Julien Delagrange- As an inexperienced person in the art world, I find that your attention to detail coupled with your incredible presentation skills truly make learning about this subject a pleasurable experience. In that regard, I want to thank you for sharing your valuable knowledge, insight and experience with the community as it underlines the importance of how impactful the art world is in our lives. I wish you the very best and look forward to your next chapter soon.
Absolutely agree. I am a mid career, award winning artist and i am finding most of the material extremely valuable and encouraging. High standards here. 😊
In my opinion there is nothing left to add, nor should anything be taken out. I’m on a mission to watch this 100 times before further comment. This is my second time 98 more to go…
I heartily agree that consistency and technical skills are key elements of quality in the arts. I take pride in giving my ideas to an open audience. Thanks for your excellent presentations of some difficult concepts. We, your audience, are better for it.
I think consistency is not the purpose, but the end result, but it can take a lot of experimentation. Consistency is almost automatic because the artist is the constant.
You're spot on! If the artist is conscious of what they are doing, the consistency will be a natural result of their work-as was the case with almost all the artists from this list. However, for the ones that struggle with maintaining consistency or recognizability, and can often be helpful to reflect on these strategies and implement them consciously, without forcing things, of course. Thank you for your excellent contribution! Have a great day
I am glad you mentioned Richter; I absolutely LOVE Richter not only because his insane painting ability but also because he didn't buy into the capitalist expectation of "consistency" that galleries push forward, and still became immensely successful and recognized. He became an expert of his medium and explored all the varieties of human emotion while exploring the capabilities of his medium. His process in itself is art: human, honest, and beautiful.
Richter ... holding the flag of figuration high, over decades when „painting was declared dead“ even in general, let alone figuration. Making sure to always use huge enough conceptional „quotation marks“, he smuggled in everything imagineable, charming and cheeky like a courts jester.
Totally agree with this. Love Richter! I believe, if you are true to yourself, the more subtle core exploration present in your work will emerge as a pattern. That is what ties all Richter’s work together even if it seems superficially unrelated. Be fearlessly true to yourself and deeply engaged with your work and it will all work out.
there are artists who absolutely refuse the disciplines you listed but you give every reason why they are absolutely necessary, useful and practical. Thank you for your content. personally, I'm getting better by simply considering that you are correct and putting it into practical use in my own work.
Great lecture so clear and well broken down into the relevant sections with examples. I think this talk alone would make a great book. Thank you so much for this. Well researched and concisely delivered. As an artist it is so easy to forget these core principles over time and just drift. Making art requires a rare combination of discipline, freedom, experimentation, focus and attention to detail. So many balls to juggle at the same time !
Thank you for tuning in and for taking the time to write these most kind words; I appreciate it! You're spot on when it comes to the different balls one has to juggle to create good art. Wishing you all the best!
Conceptualising alternative conceptualisations - an awesome framework that neatly binds and presents for easy digestion an invaluable collection of insights. Thankyou so much for this remarkable piece of artistic leadership - 🙏
Thank you very much for all your videos that I watch every time. Indeed, art must remain free but have a long-term vision (production of series) at the same time it is necessary to create ruptures, there must be a process of evolution, it is the balance to be found and it is the most complex part. Between freedom, obsession, and consistency. It seems to me that the style or the point of attachment which makes it possible to immediately recognize the work of an artist results from this balance. Thanks again. Ps: your dog is just as wise as he is beautiful :) lucy Einna.
Dear Lucy, thank you so much for watching our videos. I really appreciate it! Yes, you're spot on. Ruptures, twists, revisiting older motifs, creating a web of developments. Greetings from both of us from Belgium and have a great day
Indeed, style and consistency develops over time, as the artist matures in his/her skill and depth of vision. Can't fake or make that up, it evolves naturally through striving for perfection creating thousands of paintings before anything decent emerges.
