‘You Don’t Have To Like Everything’

This is what Alan Bennett famously said in 1995 that he’d would like to be put on a sign outside the National Gallery.

This man doesn't much like Dutch landscape paintings

This man doesn’t think much of old Dutch landscape paintings

I seem to find myself having lots of discussions recently about what art is and what makes something good art. Often this feels fairly futile.How can I convince someone that Kazimir Malevich’s Black Square is art when their response is simply ‘anyone could paint that’? Or ‘if I paint a purple circle is that art?’ To me the Black Square is art. It was a piece of its time. It was art then and I still think it is art now. It’s partly the idea that makes it art. Yet it’s partly the emotional response of the viewer that makes it art. The idea behind the Black Square (which incidentally came to Malevich after he’d painted it for a different purpose) was that with an absence of any physical influences, the viewer could feel a sense of release of their emotional response by looking at it (he wanted it to be shown in an empty room). It is all about the sublime, that feeling that many artists crave to generate in people. But if one of those two elements, either idea or response, is lacking, then by my argument, it isn’t art. I now think that my argument is wrong.

With the absence of a physical presence, the viewer has an emotional response

With the absence of a physical presence, the viewer has an emotional response

This week I came across this quote by Alan Bennett ‘You Don’t Have To Like Everything’ and concluded that I shouldn’t be trying to change the minds of people about the value of art that they don’t think are worthy. And also that just because they don’t ‘get’ it or ‘like’ it (i.e. just because they don’t have that emotional response) then that doesn’t mean it isn’t art. We can’t all like everything. So what if we don’t?

Many people when visiting an art gallery feel they have to see everything. I wonder if they force themselves to some extent to get an emotional response to everything they see? I don’t think that’s a good idea. I think it would be better if they just go see what they think they will like, perhaps sample something they are ambivalent about (they might be surprised) and ignore the rest.

As Grayson Perry says in this news item art should be made accessible to everyone and not just shut away in art galleries or in the houses of the rich. Currently, he’s promoting an initiative to display copies of nominated artworks in public places around the country. I think this is an excellent idea. This could turn out to be one of the largest public exhibitions ever.

Grayson Perry looking at art everywhere

Grayson Perry looking at art everywhere

If you can’t bring the masses to art, bring art to the masses. They will either like what they see, or they won’t.

References

Bennett, A. 24 May 1995. ‘I know what I like, but I’m not sure about art’, www.independent.co.uk. Available from: http://www.independent.co.uk/life-style/i-know-what-i-like-but-im-not-sure-about-art-1620866.html [last accessed 19 July 2014]

Can Malevich’s Black Square be considered art? BBC News. 16 July 2014. Available from http://www.bbc.co.uk/news/entertainment-arts-28323247 [last accessed 19 July 2014]

Artists Perry and Gormley on putting art everywhere. BBC News. 17 July 2014. Available from: http://www.bbc.co.uk/news/entertainment-arts-28344026 [last accessed 19 July 2014′

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Digital art – turning wishes into butterflies

One of my most recent interests is digital art. Since I’ve been using an iPad to create animations and also now I’ve started to play around with text animation (or kinetic typography) in After Effects I’ve become keen to learn about the use of digital art and wondering what the scope is for the future for connecting computer art with other elements such as words or emotions.

I used to be terrified of AfterEffects

I used to be terrified of After Effects

Today, I came across this interesting news article. This article is about an exhibition taking place at the Barbican in London called Digital Revolution. One of the exhibits, called The Wishing Wall, allows members of the public to turn their wishes into butterflies. Speaking your wish into a microphone turns the wish into script on the wall which replicates your wish. This text then turns into a cocoon, which is transformed into a digital butterfly, the colour of which depends on the type of wish. You may hold the butterfly in your hand and release it. I have no idea exactly how this works but it looks truly amazing. A device called the ‘connect motion sensor’ is used to detect where the hand is relative to the virtual butterfly. This clever device is what allows the art to interact with the viewer.

If wishes were butterflies...

If wishes were butterflies…

Another technology that I find interesting is the ability to turn people’s emotions into art using what are called ‘smart bracelets’ which claim to detect how people feel about what they see. This apparently works because the bracelete is able to measure emotions electronically. The bracelets glow in different colours depending on the wearer’s level of arousal. They run an electric current across the skin to measure resistance, e.g we sweat when we are excited. Data from the bracelets can be used to create laser art which illustrates collective emotions in real time. Bracelets such as these can also be used to detect other collective changes such as movement to create art. The use of emotional data  or ’emotional tech’ has many applications I’m sure. It’s an idea that has legs.

