The broken stone
and lengthening prospect
of story upon story
of mild liquid swells
and the distant heave of water;
This darkened wedge
to project a small glow
of radiant light
dividing these to the calm
and these to the wild.
Climbing steps
of stone laid upon stone
with measured stride.
Down to the water's edge
Up to the bristling peak.
It's important to be able to recognize when I've done something good. Recognize it well enough to know the smart thing is to leave it alone rather than to continue with the "plan".
All I want
is to start
a thousand paintings
and not finish any.
I said, “You don't go to someone's art looking for mistakes. You go to find what is good; what is enriching; what makes your life better for having seen it.
You know that expression, "It's a poor craftsman who blames his tools."? With art, we switch it around; It's a poor mind that sees only what's wrong and ignores the poetry of the visual statement.”
Someone asked, “Does a well known landmark (Eiffel Tower - Golden Gate Bridge) diminish the artistic value of a painting?”
I replied: A good painting is a good painting. You see art through the lens of what life experience you brought with you. If your only experience is a cheap flirtation with the tourist industry, and you can't grow out of that . . . well . . . we just make paintings and like I said, a good painting is a good painting.
There are many kinds of landmarks and the most personal of them are never seen, but only experienced. These might be a recurring sensation of well being, or the physical experience of beauty, or the eye opening awareness that grows in the understanding of poetry in our lives.
“What makes that?” you ask, and I cannot tell you but I know it exists and feel it deep in my heart.
I reply —When "extreme progressive artists, out-of-touch with our regional vibe," flourish along with extreme cost of rentals it's a sign these guys don't enjoy their place in life and feed the need to rise above by filling it with investment greed.
He says —doesn’t help the arts at all!
I reply —They don't look at it as something to be appreciated. It's an investment. They want their money to WORK for them. They want their money to appreciate.
He says —Yes, well, it’s very hard for the artists and general community to “enjoy” what they’re getting behind. I don’t think they even know that. You’re saying maybe they don’t even care?
I reply —I think they DO care. I bet if you go into the Walton's home, where they actually live, eat and sleep, you'll find paintings that are comforting to them. Paintings that DO celebrate your "regional vibe . . . tradition and natural beauty" Well, among the older generation at least. But when they have to find a place to park the big money, it's an investment. Where your paintings and mine might go from $1,000 to $5,000 in ten years, a Jasper Johns will go from $2.5 million to $30 million. In a sense, they are just being practical with their money. Once you lose sight of personal values and embrace marketplace economics on a global scale the little landscape in a nice frame on the wall in your bedroom won't give the boost you need to wake up in the morning. LOL . I feel sorry for them. I really do.
He says —makes sense, and I am privy to some knowledge that they appreciate landscapes and such. But still doesn’t explain why they only put educational foundation money behind progressive art, unless they are trying to grow their investment through endorsing their investment strategy. Money corrupts.
I reply —Teach them John. They won't know it until someone tells them. They won't know it until someone SHOWS them.
He says —hell ya!!
I reply —Just not with anger. You are a teacher here. This is your classroom. Be patient with your students. Be generous.
Georgia O’Keefe (?) said, “Collectors purchase art through their ears, not their eyes.” In other words, they spend according to what they’ve been told, not what they can see with their own eyes.
One of my theories on "Why some and not others?" is this;
Reputations are made during an artist's lifetime with sales and exhibitions generated by critical, editorial, and publicity writing.
Reputations after death are supported by auctions, retrospectives, important collections, and perspective or generational writing on recent art history.
The tendency to buoy up the value of inferior art continues as an attempt to protect the purchase price as an investment. If you’ve paid half a million dollars for a painting you will continue to invest in anything that reinforces or augments that investment.
These chains of promotion are created not by the artist or the artwork alone but by support mechanisms inspired by prestige and/or profit. They are strengthened by the enthusiasm with which they are pursued.
In recent history, it could seem that almost everything is necessary in this equation except the artwork.
To buck these trends requires a level of intelligence, perception, and confidence in personal choices that are beyond the reach of the popular crowd.
The truth is, not every painter, collector, or writer is such a storm chaser, nor wants to be.
Sadie Jernigan Valeri. What if contemporary music were something only a small wealthy elite could afford to purchase? What if contemporary music was hard for middle-class, public-school educated people to understand or appreciate? What if contemporary music was only accessible by attending live concerts, where everyone dressed up and spoke in an elite code? What if recordings were an afterthought?
In the past visual art was as much a part of daily culture as music is today. Middle class people collected reproduction prints of paintings like they collect music recordings today. In the past all levels of society were able to enjoy art and discuss it, and most people could tell you their favorite artists and favorite artworks, and knew art history.
1.5 million people visited the Paris Salon exhibitions in the late 19th century. Today a blockbuster exhibition at the Met is lucky to get half that number... even though the population of New York is magnitudes higher than the population of Paris was in 1890.
Why did visual art not survive the 20th century the way music did?
