"Newberry's work speaks to the senses, the intellect, and the passions of those who do not need the judgment of history to tell them what is great, but who can themselves make the judgment of history today." Stephen Hicks, Ph.D., Professor of Philosophy
Celebrating a little bit tonight, lol, with a cup of coffee. I finished Part One of my inaugural attempt at a book. Already been copy edited, thumps up. Finished are the Intro plus 6 chapters, and 17,000 words. Some of the ground will be familiar to artists and art historians, but I hope it will make deep inroads in the psychology of art and give sense of these artists being alive and transcending time.
This is one of the paragraphs from the 3rd Chapter, Trepidation, Art is Not Tangible and Yet …
The early artist would have been shifting valuable efforts away from life-sustaining work towards the abstract pursuit of art. All animals engage in life-sustaining action, but it would appear as if the artist was rejecting this. Visual art, then as now, has no utilitarian purpose, none whatsoever. Art could not mend things, carve arrows, and build fires. It was not a tool. It did not give warmth, shelter, food, or security. In practical terms it was useless. Diverting resources for such an senseless art adventure would be perceived as a psychosis, the artist having a partial or total break with reality.
This was lecture by Rick hosted through the ICC Speaker Series on the Future of Art as he saw it and featured the work of Artist Michael Newberry. This was taped at the beautiful Creekstone Inn in Idyllwild, California, January 14th, 2016 Video 90-min
My dear friend Rick Barker gave this talk one year from passing away due to complications with Parkinson’s Disease. The talk is about my art and its context but from Rick’s perspective, a life long interest in human evolution. He wrote Transcending Evolution: A Christian Guide to Understanding, Accepting, and Transcending Evolution available at Amazon. I met him in the Idyllwild dog park when I first moved there. It was rewarding to be surrounded by sights, sounds, and smells of playful dogs, pines, and mountains, earthy dirt, and talk with him of philosophy and aesthetics. I lent him one of my paintings, Arabesque Series: Female Couple. He was terribly ill in the hospital in his last week and wanted to die at home, the next day he died; he was found on the floor with his head uplifted towards my painting.
The following is a version of my part of a joint presentation with Stephen Hicks given at the first ever Malibu Summit student retreat hosted by The Atlas Society on June 29, 2019 at Scorpiesse in Malibu, California.
June 29th, 2019 at Scorpiesse – Stephen Hicks talks with Atlas Advocates at The Malibu Summit.
An Impasse Between Creating and Destroying
The contrast between postmodernism and what I call “evolutionary art” is both epistemological, in the sense of how the art is made and the knowledge behind it, and metaphysical, what kind of subjects are important. Postmodern art is about seeking new means and content to challenge the very concept of art. Evolutionary art builds on the contributions of great artists and great art movements with new insights into human psychology and aesthetic means. Philosopher and The Atlas Society Senior Scholar Stephen Hicks, Ph.D, summarizes the difference this way: it is the difference between a master making a stained glass window and the moron that throws a rock and smashes it!
Louise Bourgeois vs. Martine Vaugel
Louise Bourgeois at MOMA. “Untitled” (1998), fabric and stainless steel at center
The postmodern works I am including are considered important by important art institutions. A defining moment and lifelong obsession of French-American postmodern artist Louise Bourgeois was the trauma of discovering her father’s affair with her governess. Bourgeois was a member of the American Abstract Artists Group and had her own salon called Bloody Sunday. She referred to her early to later work as “fear of falling…art of falling…and the art of hanging in there.” Not an abstract artist, not a competent drawer or sculptor, with no discernible standards of any kind, she didn’t use art as a means of personal evolution, to grow both technically and soulfully. Instead her works convey that she remained stuck in a regressive emotional intelligence state, which conveyed the only kinds of emotions available to a hopelessly incompetent artist – pain, anxiety, and confusion.
A great example of her arrested development is this untitled head shown at her retrospective show at New York’s Museum of Modern Art. Clumps of wool clobbered together to form a cylinder base and a cotton ball-like head, which is then crudely sowed over with pink-flesh colored compression wrap bandages, wrapping the nose, stitched over mouth, and stuffed into the empty eyeball sockets. A cauliflower ear is formed grotesquely out of the same stuff. One has to call into question, not how pathetic her work is, but what is her motive for exhibiting it, and what are the motives of the critics, curators, and directors who give her a reputation that only the awesome prestigious power of New York’s great art institutions can give. Empathy for humanity may be in the press release, but there is a deeper motive that they may not want to examine.
