Friday, December 30, 2005
To Americans, NYC is the the holy grail of the art world. I admit that Londoners and Parisians may contest that belief. But my point is not to argue over USA vs European art influences. My question is this - With the advent of the information age, will the major metropolis be able to maintain its control over the art market? Even now with tens of thousands of galleries across the United States, NYC is still the goal of contemporary artists. Even I relocated to Santa Fe for the purpose of "cracking" the second largest art market in the country. NYC often just seems out of reach. But is that elitism exactly what will keep the city on its pedestal?- DN
Tuesday, December 27, 2005
Monday, December 26, 2005
Seth Weiner's The Terranaut Project is a vehicle piloted by a goldfish. It is one of the winners of The Art Newspaper's first Bartlebooth Prize. Click here to read about the Bartlebooth Prize, see the other winners and nominate works for next year's prize.
I'd be the first in line to see "The Terranaut Project", if it came to town; but I still question its place in greater art history. This is by no means a question of its artistic significance. The originality and skill of the "project" are unquestionable. But is this "novelty" the direction of the next movement - or just a really fun way to win a prize? - DN
Wednesday, December 21, 2005
The ArtReview magazine has released its list of what it considers to be the top 100 people in art. They include gallerists, artists, curators, and art collectors from all parts of the world.Gallery owner Larry Gagosian is number one, with a stable of famous artists and galleries placed in all the important places. He has five galleries located in London, New York and Beverly Hills. The artists he represents include giants like Andy Warhol, Georg Baselitz, Jasper Johns, and Cy Twombly.
Top40 in the Art World..The full list of 100 can found at the Guardian-arts..(position last year is in brackets)
1 (4) Larry Gagosian, dealer
2 (14) Glenn D Lowry, director, MoMA New York
3 (3) Sir Nicholas Serota, director, Tate
4 (24) Maurizio Cattelan, artist
5 (15) Samuel Keller, director, Art Basel
6 (10) Dakis Joannou, collector
7 (-) William Ruprecht, CEO, Sotheby's
8 (1) Ronald Lauder, chairman, MoMA
9 (-) Robert Storr, US curator and academic
10 (7) Takashi Murakami, artist
11 (17) Iwan Wirth, dealer
12 (5) Gerhard Richter, artist
13 (2) François Pinault, owner, Christie's
14 (-) Rem Koolhaas, architect
15 (28) Marian Goodman, dealer
16 (-) Steve Wynn, collector
17 (6) Charles Saatchi, collector
18 (48) Jeff Koons, artist
19 (9) Leonard Lauder, collector, philanthropist
20 (21) Zaha Hadid, architect
21 (-) Marc Glimcher, gallerist
22 (19) Eli Broad, collector and philanthropist
23 (-) Richard Serra, artist
24 (26) Adam D Weinberg, director, the Whitney
25 (-) Peter Brant, publishing magnate, collector
26 (77) Nicholas Logsdail, owner, Lisson Gallery
27 (-) König family, gallerists, publishers
28 (-) David Teiger, collector
29 (-) Olafur Eliasson, artist
30 (-) Daniel Buchholz, gallerist
31 (8) Maja Oeri, presides over Emanuel Hoffmann Foundation
32 (-) Amanda Sharp & Matthew Slotover, magazine publishers
33 (-) Jasper Johns, artist
34 (32) David Zwirner, gallerist
35 (43) Mick Flick, collector
36 (18) Barbara Gladstone, gallerist
37 (-) John Currin, artist
38 (27) Sadie Coles, gallerist
39 (-) Gary Garrels, director of painting and sculpture, MoMA
40 (-) Don & Mera Rubell, collectors
Quiz time. How many do you recognize? How accurate is it? - DN
Tuesday, December 20, 2005
As a painter trying to outgrow my training 'to master the technical skills of rendering realism'. I was struck especially hard by the following comment -
"All great contemporary artists, schooled or not, are essentially self-taught and are de-skilling like crazy. I don't look for skill in art; I look for originality, surprise, obsession, energy, experimentation, something visionary, and a willingness to embarrass oneself in public. Skill has nothing to do with technical proficiency; it has to do with being flexible and creative. I'm interested in people who rethink skill, who redefine or reimagine it: an engineer, say, who builds rockets from rocks."
