Art Space Talk: Charles Thomson

I recently interviewed Charles Thomson about his work with the Stuckists. Mr. Thomson is a founder of The Medway Poets and co-founder of the Stuckists art group.

The views of Stuckism has spread throughout the world since the early days of its conception. Members worldwide convey the need for a focus on figurative painting and have a pro-painting mentality with their work.

Many of the Stuckists I've met (There will be other interviews.)strive to redirect the direction that the current artworld is heading. In other words, they oppose conceptual art. Mr. Thomson's vision paved the way for this movement.

Mr. Thomson creates paintings that reflect the energy of his personality. In my opinion, he uses the figure to give insight into the world around him. A few of his paintings seem to reflect his opinion of the current 'artworld'. I see them as a warning to young artists who may become influenced to the point of 'creative imprisonment' by conceptual art.

Now for the interview...

Interview with Charles Thomson
by Brian Sherwin on 10/23/06

Q. You are a co-founder of Stuckism. Can you tell our blog readers about the original Stuckists? Who founded it and why? What part did you play?

A. "The Stuckists started in 1999 with 13 artists, no backing and no resources, just an idea (and paintings). It is pro-figurative painting with ideas and anti-conceptual art. It was formed to promote our work and our ideas. It aims to replace Britart in this country and change art worldwide (it’s a dirty job, but someone’s got to do it). The core of the group had worked together on and off from 1979, when we had a performance group called The Medway Poets. It was my idea and I asked Billy Childish to co-found it with me. He left after two years and now calls me the founder. I coined the name after Billy told me that his ex girlfriend Tracey Emin (who was part of our entourage in the mid 1980s) had said that he was "stuck"."

Q. Can you characterize the Stuckists as a group? What generation do they belong to? What is their message?

A. "They are an individualist, honest group of people, mostly "outsiders" to mainstream society, as a lot of artists are. There’s a bit of an influence from punk and some from 1960s counter culture. Age range is early thirties to mid fifty. However, there are now 153 allied groups in 37 countries, the youngest member being 15 years old. Their basic message is painting pictures."

Q. In your opinion, what is wrong with conceptual art?

A. "Its lack of concepts. It has one main concept, which is Marcel Duchamp’s idea, namely to take something which people do not think can possibly be art, put it in an art gallery and call it art. This, of course, is guaranteed to create an immediate furore, is very easy to achieve, and has no lasting value. It is an art of mundane materialism, which is why it is described so fully in terms of its materials. It is then dressed up with significance which it does not intrinsically possess. If it did, then there would be no need to dress it up. A dead shark is not a comment on death and does not address the issue of death: it is simply the result of death, which Damien Hirst has exhibited. To make a comment, you have to use a medium capable of manipulation in an expressive manner. Paint is such a medium. A fish corpse is not such a medium."

Q. Is the British art scene watered down with conceptual art? Do you think it will harm the next generation’s view about what is art and what is not?

A. "It is completely debilitated by conceptual art, and this affects even painters, who are ashamed of simply painting pictures and have to create something conceptual. So Chris Ofili attaches lumps of elephant dung, and Jenny Saville draws pretentious marks on her impressively painted bodies (and calls her paintings "pieces"). This detracts from, not enhances, the communication. It’s harmed the current generation, let alone the next. It’s harmed my view of art. We can’t escape from its pervasive effect. However, there will be a reaction, as there always is. Something which is empty will be discarded by time."

Q. Does the popularity of the Young British Artists reflect the aesthetic tastes of the public? Or are they being 'forced down the publics throat'?

A. "The YBAs aren’t popular and their work isn’t popular. It’s just got a lot of media attention, because it’s a novelty and makes good copy. It’s had the benefit of some supremely effective PR from some very talented people in that department, primarily Charles Saatchi, Damien Hirst and Tracey Emin."

Q. Stuckism has received a great deal of criticism. Is it stressful for you or do you just laugh it off?

A. "It is an accolade. It shows that people recognise its existence. It also demonstrates how much of a challenge it is. Study history: this is nothing new. The Impressionists are a classic case. I think I would feel very worried if the people that criticise it, didn’t. I don’t have much respect for them."

Q. Damien Hirst is greatly opposed by the Stuckists. Do you think he will ever break away from conceptual art? Or is he locked-in, so to speak?

A. "I don’t know what he’ll do, but it’s highly unlikely to be anything other than academic formalism. He is the contemporary equivalent of the leading 19th century salon artists."

Q. What do you think about former Stuckists, such as Stella Vine, who now reject the group? She now expresses hostility toward the group, but it seems she had no problem exhibiting in the Vote Stuckist show in 2001. Do you take said rejection personal?

A. "Stella had just started painting and was overjoyed to be exhibited in the Stuckist show. She was exposed to a lot of artists there, who have subsequently had an influence on her (see http://www.stuckism.com/Vine1/Index.html ). Her painting of Princess Diana was based on the same idea as my painting "Sir Nicholas Serota Makes an Acquisitions Decision" – namely to imagine what a famous person is thinking and write the words next to a portrait of them. She has made an intelligent, innovative and personal interpretation of influences to form her own identity, which is what all artists do. It is only fair and honest to acknowledge there was this help and there has been an influence, but she doesn’t do this, and I think it’s because she can’t see it, even though it’s obvious to others.

There is a strong personal element with Stella as we were (briefly) married. I don’t take it personally, as she seems to reject everyone. I don’t take it personally with other artists either. I can see why people want to change circumstances in their life, to explore a new route. I’ve felt like that myself very strongly at times.

It doesn’t matter if people reject the group. Historically they still have to be evaluated in terms of it. Monet left the Impressionists group, but that fact is of minimal significance: he is still the leading Impressionist. Stella is a Stuckist artist, as is Billy Childish for that matter and other "ex Stuckists". The group is a means to an end, which is the art. The incredible thing is that there is still a core group after 7 years. That period has defined Stuckism, regardless of what happens next."

Q. What do you think of Charles Saatchi. Is he doing more harm than good as to the advancement of art?

A. "He has made art a major mainstream media subject and I think that’s a good thing. He has also been very instrumental in boosting a lot of artists’ careers (Stella Vine being one example). With his Your Gallery space on the Saatchi Gallery web site, he has created a level playing field, where anyone can show their work. (See http://www.saatchi-gallery.co.uk/yourgallery/ ) All in all, an amazing and unique character. The downside is that he is a self-confessed neophiliac and his obsession with "newness" results in a lot of superficiality, as well as taking the limelight away from older, more established artists."

Q. The original 20-point Stuckist manifesto states, "Artists who don’t paint aren’t artists.". There seems to be some confusion over the meaning of this statement. Care to elaborate?

