How to Tell Good Abstract Art from Bad

"Queen of Diamonds" 20 x 20 acrylic on canvas

I found an interesting article at Keeton’s Office & Art Supply, Jan. 19, 2015 written by Nicole Tinkham that answered all of my doubts and questions:

1. Consistency
This refers to the consistency within a painting as well as the consistency of an artist’s portfolio. If a portfolio is all over the place with a few stunning pieces mixed with low quality work, the artist is either still developing or doesn’t quite know what they’re doing. Same goes for within a single painting. The flow must be consistent from one side of the painting to the other with planned and precise strokes.

2. Color
Colors that don’t mesh well together are a dead giveaway that the artist isn’t a professional unless of course it’s done deliberately in which case it has to be obvious.

3. Texture
Most of the time, good abstract art is compiled of layers. There’s typically and under-painting and these layers often create texture.

4. Meaning
All great art has some sort of meaning behind it. Some type of emotion, whether positive or negative gets thrown onto the canvas. There’s thought and planning put into it. You’ll know when an abstract piece is done at random. It lacks personality.

5. Complexity
As an artist completes more and more pieces, they grow and learn new techniques, which is evident in their work. In contrast to what you may think about abstract art, the techniques used in this style (by a professional) cannot be easily replicated.

6. Comfort
Uncomfortable paint strokes will tell you right away that the artist is an amateur. Experienced artists are confident and produce every mark with intention. Paint splatters may look random but they’re put there for a reason.

There are so many different feelings toward abstract art. There are many people that simply don’t understand it, others who think they can replicate it, and of course the abstract artists themselves who put much more time and thought into it than many non-artists realize.

Tell us, what do YOU think? Does this research and the qualities of good abstract art change your mind about it?

"Moonshines" mixed media on canvas

Respond to the authors article at:

https://keetonsonline.wordpress.com/2015/01/19/how-to-tell-good-abstract-art-from-bad/

Feeling Unsettled? Jackson Pollock is the Cure.

(Jackson Pollock Mural)

The mad dash to get ready for the holidays and the whirl of activity which follows always leaves me feeling a bit scrambled. That and the fact that I'm reading "The Muralist" by Shapiro gave me an urge to feature Jackson Pollock the "slash and drip" artist in my blog. I'm using two sources almost exclusively so you can link for more information.

  

In the twenty years between his arrival in New York City to study art and his premature death, Jackson Pollock had emerged as the most original painter in America--famous for his unprecedented physical involvement with the act of painting.

Pollock's first mentor was Thomas Hart Benton. In 1930, Pollock left California before finishing high school to study under the famous regionalist painter at the Art Students League in New York. He was Benton's student for the next three years.

(Pollock's "Thomas Hart Benton" period)

Pollock's 1934 painting of a frontier journey connects his teacher's energetic style to his own roots in the American West: the scene may have come from a family photo of a bridge in Cody, Wyoming, where Pollock was born. The abstract swirling patterns evident in this landscape help illustrate why Benton boasted that with him Pollock had found "the essential rhythms" of art.

Jackson Pollock, Untitled, 1933-1938, pencil and colored pencil on paper, The Metropolitan Museum of Art, Purchase, Anonymous Gift, 1990 (1990.4.8ab) © 1993 by The Metropolitan Museum of Art 

Pollock's sketchbook, containing more than 500 drawings, shows his continued efforts to organize compositions rooted in twisting counter shifts, as Benton had counseled. Pollock's early artistic training focused on traditional historical sources. Benton made his students study and reproduce the planar dynamics of European masterworks.

(During Pollock's "black pourings" period -- Murals)

Pollock preferred the fluidity of commercial enamel house paints to the more viscous texture of traditional oils. This choice allowed him to weave a more intricate pictorial web, flinging swirls of paint onto the canvas.

Total physical involvement of the artist defines this "action painting." Pollock spread canvas on the floor in his barn studio, or on the ground outside, and then splashed, dripped, and poured color straight from cans of commercial house paint. It was essential, he said, to "walk around it, work from all four sides, and be in the painting, similar to the Indian sand painters of the West." 

His friend and patron, the artist Alfonso Osorio, described Pollock's artistic journey this way: "Here I saw a man who had both broken all the traditions of the past and unified them, who had gone beyond cubism, beyond Picasso and surrealism, beyond everything that had happened in art....his work expressed both action and contemplation." 

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Pollock's biography

Two more works-in-progress on my latest "Stir Fry" oil on canvas. 

  

At the Heart of the Matter are Matters of the Heart

(Is it an experiment, a combobulation of paint, or the beginnings of somethiing interesting?)

Today a woman dressed in shorts and obviously wearing a wig came into the church office. She was distraught and wanted to see a pastor. The more we chatted, it became obvious to me that this was a man dressed in women’s clothing.  She (he) had attractive legs and a nice face.

I told her to come back in one hour and perhaps our Youth Pastor would be here. She insisted that she really wanted to see a Senior Pastor, and she would come back later. This situation reminded me of an incident that happened in our Art Gallery.

I was working there one day when an older looking woman in glasses came in. Her “disguise” was purposely made to look artificial: an obvious curly wig sat askew on the top of her head, and she wore a frumpy skirt with a man’s shirt. She had no makeup and made no attempt to act feminine. The minute she walked in, I knew she was male. Since this happens often in the art world, I treated her as any other art lover.

