[Previous entry: "Win $1000 and an Art Trip..."] [Next entry: "A whole playground of playhouses..."]
10/21/2005: "An Artistic Journey and Art Critics" by Hyacinthe Baron
Artists have a wanderlust.
Ever feel like a book is closing on a journey?
The ache in our hearts for more space that grew in the middle of the big city of Manhattan urged us on a trip we describe as the 'ride of a lifetime' in the three published novels of our Art Mystery Series.
The books, chronicle events and individuals that are 99% true, but reality is superseded by fantasy and artistic license as we encounter characters and solve mysteries and murders using a palette given me by my mentor Marcel Duchamp. Talk about imagination.
In each book location I am inspired to create a new series of paintings based on a color that dominates the scene: Burnt Sienna in Scottsdale, Lavender in Laguna, Hooker's Green in New York. Excerpts can be read on Amazon.com.
Our wander lust finally comes to a rest at the Baron Conservancy. Here is a physical location that grounds the conceptual visions and earthwork creations that we hope to realize in our lifetimes. That book will be out in March 2006 and every year after as the annual Art and Human Nature Collection.
This is where our heirs (four sons) and their children come in. And of course we include in the Baron Conservancy legacy all the artists from all over the world that we come in contact with and with whom we look forward to sharing more creative works and all our dreams.
Looking back on the artistic journey is like turning one's head during a car ride past something familiar, knowing that art and talent was always there, only there were roadblocks that popped up along the way to challenge what we know.
As children we are not sure of most things, as adults we constantly weigh where we are going next, as artists we are aware of certain truths. The desire to create and to fashion our individual expressions and impressions has always been present.
We always found critics like Gates locked along the way. But as artists we found the key to open them.
Who is it that thinks that society is calling the shots? Who is it that is to determine whether an artist is better at a young age or an older age?
Who is the artist who will succumb to the opinions of critics, who, by the way, notoriously do not collect Art. The art critic's job is to question the nature of art and beauty, about how art transfigures the common place and all the while to argue with the art collector about values, both aesthetic and monetary. Is there a method in the madness of art criticism? We wonder what artists really think.
Jose if a critic told you he hadn't a clue what you are doing or why you insist that you are making art, and used that as an excuse to tell you that when you get older you may get better, would you allow his opinion to make a difference in your desire to create?
Andrew what if a critic told you that you have simply switched from fondling car bodies to smoothing human forms out of marble and to keep hanging in there because when you get older you'll finally maybe achieve what you desire, would you keep on your path?
Walt what if a critic told you that he feared for your students and can't imagine what you are teaching them about art other than that historically you are recalling Isis' search for the lost parts of Osiris in the form of an obelisk and constantly repeat that motif and call it art, would you care? Or be compelled to veer from your course to tell him off? Or would you continue to set an example of how a big strong artist can travel the world and have great experiences and all because of the decision to be an artist?
In the end who do we listen to? The art critic who doesn't have a clue how you, the artist managed to arrive at your active status and so sets up a position as an expert, as if there could ever be such a thing as an art expert, in part to demean the value of your work should it ever reach auction status. Or the individual who acquires a work of art you created because he is jealous and wants your artistic talent to be his own so that in the end you are both caught in a sharing that lasts lifetimes? But you, the artist, are leaving on your next journey because each new work is another adventure denied the art critic and art collector until you are ready to take a rest along your way.
Art is about that of course. The daring of the artist to put it all down in a language that he is the only one to understand until the moment when another being is touched arriving at a destination on some deeper level where you are known and understood and embraced for the bravery of your commitment to see and say what you had to no matter what the end result.
Art ultimately is about sharing which brings us as artists closer to the desired goal of human nature, that of altruism. Because any other way we remain beasts unable to communicate except on the grossest levels - such as war.
Artists are voyuers because we are so sensitive and observant andwe can point out the way to those who have no talent or have been scared out of their ability for self expression.
