But what is ‘humble’ art? Humility may become visible in the dimensions of the work of art, the choice of materials, the choice of colours, and so forth. However, in the case in this exhibition, humility is not defined by the characteristics of the art itself, or in the number of works exhibited. Rather it is found in the attitude and intentions of the artists.
BLOG77. The Rotterdam gallery ‘Garage’ has an interesting exhibition on the theme ‘humility’. Apparently with artists who refuse to go along with the aggressive capitalistic tendencies in art. Like artists who seek quick financial gains by adapting their art to the taste of the elite. Like people who consider works of art as a means for speculation and financial accumulation.
But what is ‘humble’ art? Humility may become visible in the dimensions of the work of art, the choice of materials, the choice of colours, and so forth. However, in the case in this exhibition, humility is not defined by the characteristics of the art itself, or in the number of works exhibited. Rather it is found in the attitude and intentions of the artists.
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BLOG76 In February a wide-ranging group of artists, curators and critics signed an open letter opposing Trump’s executive order, restricting non-U.S. citizens to travel to the US. The New Yorker artist Seth Price was one of them.
The Amsterdam Stedelijk Museum has nowadays an exhibition of the work of Seth Price, called ‘Social Synthetic’. It is both interesting and provocative, with installations using different media with many kinds of modern material, often using contradictory images of the internet. Price has a strong interest for the politics in our world but certainly also takes a strong critical stand on the ‘state of art’ as shows his latest book, ‘Fuck Seth Price’. In his view too many artists produce ‘post-problem’ forms of art, follow the market and in this manner bury their own identity or personality. Price is considered to be innovative, influencing many young artists. BLOG75: The British business man Robert Devereux used the capital that he acquired to form the ‘African Arts Trust’. On its website it proclaims “to act as a catalyst for the emergence and growth of locally managed and sustainable contemporary art organisations in Africa". Quite a unique and noble mission!
There are few comparable trusts, while at the same time the fate of African artists is tough. African governments turn a blind eye on ‘arts’. At the same time few African countries have an elite that is willing to invest in home grown modern art and artists. Should we consider art as a ‘luxury’ in situations where many have barely enough to feed themselves? That is a difficult question. The Maslow’s hierarchy of needs (the so-called Maslow Pyramid) shows ‘basic needs’ and ‘safety needs’ as having most priority. Psychological needs (like belongingness, love and esteem) and self-actualisation or self-fulfilment may be linked up with artistic development, these needs are found on third and fourth levels. For proper human development, artistic development seems a very necessary element. So Robert, well done! BLOG74. No theme more central in art than ‘autonomy’. Many artist proclaim themselves as ‘autonomous’. The Art Academies state that they are training people in ‘Autonomous Fine Arts’.
The concept of ‘autonomy’ came up in the 19th century period of Romanticism. The artist was expected to be ‘original’, innovating, choosing his course, not to be influenced by the conventions or forces of society. It is ‘l’art pour l’art’. And quite a number of artists used ‘autonomy’ as an excuse to develop rather provocative works. But here are the contradictions. Those artists who wish to provoke do so clearly in reaction to societal conventions. And those who prefer to remain unprovocative do so in order to sell their work. So the whole idea of an own isolated artistic territory appears rather relative. Autonomy is just a romantic fiction. BLOG73. The parliamentary elections in the Netherlands are planned for March. Birgit Donker, chair of the Mondriaan Fund, suggested in a blog (TROUW 25/01/2017) that it would be refreshing for Dutch politics if an artist would be chosen as prime minister. In her view that would result in different, new solutions for all kind of societal problems, like housing, integration and sustainability.
An interesting idea, but unfortunately for her, so far few artists succeeded to get on the lists of candidates of the political parties. And more generally, artists may be engaged with such societal problems, but appear far less interested in party politics. An artist as prime minister will remain a dream for the time being. Nevertheless, I do agree that interactions between members of parliament or municipal councils, entrepreneurs and so forth, with artists may strengthen the imagination and help in redefining problems and finding solutions. BLOG72 Sure, you need some talent, inspiration and some good ideas to become an artist. But important as well are courage and perseverance. Courage to ignore the rejection by the art scene, the negative judgements and doubters, to stay away of the ‘market’ of popular tastes, to keep distance of the elitist and institutional definitions of what should be art and what not, the vested interests, the courage also fight against your self-doubt.
And secondly, perseverance, to keep going, to get beyond the deceptions and failures, to continue innovating, looking for new ways, new worlds. So be bloody-minded, for god sake…. and remember, yes, that some have the misfortune to get recognition only after death! BLOG71 In March next year we will have general elections in The Netherlands. The political campaigns are getting on steam and art is usually a very minor issue. Still, some people (artists?) try to influence the political programs.
In the GroenLinks/GreenLeft party for instance, the following text was proposed: ‘Art challenges. Art may make things start moving, it pops up at unexpected places, it may connect people and question them. Art is the driver of an open and progressive society, the creative antidote of efficiency thinking and of the ongoing coarsening of the public debate. Fortunately, art is also free and has value for itself. Art education is important. It stimulates creativity and inventiveness in our rapidly changing world.’ Indeed, a very general statement that in many aspects is open to debate. Fortunately it has been translated in specific policy proposals. This party claims to be ‘visionary’ and ‘progressive’ so maybe we should forgive that some of those proposals lack realism. BLOG70. Graphic art entails to a certain extent considerable craftsmanship. You need to acquire a number of technical skills in manipulating tools and material. Graphic art is so attractive because it had a wide range of different techniques and possibilities. Mastering these techniques is certainly a challenge.
For example, some weeks back I learned the basics of making a ‘sugar-etch’. However, the first attempts did not produce very acceptable results. The important thing here is repetition, applying the technique time and again, and at the same time know how to learn from the mistakes. And then continue trying each time again. Complicating factor is that I work in two different graphic workshops, in Rotterdam and Leiden. In Rotterdam they use copper sulphate for etching, and in Leiden nitric acid. Copper sulphate is a far less aggressive acid (well, in fact it is not even an acid but a salt!) and it works considerably slower and in a more delicate manner. So I need to adapt my technique to these different conditions. Conclusion, in art there is no such thing as failure, and setbacks are just meant to learn. BLOG69. The well-known German philosopher Hans Georg Gadamer thought that he could easily distinguish between art and kitsch. According to him, a work of art poses questions to the spectator, and expects the spectator to start looking for answers. So it puts the spectator at work, to find an interpretation of what he sees, to find his own personal interpretation.
On the contrary, the work of kitsch does not pose questions, or rather, it has already answered them beforehand. There is no challenge here to the spectator. There is no tension between the work of art and the spectator, no confrontation or dialogue. BLOG68. The culture of Dutch society includes a wide range of customs, norms, works, processes and so forth. We are culture, we breath culture, we are part of everyday cultural processes, like fish swimming in water.
Art works are part of that culture, at least when they have acquired some form of recognition. If we suppose that the artist is expected to have a critical role, he/she should keep at least some distance in order to better perceive, understand and appreciate culture and society. In order to extend curiosity, pose questions all the time and seek the unknown world. So, in order to maintain his/her autonomy, the artist should not integrate (too) much. How do you do that? |
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November 2019
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