Thank you so much for your excellent lecture!👏🏻 It is well thought out & presented, with clear examples & wise suggestions. I have only very recently discovered your videos & channel, & as a lapsed artist I feel greatly inspired & encouraged by your posts. 🤩 Wonderful!🎉
Not me looking into this topic for years. And turns out the answer was here! Thank you very much for the work that you do on this channel, not also is helpful, insightful even but inspiring
Once again great containt! As I am seriously focussed on my art career now I found your videos really precious and helpful. Your RU-vid channel is one of the best when it comes to art.
Again a visit to you here and again reaffirming. An artist talent is nothing with out further discovery. Always imagining the image through exploration, Not easy without a thorough understanding of the original start the beginning must be fully realized. Beyond many impossible for most, certainly the artist here are inspiring. Thank you.
It was very insightful and I just created a new unique and consistent art style! The most amazing one. INVISIBLE ART. Introducing the enigmatic realm of "Invisible Art," a groundbreaking artistic movement that challenges conventional perceptions of art by embracing the absence of physical and digital content. Within this revolutionary style, artists craft immersive experiences that transcend tangible boundaries, inviting viewers to explore the unseen dimensions of existence. Guided by the power of imagination, these visionary creators harness intangible elements such as emotions, concepts, and sensations to provoke thought and evoke profound introspection. By shattering traditional expectations, Invisible Art unveils a new frontier where art becomes an ethereal manifestation of the intangible, inviting viewers to engage with the invisible threads that connect us all. (by chat gpt) Now, how can I sell these invisible art pieces?
😂 I must say I expected a more original parody of art style. Nevertheless, the dematerialization of art has been very interesting since the 1960s. The immaterial, the elusive, the invisible, and so on are very important and intriguing. I invite you to watch an Ann Veronica Janssens documentary with an open mind on RU-vid. Enjoy!
Thank you. You made some excellent points. I did not hear you mention beauty or aesthetics and I would appreciate your response. I am also confused by the trend which views art as a political or moral undertaking. One would think we have moved on from the Middle Ages. Why should art in fact be so personal? Are we, as a collective, so fascinated by an individuals' trauma that it is enough to justify a work as art? Is that a good enough reason to instigate a practice of art? I look forward to comments and am sincerely interested in debate.
Hi there Lena, thank you for your interesting question and sharing your thoughts. When it comes to beauty-this is something very subjective of course so it is difficult to present an art scientific disquisition on this matter, although it could be interesting to take on the philosophical history of aesthetics; the question "what is beauty." But before we get lost into this sophistic debate, your second question is also very valid-why does it need to be political or personal and is this a justification for it to be art. This reminds me of lively discussion I had when I was at university when I was arguing something similar. Art can be political, but doing something political does not mean it is art-or good art. First, the intention of the artist determines if it qualifies as art. However, if something is intended as art, it does not mean it is good art. For instance, Banksy is very political but personally think it is a bit too flat and predictable, so I feel it is more propaganda than art by times. But when there are numerous elements in play; aesthetics, a personal narrative, a unique vision and development, engaging in a dialogue with art history and your contemporaries; the intention becomes reinforced by all these things, making the piece a conversation piece and increasing its quality as an artwork. Very interesting topic!
@@contemporaryartissue Thank you for responding and points well taken. Endless notions to think about and discuss. I understand your spherical response re: numerous elements at play. How interesting it would be to actually debate some of these points live.!
Most of my paintings were done from my intuition, from guts filling, and by the influence of the German expressionist, and others famous Artists ,also came to me by Muza that I hade, I always deals with sosaiety, with people, I also painted abstract, i have in my studio 250 paintings, I started to paint in school, when I was 7 years. I am multi talented, I makes also sculptures, and I written poetry, and printed it in book, also, I play 4 years on cello. I have a nice record, I made 9 hexebition, and sales aleady 22 paintings, now I’m ready to selling the rest of my collection. I had resived many compliments on my paintings. And I ready to let them “go”. I learned in the art organization, with prof. John Bayl, 720 Academic hours, in 6 years. Thanks, ika
Really nice. I was looking for this type of info. I have two very different styles. Both pop art. One is a comic book type of aesthetic similar to warhol and lichtenstein. And the other is very inspired by keith harring. They are similar in themes i potrait but very different in visuals. I have a lot of doubts on how to present them in a consistent way. Thanks for the video!