Speaking of books, I cannot stress the importance a book can play in the career of any artist. Traditionally the advantage of group shows of any kind, whether in galleries or museums, has always been the CATALOG, a listing of the work shown, the artist's name and pertinent data. Rarely is the catalog illustrated so only words are used to describe visual works without images. The purpose of the exhibition catalog is always to memorialize the Curator and the theme of the show. This was an attempt to control the artists young and old from inflating the prices of their works when they became in demand
This is to be considered another snob tactic and elitist as if only the ultimate patron or those who braved the attack of an art associate at the gallery were privileged to view the works at all. So the history consists of the memories and ultimately what was documented in the press, while the catalog is back up for the artist’s resume when the time comes to actually sell a piece to a buyer.
Our decision to establish an annual art book is the result of our many years of first hand experience in the art market and through ownership of Hyacinthe and Baron Galleries on some of the most prestigious shopping streets in the land, from New York's Madison Avenue to Rodeo Drive in Beverly Hills, CA.
The basic premise, which we learned is that history goes a long way in creating the identity and historical place of an artist's journey as published in a book with images that remains available and archived. The other aspect is that a Literary and Art Book validates and puts artists and authors in conjunction with each other to reach an audience of interested parties.
For instance I have a huge base of collectors who collect art from others as well as mine. By showing my work alongside others it suggests that a collection can be increased. Just as in the past when limited edition Lithographs, etchings and serigraphs validated the artist for so many collectors, a book remains, like a show catalog, as a historical record of the works of the artist. It is meant to be a celebration of artistic endeavors and a chronicle.
Our resolve that an annual book remains the most excellent of ways to consistently reach art buyers because of its availability in so many venues is as firm as ever.
I suppose I should make it clear that the idea is to form a kind of roundelay, which functions as a enforcement of the main concept of exposure and validation which is to repeat, repeat, and repeat.
Artist links such as wwar.com further document Artists works and even make them available for purchase directly.
All of these venues are seen by a variety of art lovers and because of the reciprocal links each artist's following is made available thereby allowing for an expansion of viewers, readers and potential buyers.
"The Web is where we should be when it starts to really roll." Thank you Andrew for quoting us from an earlier blog.
Today we have another medium available. We have discovered that the Internet is an important part of the future and an important part of the art sales puzzle. From our call to artists, authors and poets responses come from all over the world, and the realization increases that we have tapped into the marvel of communication for our age, beyond anything we ever imagined. And just when we thought we knew everything. Artists must establish a gallery of their works on the Internet with a portfolio such as the excellent ones available on Absolutearts.com and an individual web site to be available on the search engines.
In conclusion, as artists we must continue making art, whether it be purely conceptual or even what might be considered outside the stream of art into areas of mechanics and digital computerization. Because to have the courage to do so gives an individual access to the kind of power that could put an end to war if everyone was allowed to experience it. A flight of fancy: If all the artists Internet portfolios could open at once the variety of works and individual forms of expression would create a dazzling new road to travel with outstanding sites and viewing stops along the way.
Once a work of art is created it becomes a part of the tangible historical records. We hope to do our small part through publication in book form and on web sites on the Internet.
Is the Internet as enduring as a book? Are artists and art patrons and even critics really looking? Is art being sold on the web? There are many programs available to track web views, their length and how often and even what they are looking at. Let's do a little test. All are invited to participate:
1. If you have viewed this blog then comment and tell us about your journey.
2. If you have viewed my portfolio on wwar.com then sign my guest book.
3. If you have gone to my website then send me an email at barongallery@aol.com.
4. If you have read or bought one of my published books through an Internet bookseller, send me an email or write a comment .
5. If you blog and/or comment and post in forums let us know where we can find you and where you are on your artistic journey.
6. If you would like to do a reciprocal link on your website send us your web url: Here is ours: http://www.barongallery.com
7. If you have sold your art on the internet, let us know.
We believe the combination of an archival book plus the Internet are two of the most powerful means of communication and most important venue for artists. We would like to hear your opinions.
Red Sunset: Acrylic on canvas, 2x3 - Hyacinthe Baron painted along the journey.
Ours has been an extraordinary adventure and we can't help wondering how many invisible artists all over the world are becoming visible along their individual road to artistic freedom.
