Showing posts with label Originality. Show all posts
Showing posts with label Originality. Show all posts

Thursday, March 1, 2012

The Creative Pursuit: A Personal Lens to Focus Life's Energy


I have given some extended thought to what I think the elements are in the Creative Pursuit. For me, this is a model, a construct that works for me currently, that can be discussed and talked to, and can be grown and adapted over time. It's been helpful to me because when things go wrong in my Artistic Endeavor and Creative Pursuit, I can reach back to these elements and perhaps figure out the Causes and Effects. As you can observe from the list of elements, they become very personal and indicative of the Self. In not any particular order, I propose that the elements of the Creative Pursuit are:
  • Beliefs
  • Values
  • Vision
  • Drive
  • Exploration and Experimentation
  • Serendipity
  • Encouragement
  • Inspiration
  • Awareness of one's Comfort Zone (Gifts, Talents, Knowledge, Ability, Skills, Experience, Habits)
  • Stretching Outside One's Comfort Zone
  • Freedom and Openness
  • Increasing Affect, Feeling, and Emotion
  • Introspection
  • Leveraging Outside Influences
  • Mentors and Coaches
  • Competition
  • Unlock Restraints
  • Minimize Stifles
  • Minimize Fear
  • Manage Critiques
  • The Forge
  • The Crucible
  • The Fire
The bottom line is identify and utilize these resources and approaches to focus one's Life Force and Energy into expressing Self in creating the Original Artifact. The Creative Pursuit is not unlike finding and developing a personal Lens that collects and intensifies the necessary energy to steer towards a particular intended result to make the Artistic Endeavor most productive. If one's Self energy is not focused or is dissipated, a less satisfactory result occurs in the Artistic Endeavor or doesn't occur at all.

Perhaps, Dear Reader, this "model" of elements will be helpful to evaluate either your own Creative Pursuit supporting your Artistic Endeavor or the observations you have of other Artist's results or potential. How each of us pours these elements into our process and manages them determines the type of Lens we have for our own use at any given time.  We can individually compare and contrast to observe effectiveness.

There is more to be exposited for many of these elements, of course, but I share them today as a seed to be planted.

Sunday, February 26, 2012

Stages of Artistic Growth:


David Liebman has listed numerous Reflections on the Artistic Process worthy of detailed review. If I read him correctly, restate slightly, and add a tad bit in the last two steps, there are six potential Stages of Artistic Growth related to the Artistic Endeavor:
  • Initiative:   Understanding and absorption of artistic standards and expectations through appreciation of art history
  • Imitation:   Ability to duplicate artifacts and methods to minimum criterion; Practice and learn; Inspired from historical precedent
  • Integration:  Personalize and participate; Improve; Develop Balance; Find and explore one's Own Artistic Niche; Develop Artistic Control; Inspired from and affected by contemporary Space and Time
  • Innovation: Develop one's own unique Instrument, Importance, and Individual approach; Find and express one's Inner Voice and Self
  • Inspiration: Branded Work causes achingly, jaw-dropping, heart-stopping, extraordinary responses in Audience; Wants to make Viewer wish to stop, drop, and worship; Instills a significant measure of Humble in the Viewer
  • Iconification:  Based on reception by Audience, elevation of individual Artist's Branded Work to heightened social awareness and recognition
Restated in a different way: (1) Start, (2) Copy, (3) Survive and Do, (4) Stretch into Originality, (5) Communicate Emotion, and (6) Famous

Dear Reader: This is not an attempt to make the Path along the Artistic Endeavor too simplistic nor trite. Just some reflections for consideration towards achieving one's Unique Potential.

Friday, February 24, 2012

Bad Art: A Threshold of Acceptance in the Creative Pursuit


Although I find the controversy of who is an Artist versus Not-An-Artist compelling, it is also interesting to me to examine the concept and controversy of Good Art versus Bad Art. There is even a place where we can examine exemplars and non-exemplars directly. It is curious to note the presence of the Museum of Bad Art (MOBA) as a place where Artifacts considered "bad art" are curated.  Some of the Artifacts are more representative or "popular" than others to illustrate the genre.

Photo Courtesy: Mama and Babe - Museum of Bad Art (MOBA)

The site provides numerous illustrations for the Good-Bad controversy in what might be considered the extreme end of the range. Society continues to reinforce a strong link between the Artist and their created Artifacts. Yet reviewers seem to be willing to assert that any Artifact that expresses an Artist's creativity is still Art. That's a courteous and respectful position. It is evident in this MOBA venue that Art's appraisal by reviewers is still quite Subjective even in this lower range of acceptability. As bad as an Artifact may appear to be in the majority opinion, there may still be individual reviewer's who assert "It's not that bad and I like it for such-and-such a reason". There are Differences of opinion. Perhaps things to learn about Art and Humanity. How people respond to the value of Respect for Diversity is revealing about the human condition.  I find it useful evidence to support the assertion that Freedom of Expression in Art's Review as well as Freedom of Expression in Art's Creation is an important element in the Artistic Endeavor.  And further, to be respectful, the "Artifact tells us something about the Artist but not everything" and the "role of Artist tells us something about the Person but not everything". I would generally but humbly assert that the Creation tells a lot about the Creator. But probably not everything. So it's not the Final Judgment.