Bracelets that tell you how you are feeling

Bracelets that tell you how you are feeling

References

Click 05/07/2014, BBC iPlayer. Available from: http://www.bbc.co.uk/iplayer/episode/b049j556/click-05072014 [last accessed 11/07/2014]

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Art for those who are colour challenged

In my daily browsing of the BBC New website, I came across an article about an exhibition at the National Gallery called ‘Making Colour’ which is about how artists have throughout history used colour. This interests me as I am an artist who is fascinated with colour (I see words, letters and numbers in colour). I think most visual artists are interested in colour. Some artists use colour as a tool more than others. Some just want to recreate the exact colours they see and go to great lengths to try to do so, others want to use colour for enhancement or to create an aesthetic beyond the natural.

Part of the exhibition looks at the science behind what colour is and how the brain understands it (the science is actually quite boring I think – all about waves and cones and not at all about how amazing colour is). But included in this, is how colour is perceived by those who are colour-blind. The BBC news article includes the responses to the exhibition of someone who is colour-blind.

Can you read the number?

Can you read the number?

Apparently one in twelve men are colour-blind. This means that I must know some of them since I would count more than twelve men as my friends (even if just on Facebook). I am fascinated with how colour-blind people deal with the different way in which they view colour. I know of one friend who is colour-blind and he is also an artist (mostly a sculptor). He has told me how he finds painting certain things very challenging, such as fleshy tones and colours of nature.

I wish I could be rendered temporarily colour-blind so that I could experiment with my perceptions of colour and use it for painting. Justine Robertson is an artist who is colour-blind yet he uses this to his advantage in his art, creating interesting compositions which use colour in a way that I probably couldn’t as someone who perceives colour as they are.

A painting by a colour-blind artist

A painting by a colour-blind artist

Or at least I think I do, but that thought could lead me on an adventure in philosophy I’m not about to go on here.

 

References

Masters, T. 21 June 2014. ‘How the colour-blind see art with different eyes. Available from: http://www.bbc.co.uk/news/entertainment-arts-27884975 [last accessed 21 June 2014]

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I want to do that…

I have vague ambitions to be a good ‘in the moment’ street photographer (as well as all of my other ambitions). What holds me back is the guts to take photos of strange people (strange as in I don’t know them), risking their wrath. So often during my daily wanderings do I see people (and objects) that I would love to photograph if only I had my digital camera with me or if I do if I had the guts to point and shoot.

This 'Instagram' thing might be interesting

This ‘Instagram’ thing might be interesting

Yesterday I came across this news article which inspired me to perhaps be a little braver. Daniel Arnold, a fairly ordinary person with an ordinary existence, has been spending his spare time taking photos of the ordinary and extraordinary around his home city New York, posting his pictures onto Instagram. I have yet to discover this Instagram thing, although I have heard of it. I guess it is like Facebook but with photos.

Arnold became a bit of an Instagram hit massing quite quickly a whole bus load of followers who were interested in his captivating photographs of New York life. The BBC news article is worth watching (I can’t find any of his photographs on the Internet). The talent to capture the interesting and uninteresting in the moment is one which I greatly admire and aspire to.

Watch this space. I might start being a little braver.

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I think cats are ace but there are limits

Today’s browsing of the BBC News website lead me to this news item about the Russian artist who has a penchant for adding cats to works of art.

Who has the best smile?

Who has the best smile?

Svetlana Petrova has been adding her big ginger cat, Zarathustra, to famous paintings. This idea came to her after she had been suffering from a bowt of artist’s block. Someone suggested to her that she introduce the one thing that was bringing her any joy at that time, her cat, into her art.

The cat wants a cheeseburger

The cat wants a cheeseburger

She sent off a few of the images she created to friends, fellow artists and galleries and created a website for her new cat art. She was quite astonished to learn a few months later that her cat was busy exploding all over the Internet.

I'm the original fat ginger cat

I’m the original fat ginger cat

I like cats, I like art, but I’m not sure that this is a great mix of the two. It is slightly humourous and I’m sure Garfield would approve but that’s about all.