De-skilling... now there's a term for a contemporary art-making process. - DN
Monday, December 19, 2005
Anyone else feeling the surge? - DN
Friday, December 16, 2005
Thursday, December 15, 2005
Philip Roth: Let's Shut Down The Literary World "I would be wonderful with a 100-year moratorium on literature talk, if you shut down all literature departments, close the book reviews, ban the critics. The readers should be alone with the books, and if anyone dared to say anything about them, they would be shot or imprisoned right on the spot. Yes, shot. A 100-year moratorium on insufferable literary talk. You should let people fight with the books on their own and rediscover what they are and what they are not. Anything other than this talk. Fairytale talk. As soon as you generalise, you are in a completely different universe than that of literature, and there's no bridge between the two." The Guardian (UK) 12/15/05
I found this interesting because it could easily be more than just a literary phenomenon. If you take away the critics' push to promote the most outrageous work and the art departments' influence over "good" and "bad" art; then you're left with artists finding their own way, naturally seeking one another out. Reminds me of the "Abstract Expressionists" - de Kooning, Pollock, Krasner, Kline - DN
Monday, December 12, 2005
Friday, December 09, 2005
Click on the following link to read about Artists Crashing an Art Fair.
The article says everything. - DN
Thursday, December 08, 2005
To make it clear, I am not anti-realism. I just feel it should be held in high regard for what it says rather than the the 6-12 months the artist spent glazing the surface.
Click here, Tim Joyner, if you want to see the type of low-quality art I encountered on a regular basis in Montana.
Click the link for artist, Tim Eitel to see the TYPE of high-quality I envision in REALISM.
Wednesday, December 07, 2005
Now keep in mind, he did not say all videos are "one-timers", just the majority. So is he right? Is the internet the best venue for performance art? Should the galleries remain relegated to art that can be bought and sold? How does that influence innovation? Does it stifle creativity?
Or does it force the artist to return to the "idea" and process of making art. Humans are a "quick-study". This is proven by the overwhelming number of children dominating the internet. It is easier in this time, than any other, for an artist to master styles and techniques to the point of boredom.
Michelangelo said - what I create here destroys all those who come after me. He knew that masterful technique had been accomplished. That from then on, it was a matter of looking within the artist for new ways to interpret and create. Think about it this wasy - is there only one master plumber in the word or millions? Technique is mechanical. Thinking, now that's fresh.
Once the technique is mastered is when the "intellectual" aspect of art must take over (especially if it has been missing until now) for the work to continue.
I was raised in the school of realism, but have evolved into an abstract painter. I mastered traditional works, such as the portrait, years ago. It was after the mastering of technique that I turned inward to find the source of my art. Without this constant flow of questions, I would never have artwork to create the answers. Are there new questions in traditional realism? Of course, but it is still a matter of the intellect.
The works I condemn are the realist paintings and sculptures that are quiet. The ones that have no answers, because they ignore the questions associated with the most general "WHY?". I spent the past two years in northern Montana, where Charlie Russell and all his copycats are king. I eventually broke through the barriers to get a footing in the market there. But it was not without some effort. I went to the mountains to see them through my eyes. Not to recreate them through the eyes of an artificial cowboy. I didn't care about glorifying the terrain or cattle. I only wanted to use paint to interpret how average people instinctually utilize philosophy, religion and literature to deal with a beautiful environment that constantly tried to kill them with weather, emptiness and wild hardship.
I really have quite the appreciation for performance/video works. But I am basically an action painter, and the slow tedious preparation put into video artworks is in direct conflict with my creative process. Its the same reason I keep my sculpture works to a minimum. I produce over 200 paintings/year, because I have a lot to say. More than I feel I can get across in six-months of prep to make a video project. - DN
Tuesday, December 06, 2005
- In the last post, Omega commented...
Over the course of time and experience, I have run across numerous individuals that are masters of technical skill in the "traditional mediums" of visual art. Unfortunately, many have been unable to master the thought-process behind the creation aspect of "new" ideas. They are simply content to rehash and recycle "safe"methods of art-making- without purpose.
I have spent the last ten years developing a unique style of work based around concepts of philosophy, literature and religion and how they interact with the basic needs of individuals. Not needs such as water and air, but necesseties to stay humans from the brink of madness. Voltaire said, "If there was no God, then man would have to invent him". My own work is an exploration, how do humans cope with the most basic concept of mental survival within the land in which they live.
