art vs an artwork:  aka – the thought’s the thing

 

 

Don Quixote

 

The artist thrives in the unique state of being able to see things (as they truly are) and presents to the rest of us such a translation in an equally unique vision.  This is the artist’s ground, the raison d’etre of the artist.

Artists work toward communicating thoughts and ideas, and yet, it is not about the artist at all.  It is not how the artist thinks the work reads, but how it will be read by the society observing concurrently, and, which the artist is equally a part of.  Communication’s the thing, and the language used to translate needs to meet up with the audience that views it.

Art is not made with “Art” in mind, but rather, an artwork.  Yet the artwork itself doesn’t operate as art until we have the reception of the viewer.  The artist throughout, is always viewing, for the image has been continually viewed upon its initial inception.  It then becomes a matter of continued revelation (for the artist) as one works.  All of this, again, is not static, but moving, active.  And, once the act of making the work is long over, the revelatory act of looking is all that is left.

 

Art is both verb and noun.  It is an act of thinking and receiving.  It is a sinking-in of information which prompts us to consider our place in the world.  Larger thoughts are prompted by recognizing meaning in an artist’s object, a playwright’s dialogue, an actor’s performance, a novelist’s writing, a poet’s verse.

 

Art is not something which one bumps into without having some sort of thought-process, some act of thinking immediately following.  This is where the art happens; with the thought—the thinking-about – usually in response to [the] contradictory nature of what is being bumped into, looked at, observed.  A contrast in size, shape, material within an environment prompts us to think in symbolic terms, and, here, we begin to venture into the realm of Art.

All of this makes me consider Melville’s description of art in his poem of the same name, for he posits just this with his lines: “A wind to melt, a flame to freeze, sad patience, joyous energies – such unlike things must meet and mate” and, also, Wilde’s “Art can make an almond tree blossom in winter, or make snow fall upon the ripe cornfield”; …. or Blake’s “Joy and woe are woven fine, a clothing for the soul divine” or, in Berger’s sharper prose “the wooden bird is wafted by the warm air rising from the stove in the kitchen while the real birds are outside freezing to death!”

These are all effective definitions of what art is – for they all contain within them an engagement of opposites, an irony, a new angle in the way things are seen.  This is art.  Art jolts us out of our accepted narrative, and makes us consider the veracity of that narrative, and, then, has us question our nominal acceptance before we came to our newest point of questioning.

This is why we need the art, artists = to keep us from slipping into a world where there is no contrast, no quest, no questioning, no new view presented to us, no way to really see our world and our place within it.

Whether through Alice’s Looking-Glass or Don Quixote’s Chivalric-Lens, both of these works, (especially) and, all works of literary fiction, works of successful art lead us to a significant and greatly-appreciated truth.

 

July  2019

 

 

 

 

today’s realism and bowls of fruit drawn, painted

 

Apples with PLU - entry 1

  • Apples [w/ PLU Sticker] in Pewter Bowl : ( w/r/t the history of Still Life painting)  37” x 46” – Digital – inkjet collage – 2016

 

A realistically drawn apple may be read as the mastering of a skill in the field of representational drawing.  There are endless ways in which the drawing can be done:  varying materials, altering the approach in tackling formal qualities, playing with scale to name but a few.

 

The subject of an apple, or, bowl of fruit, allows for a connection with 2-dimensional art’s tradition, its history in both the academic “learning how to draw” and the prominent genre works found in painting.  This connecting to the past empowers the apple, the fruit as subject matter, referencing a linear progression comprising any true discipline or study which, in turn, genially accounts for its validity and, yes, its relevance.

 

Depending upon how “good” the drawn fruit is (honoring the laws of realism) will determine the level of mastering.  The drawing becomes somewhat of a biographical sketch of where the artist is at the time in the advancement of a learned technical skill.  Like hitting the perfect note in music, the wows of the viewer are in response to the artist’s performance, the result of a practiced skill, the visual cue to an artist’s bettering this sought-after facility.  We are struck by the artist’s ongoing mastery of drawing something convincingly “real” on a 2-D surface.

 

In looking at a drawing of an apple or fruit Still-life made today, we might be asked to look at it not in terms of success or failure of a bench-marked realism, (our go-to assessment as viewers) but rather in terms of the choice of subject matter itself.  It is in the choosing to draw an apple, fruit bowl that is now our subject matter.  Not unlike our original choosing of the apple, the enactment, the act of drawing or painting is now our content.

 

The weight fruit carries today is not the same in origin, when introduced as subject as it was for Bruegel, Chardin, Courbet.  Our supermarket-stickered fruit reads far differently than the anonymous peasant apple-carting of a Bruegel, the bourgeoisie interior sitting-room of a Chardin, or the crumbling aristocracy of a Courbet.  Our fruit drawings or paintings hold all of these weighted meanings in reference and tribute which is now our subject.

 

In today’s world of the ease of digital rendering, and, an omnipresence of PLU- stickered fruit, the romantic notion of a fruit bowl set in golden-hued light on an elegantly arranged table seems foreign, out-of-date, remote, exotic.  The only connection to this is precedence, art’s own history’s role in continuity of subject for meaning.  We paint and draw fruit because we know painted and drawn fruit register as art.  Still-lifes are wonderful rendering workshops and tradition gives us the proverbial nod to go right ahead and draw the apple, so to speak.  Weight of subject matter is found with a nod from history and the enactment of the actual making.

 

The art part, if there is any to be found, might arise, for instance, from the enacted, the activity or ‘scene from a play’, [maybe Chekhov in spirit?] where the fruit bowl is set upon an old yet elegant gate-legged table, and a drawing is worked on by an actor on stage, the actual result never seen by the audience.

The fruit bowl need not be drawn or painted well, poorly, or … at all, even, for the visual prompt to our much larger subject matter is there, found in the reference to an acceptable academic art-making approach and made real by our artist’s set-up of easel and oils; and, our artist, maybe long-since disillusioned —- yet still searching for meaning in a palette of colors fully within physical reach, but, irretrievably lost to one’s failing eyesight or quickly closing memory.

 

May  2018