A. "Our manifestos are not dormant intellectual documents. They are designed to have an effect and work for their living. They are a collage of different approaches. The text you quote is a direct riposte to the statement "painting is dead". If people want to say that, then we can equally say our statement. It is deliberately provocative. It asserts the importance of painting, or at least appears to, but it is also a nonsensical statement from a logical point of view, as it is self-contradictory. People can make of it what they want. It is both serious and an act of buffoonery. It seems to have got attention at any rate, and most people seem to think we wrote "If you don’t paint, you’re not an artist", which is fine by me."

Q. How have art schools threatened the advancement of painting? Do you think attending art school (in the current art school system) is a waste of money for people who are serious about their work?

A. "Art schools on the whole are complete disaster zones, full of blinkered prejudice from egocentric tutors imbued with fashion (which is now conceptualism and new media), at the expense of the students whose growth they are meant to be fostering. Like all disasters, some people are damaged and others emerge with a strengthened vision. The Stuckists are in the latter camp. It’s a good training ground for the wider art world, and, if you’re prepared to fit in, it can be a helpful career step. It’s also a place to meet people, and the trouble is that there’s nowhere else to go at that stage in your art development. Some of the Stuckists have never been to art college, but they’ve had the benefit of working with a group of artists, most of whom have been to art college."

Q. In your opinion, what kind of artists are coming out of academic settings?

A. "Academic settings are production lines and encourage conformity in order to achieve institutional success. If it’s a good production line, then people emerge with the benefits of learning and the inheritance of knowledge. Today the production line is geared up to junk culture, so that’s what emerges – lost souls. I keep on meeting them. Some are lost because they believed everything they were told, and some because they couldn’t relate to it at all."

Q. Art schools today seem to be very much against figurative work (I can think of a few that told me, "That is not done here." Would you agree?

A. "I keep on meeting those as well. It is a widespread (thought not universal) phenomenon in my experience. That’s not a situation of education; it is one of indoctrination and duplicity, posing as freedom and liberalism."

Q. Many people find conceptual art intellectually stimulating. Is there a risk that a return to figurative art will be under-stimulating mentally? Does accessibility mean dumbing down?

A. "Conceptual art is intellectually stimulating in the same way that a crossword puzzle is – i.e. ultimately producing nothing of greater value beyond itself. You have to have a very limited application of intellect in the first place to find that intellectually stimulating. Figurative painting – at least the form of it advocated and practised by Stuckists – is far more intellectually, emotionally, spiritually and experientially demanding and testing. It also needs an equivalent capacity in the viewer to understand it properly, which is why a lot of people write it off easily: they are only capable of looking at it superficially. It’s easy to apply intellect to the limited arena of art innovation, but a far greater achievement to interpret life experience (at all levels) and give it a convincing and powerful symbolic form, i.e. to make an accurate picture of it. The result is revealing, and, if done properly, evocative and compelling in a unique way, which found objects can never attain, because their mundanity is always apparent."

Q. Do Stuckists focus on the human condition in order to convey a form of 'pure truth'?

A. "I don’t think so. That seems to be an over-grand statement. Just "truth" is good enough – truth about what is really going on in us with certain experiences and states of mind, when that is often hidden behind what we’d like to think is going on in us."

Q. Do you think this 'truth' is missing in the current art world?

A. "Of course. There is endless bullshit and self-deception. This is encouraged in all sorts of ways, not least economic and social pressure to conform."

Q. It has been said that the current 'art world' is dead due to works that lack any sense of emotion. Do you think so?

A. "Conceptual art by definition is thought-based and of necessity devalues emotion. Any art predicated on that is bound to be dead. That’s fine for the sciences, but art is the area of the psyche and emotion is fundamental. The simple test of art is whether it enhances or depletes your emotional being. That doesn’t necessarily mean that it makes you happy, but that it makes you feel more whole, which often means accepting the negative aspects rather than denying them. Conceptual art is a form of denial, i.e. deadness."

Q. Do the Stuckists seek to bring life and energy back to the 'art world'?

A. "We already have with all our activities. It’s there for anyone that wants it."

Q. In August 2005 Stuckists were represented in a Remodernist show at CB's313 gallery in New York, along with Defastenist artists, and Remodernist film makers and photographers. Did the general public embrace the show? Did you take part in the show?

A. "I didn’t organise it. It was done by Jesse Richards and Tony Juliano. I don’t know much about it. I did have a painting in it. I was co-curator of The Stuckists Punk Victorian show at the Walker Art Gallery, a national museum, in Liverpool in 2004. That got a fantastic public response. There was no need for the art to be interpreted. It spoke for itself directly. See http://en.wikipedia.org/wiki/The_Stuckists_Punk_Victorian"

Q. Do you think people once again have faith in the revolutionary power of art due to groups like Stuckism? If so, was this a goal of Stuckism?

A. "Revolution for its own sake is a bad thing. Revolution is only valid if there is a situation that needs to be changed, which happens to be the case at the moment. A lot of people have found Stuckism inspiring, because it shows that artists can assert themselves without any backing or establishment approval. That is a very good thing because it is empowering and affirms people’s trust in themselves. Stuckism has very clear about its agenda from the outset to effect a change. However, I’ve always seen Stuckism as the establishment, which has to be the attitude of any responsible revolution."

Q. How did you feel when Billy Childish left the group 2001?

A. "Slightly disappointed, but mainly relieved. He made a great contribution and helped to get the whole thing going, but, as he admits, he’s not very good at working with groups, unless he’s in charge and they are done his way. Things needed to be done to promote the group that he would have been increasingly uncomfortable about (he didn’t even like a lot of the art). We have continued to collaborate privately."

Q. How many members are involved with the movement at this time? Is there a great deal of networking involved?

A. "There are 153 Stuckist groups in 37 countries. They are all independent and self-directed. Some are probably defunct and others have staged solo, group or international shows. The people involved are artists, not impresarios. There have been some strong connections made. The German Stuckists have collaborated on two shows recently. The Triumph of Stuckism show and international symposium at Liverpool art college and university included international work and speakers from the UK, Germany, Greece and Australia."

Q. How can one become involved with the Stuckists?

A. "Simple – join or found a group: http://www.stuckism.com/Enquiries.html#Artists - then what people do is entirely up to them. Or come along to our Turner Prize demo at Tate Britain (NB not Tate Modern), Monday 4 December, 10 am – 2 pm and 6 – 8 pm. It will be the seventh year."