My paintings, "Einstein: Man is Here for the Sake of Other Men" and "Sangre de Cristo: Wandering Gentiles of the Southwest" are examples of this mental survival. The Einstein painting displays humans living in the midst wilderness, yet huddling together to form a society. The Wandering Gentiles painting narrates the struggle of thousands of "crypto-Jews" trying to find their way in the "new" wilderness desert of New Mexico. There have been Jews in New Mexico for 400 years and a number of them have been hiding their identity for nearly as long. Both of these paintings visually recreate the image of human mental survival. People doing anything they can to cope. Ironically, though people often attempt to "go it" alone, they are always in the company of others attempting a similiar course.
In an earlier post, I mentioned the "intellectual humor" of Jon Stewart and his place as a performance art. Maybe the new art movement is a combination of intellect and irony. It is only natural for me as a painter, to want that movement to be more tangible in the traditional venues of visual arts (painting, sculpture, architecture). But the strongest movements transcend all mediums and are embraced across not only the field of fine arts, put the spectrum of society.
If this is the answer: intellect and irony as the catalyst of a new art movement, what is the next step? A name?
Theorists. Sagest. Rationalists. - DN
Monday, December 05, 2005
None of the finalists are painters.....
Does performance art have its place. Certainly. But how far does it go, can it honesty unseat painting permanently or is it a trend. What pushes art. Money. Like it or lump it. You can not buy/sell/auction performance art as easily as paintings.
Should trend dictate major art prizes? Does the "Hugo Boss Prize" really count as a "major" prize? If not, then why does the Guggenheim Foundation run the program? Who is more at fault the Guggenheim for following trends rather than aesthetics or "Hugo Boss" for buying their way into the museum world.
Who is more at fault the Guggenheim Foundation for not selecting painters or the painters for not binding their ideals to establish a cohesive concept to unseat performance art? - DN
Friday, December 02, 2005
When Ed Paschke died on Thanksgiving Day last year, television news crews called the Art Institute of Chicago and the Museum of Contemporary Art, asking to photograph or shoot video of his work. But even though the Art Institute and MCA owned paintings by Paschke -- perhaps the best-known Chicago artist of the past quarter-century -- none were on display." Chicago Sun-Times 12/01/05
Now for me to be glum - How long until the Chicago Art Foundation Museum has more work than they can juggle? What then? Don't get me wrong, this is a tremendous idea that is a long time coming for every city in the world. But how many other contemporary museums started out with similiar missions and are now "full"? If I decide to set-up a Chicago studio, in a few years, will there be any room left for a "new" Chicago artist? - DN
Thursday, December 01, 2005
Is this "dark mood" similiar to Picasso's Blue or Red periods? An actual recognition of movement after the fact? Or simply a curatorial stunt? - DN
Wednesday, November 30, 2005
The Whitney Biennial is the ultimate goal for serious American artists. Unfortunately, the event is so intimidating that many never even apply. But can the curators of the Whitney Biennial set aside egos and titles long enough to lay the ground work for the next art movement? Rather than simply search for the most outrageous, can they work together to discover unacquainted artists working through similiar ideas and styles.
When curators are not artists. When critics are not patrons. Can there be enough cohesion to bind together a group of artists or styles or ideas to form a movement? In 2006, we will discover if the new direction of the event's most recent curators is true or simply a stunt. - DN
Tuesday, November 29, 2005
Without the Artist the Gallery would have nothing, but without the gallery - the artists that do sell, would sell for much less money and in theory - less frequently. Typical Gallery commission is between 40 and 60% (in the US). While a good gallery earns every penny, does that give gallery owners the right to be elitist? How often does "the economics" get in the way of galleries taking a chance on more experimental artists?
Is NY or London more accepting of emerging artists? US or Europe? - DN
Monday, November 28, 2005
I ran across a website that gives a pretty typical answer - To invoke a response.
Click on the below link to visit the website:
Maybe the purpose of art is not so much to invoke a response as to just make the viewer think. Thinking does not necessarily involve joy or anger.
The above artist's work could fall under the category of conceptual art... or just plain funny. But how is this different than say... "America" by Jon Stewart. It may be a reach but Jon Stewart's Daily Show and subsequent book sales are doing so well because they are intelligent humor.
After reading "America", I didn't run out and attack Republicans, but it did make me stop and think about quite a number of issues. One of my favorite features of the book was a voter's registration form with an attached coupon for White Castle (in small print it states that detaching the coupon voids the registration). Now it doesn't take more than a second to figure out which socio-economic group is being targeted by that form. But does it take any longer to relate Stewart's outrageous humor to the very real issue of the new Georgia Poll Tax?
