Portrait of Duchamp, ink on paper, 5 x 5″
Portrait of Duchamp, ink on paper, 5 x 5″
From Modern to Postmodern Art by Dr. Stephen Hicks, philosopher.
From October 6th, 2003, The Foundation for the Advancement of Art presented this at New York’s Pierre Hotel.
First published by The Atlas Society.
It is rare in our contemporary postmodern culture that its representatives get a smack down. But that is what happened with the Tyler Shields’ photoshoot with Kathy Griffin holding a realistically-rendered decapitated head of Donald Trump. Massive public and professional fallout ensued, and no one was going to let it go because it was “art.” This event finally enraged a public that for decades was so desensitized you could fling shit at them from a stage, as performance artist G. G. Allin did, and they would either take it or ignore it.
Figure the Future
By Michael Newberry
Presented by The Atlas Society, 2008
The premise of this talk is that the heroic and beautiful nude is contemporaneously linked with human evolutionary advancements.
The great nudes witnessed the development of individuals rights in politics, with reason replacing superstition in the humanities, and with authenticity of the human spirit rather than the status symbols of the ruled and rulers. It also was widely appreciated prior to the dawn of democracy and Greek developments of science, philosophy, and aesthetics; prior to the birth of art history, artist’s anatomy (under penalty of death if discovered doing autopsies in Michelangelo’s time); and prior to the replacement of monarchies with democracy.
0:17 Introduction by Robert Bidinotto
3:03 The Nude as the Personification of the Individual The Status of Clothed Figures Ramasus, Queen Elizabeth 1, Ingres, Millet, Whistler, Wyeth, Pearlstein, and Richter.
15:12 Individuality Expressed Through the Nude Courbet, Durer, Bellini, Boucher, Manet, and Renoir.
23:26 The Best Within-Many humans want a balance of happiness, beauty, wealth, health, and good relationships. One device artists developed was proportions of the human figure, a very hard-won technical milestone, to give us not a lesson but what a successful human stance looks like. First Artists to Sign Works, Polyclitus, Praxiteles, Humans as godlike.
27:39 Nude as Inspiration Michelangelo, Galileo, Joseph Dauben, Capuletti.
30:05 The Nude Adjacent to Moving Humanity Forward: Interesting Cultural Developments — Bridging Ancient Greece to the Renaissance – Orbit of Individuals Solon, Democracy, Aristophanes, Botticelli, Translation of Aristotle, Vasari (First Art Historian), Madame de Pompadour, Diderot, Manet’s Olympia, Hugo, Bizet, Copley, American Revolution, Mercy Otis Warren, Rossetti, Eakins, Walt Whitman, Emerson.
42:53 An Aside: Turning Leaves of Grass to Trash to Postmodern Art
44:18 Nazis and the Heroic Nude
45:43 Cultural Conflict — Sabotaging the State The Last Judgment, Heroic Nudes Create Conflict with Christian, Jewish, and Muslim Religions.
47:50 Where We Are Today Lucian Freud, Schipperheyn, Collins, and Feldman.
51:19 Q & A Roman Copies, Nudes Convey Individuality of Traits, Erotic Elements, Postmodernists are Grumpy People, Heroic Nude Helped to Defeat the Nazis? Humanism vs Christianity reflected in Renaissance Art, Courageous Figurative Artists, Nudes as Dangerous to Status Quo Cultures, Obscenity, Michelangelo’s Popular Appeal, Propaganda, and Appropriation of Great Art.
Michael Newberry lives in Idyllwild, California with his dog Frida. He has exhibited in New York, Los Angeles, Athens, and Rome. He shows at the White Cloud Gallery in Washington D.C. Follow him on Instagram at @artnewberry.