Q. Do you think the ideology of Stuckism will continue to grow? Can you foresee future generations of Stuckists?

A. "It is growing all the time. That’s because it’s got a valuable message – be true to yourself. It’s also got a good product, paintings. Would you rather have a picture in your living room or a dead sheep? Effectively there are already future generations. Recent graduates and even people still at school (as with the Underage Stuckists http://www.myspace.com/underagestuckists ) are identifying with the Stuckists. It will presumably go the way of all art (and other) movements, reaching a pinnacle of influence and being absorbed into the wider culture. It is still at the beginning stage of that process."

Q. Is there anything else you would like to say about Stuckism or art in general?

A. "When Stuckism started in 1999, I was on BBC2 Newsnight, and the presenter, Jeremy Paxman, was very worried in case the whole thing was a joke. This year Sir Nicholas Serota said on BBC Radio 4 that the Stuckists "have acted in the public interest" and was forced to change Tate policy as a result. That transition is something nobody could have predicted. Edward Lucie-Smith commented, "Saatchi "has begun to rely on the intuitions of… the Stuckism movement." Stuckism is now studied in schools, colleges and universities. We have already had a telling effect on art in the UK, but one that has not been acknowledged. That effect is growing and in time the acknowledgement will come. People respond to Stuckism because it is an art made by human beings for human beings, and not, as with the current dominant mode of art, an emotionally and spiritually sterile commercial exercise."

I hope you have enjoyed learning more about Charles Thomson and the Stuckists. Be sure to visit the Stukist website to learn more: http://www.stuckism.com/

Take care, Stay true,

Brian Sherwin

Be Your Own Rockstar: My Thoughts on the Need for Style Specialization

Have you ever went to a gallery only to find out that half of the various styles of work exhibited were created by a single artist? If so, what did you think? Did you think the artist was good since he or she exhibited skill in various styles of artistic creation? Or did you feel that it would have been better had the artist focused on one style? Is it better to have twenty exhibited pieces that display various styles or twenty that push the limits of a single style? Personally, I find that it is better if an artist exhibits work that share a common connection or style. Thus, I ask the question, "Should artists specialize In a certain style of art?

(Before anyone is insulted by the idea of 'style specialization' I want to make clear that I think it is good for every artist to experiment with different styles. Style experimentation can be the most efficient way to learn different techniques. I'm not suggesting that artists should only create one style of work in their studios. However, I think it is wise to exhibit only one style of work as far as a career in art is concerned. Especially if the artist is seeking recognition for his or her work.)

It has been said that much can be learned from history. I think 'style specialization' is a perfect example of this. For example, open up any art history book and you will probably recognize a painting by Vincent Van Gogh without bothering to look at the name under the image. The same goes for Picasso, Dali, and many MANY others. You know the styles. Thus, you know the artists.

It seems that many famous artists focused on one style even though they tried various ways to express themselves visually throughout their careers. Others tried many forms of self-expression, but are famous for one period of consistent work (Normally created in their early years as artists.). In my opinion, history holds the facts. The fact for artists (in my opinion) is that it is better to specialize on one style as far as exhibiting is concerned.

Think of it this way... the images an artist creates is often seen as a representation of who the artist is. Thus, it is important to find a unique style of expressing yourself and to stick with it. You will stand a better chance of gaining recognition for who you are and what you do. After all, if an artist creates several styles of work the viewing public may find it hard to form a connection with the images and the artist who has created them. This is why the artist seeking recognition must strive to form a connection with those who observe his or her art. The best way to accomplish this is style specialization.

I think about rock bands when I ponder the need for 'style specialization'. Would you enjoy listening to a cd if every other track sounded totally different from the next? Would you go to see the band perform live? I will assume that most people would say "no". After all, who wants to become a fan of a band that is not consistent?

The variety of music may come off as an inability to form a connection from one song to the next. It may also be seen as a lack of talent or authenticity. Do you see many people lining up to watch a garage band performing cover-songs? In the same light, I don't see that many people rushing to an art exhibit to view the work of an artist who does not utilize 'style specialization'.

The most popular bands have had a certain 'sound'. As a painter, I think there is much to learn from that. This is why I think artists should strive to create a certain 'look' with the art they exhibit. A 'look' that people will recognize even if their name is not upon the piece. This does not mean that the art has to be beautiful or ugly. It just has to be you. It has to be a representation of who you are and what you believe in. By conveying that visually (and exhibiting what you create) you will be one step further than artists who are still working with a 'garage band' mentality.

True, there are bands that become 'tired' after so many years of performing and releasing albums. More often than not, they find something that works and abuse it to the point that their music mirrors everything that they have done before. Only the most die-hard fans will take delight in listening to that sort of noise! The same goes for visual artists. One must be wary not to repeat him or herself.

Focusing on 'style specialization' does not mean that an artist should be locked within a comfort zone. One should strive to expand his or her style specialization (this is where the studio experimentation with other styles comes into play.) so as to not become stagnate.

Keep in mind that working with a certain style should not be like sitting in a cell. Just like the best musical groups a visual artist should work with his or her style in order to advance it in new directions and to reach anyone who is willing to 'listen'. The visual artist must bust through the bars! Remember, creative expression imprisoned is no expression at all... be consistent with what you exhibit, find your 'style specialization', and become a visual rockstar!

Take care, Stay true,

Brian Sherwin

Art In The News: Top Twenty Most Powerful People In The Art World.

The ArtReview magazine has released its annual list of one hundred powerful people. Here are the top twenty on the list:

1: François Pinault, owner of Gucci and Christies, also owns around 2,000 pieces of contemporary art which he displays in his private gallery in a Venetian palace

2: Larry Gagosian, dealer, five galleries around the world

3: Sir Nicholas Serota, director, Tate Modern

4: Glenn D Lowry, director, Museum of Modern Art, New York

5: Samuel Keller, director of the Art Basel art fair

6: Eli Broad, Los Angeles-based collector and philanthropist

7: Charles Saatchi, collector and gallery owner

8: Matthew Slotover & Amanda Sharp, co-publishers of Frieze magazine and co-directors of Frieze art fair

9: Bruce Nauman, American artist

10: Jeff Koons, American artist

11: Damien Hirst, British artist

12: Brett Gorvy & Amy Cappellazzo, international co-heads of post-war and contemporary art at Christie's, New York

13: Robert Storr, American curator

14: Iwan Wirth, Swiss dealer, part of Zwirner & Wirth

15: Marian Goodman, New York-based gallerist

16: David Zwirner, New York gallerist

17: Gerhard Richter, German artist

18: Marc Glimcher, New York gallerist

19: Jay Jopling, owner, White Cube gallery, London

20: Mike Kelley, American artist

Art Space Talk: Renato Klieger Gennari

I recently interviewed artist Renato Klieger Gennari. Mr. Gennari is currently living in Brazil. He is very aware of the plight of children torn by the struggles of war and he uses this passion to create works that he hopes will change the world for the better. His experiences influence his work. By utilizing technology he hopes to create a style of art that will speak to the masses. His message is one of peace.