Always a finding that proceeds organically never an adaptation. Ever evolving toward pure idea. That this idea lives in each artist waiting to be realized.Ideas are our compass they point the way. Wonderful how your video’s push me to think about these things. Thank you CAI❗️Keep ‘em coming always looking forward to your next while reviewing the others.
Hi, thank you for commentating on these important pointers. I have only just found your channel and wonder if the pointers in the preceding video are followed how to move from local public gallery sales, to earning a good living by own artworks please? By the way I love how relaxed your dog is. Thanks and Regards Joe B
I think the presentation is good, but personally I don't seem to understand what all other who commented seems to understand, since there are very difficult to find real buty in the shown art pieces. Often I just find it depressing to watch any installations. Last time I visited Lousiana art exibition in Denmark I just found it a very boring experience, but I had to be patient since I was there together with friends who seemed to enjoy what they saw. Some years ago I visited the watercolor muséum in Skärhamn i Sweden and I found the exitbition very interesting. The hanging of Emil Nolde's art was exqisite and very beautiful. A year later, when I visited Louisiana in Denmark they showed the same art, but had hanged it very tight in a big square, which made it impossible to enjoy the art. Once when I visited the muséum of Dalsland (a district in Sweden) they showed art of the Swedish professor Arne Isacsson, and his art is what I call art. I saw a picture from an art exibition where a bunch of people are staring on thre enormus pictures of white canvases' and feel just faberglasted about what it is all about!
Consistent quality is important, what bothers me about how to become a more recognized artist is that you kind of have to repeat yourself… You do the same thing over and over in a different way because you need to make a living and make a name right? But at the same time it kills you as an artist, it’s just your creativity, I have never done anything that was, the same, not even similar… They are always different, but I’m trying to find a little niche so I can I guess, create my own style? I don’t even like saying that… I like changing because each painting is different. I guess it’s more of finding a series of paintings that are similar to establish a certain look, which actually really sucks. I prefer Picassos method just paint what you feel and keep changing and evolving because that’s the most important thing for artists Not making money and getting galleries… But constantly evolving… It really is kind of a fucked up situation…some people are born with a specific style and it works..Maybe I’m still trying to find my own thing… But yes, the idea of repeating myself is frightening… But it’s also slightly necessary, which again… If we didn’t have the money system we wouldn’t have to worry about it..
It's very hard to deny your own ecriture, in that you'll always leave your market in whatever it is you make. Reproduction or conterfeit artists are different.
I also find it difficult to remain with one style, same medium. Sorry but my brain just plain explodes with ideas on various solutions, points of view, etc. And I want (perhaps need) to show it all. I'm in my 60s now, and yes, I've seen my consistency develop from my younger years, yet there remains a gnawing need within me to explore all possibilities.
The fact that contemporary audiences associate polka dots with Yayoi Kusama now is only a reaction to a small portion of her work, The fact that one part of an artists work becomes recognizable to an audience due to a formal or thematic repetition actually says nothing about the role consistency does or doesn’t play in the totality of their work which might be produced over decades of effort. Kusama’s early performances have nothing to do with her later work, which is fine. Trying to contrive a consistency in style over her career is intellectually misleading. As is the way Gerhard Richter’s art is described here. Read the interviews and statements he’s made. I don’t think it’s possible to find anything close to the idea that he is intentionally shifting from style to style in a specific effort to have a “non-style,” that is an ideas created for the sake of this video. Turning Richter into a calculating careerist, rather than what he is, an artist who poses and attempts to solve aesthetic or conceptual problems. Both Kusama and Richter are important because their work was never strategic or consistent in the way your claim it is. If this video were longer would you try to tell us that Philip Guston, Gordon Matta-Clark, ai Weiwei and Robert Morris were / are “consistent?” Surely the absurdity of such an effort is self evident. I know that consistency is an extremely popular idea in certain areas of the arts community but it just doesn’t hold up to real critical engagement or historical analysis. It’s more honest to say that curators, historians, and gallerists often deploy the ideas of style and consistency because of the understanding that it helps reinforce an artists historical importance and market position. Artists too love the ideas of style and consistency, but that has to do with popular ideas about style, self expression and success which function as aspirational narratives among some artists.. But as your examples show -Richard Serra in particular- style and consistency are only at work for the time the artist is engaged with a certain method or issue. Hand Catching Lead, his works in rubber, and his drawings are better understood as asking different kinds of questions, and it’s the exploration of those questions that matters most.