References

Hassan, G. The Paintings ‘made better with cats’. BBC News. Available from http://www.bbc.co.uk/news/entertainment-arts-27507950 [last accessed 27 May 2014]

 

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This week’s homework – an article about museums

This week we had to read this article, ‘Taking Part in the Museum’ by Sabine Breitwieser. The article is about the changing role of the museum relative to the evolving role of the artist over the last few decades.

Sabine breitwieser

Sabine Breitwieser

It starts off by observing that since the mid-1980s, a new demographic of visitors seemed to be going to museums, attracted by an attempt by museums to appear more up-to-date and modern. It asks: is the museum really no longer what it once was? In other words, a place of edification and contemplation, where art is appreciated by people of a similar social-economic background and level of education.

People looking at art

People looking at art

Visiting a museum has recently become more of an spatial experience rather than a chance to just look at art from a distance. The museum has become a ‘space of congregation’ rather than contemplation (p.6, quoting Catherine Wood, Curator of Contemporary Art and Performance at Tate Modern, 2012). Museums don’t just show objects and images, they now have to cater for video, performance, installations and interactive artworks. The artist has become the subject rather than the producer of the object.

Audience participation: Martha Rosler, Meta-monumental Garage Sale 2012

Audience participation: Martha Rosler, Meta-monumental Garage Sale 2012

So, the article asks, what role should museums today play? How can visitors and artists take part in the museum? How can museums adjust to this new ‘feel good, event-oriented culture’ (p.9)? How can museums respond to the ‘triadic mission identified by Kaprow: to educate, to preserve cultural history and to stir action?’ (p.10). How should the sort of interactive art the article talks about be displayed within the canonical institutional context?

Kaprow has ideas of what a museum should now be

Kaprow has ideas of what a museum should now be

The article also talks about the great opportunity this recent ‘turn’ in art offers for museums. Contemporary art is given great monetary value, and attracts great attention from different social classes, and this pulls in the visitors to the museums. Museums should capitalise on this to showcase issues of public concern.

The article finishes with another question (it contains a lot of questions): Could we imagine an art museum that was not merely a collection of valuables but a deposit for the public sphere, which could be accessed and utilised by all kinds of stakeholders? (p. 15)

My personal opinion is that this change is a positive thing. I struggle enough to engage my children in art but when they feel that they can take part in it they seem to get something more positive out of the experience than if they are just required to observe.I try to take them to exhibitions I know will engage them and allow them to be more than mere observers.

We came across this notion of the museum’s traditional role clashing with the role of the participant at the ‘Just Do It’ exhibition we went to at Manchester last year. There, one of the exhibits we came across was simply a darkened room containing just a radio and some chalk. We weren’t sure what we were supposed to do so we started to doodle with the chalk on the walls as we could see that other people had done the same, but were swiftly told off by museum staff and told to ‘put the radio on and doodle on the paper provided while reacting to the music’. This left us feeling stifled and confused. We had been left to participate but expected to respect the limits. Perhaps the museum has some way to go yet until it can shed it’s old skin which it has worn for such a long time.

'In honour of red things' at the Just Do It exhibition

‘In honour of red things’ at the Just Do It exhibition

References

Breitwieser, S.. (2013). Taking Part in the Museum. Afterall: A Journal of Art, Context, and Enquiry. Issue 34 (autumn/winter), 4-15

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How did I get from here to here?

I had a reality check moment the other day. I have them now and then. Often they come in the form of a ‘lucky me’ thought. I often get them when my children do something clever or sweet.

Two of my children being sweet

Two of my children being sweet

On this particular occasion I was immersed, more like drowning, in Adobe After Effects. I was trying to work out how to pan and zoom a still image at the same time. Despite watching numerous YouTube tutorials (very comprehensive tutorials at that) with step-by-step guides (and lots of ‘hey dude’s), I could not get this simple-sounding process to work for me.

I had a deadline that was pressing on me though, so I needed to work it out. I was due to present a sample of my work to the staff of Powis Castle in two days’ hence with the aim of exhibiting work in the autumn. Although I didn’t ‘need’ to provide a sample of one of the videos I was hoping to make, I felt that I ought to and that it would help my case. So I was spending the Sunday before battling with Adobe software desperately trying to put my imagination on screen.