Q. When did you first discover that art would be an important part of your adult life?

A. "I have always had an important relationship with arts. Since I was a child I have lived surrounded by paintings that my mother used to create. It has always been my dream, but it came true when I won the Philips Art’s contest for young talents in 2001. The prize gave me strength to believe in the artistic potential of my work."

Q. How has society influenced your art? Are their any social implications in your art?

A. "Society in general always influences an artist. I have always enjoyed observing people and the environment as characters. Very often I impress social interests in my works, because they are over there and cannot be ignored. But I do not treat the personal and existential problems with less interest or attention, what can be perceived in a lot of my works."

Q. What are your artistic influences? Has anyone inspired you?

A. "My mother has inspired me a lot since I was a child. As I went growing old, I started searching for my own range of artists. I am enthusiastic about the Futurism and Renaissance. Those were two ages that have always impressed me."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "When I was a child I left São Paulo City in order to live inland. I had wonderful experiences in direct contact with nature. When I went back to the city in order to attend college I had a very big impact. That has influenced a lot the work I started developing since then.Living in Brazil is to know realities completely discordant of yours all the time. The function of my work ends up being to put the differences outward without prejudices and question them."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "I hope they are people who believe that art can help to build a better world to live in."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "At first not, but I accept invitations."

Q. Where do you see your art in 10 years? What are your plans?

A. "My plans for my artistic career are to be able to integrate graphic animation once and for all as main media of my works. I have been working little by little, and I have already obtained good results in the past 2 years. I have always been enthusiastic about technology. I have always been investing in Computer Graphics. I do not imagine another type of media that is more favorable to my work than the digital media."
Q. Discuss one of your pieces. What were you thinking when you created it?

A. "When I created that image I thought about the suffering children lived in a postwar territory. Which those children's acceptance limits were, which the motivation to continue living was and up to where human being is capable to accept such brutality exhibition in the media or in the entertainment area. I think it is the synthesis of what the media market is capable to produce in human beings; a public acceptance of violence."

Q. What is your artistic process?

A. "My creation process never follows a very linear reasoning. I usually try to draw a lot and observe my creation with critical look. Then I change to the digital process, either in a 3D or 2D software, depending on my objective."

Q. Why did you choose the medium(s) that you use?

A. "Mainly due to the practicality and reply promptitude that computer can offer. I remember when I bought my first digital camera and used to take photos of everything I saw. As the reply is fast, you train your photographic look with a much higher speed than you did in the past. The same happens with illustration and animation. The experimentation field is immeasurable."

Q. Do you have a degree or do you plan to attend school for art?

A. "I am graduated in social communication in Brazil by Universidade Católica de São Paulo, but I am going to take a post graduation course in Computer Graphics."

Q. Where can we see more of your art?

A. "In my website http://www.renatokg.com/"

Q. Are you represented by a gallery? If not, do you want to be?

A. "No, but it is a subject that I am opened to discuss."

Q. Why do you create art?

A. "Because I believe that art is capable to build up a better world."

Q. Where can we find you on myartspace.com?

A. "You can look for Renatokg than you will find me."

I hope you have enjoyed this interview with artist Renato Klieger Gennari. Critiques are welcome.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Lupse Alexandru

Lupse Alexandru is an artist from Romania. In my opinion, his work is a mix of beauty and brutality.

Broken figures caught in a surrealistic background come together in a sense of urgency.In their solitude they stand as a symbol of our collective frustrations.

They truly capture the raw emotion that some of us experience in times of doubt. Mr. Alexandru combines these aspects of the human condition with great skill.

In my opinion, Mr. Alexandru's figurative paintings seem to be full of rage. One feels a sense of loss upon viewing them. However, behind these tortured figures there is a sense of hope.

I hope that you enjoy this interview with artist Lupse Alexandru.

Q. When did you first discover that art would be an important part of your adult life?

A. "I was born in an artistic enviroment, my father is an art teacher and a painter and my brother is a film maker, so i could say that art runs in the family. What really got me started to follow this path was H.R.Giger and the vision in his works. I was impressed by the characters and the way he was depicting the moments in his life."

Q. How has creating art shaped you professionally and personally?

A. "Art is some kind of buffer zone for me, that filters my life and my dreams."

Q. How has society influenced your art? Are there any social implications in your art?

A. "My art is really personal and although society influences my life, i like to think that my artistic vision remains somehow untouched by it. I try to depict primal feelings like love, hate, pain, sorrow and loneliness. I feel that those are the "creatures" that survive until the end of our lifes."

Q. What are your artistic influences? Has anyone inspired you?

A. "There are many and I will start with my father who even though has never pushed me to paint and follow his footstepts, gaved me the basics from wich everything emerged. Other major influences :Vermer, Rembrandt,Manet, Monet, Degas, Munch, Bacon, Klimt, Beksinski, H.R. Giger and the list can go on."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "Verry much so , everything i feel is reflected in my art. All my past experiences, wishes and dreams make up a "canvas",I just add a bit of colour to it."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "That's an interesting question. Usually, i think a lot of people that relate to my art style , have some deep influences from Rock music, and like to dress in black. But that's just my ideea. I have to admit that 90 % of my works are made on rock or ambiental Metal music. It depends a lot to the customer's previous life experience."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "Next month I might have one, with some fellow artists, other than that, nothing for the moment."

Q. Where do you see your art in 10 years? What are your plans?

A. "I don't know, and I don't think I can answer this, because i never make plans for more than two weeks ahead. I like to be surprised by life. So maybe we will talk again in 10 years so that i can give you the answer for this."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "This is a question i won't answer because i never like explain my paintings, and i think no artist should. It's important what the viewer can see and can understand from it. A lot of times i realised that explaining a painting to the viewer can inhibit his perception to understand it in his own way."

Q. What is your artistic process?

A. "I never have a plan or a final ideea of the finished work. It evolves from the first brushstroke until the end. Sometime i even start with some random lines that may help or ruin the work in the end. I sometimes use flaws like wrong brushstrokes, drops, dirt, dust and if there isn't a flaw, I might create one. I think that makes it unique and with that it gets more complex.

Another important part of the process is the ambiance and the sound of the place I work in."

Q. Why did you choose the medium(s) that you use?

A. "i don't think I'm limited to only one medium, but oil painting suits me for the time being."

Q. Do you have a degree or do you plan to attend school for art?

A. "I graduated the University of Fine Arts in Cluj Napoca, and I have a Masters Degree in Fine Art at The National University of Arts - Bucharest."