The MOBA Artifacts are also interesting in what they say about the role of Originality in Art. Originality alone is apparently not sufficient to aid an Artifact on its road to becoming acceptable nevermind a Masterpiece. And yet Originality is a desireable and perhaps key attribute many would associate with Good Art and with Art's greatest Masterpieces.

So how do we go about to create and retain Bad Art? Some potential reasons why some Artists fail to reach the threshold and rise above the level of achieving an acceptable art form in their Artifacts might include one or more of the following attributes of Artistic Insight, Formulation, and Expression:
  • Failure of Observation
  • Failure of Composition
  • Failure of Technique
  • Failure of Imagination
  • Failure of Frame or Installation
  • Failure to Balance or Trade Artistic Freedom and Artistic Control
  • Failure to Destroy after a Failed Effort or Exploration
I am reminded though that, historically, the Impressionists were allegedly subject to loud and vocal criticism, giggles and guffaws, and ostracism when their work was first shown in public over these listed failures as criticism. Over a number of years. Indeed, their efforts required separate venues and locations to show their work since it was rejected by the established art forums. And yet, within their departure from the mainstream lie the roots of Modern Art.

Perhaps in the MOBA Artifacts we are in fact witnessing a very real Artifact that is a bona-fide expression of a somewhat failed Self at a moment in time through failed Art. And it is difficult to view the genuine and real failure of Another in close proximity in the realm of the Connectedness of Humanity. And again, there is a Range of Failure and a Range of Tolerance to it.

Perhaps there is something to be said about the manner in which the Artist allows their effort to contribute to or destroy their potential Reputation and Brand. Perhaps we are witnessing evidence of a type of self-destruction whether intentional or unintentional in that some Humans and some Artists have not yet learned the self-protective mechanisms helpful to either Survival or Growth or Success. Knowing how to identify a dead-end in the Artistic Endeavor or Creative Pursuit, when to destroy an Artifact, and how to preserve one's core Self and/or artistic process and results amidst an environment of experimentation may be indicated. Sometimes we have to just avoid or stop self-destructive behavior. But it may be true that for some Artists, the need for Self-Expression trumps any other consideration even Rejection or Criticism. It may even be true that some successful Artists have destroyed or painted over Original Artifacts that might be deemed Valuable by Others. Again, is this a Mistake, an Error, a Travesty, or a deliberate Freedom of Expression by the Artist?

Perhaps the MOBA Artifacts tell us not so much about the elements surrounding the Artistic Endeavor but more about the elements important to a successful Creative Pursuit. In other words, each of the Artist's that created an Artifact that ended up in the MOBA applied their Life Force and Energy to their participation in their own Artistic Endeavor along their Life's Journey which appears to be a commendable Journey. But for various reasons, their Creative Pursuit may have left something to be desired. Perhaps the MOBA controversy can be evaluated thus: We are not rejecting their choice of the Artistic Endeavor but we reject or may not accept the results of some aspects of their particular Creative Pursuit. More on the Creative Pursuit at a later date.

Thursday, February 16, 2012

The Equilibrium of Reasonable Art: The Artistic Endeavor


Oddly and somewhat unexpectedly, I have been drawn by Serendipity from my longstanding preference for the Impressionist era into reading and research about the origins of Modern Art evolving from the Impressionist roots. I have been extremely fortunate to come across a copy of Matisse: His art and his public (1951) by Alfred H. Barr, Jr. published by the Museum of Modern Art in NY.

Guillaume Apollinaire, a poet and art critic, interviewed Matisse and wrote up an article in La Phalange in December 15, 1907 and numerous excerpts from the article are noted in Barr's book [underscores below are my editing emphasis]. I am superstruck by those written precepts that resonate with me in these economic times today - more than a century later. This is all about The Artistic Endeavor even though some of the quotes are about Matisse's specific Creative Pursuit leading to the development of his Original Artifacts.

