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Reading #2 Artistic Process and Training

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Reading #2 Artistic Process and Training Page | 1 Artistic Process and Training ART 100: Introduction to Art Reading #2 Artistic Process and Training This reading explores the artistic process and the art industry surrounding it: from individual artists turning ideas into works of art to collaborative creative projects, public art and the viewer. It covers the following topics: ● The Artistic Process ● The Role of Museums, galleries, and Critics ● The Individual Artist and Public Art ● Artistic Training The Artistic Process How many times have you looked at a work of art and wondered “how did they do that”? Some think of the artist as a solitary being, misunderstood by society, toiling away in the studio to create a masterpiece, and yes, there is something fantastic about a singular creative act becoming a work of art. The reality is that artists rely on a support network that includes family, friends, peers, industries, businesses, and, in essence, the whole society they live in. For example, an artist may need only a piece of paper and pencil to create an extraordinary drawing, but depends on a supplier in order to acquire those two simple tools. Michelangelo Buonarroti, The Holy Family with the Infant Saint John the Baptist (recto); Amorous Putti at Play; Head of a Bird (verso), 1530. Black and red chalk with pen and brown ink over stylus (recto); Pen and black and brown ink (verso), 27.9 × 39.4 cm (11 × 15 1/2 in.). The J. Paul Getty Museum, Los Angeles. Page | 2 Artistic Process and Training After the artwork is finished there are other support networks in place to help exhibit, market, move, store, and comment on it. Commercial art galleries are a relatively recent innovation, springing up in Europe and America during the Industrial Revolution of the nineteenth century. As these societies concentrated their populations in cities and formed a middle class, there was a need for businesses to provide works of art for sale to a population that began to have more spare time and some discretionary income. As art became more affordable, the gallery became a place to focus solely on buying and selling, and, in the process, making art a commodity. There are different types of commercial galleries. Some of them, often higher end ones, are known for showing (even more than selling) the work of well- known contemporary artists, or in any case for showcasing artworks selected by a curator to clear specifications: often these galleries have exhibits with a particular theme or where a specific medium is chosen, or present the works of a single artist each time in “solo” shows. These kinds of galleries are closer to museums in the way they deal with the artwork. Typically smaller local galleries, similar to many galleries you may have seen in your towns, display the works of several different artists that may have nothing or little in common besides the high “sell-ability” of their work (for instance maritime themed paintings or photos in a town like Gig Harbor, well known for its waterfront etc.). When these exhibition spaces are “cooperative galleries” they show the work of each artist who pays rent and expenses and spends some of their personal time keeping the gallery open for people to visit. Museums have a different role in the world of visual art. Their primary function is in the form of a cultural repository – a place for viewing, researching and conserving the very best examples of artistic cultural heritage. Museums contain collections that can reflect a particular culture or that of many, giving all of us the chance to see some of the great art humanity has to offer. Most art museums, like the Tacoma Art Museum (TAM) and the Seattle Art Museum (SAM) but also MoMA (Museum of Modern Art in New York City), display contemporary artworks and, in addition to having permanent collections, have periodic themed exhibitions. The role of the critic commenting on art is another function in the process. Critics offer insight into art’s meaning and make judgments determining ‘good’ or ‘bad’ art based on the intellectual, aesthetic, and cultural standards they reflect. We will take a closer look at the role of the critic when we explore meaning in another module. In this way, museums, galleries and critics have become gatekeepers in helping to determine what is considered art within a culture like our own. Page | 3 Artistic Process and Training The Artist alone and Public art In as much as we have seen art as a community or collaborative effort, many artists work alone in studios, dedicated to the singular idea of creating art through their own expressive means and vision. In the creative process itself there are usually many steps between an initial idea and the finished work of art. Artists will use sketches and preliminary drawings to get a more accurate image of what they want the finished work to look like. Even then they’ll create more complex trial pieces before they ultimately decide on how it will look. View and read about some of the sketches for Picasso’s masterpiece Guernica (click the hyperlink to see this painting up close) from 1937 to see how the process unfolds. Artists will often make different versions of an artwork, each time giving it a slightly different look. Pablo Picasso, Guernica, 1937. Oil on canvas, 349.3 x 776.6 cm. (137.4 x 305.5 in). Museo Reina Sofia, Madrid, Spain. This image uploaded by ROBERT HUFFSTUTTER is licensed under CC BY-NC 2.0. Some artists employ assistants or staff to run the everyday administration of the studio; maintaining supplies, helping with set-up and lighting, managing the calendar and all the things that can keep an artist away from the creative time they need in order to work. Some artists don’t actually make their own works. They hire people with specialized skills to do it for them under the artist’s direction. Fabricators and technicians are needed when a work of art’s size, weight or other limitations make it impossible for the artist to create it alone. Glass artist Dale Chihuly for instance, employs many assistants to create and install his glass forms. On a smaller scale, New York City based painter Kehinde Wiley has a studio on the outskirts of Beijing, China, where he employs a number of artists who help him paint the complex background patterns of his portraits while he concentrates on the figures. Page | 4 Artistic Process and Training Kehinde Wiley, Le Roi a la Chasse (The King at the Hunt), 2006. Oil on canvas, 96 x 72 in. Blanton Museum of Art, Austin, Texas. This photograph by Zereshk is licensed under CC BY 3.0. Some of the grandest works of art are made not by a single person but by many people. Many artists collaborate with non-artists in arrangements designed to produce work for a specific place. Public art is a good example of this, although more often than not, individual artists, with the help of assistants and technicians, are the ones responsible for large installations and outdoor and indoor public art. The process usually begins with a select panel of the public and private figures involved in the project who call for submissions of creative ideas surrounding a particular topic or theme, then a review of the ideas submitted and the artist’s selection. Funding sources for these projects vary from private donations to the use of public tax dollars or a combination of the two. Many states have “1% for Art” laws on the books, which stipulate that one percent of the cost of any public construction project be used for artwork to be placed on the site. After the selection process the artist will commence on an intense collaboration with architects, engineers, public administrators and others connected with the project, ultimately resulting in the installation of a public artwork. Because of its complexity this process needs to be expertly managed. Other countries have similar programs. All of them allow individual artists and collaborative teams the chance to put a definitive creative stamp on public spaces. You can view Flemish artist Arne Quinze’s public art work The Sequence below. Page | 5 Artistic Process and Training Arne Quinze, The Sequence, 2008. Public wooden installation, 80 x 15 m. Brussels, Belgium. This photograph by Torsade de Pointes is in the Public Domain. Public art projects can be subject to controversy. It’s not easy for everyone to agree on what constitutes ‘good’ or ‘bad’ art, or at least what is appropriate for a public space. A case of a controversial case of public art, in the form of a two artists performance, was the The Cruci-fiction Project of 1994 by Chicano artists Guillermo Gómez-Peña and Roberto Sifuentes. The issue takes on a yet more complex perspective, when public money is involved in its funding. One example involves Richard Serra’s sculpture Tilted Arc from 1981, which was so contentious, it ended up being deinstalled and scrapped. Often, as in this case, public art is site specific, which means it was created with a specific location in mind and would lose at least some of its meaning if it were to be placed in a different location. Page | 6 Artistic Process and Training Richard Serra, Tilted Arc, 1981. Sculpture, steel (destroyed). New York City. This photograph uploaded by Jennifer Mei is licensed under CC BY 2.0. Another example of well-known public art is the work of a couple, rather than an individual. Christo and Jeanne-Claude were a married couple (she passed away in 2009) best known for their temporary environmental art, fully funded by private donations and the artists themselves (click on their names above to get more information or have a visual of their projects).
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