Q. Where can we see more of your art?

A. "I have some works displayed on http://lupsealexandru.deviantart.com/ and soon on my official website www.lupsealexandru.ro"

Q. Are you represented by a gallery? If not, do you want to be?

A. "I have paintings in private colections on online galleries but i can't say I am represented by any of them. Sure , who wouldn't?"

Q. How many pieces have you sold in your career?

A. "Not as many as I thought i would, but i'm still optimistic about it."

Q. Why do you create art?

A. "I can't see me not doing it. I feel that this is the only way I can really express myself to the world, and make a statement for any subject. Somebody said "Impression without expression results depression".

Q. Where can we find you on myartspace.com?

A. "My id is soulripper5 or u can search my gallery Nocturnal Emission."

Check out Mr. Alexandru's myartspace.com gallery by doing a search for soulripper5 on the main site: http://myartspace.com/ Feel free to critique his work.

Take care, Stay true,

Brian Sherwin

Art Space Talk: Nikita Brinev

I recently interviewed artist Nikita Brinev. In my opinion, Mr. Brinev's work is very 'raw'. He seems to cut down to the bare essence of what it is to be human in his paintings.

Mr. Brinev's crude figures come together in order to form a complicated work of art. This expressive style of painting seems to convey a message that cuts to the core of the human condition. I see the majority of his paintings as a 'gut-shot of thought' in that they provoke me to as questions about society. I hope that they provoke you as well.

Q. When did you first discover that art would be an important part of your adult life?

A. "I started drawing in my childhood. My parents used to be artists and art was always part of the family atmosphere. Though I always liked the art I did not choose to make it part of my career. I’m a professional in international and comparative education, but still art is an integral part of my life. Since recently I felt art as a part of my professional art as well. There can be various definitions of professional art, but I consider myself to be a professional artist."

Q. How has creating art shaped you professionally and personally?

A. "Every other minute when I feel like contributing to my professional sphere with my art, I do so. It is expressed differently – by hanging my paintings in the office to make it look better as well as by developing web-sites which requires skills in web design. Personally, art gives me everything else that I cannot find in my professional life: self-expression, satisfaction, opportunity to spend my leisure time with creativity, and a dialogue with inner world."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Of course, there are! During the era of post-modernism, it is difficult to avoid being unengaged with the society. Though during all times art was interconnected with reality so that it gained its specific character according to these relations. Though my artworks are different in medium, plot, and ideas, a number of them express some relationship with society, but it is pretty vague. Russian epos is one of the things that is interesting to me and that is reflected in some of the artworks."

Q. What are your artistic influences? Has anyone inspired you?

A. "There are so many great artists that I cannot remember a certain name at the moment. I would say, there is no influence in terms of medium, techniques, or ideas. I just get inspired by what I see and it fuels me a lot to work more. At the same time, I cannot emphasize one or more artists here, and leave the others; every other artist has at least one artwork which I find impressive and which influences me to some extent."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "No, every other artwork is a reflection of inner feelings and experiences, not directly related to what and who I am in reality. I also think that it is not always important to find parallels between the works of an artist and his life. My "artistic character", if I can put it so, differs a lot from my character as a personality. It is a mixture of veiled emotions and thoughts, and I myself sometimes try to find parallels between the "taste" of them and my life. Moreover, I am antagonist of the idea that an artist should cherish "his own view upon this life, his unique vision". I consider that an artist should try to deliver ideas which are universal to all human beings, and those that are alive for thousands of years amongst peoples around the world."

Q. If you could pinpoint the characteristics of people who collect your art, what would they be?

A. "At the moment the majority of them are just my friends and acquaintances who just would like to see my works in their places. I do not sell a lot since taking part in exhibitions is more interesting to me because I have a deficit of just talking with other artists. I’m better represented in the Internet with my artworks than in exhibition halls and galleries, and this will change soon, I guess)"

Q. Do you have an upcoming exhibit? If so, where and when?

A. "Yes, I have initiated an art project "Contextual Art In Diverse Settings: Combating Conflict Through Visual Arts" at the CAMAC (CENTRE D’ART. MARNAY ART CENTRE) in France next summer. This project is affiliated with the UNESCO-Aschberg Bursaries for Artists Program. I’m also invited to have an exhibition in Germany after that."

Q. Where do you see your art in 10 years? What are your plans?

A. "I have very ambitious plans regarding my artistic future! The best plan is to work more and develop my artistic skills. Also, it would be great to obtain education in art which I’m missing a lot now. Another plan of mine is to "inculcate" love to arts to my little daughter since I think that art is one of the things that helps people become better in character and attitude towards the outer world."

Q. Discuss one of your pieces. What were you thinking when you created it?

A. "For instance, two artworks represented at myartspace.com "fresco" – it is easy to trace my love towards indirect objects, which do not tell their "story" as it is, but conceal it a bit far from the viewers. But the trick is that there is not much story in all my artworks as it might sometimes look). Color, dab, stroke characters are more important for me than some subreptive essence. I do not simplify it, I feel the power of visual impact in these things. Perhaps, this is a temporary state till I’m still in search of my dimensions. I assume this can change soon."

Q. What is your artistic process?

A. "Feeling the power in color, dab, stroke characters, and other parts of visual presentation, I also believe in the artist’s emotional and spiritual state. I would not discuss my artistic process, but will just give you a hint that my ideal is the work of Russian orthodox icon-painters, who related art very close to spirituality. There is a mechanism of reciprocal influence between the viewer and the painting, and I think it is a responsibility of an artist to put as much good energy in it as possible!"

Q. Why did you choose the medium(s) that you use?

A. "I tried many mediums and still create many artworks using all of them. I like mixed media a lot since it give unexpected results. I like this unexpectedness in creating art, and I never plan what I’m going to depict before I start working. This resembles the "Stream of consciousness" which came from literature, but truly reflects the same mechanism of a dialogue between artist’s consciousness and inner concealed emotions. At the moment I’m taking a class in Pottery – another medium to express myself)"

Q. Do you have a degree or do you plan to attend school for art?

A. "This December I’m finishing my MA program at Columbia University, and I’m close to defending my PhD back in Russia. Unfortunately I do not have a degree in arts, which is my desirable plan for the nearest future /hopefully/!"

Q. Where can we see more of your art?

A. "Here are some of the web-sites where my artworks are represented: - http://hiero.ru/Nbrinyov - http://nb-art.blogspot.com/ - http://www.myartspace.com/ Here you can find some of my photographs: http://otherwise-photo.livejournal.com/ "

Q. Are you represented by a gallery? If not, do you want to be?

A. "No, I’m not. I would like to be represented by a gallery in the future."

Q. Why do you create art?

A. "I think I have answered this question in previous questions. Art is a requirement of my personality for self-expression and development."