After Effects is great for making light sabers

After Effects is great for making light sabers light up

As I was struggling (and crying in tears and in voice), a thought came into my head: what am I doing? I said to myself: I paint and this is not painting. I paint sea pictures. Why am I spending a lovely sunny day sat here with a laptop on my knee trying to work this out? What is this? Is it art? Why can’t I just paint? I can ‘do’ painting. I know how to paint. I’m not a film-maker. I’ve never wanted to be a film-maker. So, why am I here doing this? Why am I trying to pan and zoom from a cat’s face?

One of my many sea pictures

One of my many sea pictures

I wanted to stop. I wanted to give it up and tell my college tutors ‘I just want to paint instead please’. But I didn’t because I hate quitting. I wasn’t going to let Adobe After Effects have the last laugh.

With any new or complicated task I tend to go through a pattern: I decide on a course of action, realise it is hard, have a flappy fit about it, cry, sulk, go back to it, realise it is still hard, sulk some more, then go back again and work it out.

So after going through this process a few times last Sunday, I finally cracked it. Or at least, I semi-cracked it. I managed to get the thing to pan a bit, zoom a bit, for six long seconds. It was acceptable for the ‘sample’.

Then my thoughts changed to: how amazing that I am here? How wonderful is this making videos lark? How fantastic does it feel when it works? If it wasn’t for Shrewsbury College I’d still be painting the sea. Instead I am animating rabbits and snakes and cats, and editing audio interviews, rendering, exporting and importing. I am doing REALLY INTERESTING STUFF. It is still art. There is no doubt that it is art.

So thank you, Shrewsbury College!

Where I go to learn art

Where I go to learn art

In case you’re interested, here is the ‘sample’ video I was making. Please, please appreciate the skill in the last six seconds of footage. Making that made me cry real big floppy tears.

Going off on a slight tangent, they are not going to be running the Foundation or the HND in Contemporary Art Practice next year due to budget cuts. That’s a real shame. I think others should have the opportunity to have reality checks like mine.

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Do objects care?

This week’s article for discussion, Indifferent Objects by Laura McLean-Ferris which appeared in Art Monthly about eight months ago, is about the art world’s recent obsession with objects and what objects are thinking about this (not a lot, it seems).

Lots of arty thought expressed in here

Lots of arty thought expressed in here

Compared to the last article we had to read, this one was much easier to understand so there won’t be much of a vocabulary list here.

This article looks at the ‘object turn’ in art which refers to the fascination in objects for many contemporary artists. These artists are using objects as material (Joana Vasconcelos), depicting objects in unusual settings to make them interesting (Judith Hopf) or trying to convey a message through a relevant, unusual or contentious object (Henrik Olesen).

Can you see what this is made from?

Can you see what this is made from?

The article gives specific examples of artists who have used objects to highlight moments of historic or political change or to channel some sort of historical message. One such example given is an installation by artist Danh Vo who acquired three chandeliers from the ballroom of the Hotel Majestic where the Paris Peace Accords were signed in 1973, an act which symbolized the end of the Vietnam War. He either hung these chandeliers in galleries of dismantled them to use the pieces as a metaphor for the shattered bodies of that war.

A symbolic chandelier

A symbolic chandelier

Other artists who have used objects in their art include Henrik Olesen who used an image of the poisoned apple that Alan Turing ate when he committed suicide after going through ‘conversion therapy’ for homosexuality in a piece of art.

The use of objects in this way in art is a very powerful way to highlight an issue or tell a story.

The one phrase in the article that I did need to research was Object Oriented Ontology, or OOO to those who know what it means. Object Oriented Ontology, a term coined by Graham Harman, is a branch of philosophical thought that, in contrast to Kant’s notion of human consciousness being at the centre of everything, states that there is no relationship between objects and consciousness. It puts modern philosophical thought back into the realms of the real. I prod therefore you are. Objects rather than being the product of thought, exist independently of thought. They are all equally valid and they are all equally valuable. Everything can be thought of as an object, even me writing this now. Perception is irrelevant. The world is composed of objects and they are all the same.

My shirt is as valid as the Crown Jewels

Graham’s shirt is as valuable in the world as the Crown Jewels

This kind of makes sense to me. Of course objects exist and of course objectively they all have equal value. However, I prefer the philosophical thinking, which is related to OOO, of the Speculative Realists. These people believe that the world exceeds what we can know about it and it is that excess, or that strangeness, that we should explore and highlight.

Is that what these artists are doing? Are they looking at the unknowable about objects or highlighting that aspect of them that we connect to issues, events or emotions or aspects of our lives today? Or are they just trying to understand them?