Martine Vaugel, is a contemporary French-American sculptor whose bronze figure and portrait sculptures are, in her words, the “expression of my love affair with the human spirit.” She is the founder of the Vaugel Sculpture Method, a method of clay modeling based on her knowledge of human anatomy and mastery of structure.
Don’t follow a map, don’t read anything, don’t ask, don’t look at other people, don’t try to make it worthwhile, and don’t try to “get it.” Just start walking, glancing as you are moving quickly along. Don’t feel bad if nothing “speaks” to you; just keep moving on. It might be in the 10th room, but there will be some work that will grab your attention. Stop there and just look at it. And look until you feel you are ready to move on. That is it.
You will find that experience lights a spark. In a nutshell, it is a personal experience of art. After that you might be interested to research art, movements, and artists. But none of that replaces the unique spark that speaks to you.
Today we’d like to introduce you to Michael Newberry.
Please tell us about your art.
Painting and everything associated with it is my ecstasy. It has given me so much joy, and I have learned so much about myself and humanity while painting. Two years ago I had a brush with death, and I was a little shocked at how peaceful I felt. My art had everything to do with that, not having any regrets. But I am very happy now to think of all the projects I get to paint.
But the incredible feelings I get painting are not the only reason I paint. Art communicates. And I try to make the world a better place by sharing meaningful feelings or showing something special and new to see. There are so many artists that have given me new insights into my soul — I hope I can return that experience, one person at a time. Read more with pics here
In the last decade of the 18th century Beethoven composed his 1st and 2nd piano concertos, Goya etched the series Los Caprichos, Jacques-Louis David painted The Death of Marat, and Mozart composed the Requiem in D Minor and the great Jupiter Symphony. These works coincided with the French Revolution, and together they guided European culture away from the extravagant art of Rococo exemplified by the sweetly-colored paintings of Boucher and Tiepolo, with their floating florid nymphs, cupids, silks, and princesses.
Jacques-Louis David, Death of Marat, 1793. The period of the French Revolution marked a new period of art with more gravitas.
This was a paradigm shift from the superficial to gut wrenching passion, as if Western art was going back to its roots in the dramas of Aeschylus and Euripides; answering the big questions of what is the good and what is important while at the same time elevating the creative process by innovation and superlative skill. This wasn’t for the faint of heart. The artists would have to face inner turmoil and outer rejection as they attempted to get patrons to sponsor wildly dramatic depictions of death, war, and executions, which didn’t lend themselves to the decorative palace dining room. Risking their livelihoods the artists bore down in this new direction. With this revolutionary spirit we can see the need for a new aesthetic to champion and reflect an Age of Enlightenment.
The Sublime the Absolutely Great
The year 1790, when Beethoven was 20, also marked the publication of Immanuel Kant’s Critique of Judgment. It famously compares and contrasts the aesthetic values of Beauty with that of the Sublime. The treatise identifies Beauty representing the lighter more sensual pleasing side and the Sublime addressing what is the “absolutely great beyond all comparison.” Kant wanted to free the Sublime from the constraints of art and launch it into the world of the mind unfettered by perception, form, or realization. Continue reading “Making Sense of Kant’s Senseless Sublime”
One of Postmodern Art’s important contributions to art history is cheek. But, far from being simple, there are several requirements that need to be met for a successful postmodern work.
The recent Marco Evaristti exhibition of canned meatballs cooked in his fat inspired me for a moment to see what idea I would come up with if I were a postmodernist. It would have to be a new medium of artistic expression and, at the same time, solve several PM requirements. The thing would have to be temporal; use the body of the artist in some fashion; reference an aspect of mass production; be an unorthodox medium; and use the natural force of one’s spontaneous genius (Kant).
As you might imagine, solving these demands is no easy feat.
Evaristti, Polpette al grasso di Marco. Marco Evaristti recently exhibited canned meatballs cooked in his liposuction fat.
Detecting Value Judgements in Painting by Michael Newberry
A few years ago I read the book What Art Is: The Esthetic Theory of Ayn Rand by Torres and Kamhi. I was disquieted to read their take on Rand’s definition of art, specifically about the meaning of metaphysical value-judgements. Perhaps the thing that was the most surprising to me was that their perspective on this issue is so much not the way that I experience art; either as a creator or as in appreciation, or how I understand Rand’s meaning. In a sense, their book has been the catalyst for this lecture. I hope to answer them by showing how you can detect metaphysical value-judgments in painting. But, more importantly, I hope to show you how to find and, perhaps, share the artist’s incredible passion that lies just beneath the surface of the paint.