Q. Where can we find you on myartspace.com?

A. "I’m registered as Nikita Brinev and posted my first gallery there called "NB-ART"

I hope you enjoyed this interview with Mr. Nikita Brinev. You can find his myartspace.com gallery by doing a search for nbrinyov on the main site.

Feel free to critique his art.

Take care, Stay true,

Brian Sherwin

Lesson 1: myartspace 1.0/Menus

myartspace 1.0 is getting ready to make a debut shortly. It will be different from the current site in many ways. We are planning on introducing some of the new user-interface and features in the blog.

First, version 1.0 of myartspace is a blend of HTML (hypertext marketup language) and FLASH code, not strictly FLASH. Second, it takes on a slightly different user interface and dramatically greater capabilities.

Above in the image you can see a series of top-level menus (Browse, MyStudio, Community, Cool Stuff). As you can imagine, the Browse menu allows you to look at the collection of art and photographs in near endless ways of sorting and organizing (for a latter blog post). Browse also allows members to look at their messages, reviews, ratings and other feedback. The myStudio menu is for artists as they "work" within their studio uploading images, creating portfolios (a new concept, which is a collection of images -- similar to a folder), galleries and their profiles. The Community menu, shown above, allows the user to access a host of community-related items including:

Blog -- the myartspace Blog
News -- Daily news about the art community
myartspace.TV -- art video podcasting and video art
interviews -- dozens of interviews with myartspace community artists
global directory -- a resource database of artists, photographers, museums, galleries, etc.
classifieds -- a place for artists and photographers to buy/sell items free
auctions -- a place for artists and photographers to buy/sell items through an auction process
contests -- upcoming myartspace competitions and other competitions
events -- a collection of upcoming events in the art and photography world

Each major menu item has a rich selection of items below it, such as the Community example. Clicking on the Community immediately brings down a sub-menu directly below it from which you can select.

Art In The News: The Art-O-Meter. Coming to a Gallery Near You. Maybe...

"Art-O-Meter is a device that measures the quality of an art piece. It bases its evaluation on the amount of time that people spend in front of an artwork compared to the total time of exhibition."

Have you heard about the Art-O-Meter? It is a device placed near an exhibited painting for the purpose of keeping track of the average viewing time visitors spend observing the art. The quality or aesthetic worth of the piece is decided by the amount of time observers view the painting.

Without viewers present, the Art-O-Meter will register time like a regular clock. However, a second timer is triggered once the motion sensor detects someone near the work of art. This second clock counts the time as the viewer observes the artwork.



There is one vital flaw with this device. It stands out! One can assume that people may spend more time observing the Art-O-Meter than viewing the painting near it. This scenario would lead to inaccurate data as to the value of the art based on the time it is observed during the exhibit.

It is also common for people to gather around a painting while talking about everything 'under the sun'. They may not be observing the artwork during their conversation. Is it fair for the piece to benefit from this form of 'chat time'?

What would happen if galleries started to utilize this technology as a basis for who they exhibit? ("Your art is observed an average of 5 seconds per viewer. We only accept art that is observed for 10 seconds or longer!"). I doubt that would ever happen, but it could. Can you imagine how many artists would stand near their own artwork just to increase the
viewing average? ;p

Take care, Stay true

Brian Sherwin

Art In The News: Donated Painting Earns $160,002 For Goodwill

The painting that was donated.

An anonymous donor recently dropped off a painting by Frank Weston Benson at a Goodwill in Portland Oregon. It is not known if the anonymous donor knew the value of the painting, but a local gallery owner did. A bidding war ensued upon the authentication of the piece.

The starting bid for the 1923 watercolor was a mere $10 and ended up reaching the hefty sum of $160,002 on the organization's website . The winning bidder has not yet been revealed.


'Red and Gold' Frank Weston Benson

Frank Weston Benson, a member of the Ten American Painters, was an American Impressionist. His paintings often depicted his daughters posing outside of his summer home on the island of North Haven.


'Eleanor Holding a Shell' Frank Weston Benson

Take care, Stay true,

Brian Sherwin

Does Wealth and Fame Cause Artists To Decline in Their Artistic Endeavors?

We have all heard stories about famous artists who struggled in poverty yet continued to create art that was outstanding. Names like Vincent Van Gogh and Amedeo Modigliani come to mind. Art spanning the length of their careers has continued to inspire others decade after decade. However, there are also famous artists who became very wealthy during their lifetime from the sell of their art who seem to have lost their artistic flare for exploration. While their wealth increased their skill seemed to deteriorate. The question at hand... did their approach to artistic creation decline as their fame and wealth increased? Or is it just an issue of their personality and work ethic.


'Apparition of the Visage of Aphrodite of Cnide in a Landscape' Salvador Dali

Take Salvador Dali for example. During his years of 'struggle' he created images that have continued to speak to observers from one decade to the next. He had a great passion for his work during his early career. However, most critics agree that his later work, after he became extremely wealthy and concerned with financial gain, seemed to decline as far as the artistic message he was conveying. I've even heard people suggest that his work became stagnate or dull compared to his pre-wealth art. If this is so, do you think it was due to him feeling overly comfortable with his financial situation? Or was it simply a matter of personality and work ethic.


'Two Doves with Wings Spread' Pablo Picasso

After all, artist like Picasso continued to develop in new directions long after becoming overly wealthy. The same goes for Monet. Were these artists more interested in artistic exploration than artists who seemed to pursue wealth over the direction of their art? Or were they simply not blinded by the wealth they had acquired?


'Hymn' Damien Hirst

I'm sure you can discover contemporary artists of wealthy status who have started to repeat themselves or who have revealed a lack of direction with their art. For example many have stated that Damien Hirst has lost direction with his art (Though some would say he never had one.) Critics have claimed that his recent work is nothing more than 'throwaway one-liners'. So what do you think? Is wealth linked to a decline in artistic endeavors? Or is all this negative press simply the work of critics who strive to bash any wealthy artist they can in order to advance their own careers?

Take care, Stay true,

Brian Sherwin

Art Space Talk: Santiago Paulos

The paintings of artist Santiago Paulos are a prime example of expressionistic portraiture. Mr. Paulos conveys a strong sense of raw emotion by utilizing his skill with the brush and knife. Santiago's painterly technique reveals a man who will undoubtedly continue to advance as an artist.

In my opinion, Mr. Paulos's art seems to convey feelings of loss, fear, and doubt. However, a certain wisdom and strength can be found within the suffering eyes of the faces he captures. In a sense, his work reflects the fortitude of the human spirit.