You- "artist too love the ideas of style and consistency..." I believe artists love "style" from their study and inspirations of that study of the art that formed them and their love of "consistency" relates to being alive with daily interests and purpose that when expressed says to that history "I was here".
all this about not about art - it is about merchandising and market strategy... in this case better to sell weapon rather then experimental bullshit))... contemporary era is a twilight of modernity... and it have no need art at all.. it simply finished...
Totally think a consistent art style is something that should be attempted for learning sake but the whole idea goes against the grain for doing creative stuff…who are these people who try to impose certain standards. And furthermore I’ve seen fantastic art by people who are not promoted or in the circle who are far more talented than these top 10 blah blah blahs. Whole scene is too often plain contaminated with nonsense and yes art is corruptible. Oh I see I already got triggered by this posting. Ha ha. It’s okay. He says great here just didn’t like the title
Watch a few times and watch a few more times. This is how it is in the art world. There’s no going back in our life time. If you can see the epistemology you may come to see reality is a gimmick. We’re all fools.
Watch a few times and watch a few more times. This is how it is in the art world. There’s no going back in our life time. If you can see the epistemology you may come to see reality is a gimmick. We’re all fools.
It does not have to be boring, as discussed thoroughly throughout this video. You can experiment throughout your career while remaining consistent yet bringing something new and exciting with every new show.
все примеры замечательные. Но кроме Трейси Эмин, слишком много грязи и больше ничего. Неубранная мятая кровать просто омерзительная ( лично для меня, неубранная кровать " не под каким соусом" 🤮👎 ( я знаю что это "уже классика" ,но фуфуфу) . Спасибо 👍
Thank you for tuning in once more. Thank you for sharing your thoughts. Personally, I definitely enjoy Emin's shock-art from back in the day, but I believe her work has become better with age-more subtle and even more powerful. All my best!
@@contemporaryartissue напротив, я считаю ( в данном случае, надеюсь ,что мой взгляд объективный и реалистичный , а не субьективный и оптимистичный), так вот я думаю , что на данный момент Человечество прошло пубертатный период ( когда подростка волнуют проблемы о которых ее треш, а это треш и все) и это уже не актуально, и она устарела и не предвидела ( что важно для художника) трендов и это ее минус. (Я вовсе не против "грязи"в искусстве.)
I think we'll have to agree to disagree on Kusama-personally a big fan of her work. But I respect your opinion! Thank you for tuning in and wishing you a great day
On the contrary, we discussed the work of Marco Reichert, born in 1979, Maya Makino, born in 1980, and Rinus Van de Velde, born in 1983-which are all very young in the art world. We can go even younger with, for instance, Jorden Boulet (b. 1990) and Minh Dung Vu (b. 1995), who we have also discussed on this channel when it comes to having a unique and personal style. So I am afraid the argument is simply not true.
@@contemporaryartissue I enjoyed hearing your take on all these issues. These are all things I've thought about as my painting habit has developed. over the years.