A link to the NY Times article on the Poll Tax is below:
Georgia Poll Tax
Martin Luther King, Jr. and Mahatma Gandhi didn't encourage people to anger and violence, they stirred the masses to think. Can Gandhi be considered one of the original Conceptual Artists?
The concepts of Art and Ideas are interchangeable. - DN
"Bad artists copy. Good artists steal."
"Give me a museum and I'll fill it."
"I like all painting. I always look at the paintings - good or bad - in barbershops, furniture stores, provincial hotels... I'm like a drinker who needs wine. As long as it is wine, it doesn't matter which wine."
(After viewing a collection of children's drawings) "When I was their age I could draw like Raphael, but it took me a lifetime to learn to draw like them."
Drink to me. - (Picasso's last words )
A good movement requires genuis mixed with talent, an unhealthy dose of arrogance and a few good quotes. - DN
Monday, November 21, 2005
1. Is the key to forming an art movement having a ready base of patrons?
2. Do patrons create the art movements, by doing or taking over the job of PR supervision?
3. Do patrons only come later, keeping momentum in the movement?
A few examples immediately come to mind, to possibly answer these questions:
"Mark di Suvero - art dealer Richard Bellamy was singularly devoted to the work of Mark di Suvero. An exhibition at Storm King of di Suvero's sculptures and Bellamy's photographs of them chronicles this productive partnership." - Art in America (November 2005)
Michelangelo had both the Catholic Church and the Medici family. Now the Medici boys made him happy, but the Church treated him like a slave and forced him to create his most memorable works (those works most often associated with the Renaissance). So which one was the true patron from the hypothesis that a patron spurs or creates a movement?
Vincent Van Gogh had Theo.
In the beginning, the "Lost Generation" (Hemingway, Fitzgerald, etc) had Gertrude Stein.
The "Abstract Expressionists" (Pollock, de Kooning, etc) had Peggy Guggenheim and Betty Parsons. But would Pollock have found his voice of "pouring" without the previous influence (support) of Guggenheim? Its obvious that without Lee Krasner, setting aside her painting, to support Jackson - he would have never reached his potential. Does that make Krasner his greatest patron? Who was more instrumental in Pollock's place in art history - Parsons, Guggenheim or Krasner?
What makes a patron - money or support? Can money and support be seperated?
Sunday, November 20, 2005
What’s in a Name
"Artists use titles to illuminate, explicate, confound, frustrate—or justify a tax deduction. Even Untitled suggests a meaning."
- Kelly Devine Thomas, ARTnews (November 2005)
Part of my search for the next art movement includes looking for the right name. What do the titles of my own paintings reflect? Land (YES), Regionalism (MAYBE), Judaism (VERY OFTEN).
How do the previous title and stylistic choices, of artists, construct the path to their next work? How do these choices define both individual and group placement in the forthcoming history of art?
Saturday, November 19, 2005
Joel Weishaus writing near the Columbia River Gorge, Washington State. Summer 2004.
Photo by Faye Powell.
The above link will take you to the archive of Joel Weishaus. His work is controversial by the very nature of its perception. Is it literature, is it documentary, is it visual art?
THE DEEDS AND SUFFERINGS OF LIGHT
These texts were originally made for an exhibition at the Albuquerque Museum that opened on May 19, 1991 and ran for 24 days. The forty texts were presented as posters spanning the walls of two rooms, intersticed with photographs by Patrick Nagatani. Here they are presented in their original format, however digitized and somewhat revised. --Joel Weishaus
Take a look at his work, but I warn you it will require more than a casual glance to digest the purpose of the art. In addition to the above example of texts and images (photographs), he also has an archive of traditional visual forms - both 2-D and 3-D. Where does Mr. Weishaus fit into the mode of Artist? Author? Documentarian?
Is it possible for a blend to take place between the concepts and imagery put forth in his texts and other works, to expand upon a theme into a greater cause or movement?
Or is his work an example of the greater cause?
Can the individual artist be the movement, without inclusion? Think of the great masters of visual art - How much of Picasso was the Cubist and Modern Art Movements and how much was just Picasso?
Friday, November 18, 2005
Is the same true of art movements or contemporary art in general, is this the answer to why movements are so brief? Is this why most contemporary artists have difficulty hanging onto a singular idea long enough to form a movement? - DN
Thursday, November 17, 2005
Eija-Liisa Ahtila, Thomas Demand, Maurßcio Dias & Walter Riedweg, Leandro Erlich, Subodh Gupta, Sue Williams and Wu Chi-Tsung.