At the end of the article, McLean-Ferris asks: despite the ‘object turn’ in art of recent years, do the objects care? Or is it that they are just unable to care?

References

Jackson, R. (2011), ‘The Anxiousness of Objects and Artworks: Michael Fried, Object Oriented Ontology and Aesthetic Absorption’, Speculations, (II), pp. 135–168

McLean-Ferris, L. (2013) ‘Indifferent Objects’, Art Monthly, 368, July–August

Object Oriented Objects on Wikipedia. Available from: http://en.wikipedia.org/wiki/Object-oriented_ontology [last accessed 29 April 2014]

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It’s not me, it’s my creative genie!

Recently at college I came across this video on YouTube, which shows Elizabeth Gilbert’s (author of Eat, Pray, Love) ‘Ted Lecture‘ on the meaning of creative genius and the effect of having a creative nature on the creative person.

Talking about genius

Talking about genius

I have thought a lot about the relationship between creativity and suffering and mental health in the past as they have been linked by theorists and scientists who study these things (one leads to the other, or the other leads to one, who knows).

The epitome of the tortured artist

The epitome of the tortured artist

Gilbert’s lecture is about the nature of creativity and where it comes from. She talks about the assumption that if you are a creative person, you will end up a tortured artist unless you see success. Or, she says, even if you do see success you will become tortured unless you can match that success again. The assumption that the burden of creativity is within the individual is restrictive and dangerous. Artists (painters, poets, writers) should be released from the fear of failure.

She proposes that rather than creativity being seen as something that can be controlled, and produced at will, it should be seen as something that is out of the body, almost like a daemon, above the control of the individual. This creativity daemon channels ideas into the person at its own will. She talks about the idea of the disembodied genius. The individual is a vessel rather than the driver. Apparently this is how the Greeks and Romans viewed creativity. But then the humanists and the Renaissance thinkers changed all that and we’ve been stuck with the idea of the person being the central influence over creative output ever since. So instead of the person being congratulated on their imagination, they should be regarded as lucky to have been visited by the genie.

At the time when I watched this video I was feeling a bit stuck in a rut with my Powis Castle project and feeling pressure to come up with a better idea. I had got an idea, but it didn’t quite seem ‘there’ yet and not as good as my previous ideas and despite my best efforts, I couldn’t improve on it. However, I felt encouraged by this video to think that perhaps my lack of inspiration at that time was beyond my control (I just needed to go to Zumba more often) and to just go with the flow.

Recently, my eldest son wrote a poem that his teacher described as ‘the best poetry writing I have ever read’. It was read out to all the classes in the school. It was his moment of glory and I told the whole world, via Facebook, about his genius. Two weeks’ later just before Easter he decided to write a poem as his entry in the annual school Easter competition. However, every attempt he made was lacking. His rhymes were crass, his sentences obtuse and his rhythm clumsy. I was honest with my feedback. I told him that his poems were unlikely to win a prize.  He reacted to this news very badly. He told me in a fury ‘I will never write a poem ever again!’ He was suffering from the belief that creativity will always come to those that have had a creative success and the feeling of being unable to match that he was finding unbearable.

The best poem ever

The best poem ever

Later on we had a talk. I tried to explain to him about this out-of-body creative genie that comes at odd moments. I told him that the more he tried to force a poem out of himself, the harder it would be to come up with something of beauty. My advice to him was to go away, read a book, play with some Lego, and wait for the poem to come to him.

Later on, after a few more tears and declarations of ‘I can’t do it’ he took himself off and wrote a short, concise six-line poem about cream eggs. It was basic. It was simple. But it had beauty where the other attempts hadn’t. It didn’t win any prizes but it made him understand something about the nature of creative activity: don’t sweat it. It comes when it comes.

So its not my fault my ideas are rubbish! Don’t blame me! And I’m not going to sit and sulk about it, its just my job and I’m just lucky that the creative genie visited me for a while. I’m going to go to Zumba and wait for him or her to come.

 

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Around the world in eighty arty farty cafes, just not this one

Ar the moment we are on holiday in Devon. Today we visited Plymouth. And, as is fairly normal, while we were there at lunch time we needed to find somewhere to eat. ‘Somewhere that sells paninies‘ my husband suggested. We all nodded in approval. The consensus seemed to be we needed a cafe, that sold paninies’.