I met Nicolas Africano, when I was a student at the Art institute of Chicago.. I was working as an art mover, part time while being a student… I was highly praised by my teachers at the school, even told I was going to be a star one day… And when you hear that from the most senior painting teacher at the school in front of for the other students during a critique… It’s embarrassing and overwhelming… Yes, it gives you confidence but then you feel like you’re on the spot… So much pressure… I’m not saying this to brag… Because I’m struggling, not because of my work, because I’m not working… Because of the way, the art world has changed… And the way the art world is set up… Mainly because we have to fucking pay bills really… I haven’t worked in more than 20 years because of this… The world is saturated with a lot of art, most of it, not very good… People are making how to videos so they can tell people who have no talent how to paint abstract art? Are you fucking kidding me? I guess it’s easier to make money doing that because the people who watch it have no idea what they’re doing. And there are a lot more of those people anyway… More people with money and no idea, no taste. Anyway, when I saw his painting, which was about 10 x 10‘… It was muddy, brown, black and gray… Childlike stick figures with a few words underneath, neither good or bad, just plain, dull and boring and confusing… His sculptures, however, were very beautiful… So I asked him what inspired you to do these paintings… I didn’t want to insult him I was at his studio… He said they pay me $100,000… So basically it’s about money because I don’t think he really likes those paintings, he found a little niche, fooled some people into believing it’s worth it… And that’s what happens in the world… Sometimes these critics and galleries, they turn crap into gold, because they say so… and some pseudo intellectuals but it..And a lot of famous artist, who I find extremely boring, and some of it it’s not really painting, but graphic design… have become very successful because of what other people say, people who I don’t trust anyway… They’re not artists, they’re just critics, basically… So why do we have to follow what they say? The artists should control that not the critics and galleries… What the fuck do they know? a certain style of art never has to end because it always changes even though it has similar qualities… Some galleries were telling me. Oh, that was already done before we want to do something different… Everything has been done before… But now since you have to change materials, let’s see, I’m going to use shit and piss this time or maybe catchup and mustard… or cut a dog in half..And I’ll do a painting on toast or drywall with some pieces of paper plates in it… Different just to be different is not making art. Different to provoke or to alienate, or shock is not making art… My art, what I care about is beauty, even frightening and depressing can be beautiful… I don’t care about provoking or shocking people… That doesn’t mean it’s art, that’s just a statement… It’s more of a philosophical idea… contemporary art is very alienating to me… Some of it’s nice, but most of it is just alienating… So why is that worthy of our attention? Anyway… You can see I’m frustrated because I don’t always understand what’s going on even as an artist myself, it’s even more confusing… … But like I said, I think Artist should have more control of what we do and what is art instead of critics and gallery owners..
I stumbled across your channel during my constant search for insight into creating abstract art. I stopped this video at 7minutes just shaking my head in agreement. I struggle, struggle so much with finding consistency and looking for a unique "voice" of who I am and what is my art. I've learned to have large containers of gesso handy to destroy whatever weak painting I've come up with. It's a lot of experimentation.
a great piece of research presented in a very informative and logical way…with great examples to illustrate. these points you make are necessary for any serious artist and those who do not take the time and effort to use them as the core of work are lost. you are a great educator sir….please continue in a venue that appreciates you. the comments would indicate this is not it. i continue to follow you with interest. thank you
Dear Patrica, thank you for your most kind words-I really appreciate it. Concerning the comments, the overall balance is positive but there are indeed some very rude and unnecessary comments as well, most often people who don't like contemporary art, but well, in the end this is a contemporary art channel... But I guess that's the nature of this platform, and I am not making these videos for them. Thank you once more and wishing you a great day!
Style and even worse, the affectation thereof is the death of creativity and thus the end art as well. Make art, improvise, respond to contingency and style will eventually emerge of its own accord. But to affect a style is to condemn one's work to self-imitation and mediocrity. Style is a crutch, a bandaid to cover what is essentially poor art. One very dangerous issue and chellenge to genuine authenticity comes with what is being defined today as AI generated art, a survey of which reveals a homogenization of "style" where all that is being generated is settling into a self-limiting handful of plasticize and prefictable styles.
Hi Mark, thank you for tuning in. As we discussed in this video, style or consistency should not mean doing the same thing repeatedly-or self-imitation. Most often, the artists who do build their career on self-imitation are the ones with little longevity. It is important to allow change, experiment and pivots, to keep on improving and developing as an artist. Have a great day!