Photo Courtesy Guillaume Apollinaire: Internet Fair Use
  • "When I came to you, Matisse, the crowd had looked at you and as it laughed at you, you smiled. They saw a monster there where a wonder was taking shape." [Apollonaire]
  • "I have worked to enrich my knowledge by satisfying the diverse curiosities of my mind, striving to ascertain the different thoughts of ancient and modern masters of plastic art. I tried at the same time to understand their technique." [Matisse]
  • "...retrace for me the adventures of this perilous voyage to discover your own personality. It proceeds from science to conscience, and leads to complete forgetfulness of everything that is not your own self.....Instinct is no guide; it got lost and we are trying to find it." [Apollonaire]
  • "I found myself or my artistic personality by looking over my earliest works. They rarely deceive. There I found something that was always the same and which at first glance I thought to be monotonous repetition. It was the mark of my personality which appeared the same no matter what different states of mind I happened to have passed through." [Matisse]
  • "But this took place at its own good time." [Apollonaire]
  • "I made an effort to develop this personality by counting above all on my intuition and by returning again and again to fundamentals. When difficulties stopped me in my work I said to myself: 'I have colors, a canvas, and I must express myself with purity, even though I do it in the briefest manner by putting down, for instance, four or five spots of color or by drawing four or five lines which have a plastic expression.' " [Matisse]
  • "You have been reproached, my dear Matisse, for this summary expression but you have thereby accomplished one of the most difficult tasks: to give a plastic sense to your pictures without the aid of the object except as it arouses sensations." [Apollonaire]
  • "The eloquence of your works comes first of all from the combination of colors and lines. This is what constitutes the artistry of a painter and not - as some superficial spirits still believe - the mere reproduction of the object." [Apollonaire]
  • "Henri Matisse makes a scaffolding of his conceptions, he constructs his pictures by means of colors and lines until he gives life to his combinations so that they will be logical and form a closed composition from which one cannot remove a single color or line without reducing the whole to a haphazard meeting of lines and colors." [Apollonaire]
  • "To make order out of chaos - that is creation. And if the goal is to create, there must be an order of which instinct is the measure." [Apollonaire]
  • "To one who works this way the influence of other personalities can do no harm. He has his inner conviction, which comes from his sincerity; and the doubts which harass him only stimulate his curiousity." [Apollonaire]
  • "I have never avoided the influence of others. I would have considered this cowardice and a lack of sincerity toward myself. I believe that the personality of the artist develops and asserts itself through the struggles it has to go through when pitted against other personalities. If the fight is fatal and the personality succumbs, it means that this was bound to be its fate." [Matisse]
  • "It is by incessantly comparing his art with other artistic conceptions and by keeping his mind open to other related arts that Matisse has attained the greatness and confident conviction that distinguish him." [Apollonaire]
  • "...Know the artistic capacities of all races...[also know] our inheritance.....find here the nourishment that we love....and the spices from other parts of the world can at most serve us as seasoning....in spirit....meditate upon.....standing at this crossroad......look at himself.....find the path which his triumphant intuition shall follow with confidence....." [Apollonaire]
  • "We are not in the presence of some extremist adventure....the essence of Matisse's art is to be reasonable....The conscience of this painter is the result of his knowing other artistic consciences. He owes his plastic innovations to his own instinct or self-knowledge." [Apollonaire]
  • "Because there is a relationship between ourselves and the rest of the universe, we can discover it and then no longer try to go beyond it." [Apollonaire]

Dear Reader, this is precisely about the Artistic Endeavor...it is precisely about the Creative Pursuit.....it is precisely about the Inner Voice....it is precisely about finding Self in the universe of greater things...it is precisely about creating Order from Chaos....but in my humble opinion, it is not only about Creation or about Art or about Objects, not only about the development of an Original Artifact, and not only about being just an Artist.

It is about the application of one's Life Force and Energy. It's about reaching one's Unique Potential.

The "Equilibrium of Reasonable Art", a phrase that Guillaume Apollinaire instantiated in 1907....is a lot about Changing the World. But in a form and a format that has Informed Reason by the Individual, of the Individual, and for the Individual. It is all about the buying and selling of an Individual's developed Self and Expression in whatever Occupation the Artist endeavors in the Market Realm of Greater Things. This is not a trivial notion.

But what about Resistance, and Impedance, and Controls, and Differences, and Opinions? What about Tyranny and Oppression and Famine and Poverty? What about Selling Out? What about Giving Up? What about just Getting By? What about Respect and Diversity? It's about the Struggle. It's about Supply and Demand. It's about our personal Exchange through multiple Transactions with Others in the grand Marketplace for Things of Value. We each define what Value is for us at a moment in time, do we not? What do we Buy? What do we Sell? What do we Produce? What do we Consume? It's about Freedom of Expression. Are we actually free? And to what degree? It's what we choose to surround ourselves with. It's about  practical matters such as "Is_Anyone_Demanding_What_I_Want_to_Supply"? Or Is_Anyone_Consuming_What_I_Am_Producing? At what Price? At what Cost? It's about Change. It's about resolving Fairness and Equity. It's about the Past, the Present, and the Future.