Eija-Liisa Ahtila – was born and works in Helsinki, Finland. Ahtila describes her work as ‘human dramas’ taken from her own observations and experiences through the medium of film and video.
Thomas Demand – was born in Munich and now lives and works in Berlin. Demand’s work combines conceptualism and photography, using a process of construction, representation and repetition. He meticulously re-creates life-sized models of exteriors or interiors, photographing the construction before destroying it.
Maurßcio Dias & Walter Riedweg – The Brazilian artist Maurßcio Dias and Swiss artist Walter Riedweg have worked together since 1993. Their research and collaborations, most often presented in the form of video installations, explore the lives of groups of people who live on the borders of mainstream culture such as immigrants and prostitutes or literally on a border, such as the border police.
Leandro Erlich – was born and works in Buenos Aires, Argentina. His large scale sculptures and installations create a world of trickery and illusion; doors cannot be opened, peepholes reveal the unexpected and mirrors that do not reflect. Erlich challenges the viewers habitual idea of reality by creating an unexpected experience from a familiar environment. He is currently showing work at the 51st La Biennale Venezia.
Subodh Gupta – was born in Khagaul, India and now lives and works in New Delhi. Subodh Gupta works in a wide range of mediums from sculpture and painting to installation, photography, video and performance. He elevates the status of found objects from everyday items of rural India to artworks – cow dung, milk buckets, kitchen utensils, scooters, guns and gulal powder. He is currently showing work at the 51st La Biennale Venezia.
Sue Williams – was born in Cornwall and now lives and works in Wales. Her work is embodied in her passionate response to the human condition; a pre-occupation with the fantasies of feminism, sexuality and gender and the notion of desire - both sexual and cerebral.
Wu Chi-Tsung – was born in Taipei, Taiwan where he still works and lives. Awarded the Taipei Arts Award in 2003, Wu’s recent work explores the notion of “image” through various media such as video, photography, and mechanical installation.
In 2004 the Artes Mundi Prize was awarded for the first time to Chinese artist, Xu Bing. Artes Mundi, is an international biennial event that recognises some of today’s most exciting visual artists from around the world, and whose work explores the human form and human condition. It comprises a major exhibition, a public event programme, a prize of £40,000 to one artist and a purchase fund to enable works to be purchased for the National Collections.
The exhibition is exclusively on show at the National Museum & Gallery, Cardiff, Wales from 11th February to 7th May 2006. The prize will be awarded on, Friday, 31st March 2006."
- from artdaily.com
- Maybe it is true contemporary artists are only interested in working through their own ideas by their own direction. Does this individuality force artists to be dependent upon the generosity of prizes and foundations? What does that say for our INDEPENDENCE? - DN
Wednesday, November 16, 2005
David Smith Sculpture Sells For Record Price Larry Gagosian, the Manhattan dealer, fought off five aggressive bidders and paid $23.8 million at Sotheby's for David Smith's "CUBI XXVIII" (1965), the last of the artist's renowned Cubi series. "The reason for the high price was plain to lovers of contemporary art: this elegantly composed melding of boxes and columns may be the last example of the series to come on the market for some time. Most of the others are in museums or collections where they will stay for generations. So this last-chance opportunity was irresistible, which is why the sculpture's final price was nearly double its high estimate, $12 million." The New York Times 11/10/05
Rothko Sale Sets Record at Christie's "An oil painting by Mark Rothko has set a new world record of $22.4m for any post-war work sold at auction. The work, entitled Homage to Matisse, was sold at Christie's post-war and contemporary art sale in New York on Tuesday evening. New records were also set for Roy Lichtenstein, Francis Bacon and several other artists. Lichtenstein's In the Car sold for $16.2m, while a Willem de Kooning untitled work from 1977, sold for $10.66m, far above the high estimate of $6m. The sale took a total of $157.4m, exceeding the pre-sale high-end estimate of $145m, with only four of the 70 lots on offer failing to sell." BBC 11/09/05
Tuesday, November 15, 2005
"There were a number of Expressionist groups in painting, including the Blaue Reiter and Die Brücke. Later in the 20th century, the movement influenced a large number of other artists, including the so-called abstract expressionists.
Expressionism is also found in other art forms - the novels of Franz Kafka are often described as expressionist, for example, and there was a concentrated Expressionist movement in early 20th century German theatre centred around Georg Kaiser and Ernst Toller.
