for artists !
Note: This piece originally appeared in 2005, but it remains pertinent, so I'm republishing it today, March 3, 2008.
REGAINING
OUR BEARINGS: A Challenge for Art Judges
”Painting did not die, but was driven from the art scene into the background by
the international mafia of art…These are the people whose credo in art is—that which
is good, is bad; and that which is bad, is good. These are the people who turned such
terms as mastery, virtuosity, and brilliance of technique into swear words.” Sergi
Bongart—famous Russian impressionist—“It’s Time to Call Things by Their Proper Names”
Recently I received this letter from a reader and fellow artist:
“Your words hit the mark with me, as all my life I have done the "good enough" routine.
I was feeling really down because I had been rejected from our Art Center's Juried
Competition. When I saw what got IN to the show, it really made me more depressed,
but as you say, people's tastes (or lack thereof) are all over the map.
"The thing
I fear when I see some of the works that were allowed into our show is that it alienates
the public even more from "Art" than they already are. People always say, "I don't
know anything about art" and when they see what supposedly knowledgeable judges have
chosen to encourage, they will turn away from visiting and participating in the wonderful
arts programs.
"I was a high school art teacher and having had to grade many student
creations, I held to standards of creativity, aesthetics, and what I called "quality
work" using the guidelines of the elements and principles of art.” -- Sandy Bennett
In my own travels over the last few months, I’ve been able to see two
national art shows, a change for me since I abandoned art shows about 9 years ago
due to the judging. (When the framed newspaper won, I realized the judges and I were
approaching art in vastly different ways.)
Let me just say that my curiosity took
me to see how shows are currently being judged. Having occasion to evaluate art on
an ongoing basis, the subject greatly interests me.
In one show, the judges bestowed the top award to the artist who demonstrated
the lowest level of technical ability. The show followed the lead of the “establishment
art” crowd that has hijacked fine art for the last century. They reached their pinnacle
between 1950 and the 1980’s. These people believe that great art springs from the
untrained eye and the more outlandish the idea behind the art, the higher regard it receives.
Those universal principles that have governed the creation of fine art throughout
time have been abandoned.
The judges of the second show also bestowed awards in a way not commensurate
with the level of expertise demonstrated by the artist. If they had, they would have distributed the awards much differently. Organized by a group outside of what normally
would be called “establishment art”, the judging, nevertheless, reflected a disregard
for an objective standard, mastery and aesthetics. This group should have known better.
Sadly, the title “Authority” does not make one knowledgeable or proficient
when it comes to evaluating art. Obviously, authority does not mean the judges know
the standards nor does it give them the ability to apply those standards fairly. When
defending their choices, these authorities appeal to the “subjective nature of art”.
Style is the subjective voice with which an artist speaks. It is that
quality which makes the message unique when a thousand others may be saying the same
thing. The principles that make for quality art, things like line, value, unity, balance,
composition, light, etc., are universal, regardless of style. Without holding tenaciously
to them, all evaluation becomes arbitrary.
Most artists have resigned themselves to the notion that “this is just
the way things are, so why fight it.” Many, terribly discouraged by the process,
walk away instead of risking further hurt. A few with less noble responses prefer
to offer a silent “finger” to the judging.
Only by speaking up can one truly comprehend
the brunt of the arrogance of the “authority”. Authorities dismissing objective standards when judging art end up
marginalizing themselves. The public knows better. Arbitrary judging
and celebrating buffoonery only passes for so long. It soon rubs off and those promoting
it become the baffoons.
While the public says “I know nothing about art”, this fact remains: Our culture
is immersed in art. Raphael’s cherubs, Vermeer’s girl with a pearl earring and DaVinci’s
proportion of man are easily recognized by the masses. Great art is everywhere and
the public as a whole has developed a deeper and broader sophistication in their artistic
tastes.
Most people do not have an academic understanding of the principles governing fine art or the language that accompanies it, but they steadfastly
spend their hard earned dollars on great art.
I've heard museum curators, who previously hid the works of the great masters
in their basements or sold them cheaply, are acquiring and displaying them once more.
It is but a matter of time before the rest of the art establishment and art judges
everywhere will have to educate themselves on the universal principles behind superb
art and apply them evenly.
I firmly believe history will recognize the great artists of our day,
whether the judges and curators in these dark times do or not. Those who conscientiously
pursue knowledge of the universal principles of art and apply them in their craft
or in their judging ultimately will be held in high regard.
“During the 20th century an elite group has established itself as a sort of priesthood.”
Robert Bateman on the art establishment
Master artist, Anne Olwin's artwork and writing have appeared in Watercolor Magic Magazine, National Gardening Magazine, and various other publications. Most recently, Creativity Press has published her Quick Reference Guides for artists.
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