Respect – Empower – Include – Win
We studied some form of history for most of our educational years. As we moved toward more specialized knowledge our focus began to narrow. It most often wasn’t understood or appreciated until the history began to become more relevant to our specific interest. This leads us to discuss the history of the emergence of the Art Gallery in the world of influence. The war if 1812 is the benchmark for the beginning of the Industrial Revolution which brought to prominence a huge group of international entrepreneurs with American names like Frick, Guggenheim, Vanderbilt, Rockefeller, Stanford, Crocker and so on and so forth. The 1989 fall of the Berlin wall is the benchmark of the beginning of the Digital/Information Revolution which brought to prominence names like Gates and most recently web 2.0 Social Media mogul Mark Zuckerberg.
The Art Gallery or Art Dealer most often acted as the agent for the Artist and developer / promoter of trends in Art. The Art Gallery prided itself on being able to influence taste and position the Artist as a Brand to be desired and collected. We only have this precedence until the emergence of Social Media where everyone seems to have gained a voice and power as never seen before in history. With the recent news of facebook going public we hear the name of a graffiti Artist David Choe, who traded his art for stock in facebook which is said to be valued at around 200 million dollars. This is clearly a new precedence for the concept of the Artist having their own voice and really not needing to be represented by a Art Gallery. So in light of this new precedence as well as other stories of Artist having success selling their Art, that could never have had the opportunity to be represented by a traditional Art Gallery. How is the Art Gallery to redefine itself as a relevant institution of the 21st Century Digital Social Media Age?
the outsider artist
Neo-expressionism is a style of modern painting and sculpture that emerged in the late 1970s and dominated the art market until the mid-1980s. Related to American Lyrical Abstraction of the 60s and 70s, Bay Area Figurative School of the 50s and 60s, the continuation of Abstract Expressionism, New Image Painting and precedents in Pop painting, it developed as a reaction against the conceptual art and minimal art of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in an abstract manner), in a rough and violently emotional way using vivid colors and banal color harmonies.
Robert Colescott, Jean-Michel Basquiat and Anselm Kiefer to name a few prominent in the Neo-expressionist movement were some of my teachers and influences at the San Francisco Art Institute. By definition I am a Neo-expressionist artist. Does this new definition change anything? Is it a good thing or a bad thing? Is suddenly realizing you’re a neo-expressionist like finding out we are Bi-polar, Obsessive Compulsive, Dyslexic or have some other disorder that makes us not OK. A lot of the best Artists might not have fit into the mainstream idea of what‘s OK.
Why do we have to label everything anyway?
Well I guess it does help people to understand the common thread and it helps us to realize that we are part of a voice of many and not just alone in our journey to realizing that not OK with some is fine with me.
Artist: Joseph Osborne
Title: Kwanzaa #2
Image Size: 5′X 7′inch art print
Great Pre-view Sample For The Giclee Custom Edition
Bill Traylor was born into slavery in 1854. The prime of his life was spent sharecropping. Like most blacks of his generation, the first black American citizens, they were expected to farm the land without owning it. Bill Traylor was expected to know his place, stay in it and leave this world with out leaving a foot print. Bill Traylor at the height of the great depression, in his 80s, he moved to Montgomery, Alabama. It was in Montgomery, he found himself homeless, jobless and alone. However regardless of his circumstances he pursued his passion which was painting, drawing and documenting the local culture in the thriving African American community. There is no evidence of Traylor drawing before moving to Montgomery, however once there that is all he did.