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A movement is created by people -- whatever kind of movement, including art movements.
Art histort credits the artists who found and work within the precepts of a movement as being the ones in the movement. That is incorrect. It overlooks people who were or are vitally important in creating and maintainimg a movement.
Theo van Gogh, who supported his brother Vincent was an art dealer who was vital not only to Vincent's daily needs, but by that contribution and by taking care of the art, Post-Impressionism. The art dealer-gallerist Ambroise Vollard is likewise responsible for promoting and selling (thus supporting the artists) Impressionists, Post-Impressionists and Cubists, and a hefty etc.
Obviously, collectors help support an artist, and if the artists' work evelops in value, reap a profit. In the history of Western Art no one has ever created a new theory or understanding of art (that's what it takes to start a real movement) whose work did not become highly valuable. Artists such as Pisarro, Seurat, Van Gogh, Cezanne, Picasso, Warhol are artists with unique theories that became movements.
Dealers and Gallerists, Collectors and today curators can seem and probably are as responsible to bring a movement into being, because as soon as the founding artist has a successful show, or begins to make fair money, other artists will find unique ways to adapt the precepts of a theory for their work.
So, obviously every collector whoi has bought a painting or even a limited edition, signed/numbered Giclee isa contributor and a part of UnGraven Image. [Note: as of this writing there are no mass produced prints or posters, spin off licensed items, or anything that could no be considered actual fine art.]
By displaying the art in homes or places of business, collectors are contributing to changing how they and others see the world as UnGraven Image is a inspirational way of seeing the energies, both scientific and spiritual that we normally perceive as very solid.
Journalists, the press, writers, educators who reach others about the work are also helping to create the movement if they explain the theory's premise. Whenever the work is displayed, a gallery staff member who is knowledgeable and helpful (friendly to questions) is also invaluable to spreading the word.
anyone who selects to help create and continue UnGraven Image art, whether as an artist, collector, gallery owner or staff, press, etc., is an important part of the movement.
It took me several years to experiment and learn how to use symbol-strokes for every stroke to achieve what I aimed for in a work. I have had artists explain that they would never paint the way I do because when they paint they want to be free to make any kind of stroke. That is how we were all taught to paint. Since learning or inventing how to paint in a new way takes time and means change, I can understand this reluctance, especially from artists who have been practicing art for many years. Why change?
Last week I schlepped through all of art Expo NY, which was at the Javitts Center, checking out the upgrades, new papers and canvases on fine art Giclee type printers, making contacts with galleries here and abroad where my limited edition Gicleee prints could be sold, but most of all making contacts with other artists. At Art Expo, once can find many artists who are at the beginning of their careers. I was particularly interested in artists who were painting religious or spiritual themes, those using Word Art, or those with a great deal of detail.
I definitely garnered some interest from artists. I usually do. I know that interest and turning one's career upside down are two different things, but as I become successful others will follow. Some artists are surprised that I have this fascinating and cutting edge new way of painting that I am encouraging others to use. Why not keep it for myself?
Although I could have patented my process of painting, I chose not to do that but to encourage an art movement. Painting with symbols as strokes, and then hiding those symbols because their meaning is intrinsic is new, but it follows the development of Western art theory. It is one step away from word art, which for me is inspired by Pop, another inspiration of mine, especially the work of Warhol and Johns.
I do not need to keep “my” new art theory of UnGraven Image all to myself any more than Pissaro, Picasso, Warhol, or Donald Judd needed to keep the art movements they founded all for themselves. Their careers never suffered because other artists joined their movements.
An art theory is not a gimmick or image, like a cartoon character or trademark that one copyrights and protects. Certainly my writings about UnGraven Image, including my blogs, plus all of my images are copyrighted. My signature-logo is in trademark process. All of Andy Warhol's works are copyrighted and those images are basically the property of the Warhol foundation. Yet, no one owns the theory of Pop art. There have been and art many great Pop artists who have each interpreted the theory in his/her own special and unique way.
I look forward to seeing how other artists will interpret and use the theory to create works that will show the reality that lies beneath the one we usually perceive by using hidden symbol-strokes. Who wants to join an art movement? Let me know!
{Note: In February 2008 one artist in Maine who Googled onto the site contacted me asking if she could try painting using the Hebrew letters. I helped her with some resources and information and she is experimanting. The feedback so far is that it is a lot more difficult than painting her old way. It is for me too. But worth it for the visual information and inspiration I can share.]
March 3, 2007
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