July/August/September

2009

Having considered the value of art to community in my previous newsletter, I'll shift the focus of this newsletter towards the value of the artist to the community.

The artist is seen as a unique and unusual character in our society who is often thought of as "eccentric", "aloof" or "out of touch." Many people are both intrigued and confused by artists with their unique perceptions of the world, their nonconformist work schedules and their abilities to think and create in a non-linear fashion.

A few artists have gained community acceptance and great notoriety for their creative genius and the marketability of their work (or lack-there-of depending on the community that's doing the accepting). I always find it interesting to ask people to name a few artists that they're familiar with. Quite unanimously the names Warhol, Picasso, and Monet always bubble to the surface. I should hardly be surprised, because these artists have undoubtedly made an indelible mark on the fabric of our collective creativity, and yet I am always somewhat disappointed because I hope to hear the names of artists that I'm unfamiliar with - artists who are toiling over their work and struggling with their craft in the relative seclusion of their studios. This brings me to the consideration that there may be little interaction between contemporary artists (artists of our time) and the community at large. Obviously, there are two entities involved here - the community and the artist - but for the sake of this conversation I'll give greater focus to the role of the artist.

Contemporary artists who have worked through the academic establishment have been influenced by a progression of modernist thought - an evolution from conservative values and historically noble ideas to a more progressive view, which readily explored political and societal problems. This progression of thought also set in motion the idea of "art for art's sake," which was a radical concept at that time and in direct opposition to the art establishment of the day. Seeking even greater independence, artists sought to be released from both the demands of the academy and the public. This meant that art would no longer be bound to a defined meaning or purpose, and the artist would be free to create without regard to their art's impact on the public. This is where much of the general public and the artists parted ways.

As artists started to explore the expanse of this newfound freedom, the public started to view their new works with a skepticism that verged on cynicism. The new fantastic works were shocking and provided a curious entertainment, but they did little to promote a bridge of understanding that linked the past to the present. Each viewer drew their own conclusions and the artists continued to push the boundaries in all directions.

Theoretically, total freedom seems like a great thing, but practically speaking it rarely seems to work out well for everyone. Our strong narcissistic tendencies seem to obliterate the healthy tension that exists between service to self and service to society. Some artists are adept at discussing their work in ways that are engaging to the viewing public while other artists seem to hold a disdain for any need to explain their work or motivations. Each artist, regardless of the communicative skills (writing, oratory or otherwise), should at the very least consider how the manifestation of their vision may impact the community that surrounds them. The greatest difficulty the artist may have is finding the balance between their creative freedoms, the intent of their work, and the impact it will have on society. I'm not advocating a sanitized art world, or artwork that denies expression of the difficult or profane, but I am suggesting that the artist has the responsibility to speak truthfully from their place of knowledge and experience. Each generation has the opportunity to learn from the extremes of the past, and has the ripe prospect of working towards a new balance between creative freedom and societal edification. This too should be part of the artist's objective.

Artists have an important place amid our communities. They have the opportunity to bring richness to "everyday" experiences, and can illuminate the often overlooked things whether they are the nuances in nature or the ills of society. The divisive extremes, forged in the past, are no longer relevant to our contemporary situation. It's important to strive to find the middle ground between. This is the time for artists and the viewing public to rebuild bridges of communication and understanding for the benefit and edification of our communities.

Upcoming Events - Seattle

Enlightenment

While in Vienna I encountered two unique art-viewing opportunities; each created the prospect for expansive contemplation. My experiences were enhanced by immediate conversations that I was able to have with my friend Daniel Domig. Daniel is a painter and installation artist who lives in Vienna.

First, I attended the opening reception for Hermann Nitsch. The exhibition was a celebration and grand overview of much of the artist's work - included were paintings as well as video documentations of his elaborately developed performances. Nitsch, associated with the Vienna Actionists, may be best known for his ritualistic works that often include graphic references to crucifixion, slaughtered animals, and bodily fluids.

The work appeared to be a direct challenge to conventional thoughts on religion and human nature with references to our cultural obsession with violence. I was immediately struck by the overwhelming scale of the installation (not to mention the raw nature of the imagery), and have continued to consider many of the possible messages that the works suggest.

The second exhibition that I encountered was an overview of the work of Cy Twombly. This large-scale installation chronicled roughly fifty years of this artist's creative vision and conceptual development. Twombly has been inspirational to me since I first viewed reproductions of his work while I was in university, and the opportunity to see them up close was truly energizing. Each of the pieces included in the exhibition boast a freedom and truthfulness that is manifest through their process-oriented development. Twombly exalts the power and impact of pure spontaneity. The works, though child-like in appearance, are born of a depth of life experience, and have been imbued with an honesty that links passion with grief and solitude.

Both exhibitions impacted my thinking on individual (introspective) process and communal (external) communication. As I move forward in my own work I will undoubtedly reflect on these specific exhibitions as two poignant examples of the power that art can have on society.

Expanded View

Having an opportunity to experience cultures different than our own is enriching to the creative soul. The new sights, sounds, smells, flavors and traditions of these diverse experiences can broaden perspectives and can enhance our ability to acknowledge our own limited views of the world.

Through the years I have been immensely fortunate that friends, colleagues and strangers who have experiences and thoughts much different than my own have taken the time to share in conversations with me. The treasure that I've gained from those experiences is an expansion of my thinking and understanding. These encounters have taken place in my hometown, as well as in cafes and pubs in other cities and on other continents.

I recently had the opportunity to visit with fellow artists, scholars, philosophers, and theologians in a remote village in the Austrian Alps. Because we all sensed an imbalance in our lives and communities we spent the better part of a week discussing the nuanced balance of work with rest, and extended the conversation to ways that we could use our creativity in the service of others. The discussions were weighty and the topic seemed to permeate every possible conversation.

For me, the most interesting aspect to the week was listening to the diversity of perspectives on work and rest, which were informed not only by personal conviction, but were patinaed with layers of various cultural and historical insights. The individual treads that were used to weave together the fabric of the conversations made for an interesting and vibrant tapestry. We weren't interested in a "one size fits all" definitive answer to any of the questions that arose from the topics of discussion. Instead, we were content to roll around ideas and work through the process together.

In the end, I came away from the week with new perspectives and insights that I might never have arrived at on my own. The richness of the diverse viewpoints has altered my outlook and will undoubtedly inform my daily life and studio work in the future. Experiences outside the ordinary break us from the comfort of self-referential thought and activity and move us toward a vitality that not only enhances our creativity, but also our engagement with the community that surrounds us.