I hope you enjoy the interview I had with Santiago Paulos:

Q. When did you first discover that art would be an important part of your adult life?

A. "Some time in 1998 I saw a painting of Miró that woke up something in me. It wasn’t the interest to painting. Rather it created a kind of need to acquire culture, not only paintings, also writings."

Q. How has society influenced your art? Are there any social implications in your art?

A. "I know that every artist is a product of his time but I don’t know what else to say."

Q. What are your artistic influences? Has anyone inspired you?

A. "The list is huge… I could say Bacon, Auerbach, Balthus and Freud as contemporary painters. Giacometti, Matisse, Vang Gogh, Rembrandt, Titian and of course: Velázquez… My surroundings and everything else."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "Not at the moment… Last exhibition was in July of this year at the "Museum of San José" and it was a selection of portrait works of the last three years."

Q. Where do you see your art in 10 years? What are your plans?

A. "I don’t have so much imagination. My plan is to become a good painter, and that will take a lot of time."

Q. Discuss one of your pieces. What were you thinking when you created it? What is your artistic process?

A. "I feel that when I decide to make a portrait working from persons that I care about and of course, that interest me, finally returns me something that is in the right direction. For some reason I have decided making a portrait of my grandmother. The process in itself is the mystery of painting. Nobody knows it. I could tell you the technical things like that I have used oil on paper with brush and knife but I don’t think that would help you to get closer to the experience."

Q. Why did you choose the medium(s) that you use?

A. "One never knows that, its just a mixture of time, experiences, accidents and instinct. I mean that one needs to be comfortable with something in a specific time and elaborates from there."

Q. Do you have a degree or do you plan to attend school for art?

A. "I attended the National School of Fine Arts for a few years… Later I have found the workshop of Alvaro Amengual (a well know artist here) who is the person who instructed me. Currently Im working in my own space, maybe interested in some kind of international scholarship."

Q. Where can we see more of your art?

www.santiagopaulos.com

Q. Why do you create art?

A. "Some time ago I read a Hopper quote where he said that If he could say it in words there would be no reason to paint, I cant find better words."

Q. Where can we find you on myartspace.com?

A. "My ID is Paulos."

Feel free to leave a comment about Mr. Santiago's art. You can view more of Mr. Santiago's art by doing a search for Paulos on the main site: http://myartspace.com/

Take care, Stay true

Brian Sherwin

Art In The News: Picasso Poked... or Rude Awakening

Picasso's 'The Dream' was rudely awakened when current owner, Las Vegas casino magnate Steve Wynn, accidently gave the multimillion dollar painting an elbow. Mr. Wynn was preparing the painting for a $139 million sale to another collector when he accidently hit the painting.

The damage occurred when Mr. Wynn backed his elbow into 'The Dream' while showing his collection to a group of friends. The force of the blow left a hole in the middle of the painting.

Needless to say, Mr. Wynn backed out of the sale agreement with the other collector. How is that for a sleepless night?

Take care, Stay true,

Brian Sherwin

Art Space Talk: David Brady

I discovered the art of David Brady a few months ago while doing random searches about expressionism. Many of his paintings remind me of 'open wounds'. In my opinion, his work reflects the pain of humanity.

Viewing his art takes on an almost sadistic nature for me. I see the pain and struggle that is reflected in Mr. Brady's art. Instead of turning away I find that his images make me all the more curious as to what his work is saying. I must look because the images draw me in.

Like a young boy poking a small carcass with a stick, I study these 'visual wounds' for their hidden meaning. The tortured nature of his work offers great insight into the human condition. Each layer seems to give visual documentation to the suffering our society has endured.

I hope that you all enjoy this interview with David Brady.

Q. When did you first discover that art would be an important part of your adult life?

A. "When I was a kid. I was always making things, making them different from others. Playing music was the most important creative aspect of my life then but I always knew I would need to express myself through some creative form."

Q. How has creating art shaped you professionally and personally?

A. "Professionally it has been a blessing and a challenge as everything I work on now has to have some meaning in it. I’ve moved around quite a bit taking on new challenges, new directions professionally because I need to feel as challenged their as in my painting.

Personally it has completely changed me as collaborating, teaching, sharing and traveling all through my creative projects has taught me a great deal. The more I invest into creative projects the more I learn about myself and humanity and the responsibility we have as artists to point some things out.

My website has shaped my view of how art affects others. I began to receive a lot of email from students, veterans and adults who found inspiration on many levels by looking at my work. Many of the emails were quite personal and desperate yet seeking something through art. It has had a profound affect on me and how I share my work with others. It’s important to share your gift."

Q. How has society influenced your art? Are there any social implications in your art?

A. "Nowadays there is…in the past I simply was just doing things that looked good, trying to find my niche and be successful at it. Things changed 180 degrees when I began to collaborate with poet Amde Hamilton and composer Mark Sims. They had purpose, meaning and were dead serious about educating society through their various projects."

Q. What are your artistic influences? Has anyone inspired you?

A. "Artistically I was first influenced by Francis Bacon, Miles Davis, David Hockney, Ed Kienholtz and Frieda Khalo. Today my inspiration comes from more outsiders like Joseph Cornell, Henry Darger and Ray Johnson and collagists Betty Saar and Romaire Bearden."

Q. Tell me a little about your background. Are your past experiences reflected in the work you do today? If so, how?

A. "I am self taught as an artist and have brought a host of influences as well as personal objects into my work. Some of my work stems from personal experiences and my reactions to them. I think it took some time for me to allow myself to actually put personal and or intimate details out there for people to see and react to them. Expressing past experiences and common themes in society such as loneliness, addiction, protection and relationships requires the work to be authentic. Blogging onto the painting and burying artifacts into the surface are direct methods I use to reflect experiences. People see this at times as voyeuristic when viewing, like reading someone’s diary or finding personal photos."

Q. Do you have an upcoming exhibit? If so, where and when?

A. "I have several things brewing for the beginning of the year so check my site and drop me a line for some info."

Q. Discuss one of your pieces. What were you thinking when you created it? What is your artistic process?

A. "'Negotiating Boundaries' (Above image) is currently still on the easel. Like many of my pieces it began with a lone figure yet became a work about the Iraq War US casualties by chance. The news was on when I was working on it and I began to blog about my feelings about how we never see caskets coming back nor the fact that it is all about oil.

I received an old American flag in the mail from a friend at that time and simply began glueing the names of each soldier daily as they were killed. I tried to hide them under the flag but the list was so big that they began to spill out, like the oil coming out of the figures mind. The twisted wire (easily found in alleys, crazy wire as I say) is never altered bent etc. this represents the insane thinking behind the whole thing. After hearing a lot of wining from people about how they didn’t like to be reminded of the war I then spelled out A P A T H Y across it in white."

