what passes as art

Small point: I did not type "Modern Art", I typed "modern art" meaning art that is currently produced.

I'm glad that you got lots of PMs Fred. I didn't get any. So, you win because you got more Valentines Day cards?

I've explained to you (once in a PM) why I'm no longer as public as I was before.
 
Pablito said:
I know who he is, Keith. Let's agree to disagree. He's not a bad sculptor.
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'Agree to disagree' ... that sounds far too sensible but yes you're right ... I apologise for my terseness!

Cheers. 🙂
 
A debate that should never have occurred? I don't know...

But I can wind it down too Fred. I'll continue to have issues with much of modern art (conceptual, non-representational), and you can continue to have issues with bokeh and DOF. 🙂
 
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rjporter said:
Brooks Jensen of Lenswork magazine has a great podcast called free wine and cheese night, which is what he calls the gallery opening night where everyone shows up not to discuss the merit of the photos on the wall, but to be seen by the art community as a way to belong.
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Free wine and cheese...check. I'll see y'al at my exhibit in September. Bottle o' red, bottle o' white, but maybe not an open bar. 😉


- Barrett (discovering what it takes to put on an exhibit...)
 
sitemistic said:
Ah, wine and cheese. Must be a New York thing. Down here in S.E. Texas, they always demand Budweiser and Bar-B-Que. Hell on the mats, that BBQ.
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Well, a few cases of Tall Boys on ice and some good take-in baby backs might be a bit cheaper. But you'll have to do the velvet-rope thing to keep the stuff off the frame glass. 😉


- Barrett
 
jan normandale said:
Okay, Frank I've got it. But then it could be car dealers too.. I remember one time I went into a car dealer to enquire about an 8 year old Porsche convertible they were selling. I was 2 years out of school and wasn't making much but wanted something inexpensive, fun and with some resale appeal... it was arrogance beyond belief. I guess I'm thinking that this problem isn't just in art galleries.
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The difference is that, in todays society, you NEED a car.
 
Finally I read something truly human in this thread, which to me is both interesting concerning our knowledge of Barret and also relates to life in general.

Therefore I would like to add another angle very much found at the thread by its absence: the accessibility of the broad public to Art. This is in my opinion of the greatest importance.

It flows from our very basic approach to life. Is life a commodity for a small elite to enjoy, and the others to envy, or is life something for all to share.

With this I am not discrediting artists who are not known to the broad public because of the complex nature of their work, nor I would like to credit other artists who abused their access to the public for excessive profit and ego.

But the artist who both is loyal to his art and within it takes care his creation can be accessible, is adding another level of depht to his work.

It is the geniousity in the simple, and the simplicity of the genious - a golden quality not easily found, and not to be confused with flat mindness, very often found in talented folks.

Cheers,
Ruben



amateriat said:
.............
Being the child of an artist, I think I can safely say that declaring yourself an artist takes a certain amount of chutzpah, whether one wants to acknowledge it or not. This is especially true if one intends to earn at least a sizeable portion of one's living from it (that's my high-wire act at the moment...watch me make it to the other side or fall). Whatever cosmic merit your work does or doesn't have, you really do have to believe in it enough to push it out there and get people to pay attention to it. But it means work; no one's going to hand everything to you (something I think too few recent art-school grads grasp very well). Persistence is awfully important...if you decide to give up because you didn't make it big within a year, all I can say is that you might've been better off going for an MBA (although in the current business climate, even that isn't a sure thing). Steady nerves and a thick skin help, too. 🙂


- Barrett
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The problem really is not about being or not being a artist. But rather the commerical lust the art marketing or gallery owners seem to have. The big players set the tone for everyone else. The old 10 percent tell the other 90 percent what is art and what to buy.

The gallery community so to speak.....then builds up a new "tend" or art type to sell off to the "more money than brains" rich intellectual collector market. that's it !

The guy or gal who is really trying to follow a vision..is now trappped in the tidal flow of greed of the gallery pack. So if they get swept up in the tide of which ever way the water is going then maybe something good happens..

There really is no sense of moral responsibility by the gallery and art marketing world. So the artist is pray and all the sweat and tears of creative effort is secondary. Rejection is a given when ever you show and ask for publc validation.

Money is a whole differnt animal.

Best Regards.....Laurance
 
Roger Hicks said:
The point is, I'm not smart enough for my own good. That's why I may come across as pompous or reactionary. If I were smarter, I might come across as more everyday.
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Yo, yo. I feel you, man. Sometimes we men be such a foo, yo. Like, totally. Like, omg. :angel:
 
To sum it up for me:

Some contempory art that I've seen, I appreciate.
Some contempory art I've seen ,I don' t appreciate but I get the uneasy feeling that it is caused by a deficiency within myself.
A lot of the contemporary art I've seen, I cannot appreciate, and I don't think it is caused by a deficiency within myself.
I have not seen enough contemporary art.
Art dealers and galleries are not about promoting quality, they are profit motivated.
Artists of all kinds are necessary for a culturally healthy society.
Only a small percentage of all artists are really artistically tallented and truely deserve support.
Much of an artist's success has little to do with artistic tallent, but on other factors particularly the marketing ability of the artist or those who attempt to profit from his work. (the way Lawrence explains it)
 
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