Art Museums: Compromise is the Key to Public Support for Art

Art Museums: Compromise is the Key to Public Support for Art

Towards the end of 2010 situations involving the motivation behind specific works of art and arguments over art museum exhibit content were at the forefront of many online debates within the circle of artists and art writers that I frequent. Debate concerning these issues are common throughout the year-- sparked by one controversy or the other. However, the end of 2010 brought with it an ignited powder-keg of hardcore debate. One could say that the year in art went out with a bang. That said, it is my hope that the dialogue continues-- specifically, the conversation about what should be expected from public funded art museums and other public funded art spaces.

The Broken Road: Why do I live in a society that fears ideas?

The Broken Road: Why do I live in a society that fears ideas?

The art censorship scandal that occurred at the National Portrait Gallery has spurred much debate about free speech and constitutional rights-- all noble fights to wage for the greater good. However, I can’t help but observe an underlining sense of fear rooted in the core of some of the strongest individuals involved from both sides of this struggle. I for one don't fear ideas-- but I do fear extremes that desire to dominate all aspects of culture and thought.

Opposing Views: Who Determines Art Exhibit Content? by Kimberly Reed-Deemer

Opposing Views: Who Determines Art Exhibit Content? by Kimberly Reed-Deemer

I’ve decided to start a blog series that focuses on opposing views-- the target… My views. For the debut of this series I offered artist Kimberly Reed-Deemer the chance to discuss her thoughts concerning my views on the issue of public funded art.

Kimberly Reed-Deemer is a New Mexico artist with a background in fine art, paleoanthropology, scientific illustration, and museum design and construction. Kimberly takes issue with some of the opinions I expressed in the following articles:

Brian Sherwin: Art writer to be feared? Thoughts on public funded art exhibits…
http://briansherwin-artcritic.blogspot.com/2010/12/brian-sherwin-art-writer-to-be-feared.html

Brian Sherwin on Art, Politics, and Censorship
http://briansherwin-artcritic.blogspot.com/2010/12/brian-sherwin-on-art-politics-and.html

Kimberly Reed-Deemer’s guest blog article is an insightful read-- I hope that you enjoy it as I have.

Who Determines Art Exhibit Content? by Kimberly Reed-Deemer

I share Brian Sherwin’s view that publicly funded art museums and exhibit spaces should represent a cross section of perspectives, but I arrive at this conclusion along a path slightly different from Brian’s. Being an unabashed political and social liberal, I have an obligation to address issues of justice when I encounter them, which is one of the reasons why I support opening publicly funded museum exhibits to include a diversity of viewpoints and perspectives, even those views I vehemently oppose. This doesn’t mean I attribute a blind equivalence to all perspectives, however. On the contrary, not all perspectives are of equal merit, and this is precisely why they must be examined in the open light of public discourse, and especially in comparison to competing views where rigorous analysis will identify and discredit flawed perspectives.

Brian Sherwin: Art writer to be feared? Thoughts on public funded art exhibits…

Brian Sherwin: Art writer to be feared? Thoughts on public funded art exhibits…

It has come to my attention that certain individuals within the professional mainstream art world are wary of my opinions concerning the state of the art world today-- mainly my suggestion that public funded art exhibit spaces should have to explore a number of opposing social and political themes in order to continue receiving public funding. I'm not going to make a name-dropping game out of this-- these people know who they are and how to reach me if they want to pursue a direct debate on the issue. That said, I do wish to explore the matter and defend my opinion.

My suggestion is very liberal at heart-- in that I think the public would be best served by being introduced to a number of viewpoints in a visual manner based on common themes from both sides of the social and political fence as reflected in the core of national debates on key issues. To me that is balance-- and I fail to see why anyone who truly supports art would oppose my position unless their own social and political view comes before art in general and are already being served by the state of public funded art exhibits today.

And the Worst Visual Artist of the Year is…

And the Worst Visual Artist of the Year is…

Unless you follow the hardcore art blogging scene-- or are simply informed about art beyond knowing that Vincent van Gogh cut off his ear or that Pablo Picasso was a womanizer-- it often seems that online art debates, such as the ones you may find on Facebook groups or Myspace forums, boil down to petty rants that are infused with misdirected passion. Said rants tend to involve who the worst artist is or emotive tirades about what someone views as the worst art-- be it style or a specific work of art. While I normally do not involve myself with futile debates that strive to demonize or poke fun at a specific artist or work of art I do find the idea of ‘worst art’ or ‘worst artist’ to be both amusing and appealing.

Rivalry Between Visual Artists: Do you follow any?

It is safe to say that there are probably not as many people following the careers of visual artists as there are people following college football rankings. After all, the average art aficionado is generally a fan of specific works of art-- not necessarily the artist who created said work and the disputes he or she may be involved with. That said, people tend to take sides with bitter rivalries-- think Packers vs. Vikings, Cardinals vs. Cubs, or even minor disputes such as Kanye West vs. Taylor Swift-- that involve media hype or obvious fandom. However, it is rare to see the same passion focused on rivalries between visual artists. Rivalries between visual artists, including famous artists, do occur-- and can be fascinating to observe or read about.

Is Specialization in Visual Art Important?

Is Specialization in Visual Art Important? 

I was recently involved in a conversation concerning specialization in art. Those involved in the debate were split between whether or not it is important for an artist to only focus on one form of expression. The debate boiled down to two conflicting points:

The first point, a painter who also focuses on music-- or sculpting, photography, and so on-- as a form of expression may in turn become a better painter overall. The idea being that an artist can improve as a whole by spreading out his or her efforts.

The second point, it may be better for an artist to focus on one form of expression rather than explore different forms of self-expression. The idea being that by branching out creative endeavors an artist may cripple his or her efforts as a whole.

I must admit that the outcome of the debate was rather gridlocked. That said, I would like to make my opinion on specialization clear. I personally take a some-what middle of the road approach to the matter of specialization concerning art depending on the context. While I do agree that it is important for an artist to have creative experiences outside of his or her focus of artistic creation I also feel that it is important to establish a specific direction.

What Do You Want From Art?

What Do You Want From Art?

I read an article in passing recently that asked the question, “What does the public want from art?”. The article-- which, if memory serves me correct was featured in the Illinois Times, focused on current art market trends and the complications between what the public desires to view compared to what is coveted by art institutions and galleries. The piece targeted regional artwork and the local art scene-- however, this rather broad question obviously has global appeal. After all, in the last decade alone we have seen various forms of protest throughout the world concerning art and how and where it is viewed-- and what should be viewed.

Superstition Aside, Art Can Be Powerful

Superstition Aside, Art Can Be Powerful:

It has been said that artists-- or at least their artwork-- have a way of bringing people together. However, the opposite can easily be said. After all, some artists make a career-- intentionally or unintentionally-- out of being forced into the role of social and political provocateur. One need only visit a New York City art gallery, read a mainstream art magazine, or visit any of the top art museums to take note of how controversial works of art dominate by seeping into our cultural dialogue. More often than not said works spur notions of hostility rather than some ideal of peace. Yet the romantic image of ‘the artist’ as great communicator and bridge builder persists.

When Groundbreaking Artists Become Kitsch Where Does it Leave the Rest of Us?

When Groundbreaking Artists Become Kitsch Where Does it Leave the Rest of Us?

One negative aspect of the information driven times we live in-- and how it is reflected in our culture-- is the fact that great artists from the recent past often become kitsch figureheads. Take for example Frida Kahlo-- who is now more apt to be admired as a tattoo than heard about in a worth-while discussion about art. The history behind her work and the importance of what she achieved is often forgotten in exchange for a watered down reflection of who she was and what her artwork represented.