On October 6th, 2003 The Foundation for the Advancement of Art presented this conference at New York’s Pierre Hotel. Stephen Hicks gives the introduction to the conference and to Michael Newberry’s talk, Innovation in Art. Part 1
0:09 Stephen Hicks Introduction
3:03 Michael Newberry Innovations in Art
4:11 Zuburan, Mondrian, John Moore
6:05 Color and Light Theory, Vermeer, Monet, Rothko, Rutkowski
7:59 Illustration of Ideas, Bosch, Magritte, Larsen
10:48 Rembrandt, Van Gogh, Newberry
12:54 Form, Henry Moore, David Smith, Martine Vaugel
14:17 Sublime, Egyptian, Michelangelo, Stuart Mark Feldman
Michael Newberry is Artist-in-Residence at The Atlas Society. He has exhibited in New York, Los Angeles, Athens, and Rome. In the Fall of 2017, he has a solo show at the White Cloud Gallery in Washington D.C. Follow him on Instagram at @artnewberry.
Porn and art generate two classic human responses: “Art is in the eye of the beholder” and “I know porn when I see it.”
Sometimes these responses overlap such as in reaction to erotic Egyptian drawings, Ancient Greek wine vases, 19th century etchings and literature, and in 20th century erotic photos, movies, and adult cartoons. In these cases, we observe art with erotic touches or eroticism with artistic touches. What is the difference between them? And can we find the spot that divides them?
Erotic and Satirical Papyrus. Papyrus, Der el-Medina, New Kingdom,
Dynasty XX (1186 – 1070 BCE). Turin Museum
Erotic scene on the rim of an Attic red-figure kylix, c. 510 BC.
On January 19th of this year, The Hill reported that the incoming administration was proposing that “the National Endowment for the Arts and National Endowment for the Humanities would be eliminated entirely.”
The public backlash has contributed to the hysterical opposition greeting the new administration. The NEA states it is an “independent federal agency whose funding and support give Americans the opportunity to participate in the arts, exercise their imaginations, and develop their creative capacities.” How can anyone discontinue that?
Conventional wisdom holds that supporting art is the right thing to do. This artist dares to disagree.
“In the broad valley, far below him, in the first sunlight of early morning, he saw a town. Only it was not a town. Towns did not look like that. He had to suspend the possible for a while longer, to seek no questions or explanations, only to look.”
The above was Ayn Rand’s description of Howard Roark’s Monadnock Valley development in The Fountainhead. Rand is revered — and reviled — as a philosopher and novelist, but to me she was also an artist. She defined art as a recreation of reality according to an artist’s values, and in her work, she recreated an inspirational world of heroes, light, and flourishing.
That is why The Atlas Society chose art as an arena for intellectual and spiritual engagement with Ayn Rand’s ideas. The 25-year-old philosophical organization capped 2016 with winners of first annual Atlas Art Contest. Over 400 entries were narrowed down to 21 artists by a panel of four judges: Sabin Howard, sculptor; Judd Weiss, photographer; Agnieszka Pilat, painter: and myself. The public was then invited to vote, further spreading the engagement with the outstanding work of our finalists.
The winners were, from first to third place, Abiodun Olaku, Eric Armusik, and Danielle Dalechek. Given Ayn Rand’s aesthetics, it is rather fitting that Olaku won first prize with his clean style, perspective, and nuanced light.
Critiquing Art: Look for What is Alive
Courbet, The Painter’s Studio, 1855, oil on canvas, 12 x 20 feet
Representational art students are taught to be critical. During critiques, the stress is on the work’s problems. It is not uncommon to see students turning red with embarrassment or anger. Sometimes one will cry. Aside from a bully or two, most of them will accept the critiques as a necessary evil. “Grow a tough skin” is said to oneself and others. The idea is that in the art world only the tough survive.
Critiquing Art: Look for What is Alive by Michael Newberry
Representational art students are taught to be critical. During critiques, the stress is on the work’s problems. It is not uncommon to see students turning red with embarrassment or anger. Sometimes one will cry. Aside from a bully or two, most of them will accept the critiques as a necessary evil. “Grow a tough skin” is said to oneself and others. In the art world, only the tough survive, at least that is the idea.
Alone and long after college artists agonize over their work by aggressively focusing on their mistakes. This activity does at least demonstrate that the artist knows what is wrong, but it also serves to crush their spirit. The process doesn’t address the one question that matters most: what makes an artwork alive?