Art has always been a Lightning Rod serving as a conduit for Potential Energy that Changes the World. Individuals expressing Self. Individuals who wish to criticize and Control Others. Individuals working and laboring to obtain what they Want or Need. It's a grand scheme of Equilibrium. My personal opinion is that it is not just about Art. Thank you Mr. Matisse and Mr. Apollonaire.

Sunday, February 5, 2012

A JEM Model of Attribution: (I) Impressions to (J) Journey to (E) Expressions


In many of the art manifestoas that I have reviewed, Freedom of Expression is consistently asserted. I have been recently wrestling with a model of assertions that expands and explains the influence of potential freedom for the Artist. There appears to be a lot of debate, sometimes vehement, sidling close to arrogant and downright hostile, about what Art is, who is an Artist and who is Not An Artist. I find the dialog compelling.

From my humble perspective, I would hypothesize a model of approach to art in a three step phase approach: (1) The Impressions, (2) The Journey, and (3) The Expressions. Remember this for the end of today's entry, OK? To anyone who is methods-oriented, this aligns to an "Inputs-Process-Outputs (IPO) descriptive model. To clarify with different nomenclature perhaps more from an Artist's vantage point of what happens at each phase, I offer a restatement of the three steps: (a) Artistic Insight, (b) Artistic Formulation, and (3) and Artistic Exhibition. Insight, Formulation, and Exhibition, in my opinion, are closely related not just to the development of the Original Artifact but are also closely associated with the Artistic Self. Also, I would further submit that the Journey to Originality for the Artist is also about distinguishing Self from Others on the road to achieving one's Unique Potential.

Now, I offer an added definition layer to the onion skin with an emphasis on each component's contribution to the Artist's prime directive of Originality as a result of Freedom exercised at each phase of artistic execution, therefore:

The Journey                     Description                                    The Output
The Creative Pursuit          Concept Innovation for Originality    Artistic Insight
The Artistic Endeavor         Develop Approach for Originality      Artistic Formulation
The Original Artifact          Attraction of Others to Originality    Artistic Exhibition   

The purpose of citing a possible model approach is not necessarily to prescribe a three step "process" to producing art although it may serve to provide a very high level menu approach. Rather, for me, it is a descriptive summary and consolidation of many different observations and anecdotes about artist's Worldviews and Perspectives about how they approach their endeavor. As a working hypothesis, I can utilize this model of thinking to fit scenarios and anecdotes as an instrument to evaluate Differences in Worldviews and Perspectives. I want to investigate whether there is a model approach than can embrace the various artist experiences in all their complexity.

I personally am interested in exploring (A) Freedom in Artistic Insight during the Creative Pursuit, (B) Freedom in the Artistic Formulation during the Artistic Endeavor, and (C) Freedom in Artistic Exhibition through the Artist's Creation of the Original Artifact. I am further interested in how Art has an impact on and can Change the World. Or how it has historically changed the world.

Going forward, I intend to sign my artwork with my initials "JEM" which, of course, attributes the work to my heart, head, and hand. But I also intend those initials to signify "Just Every Man". The rationale herein is to understand the human experience and human nature through the experience of Art and to understand what it means to Change the World through the practice of the Creative Pursuit, the journey associated with the Artistic Endeavor, and the impact on the Artist and the Viewer due to the creation of the Original Artifact. Without disrespect to gender-biased language use, it is about "Just Every Man" to be inclusive in generic use of the term with respect and diversity.

Further, going forward, I intend to sign three letters after my initials signifying my personal relative emphasis on each of the three aspects of the work described in this blog entry denoting Impression/ Journey/ Expression, upper or lower case to signify emphasis, i.e. "IJE" or "ije" or "Ije" or  "iJe" or "ijE" or "IJe" or "iJE" or "IjE"....eight possible combinations.  Individual works may have more Life Force and Energy associated with the Insight, Formulation, or Expression phases of my creation of that particular Artifact. I will denote that sense of my perspective. For instance, I may conduct a painting after a long hike to locate the correct motif and perspective with more innovation and emphasis on the immediate observation in nature but with lesser regard for innovating in the selection of media or the time spent on the developing the artifact itself because of the need to expedite it due to environmental conditions. I might sign that Original Artifact "JEM-Ije". On the other hand, I may execute a work from a photo or a still life arrangement where relatively little emphasis is on the Insight or the Formulation of approach but much more emphasis is placed on the Expression of the idea in the development of the Original Artifact itself...the painting style and details to accomplish the desired end result. I would sign this Original Artifact "JEM-ijE".  Based on feedback over time, I may have some insights to share on the JEM model, the Artist, and the Viewer perspectives about Art. Could be fun.