What is art? (#2 of 2), excerpted from Art History through Innovators: Sculpture

Now let's talk about what counts as a major innovation in art. To convey his idea of what’s important, an artist must be able to communicate with you. He has to capture your attention— he can’t communicate with you if your brain is channel-surfing. He has to show you something you can understand— he can't communicate without a common language. He has to show you something so unusual or so vivid that it makes you stand still and contemplate what he has created. In short, he has to make you stop, and look, and think about his work of art.

The innovations we’re looking at on this tour are not novelty for the sake of novelty. Every one of them gave its creator more power to make you stop, look, and think. And these innovations were not gimmicks or minor tweaks. They were so effective that they allowed many other sculptors to convey their values and ideas more effectively.

On the list of sculptures and the timeline, the works that illustrate innovations of that caliber— major innovations—are in bold. There are only 7 of them. We'll be looking at the other works on the list for the sake of context and contrast.  Resist the temptation to make a rude noise and fast-forward through those parts of the tour. You may hate medieval art, for example, but you'll appreciate Donatello and Michelangelo more if you've seen it.

What is art? (#1 of 2), excerpted from Art History through Innovators: Sculpture

Over the next month or so, I'll be posting several of the theoretical parts from my new lecture, “Art History through Innovators, Part 1: Sculpture” The lecture is designed as a walking tour of the Metropolitan Museum of Art, but comes with a PDF of images so that you can listen to it anywhere in the world. The references to images below are to the PDF. The entire lecture (26 MP3 files and 50+ pages in PDF format) is available at 

http://www.forgottendelights.com/ArtHistoryThroughInnovators.htm

This first excerpt comes near the beginning of the lecture.

EXCERPT 1A: What is art?

A standard art history course covers the characteristics of the art of every major civilization and every time period, from ancient through modern. In Art History through Innovators, I focus instead on one question: In 5,000 years, how did we get from a sculpture such as Mykerinus and His Queen (#1A on the handout) to Frishmuth's The Vine? What I want to show you are major innovations in art. That’s why the title of this tour is "Art History Through Innovators."

If you have an inquiring mind, you should immediately be asking two questions. Number 1: What is art? Number 2: What counts as a major innovation?

So: What is art? You might be surprised to hear that there’s no widely accepted definition. If you ask 5 staff members at the Metropolitan Museum, they’ll give you 5 different definitions. Same thing if you ask 5 professors who teach art history.

The most difficult part of writing these tours was making sure that when we start, we’re on the same page about the meaning of “art.” So let’s try this.

Look at the Nike logo on the list of sculptures.

Do you know who that is?

Do you know what he's doing?

Is he good, bad, or mediocre at what he does?

How did he get that way: skill, practice, luck, transcendental meditation?

If you recognize this figure as Michael Jordan, then the image isn't just a blob of ink on paper. It carries with it a set of ideas about excellence, and about how you achieve excellence.

Sculptures carry ideas with them, too. For example, look at Michelangelo's David on the supplementary photos. Most people see in it a combination of courage, strength, and alertness.

But a sculptor doesn’t just show any random idea that pops into his head. Art works often endure for centuries, but artists never do. So an artist can’t sculpt an image of every single thing he sees. Nor can he include every microscopic detail of what he does choose to sculpt. He has to choose his subjects and his style based on what matters enough to him to spend days, months, or years working on.

So by showing courage, strength, and alertness in a work of art, Michelangelo says: “Such things are important to me.” A sculptor who represents Uncle Dave drinking beer in a La-Z-Boy reveals a different set of values. In either case, when the artist creates his work of art, he tells you: "This is important, this matters, pay attention to this— this value, this idea, this action." Sometimes it's this kind of place, this sort of person, this kind of feeling. But it’s always something the artist considers profoundly important.

We’ll talk about why that matters to you, as a viewer, after we’ve looked at a couple millennia of sculpture.

Coming shortly: Excerpt 1B, on what qualifies as a major innovation.

