Unless you are one of the required selectors-avoid this time assiduously.
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