by
Part Two Here
July 2011
Charging through channels on the TV the other day, I settled on a Gauguin biopic that culminates with the artist creating his masterpiece “D’ou venons-nous? Que sommes-nous? Ou allons-nous?” which translates into “Where do we come from? What are we? Where are we going?”. I have been asking myself these questions in more detailed personal form for the last few years: What is my relationship to the world around me that has grown so technically oriented yet is still so much about nature, biology, and history? Who are we as a human race and why do we bully and threaten each other even during small day-to-day activities? How will our emphasis on money and power leave the world of tomorrow? As an artist I tend to go deep into myself to find my humanness and express it through autobiography and stories in the world near and far. As a visual artist and maker of objects (versus a conceptual or performance artist), I do wish to bring my work to the world outside my studio for viewing and procuring by others. This aspect of an artist’s life is about “the profession” of showing and selling. In my life this activity is separate from the creation of my work and a task that often feels uncomfortable, as I become the “sales person” of my work.
I began to explore my relationship to salesmanship more deeply during a recent art business discussion online when members were asked what criteria designates an artist as professional and how important is it be defined “professional”? Do qualifications include, critic’s views, sales, gallery connections, where art is placed, or sponsors? My mind was immediately seized by a series of questions that needed to be scrutinized:
1. How does the label of professional connect with the activity of an artist?
2. What qualifies a person to declare herself or himself an artist?
3. How does the world certify a person as an artist and does that matter?
4. How has the role of artist or “artist as professional” changed since the beginning of the “modern era” of art (which I place at the beginning of the 20th century for this conversation)?
How one answers these questions is relevant to a person’s time in history, place of growth, and manner of gaining knowledge and skills. The following biographical information is given to place a context to my views on this subject. I also invite others to forward their stories and opinions on the subject.
I grew up in the era when Pop Art was developing and Abstract Expressionism was waning. My teachers and mentors spoke about the process, excitement, and, history of art as well as the importance of working in the studio, but not the business of career paths. As a student and young artist I lived in Italy for 2 years and studied great works of art first hand without a thought of what my future would bring as a “professional”. I was dedicated to painting, drawing, learning, and studying important works. My fellow students and colleagues felt the same way. Most of my early work, as a beginning independent artist away from school, was thrown away until I began to develop my skills and learn where my interests led. There was a fair amount of sexism and prejudice at this time as female artists and artists of color struggled to be recognized in a white male dominated world. On both coasts in the US strong feminist movements were declaring a stand for woman artists. I was aware of these activities but not part of any group. This did not stop me from working hard and building knowledge and a skill base. Typical technology in the art world at this time was use of a camera and word processor.
After living in Italy, Philadelphia, and Boston I returned to my roots in the NYC metropolitan area. It was here that my work began to develop more focus and maturity after years of painting. My mind became a depository of ideas and interests. During this time my art career began to flourish. I was invited or curated into many different exhibitions and had press articles, interviews and mentions in local papers including The New York Times. I was interviewed for various video series about artists and my work and studio was the background for a Moody Blues Video. Yet, as years passed and New York became the riotous “center of the universe” of the art world and Wall Street discovered the contemporary art market, buying “blue chip” art as a commodity, something changed.
The shift for me was the enormous amount of time artists spent on “working” their careers. The buzz through the art community in the late 1980’s and 90’s was to connect to the important people, attend the “right” parties, create a unique resume that would stand out with color, font, or format, and find a way to get noticed. I worked very hard in my studio in Hoboken, NJ across the Hudson from NYC, went to many openings, partook of open studio tours, visited with gallery owners,worked for a gallery, taught art in a prestigious prep school in NYC, and immersed myself in the world of art in New York City. At one point I had 7 teaching jobs that included colleges, art centers, a YWCA, a local art store and private lessons. My enthusiasm for my work never wavered but my inner voice began to feel very uncomfortable with the “art scene” that was becoming more and more exclusive and unpleasant. I began to avoid openings and art events. I remembered what Clement Greenberg preached at my masters graduation from Rhode Island School of Design: “Make sure you have a life away from art because I have seen too many friends destroy
themselves over their careers”. Eventually I “walked away” from the life and contacts I had built up in the NY art world and moved myself to a place of space, beauty, animals and of course, art. Essentially I started over in a new land and culture that could bring me other elements of life that I missed as I continued to make my work. Living and working in New Mexico has given me space and time to interact and live in awe of the natural world. Taking care of creatures, planting gardens, and quietly observing the world around me has taught me about patience and growth and given me room to explore ideas for my work. I do miss my New York museums and east coast art friends but the Internet and visits allow me to stay in connect with that world as I continue to enjoy my life and friends in New Mexico. The next segment will discuss the questions raised about artist and artist as professional.
Part II discusses the questions presented and will be available by July 30th. The entire essay will be placed on my web site by July 30th. http://dianerolnick.com
under Musings/Discourse .
Information on Drawing and Mixed Media” with Diane G. Rolnick workshops/classes here