Introducing Children to Art

Several friends have asked me how I would go about introducing a child to art. What follows is a combination of what I did with my daughter, and what (looking back) I wish I’d thought of doing. The suggestions are geared to any age from infant to adult: pick up wherever you feel is appropriate. For me, the point of looking at art is not to learn history or sociology, and it’s certainly not to wow other people with your knowledge. At its best, looking at art is pure pleasure. Even when it’s not pure pleasure, I enjoy figuring out why it’s not. Incidentally, if you’re looking for advice on teaching a child to appreciate abstract works, you’ve come to the wrong person. You can read my thoughts on such pieces in the essay I wrote a couple years ago on Christo’s Gates. 1. Learn to look. Teach your child to observe what’s around him by pointing things out and commenting on them. You can do this walking down the street (buildings, cars, public sculpture), with the pictures in children’s books, or any number of other ways. My father used to drive through open countryside and point out what crops were being grown. That’s what interested him, and to this day, I can’t drive through Upstate New York without noticing what’s growing … and looking at the way the hills roll, the rivers meander, the mountains fade into the distance. This is despite the fact that at the time, I thought playing gin rummy with my siblings in the back seat was much more fun. Don’t feel that what you say about what you see has to be your final word on the subject. Nor does it have to express the accumulated wisdom of centuries of scholarly research. Just saying, “My, that bear looks very happy!” is a fine place to start. 2. Think and talk. Translating images and feelings into words helps you understand and remember what you see and feel. After you’ve made some comments, ask “What do you think?” Your talking is giving the child the words to use; eventually he’ll come up with his own, and get his opinion in even before you offer yours. 3. Evaluate and compare evaluations. Talk about what you like and dislike about whatever you’re looking at, and (this is important) what you specifically like or dislike. Just saying “Eeuw, that stinks!” isn’t enough. But (this is equally important) don’t impose your own views on your child. When you look at one of Raphael’s paintings of the Madonna and Child, you may think of the story of Christ, the influence of Christianity on the Western intellectual tradition, or how Raphael compares to Michelangelo. Your child may love a Raphael Madonna and Child just for the affection shown between the mother and child. Within your child’s context, that reaction is just as legitimate as yours. Don’t roll your eyes. Don’t say, “You like that? How can anyone possibly like that?” Maybe he likes it because it’s a pretty color of blue. Ask him, and listen to the answer. Remember this kind of conversation doesn’t have to be about art. You can talk about buildings, high-tech gizmos, cars, or whatever. The point is to get your child in the habit of looking, thinking, and talking to you - not just to get him to look at art. 4. Use a camera. Give your child a cheap digital camera and let him take photos of whatever grabs his interest. We once took our daughter to a sculpture foundry; what interested her was mostly flowering weeds. The weeds were prettier than some of the works that had been cast there, so you could argue that she was showing good artistic taste. If you spot a pattern to what your child likes, try to find ways to see more of that. Let him put together a folder of photos for the grandparents or aunts and uncles. Use them as a screensaver on your computer. Print them out for a changing display on the walls of your home. If you want to talk with your child about art, he needs to know that you’re interested in what he likes - not just in teaching him to like what you like. (Liking what you like may come later, if you can explain why you like what you like.) 5. Visit some art. Take your child to a museum, a gallery, or a place with lots of outdoor sculptures. Don’t plan to give an art history lecture. Don’t plan to spend more than 2 hours there - make it less if your child’s a restless type. If you’re in a mega-museum like the Metropolitan in New York, pick one room with pieces that you like, and plan to just meander through other rooms, letting your child decide which rooms to spend more time in. Pause often to talk about what you see. Let your child take photos, if the museum allows it. See if you can find a couple works on similar subjects that are hung side by side, and talk about how they’re different. I like to compare notes as we go along of which works are my favorites, in a particular room and later in the whole visit. It helps me keep them in mind, and what my husband or child choose as favorites often reveals sides of them that I never suspected. Notice that a concentrated look at art is the last step in this list of suggestions, not the first. You can take your child to the great museums of the world for hours on end, but if he can’t focus on what he’s seeing, and if the two of you can’t talk about what you’ve seen, what’s the point?

Why not live with art you love?

I’m the kind of person who walks into your home and heads straight for your bookshelves and artwork. I can’t help it. As an art historian, I’m always avid to see more art, and as a mystery lover, I’m always curious to see what common threads I can identify in the books and artworks.

Your choice of art is, of course, a very personal matter. What you like will depend both on what’s in a particular artwork and on your experiences and values. If Michelangelo’s David looks like the bully who beat you up in high school, you’re not likely to want a reproduction of him in your home. No one can or should tell you what you ought to like.

But what if you want to own more art, and don’t know where to start looking?

Based on my years studying art history, my knowledge of esthetics (my writing and research are based on Ayn Rand’s esthetic theory), and my familiarity with art galleries and online sources for buying art, I’m offering my services as an art consultant. If you’ve had the same works on your wall for so long that you don’t really see them any more, or if you have wall space you’d like to fill, I can help. Together we can look at your favorite works and figure out what other artists or periods you might like to explore or live with, in your home or office.

My charge per hour for these consultations is less than the latest edition of Janson’s History of Art a framed 18 x 24” giclee print of the David. Email for details: forgottendeli@earthlink.net.

Upcoming Lectures: History of Painting and Sculpture, Renaissance to Modern

In January Quent Cordair Fine Art sponsored a fine arts cruise in the Caribbean, during which I gave 6 hours of lectures: “The History of Painting and Sculpture, Renaissance to Modern (ca. 1400-ca. 1900).” The focus was on artists of genius whose innovations changed the course of art history. In the final session we studied in detail several paintings and sculptures (including Raphael's School of Athens) using for comparison works seen earlier in the course.

The Cordair cruise was fantastic, and (yes, I do say so) these were some of my best lectures ever. I’ll be offering them as an online/teleconferencing course on four consecutive Thursdays: April 17 & 14, May 1 & 8, at 8 p.m. Eastern time. For copyright reasons involving the images used, these lectures will not be videotaped for sale, so you’ll have to catch them live or not at all. Class size is limited to 15. To register, email forgottendeli@earthlink.net .

For information on my other upcoming lectures and tours (including one on the World Trade Center Memorial and a series based on Outdoor Monuments in Manhattan), visit

http://www.forgottendelights.com/Tours.htm