(Add a glaze or two, wipe out, and something new
and interesting appears) I will define some of the
detail and show you the next two phases. I need
to add some more color for depth.)

She stayed for over an hour discussing art with the workers and indicating that she, too, was an artist. We told her about our group and suggested she look into joining because it sounded like she had great experience and exposure.

A couple days later, she came back dressed as “himself” with a partner. I acted as if I hadn’t seen him before, and showed them the pieces they were interested in. His partner was a collector.

I believe in both of these instances, the gay person was there to establish acceptance and to see if there was any prejudice or alienation in our attitudes or treatment. The “Gay marriage vote” was on the docket in the Fall in our area. But this recent experience with a Pastor was new to me. Perhaps the individual was sincere. I have no way of knowing.

When our youth pastor arrived, the woman returned. Unfortunately, Pastor had to leave again for a meeting. He invited her to come back at 2 p.m. As she left, I asked her if she intended to come back. Her reply: “No he’s too self-righteous.”

I was surprised at that judgment call since they had had only a few words. No one should expect to walk into a business or a church and expect that someone is going to be there for them at a moment’s notice. I think Christian churches are going to be tested in the next few years. “Hate speech” is coming to the forefront and some are even implying that the Bible be changed because of the hate speech it contains.

Ironically, when the Youth Pastor left for his meeting at another church, guess who was sitting in the foyer waiting for an appointment? Either serious help was needed, she wanted to be married in a Christian church or she was simply testing the church environment.

When we meet new people, we never know where they’re coming from. That’s why everyone should be treated with courtesy and respect. There’s no need to generate animosity or ill will. Our job as individuals and entrepreneurs is to avoid making judgment calls on other human beings. How they live their lives is none of our business. In like manner, no one should tell us what to paint, who we may sell to, and when as long as we are obeying the law. Freedom of choice should be every person's prerogative as long as they are operating within the law.

(I did this painting in much the same
way, except the parrot was planned.
It's mate is on the right.)

Since when did we become a society of “busy bodies” meddling into other people’s affairs? Why must our “free speech” be labeled? Who is the authority that designates what is and isn’t “hate speech?” Did they receive our vote? Why have they been given so much power and control over us?

Hate speech can work both ways. Recipients of hate have no race, ethnicity, color, gender or orientation. All are susceptible. Each is unique with specific traits and needs.

Tolerance and understanding can bridge the gap that seems to widen when hatred and anger are used instead. Deal with your fellow human beings honorably no matter which side of the spectrum they’re on.

Balance and Harmony Keep a Composition or a Design in Check

"Victims of War" acrylic on canvas

I know an art teacher who also owns an art store. One day he showed me his paintings that were hung around the entire shop near the ceiling. He used these in classes for examples and demonstration.

“My paintings used to go so fast, I couldn’t keep any hanging,” he said. “Now I can’t sell any of them.”

The paintings were stunning landscapes of Florida scenes and of the Gulf; traditional compositions that once “brought a hefty price,” he complained.

Today “wild is in.” Even the works of amateurs are being bought up if they are unusual, colorful, and a tad weird. Perhaps it’s a reflection of the times and our confused and undisciplined society. Anything goes as long as it entertains and dazzles the eye; fads that may in time become the new “norm.”

Finding the right balance is a real dilemma every artist grapples with. Keeping one foot in the real world and the other in the solid traditions of the past is a struggle. When you allow yourself to push against the outer limits, or by way of contrast show restraint, a judgment call must be made based on each artist’s level of experience and training.

"Prayer Circles"  mixed media on canvas

I enjoy the humor that many artists use to invite people into their perspective. There are so many fearful and chaotic events happening at home and around the globe to cause anxiety. Some “comic relief” is healthy and relieves stress. Conversation pieces that cause laughter rather than thoughtful reflection may be just what the doctor ordered.

Tactile paintings: pop art, half art and half craft invite us to touch and examine. Critics lament that this practice degrades and gives real works of art a tawdry and cheap appeal. But they are selling none-the-less because they’re affordable and fun.

Trends come and go. What is in fashion today may be gone tomorrow. Artists must learn to adapt to the changing scene and create a unique and appealing style that sets them apart from the rest; keeping in mind that the classics, the centuries old tried and true methods of the past have weathered the test of time and will endure.

"Moody Blues" mixed media on canvas

Vibrant color is a significant part of this new genre. From the book: “Color Design Workbook” by Adams Morioka and Terey Stone, the authors’ state: “Color is a visual language in and of itself; it can attract the eye and focus attention on the intended message in the work. Color can be used to irritate or relax, encourage participation or alienate.

Advertiser Josef Albers remarked that “Whether bright or dull, singular or complex, physiological or psychological, theoretical or experiential, the persuasive power of color attracts and motivates.”

Also from the book: “As humans, we seek balance, especially in terms of color. For example, when exposed to a particular hue, our brains seem to expect the complementary color. If it is present, the combination looks vibrant. If it is absent, our brains tend to produce it to form a balance.” 

These very reasons alone explain why one painting is chosen over another. Although people see colors in different ways, they almost always choose that which is pleasing to the senses. With knowledge and experimentation, you too can be a part of those who sell on a regular basis.

"Cafe' Costa Rica" acrylic on canvas