21st-century lunchtime treat

21st-century lunchtime treat

Roughly two minutes after we made the decision to find a panini-selling establishment, I saw a sign that read ‘art gallery cafe 40 meters on the next left’ The sigh also promised an ‘arty atmosphere’ in which to enjoy our paninies. So like a honey bee to a daffodil I followed the instructions with much eagerness, with my family trailing behind me.

Bzzz

Bzzz

We easily found the ‘art gallery cafe’ and after inspecting the menu to check it did indeed serve paninies, we sat down inside.

We like to go to art gallery cafes when we are on holiday. There is one in Borth and we visit every time we go there. In fact it has earned the nickname ‘mummy’s favourite cafe’. Every time we go there we play ‘MFP’ (my favourite painting) where we take it in turns to pick out of the offerings a favourite painting that we might take home with us money no object. We also play ‘MLFP’ (my least feavourite painting), the painting we’d hide in cupboard if given to us. We play this second game very quietly. This cafe in Borth was part of the inspiration for me to write a few blog entries about arty farty cafes.

I spend a lot of time in arty cafes

I spend a lot of time in arty cafes

This ‘art gallery cafe’ in the centre of Plymouth was not what I had hopped for. I won’t mention the name because my opinion is just that, opinion, and I don’t want to give the wrong impression of the objective value of the establishment – the food was nice and as my son said ‘the service was good’.

So what was wrong with this cafe? After all it had paninies on the menu and it had plenty of art on the walls, as promised.

Is there any wall space left?

Is there any wall space left?

In fact the walls were completely covered with paintings, lots of paintings. You could hardly see any wall at all. It was an explosion of art. I found the overall effect quite disturbing. The paintings were all of a brand that is seen in many 21st-century art galleries: thickly applied or conversely, airbrushed, paint; dogs, more dogs (see image above) and lions; and seascapes, small children and horses. There were also beaches, people on beaches, pirates, sailors, and cityscapes as well as boats on seas, boats on rough seas and boats on beaches. This was post-modernist art at its best, but not the good end of post-modernism. The over all effect was chaotic and nightmarish. I felt quite disturbed. I wanted to cover my head to hide from all the art.

Seascapes - the sign in the middle says you can take home for 24 hours - try before you buy

Seascapes – the sign in the middle says you can take home for 24 hours – try before you buy

I struggled to pick MFP. I struggled to pick MLFP. Not because the art was no good, but because there was too much of it.

I don’t want to come across as a snob here. I’m not trying to be. I wouldn’t dream of saying that my art is better than the art I saw today. I can’t paint lions that look like those lions I saw today. I’m not saying that the value of these types of paintings are any less than a painting that might excite me for being unusual or simple (I have said before that I am attracted to calming art rather than chaotic art because I am a chaotic person). However, I do think that the gallery here is missing a trick. They have tried to put too much on display. It was confusing, blinding and overwhelming. I couldn’t ‘see’ the value in any individual painting because each was placed either side, above and below, diagonally from, horses, dogs, seascapes and pirates.

Post-modern impressionism

Post-modern impressionism

But my worry about snobbery also leads me to ask: what is it about horses, dogs, seascapes, thick paint and children playing in the sand that artists like to paint? I suspect they are painting to a market. They are painting to sell rather than to encourage a response or make a point. They expect that people will pay up to a certain amount of money (up to about £200) for pictures such as these, pictures that borrow from 20th- and 19th-century art styles, paintings of objects that bring pleasure and feelings of nostalgia to people (childhood scenes, Parisian street scenes, horses and dogs). If that is true, then they are successful and should be admired. Proust would be impressed – paintings as madeleine cake.

Feel that nostalgia for childhood beach holidays

Feel that nostalgia for childhood beach holidays

I still worry that I do sound like a snob. But I’m really not trying to be. I’m just trying to understand the art world and seeing if there is any point me trying to be in it. I really can’t see myself making a career out of it because I only want to draw and paint things that interest me (such as iPhones and cream eggs). So I guess art will forever remain a ‘hobby’, yet in my mind the word ‘hobby’ belittles the importance of it for me. I think I just have to keep doing what I am doing and hope that some people will take notice and take something away from what I have done (even if I don’t get any monetary benefit from it).

Not a big seller, but it was fun to paint

Not a big seller, but it was fun to paint

The cafe did sell very good paninies. So we left full and satisfied on the nutritional front, if not so satisfied on the art front.

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