John Deckert Compact digital cameras and smart phones, chrome and gadget laden Sport Utility Vehicles and large screen High Definition Televisions were the final nail in the coffin. Most people will have purchased half a dozen vehicles, a couple TVs and a couple smart phones before they're even aware that artists still paint on canvas. But why do you say "visual art did not survive . . ." I see more now than I ever did. Of course, I'm looking for it, so . . .
John Deckert sorry, I edited my comment to ask why you think this. I don't agree. Surely the art has changed. My son for example, has posters from Miasake films in his apartment and on a recent tour of my studio he was caught between, "I don't want any of this stuff. What would I do with it?" and, "OMG, Dad. Don't throw anything away! This is your art!" and of course, at 71 years, I'm ready to die any old day now . . . LOL
John Deckert my house is stuffed with handmade paintings. And by the way, I combat the "squashed it" culture by being a little generous with my work. Of course, thanks to my dear wife, I am able to do this. However, artists of recent vintage have been clinging to precious canvases hoping to strike it rich. Or they've gone digital where they can give the image without losing any object. When I go into a restaurant, I take a quick snapshot of the server and either by the end of the meal or next I return to the restaurant I give them the drawing, inkwash, watercolor or whatever came from it. I consider myself an AMBASSADOR of the fine art of painting. I want people to have it and many who get this gift are astonished as if I'd given them a pot of gold.
John Deckert student choir from my college in Texas came to California on a fundraising tour. I ain't got no money, but I DO KNOW that they need art. So I took a few photos and gave them this.
John Deckert A friend got married. Then had a baby. I gave them a little painting along with my best and fondest wishes. That's what painters used to do, long ago, back in the 19th century when the work wasn't so desperately precious.
John Deckert back in the 70s in New York City an artist without a selling gallery was looked on as being some sort of a misfit. When I went to Paris for a year, people thought, "Oh, you're an artist. That's interesting." and I felt better for it. And the funny thing is that when I accidentally encountered an American friend from New York, I rushed over to say hello and ask how he was doing and he couldn't get away from me fast enough. So I think it may be a cultural thing. Possibly reaching all the way back to the Puritans.
Sadie Jernigan Valeri Very true. When I lived in Paris I was surprised by the approving looks I got from Parisians when I told them I was an art student, versus the reaction I got from adults in the US. In Paris they'd widen their eyes and smile with approval as if I'd said I was a student at Harvard. It was heartwarming to feel the support if the general population.
In France all school kids were taught to draw just like they were taught a musical instrument. They were taught about art history as part of their cultural heritage. At least in the 20th c, no idea about French education now. But considering how highly the french value their culture, I don't imagine it's changed a lot.
John Deckert Sadie -- you are an extraordinary artist with a unique vision. I can't imagine you ever giving up those skills and that vision. I regret that I was never able to visit your atelier or take one of the classes. But I am certain that I will see your work in the future. I hereby appoint you an OFFICIAL AMBASSADOR of the FINE ART of PAINTING. Spread good will as you can. Forget long term goals with your collectors, focus on the person sitting next to you. Put them in your sketchbook. Even that is considered a wonderful gift to people who may never have set foot in a gallery or museum. Be well. Flourish. Don't wait for people to realize they should buy something. Just do it anyway. Because you want to. Because you have to. Because you must.
I'll guess you mean to vacation from Facebook. If so, many will miss this small shared view of your immense talent. I certainly have enjoyed the work you post and your generous spirit in sharing it. I can't afford a model to work from but I do love the form which has always been the great challenge for artists. You rose to it impressively. I can imagine your classes benefit even more from the display and knowledge. I'm not in New York but I'll continue to follow your work at http://www.jerrynweiss.com/ Bon voyage sir. You'll leave behind many admirers of your beautiful work.
Ha Ha! You call it "totally predictable responses" . I think it was meant to be predictable. It's like when you have a glass of wine. You're SUPPOSED to have a pleasant little buzz. You go into the forest; you're supposed to see a variety of greens and hear the wind shushing. You go to a yoga retreat; everyone is calm. You can see it and feel it. Our response to this painting of two pensive, thoughtful women is literally a result of the evidence before our eyes.
Another artist recommends avoiding "good job?" when talking about artwork. “You have to think about it”, he says. “(don’t say) something you wouldn’t utter while patting a dog on the head.”
And I replied “Sometimes you want to just toss out a little encouragement and not spend a half hour trying to figure out a way to describe the effect of lattice of darks in a composition or heightened sensitivity to flowing line quality. You want to accomplish this without finally resorting to the easy astonishment; "Amazing!"
Sometimes, they've presented a skilled, workmanlike solution on canvas and you just want them to know that they are not forgotten.”
A person online said,
“people in the Art trade historically haven’t been honest anywhere.”
And I replied,
”I'm sorry this has been your experience. I’ve had friends for many years in the "art world" who are scrupulously honest and many who are interesting and intelligent people that care deeply about the culture, its growth, and its continued nourishment.”