Q. Why did you choose the medium(s) that you use?

A. "I have used a wide range of mediums and continue to experiment. It is more of a reaction to where the piece is going and what I have in my studio at the moment. My work nearly always begins with layers of text usually pages from the dictionary, Bible or construction maps."

Q. Do you have a degree or do you plan to attend school for art?

A. "I am self-taught and continue to learn from a lot of travel, reading, collaborating, teaching and experimenting."

Q. Where can we see more of your art?

A. " www.bradyart.com "

Q. Are you represented by a gallery? If not, do you want to be?

A. "I am not currently represented by a gallery and am seeking representation here and abroad."

Q. Why do you create art?

A. "I feel that I have to…it defines me. I have always felt a need to express myself as most artists do. For me now it is about telling stories, utilizing my creativity to assist others through my teaching programs as well as simply enjoying the gift I’ve been given."

Q. Where can we find you on myartspace.com?

A. " I will be posting a gallery later this evening under bradyArt or addiction."

Feel free to comment about Mr. Brady's art. Critiques are welcome.

Take care, Stay true,

Brian Sherwin

dumbo Art Festival in NYC this past weekend

Like a special place in time the d.u.m.b.o. (Down Under the Manhattan Bridge Overpass) art festival is a feast of opportunity for art lovers and appreciators. Situated under the Manhattan Bridge, this is a breeding ground for great art, atmosphere, expressive freedom, collector opportunity and engagement. Literally hundreds of artist of all mediums and distinction are able to live, work and play in this unique environment of great big old, sometimes refurbished buildings situated along the Hudson with the sweetest of beaches, allowing an ideal space for artistic license.

One of my favorite works of art was conducted by a performance artist: Mary Coble, who invited the audience to write on her body derogatory words that have been used or heard used against yourself or others. There were black permanent markers with which to write on her bare skin, the words which found their way to your consciousness so quickly, glowing with hurt. A profound and moving experience to transfer them to her body for others to witness. I think a lot of people shared the cathartic release of inner pinnings of pain as she was marked in nearly every square inch of her exposed body in a short period of time. The air was particularly icy/windy and the pain one surely felt by looking at her brave the elements for the release of others was remarkable in itself.

Below is a quick slide-show presentation in video format. There are pictures of some of the art found in the sculpture garden near the shore as well. Most of the art lit up at night and was truly magical to traverse in after dark.



Catherine McCormack-Skiba, myartspoace

Art In The News: Anish Kapoor

The world renowned sculptor Anish Kapoor has been named one of the 100 most powerful people in the contemporary art scene. Mr. Kapoor is listed 94 among the '100-strong' list in a recent issue of Art Review magazine.

Mr. Kapoor is a Mumbai-born sculptor who attended the prestigious Doon School. He now resides in the UK. The 52 year old Kapoor made a name for himself in the 1980s as one of the top British sculptors of his time.

Mr. Kapoor is currently working on a memorial to the British victims of 9/11 in New York.

You can learn more about Anish Kapoor at: http://www.lisson.co.uk/artists.asp

Feel free to discuss Mr. Kapoor's art and presence in the art world.

Take care, Stay true,

Brian Sherwin

The Road Less Traveled: The Benefit and Pitfall of Creating Controversy. Buckle Up!

Take a trip down Controversy Lane. It can be a bumpy ride.

Through the years we have seen a variety of art created with controversial materials. Everything from feces to aborted fetuses has been used as a medium. Some artists create these works simply to shock a response out of their viewers. Others see the use of such materials as an experimental process that is just as important as using traditional materials (Some even view it as a science.). However, collectors, critics, and the general public will note the controversial nature of the artwork no matter what the intention of the artist.

The public will form an opinion about the work based upon the materials used. In a sense, the materials become more important than the visual aspect of the piece.These collective opinions can either be of benefit to the artist or they can cause a pitfall for his or her career. The question at hand... Is the end result of creating controversy worth the risk to the artists career (though it could benefit it.)? Is it an acceptable path to take in order to attempt to get your message out?

"Controversy hasn't been a fast track to success for me in the art world." - Kate Millett

An artist 'creates controversy' when he or she decides to use materials that others deem obscene or absurd. It goes without saying that using blood, semen, or even mud may cause people to question the validity of the artists work. People generally avoid the subject matter of such pieces and instead focus on the materials at hand. However, one must remember that the artist chose the materials that he or she knew would cause dispute.

We can't blame the public for making a judgment call when the artist made the judgment for what materials to use. It is a shame that the artists message (if he or she had one) is clouded by the medium. However, he or she should be fully aware of the implications of the medium. In other words, some 'social roads' were not meant to be crossed.

In general, people are aware of the social norms that are accepted in their communities or culture. We all have some understanding of what actions will be accepted and what will be rejected. For example, you know that it is not acceptable to smear the blood from an open wound upon the bathroom wall... so what makes it any different if you do it on canvas? Yet year after year artists come up with new work using materials that go outside of the norm.

While often fully accepted in other careers, thinking 'outside of the box' in such a manner can have a positive or negative affect on the career of an artist. There is not much of a 'middle road' to travel down once the pieces are exhibited and the public has made up their mind.

There is no doubt that the artist can benefit from traveling down 'the road less traveled'. Using a controversial medium can open new paths for his or her career. Remember, 'art stars' have been made over night due to the materials they have used. Public controversies and the censorship that often follows can make the artist into an 'underdog' figure or place him or her into the role of 'underground hero'. While the artist may not be accepted by the general population, he or she may be supported by various sub-cultures (Which is a form of success unto itself.).

"
"I've refused to become a prisoner of "Piss Christ"." - Andres Serrano

These labels may affect the artists career in a positive manner by making his or her name the 'hot topic' of the day. However, the artist runs the risk of being connected to the pieces that his or her career sprang from. He or she may be remembered as the 'piss artist', 'blood artist, or 'mud artist' long after he or she has moved on to different ways to 'shock' or experiment. In a sense, the road ahead is wide open, but many obstacles await for the artist who has built his or her career driving upon 'Controversy Lane'.

We have talked about controversial work before on this blog. Different opinions have been stated and we have all had time to reflect upon them. We know that controversy and the censorship that follows can either benefit or damage the artists career. So, the trip worth it?

Would you consider driving down 'Controversy Lane'? Would you do it if you knew you could obtain some degree of 'art world' status or infamy? Do you know anyone personally who has? Discuss.

Take care, Stay true,

Brian Sherwin