In music, Arnold Schoenberg, Anton Webern and Alban Berg, the members of the Second Viennese School, wrote pieces described as expressionist (Schoenberg also made expressionist paintings). Other composers who followed them, such as Ernst Krenek, are often considered as a part of the expressionist movement in music. What distinguished these composers from their contemporaries such as Maurice Ravel, George Gershwin and Igor Stravinsky is that expressionist composers self-consciously used atonality to free their artform from the traditional tonality. They also sought to express the subconscious, the 'inner necessity' and suffering through their highly dissonant musical language. Erwartung and Die Glückliche Hand, by Schoenberg, and Wozzeck, an opera by Alban Berg (based on a play by Georg Büchner), are example of expressionist works.
In architecture, the work of Eric Mendelsohn comes under this category. An important building by him under this style is the Einstein Tower in Potsdam, Germany. There is an organic quality to buildings using this approach. Some sculptors also used this style, as for example Ernst Barlach. There was also an expressionist movement in film, often referred to as German Expressionism.There was never a group of artists that called themselves Expressionists."
- from Wikipedia
The Pre-Raphaelites on the otherhand were completely deliberate in their STRUCTURE:
"The Pre-Raphaelite Brotherhood was founded in John Millais' parents' house on Gower Street, London in 1848. At the initial meeting John Everett Millais, Dante Gabriel Rossetti and William Holman Hunt were present. Hunt and Millais were students at the Royal Academy of Arts. They had previously met in another loose association, a sketching society called the Cyclographic club. . . They kept the existence of the Brotherhood secret from members of the Royal Academy.
The Brotherhood's early doctrines were expressed in four declarations:
- To have genuine ideas to express;
- To study Nature attentively, so as to know how to express them;
- To sympathise with what is direct and serious and heartfelt in previous art, to the exclusion of what is conventional and self-parading and learned by rote;
- And, most indispensable of all, to produce thoroughly good pictures and statues.
These principles are deliberately undogmatic, since the Brotherhood wished to emphasise the personal responsibility of individual artists to determine their own ideas and method of depiction."
- from Wikipedia
What is the direction for the next movement? Online, anyone can find examples of singular projects to create art movements. Unfortunately, most seem uninspired and loosely developed. "Stuckism", "Crap Art" (No, I'm not kidding), "NeoSyncretic". Though I have found one example with potential - "NeoPopArt", but it seems rather regional. While there are many historical examples of regional art movements becoming successful, they often are also relegated to the minor art movement bin of history (e.x. The Ashcan School, Tonalism, ).
Monday, November 14, 2005
Among Black Mountain's first professors were the artists Josef and Anni Albers, who had fled Nazi Germany after the closing of the Bauhaus. It was their progressive work in painting and textiles that first attracted students from around the country. Once there, however, students and faculty alike realized that Black Mountain College was one of the few schools sincerely dedicated to educational and artistic experimentation. By the forties, Black Mountain's faculty included some of the greatest artists and thinkers of its time: Walter Gropius, Jacob Lawrence, Willem de Kooning, Robert Motherwell, John Cage, Alfred Kazin, Merce Cunningham, and Paul Goodman. Students found themselves at the locus of such wide ranging innovations as Buckminster Fuller's Geodesic Dome, Charles Olson's Projective Verse, and some of the first performance art in the U.S." - PBS.org
So can it happen again? With the current power-structure of accreditation-based colleges and universities demanding pyramid-scheme-MFA programs (I liberated that one from an old "New Art Examiner" article: THE MFA: Academia's Pyramid Scheme by Karen Kitchel") - can learning for learning's sake reoccur?
Karen Kitchel quotes David Bayles and Ted Orlando (Art & Fear) as saying "If 98 percent of our medical students were no longer practicing medicine after graduation, there would be a Senate investigation, yet that proportion of art majors are routinely consigned to an early professional death."
"Black Mountain College" did not grant MFA's, yet some of the greatest western minds of the twentieth century gathered there to educate and learn.
I'm not saying that the knowledge and experience gathered during an MFA program are poor, I just believe they should be better for the $40k - 100k in student loans.
Sunday, November 13, 2005
An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a restricted period of time (usually a few months, years or decades). Art movements were especially important in modern art, where each consecutive movement was considered as a new avant-garde. Movements have almost entirely disappeared in contemporary art, where individualism and diversity prevail.
To repeat -
"Movements have almost entirely disappeared in contemporary art, where individualism and diversity prevail."