Myths, legends, and stories infiltrate our collective and individual consciousness, and the same holds true for the visual arts. The myth of Icarus, who flew too high then crashed and burned, was mentioned by Apollodorus around 150 BC and has since shown up countless times in visual art.
Icarus Landing, Phaethon, and Ayn Rand
An interesting twist in the legend comes with my 2000 version. The concept was inspired by Ayn Rand, who rewrote the myth of Phaethon in Atlas Shrugged. In the ancient myth, Apollo gives the reins of the sun chariot to his son Phaethon, who is unable to control the flying horses or escape his destiny. Phaethon and the chariot threaten to crash and annihilate Earth. Zeus, watching, kills Phaethon with a bolt of lightning, forcing Apollo to retake the reins and right the sun chariot’s course.
In Rand’s version, her character, Richard Halley, composes an opera in which Phaethon brilliantly succeeds to steer the sun chariot to a glorious course. I loved the concept of taking a tragic myth and changing the outcome to reflect my absolute inner belief that magnificent experiences are the stuff of living. The chariot thing was too archaic for my modern sensibility, but with some thought I landed on the concept of Icarus. After flying wildly high, I thought, Icarus would return to Earth with gentle gratitude, lit by the orange glow of the day’s setting sun. I opted for no wings, just the outstretched arms. Appropriately I painted this while I lived in Greece, and I won’t lie, I loved scaling the rock cliffs in the buff, jumping from rock to rock, as my friend philosopher David Kelley can attest to.Continue reading “Icarus: How Visual Artists Such as Myself and Bryan Larsen Steal, Borrow, and Originate”
“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.
1) Tell us who you are and what you do.
I grew up on the beach and have been an artist ever since. I’m a figurative artist and my work explores light, love, and appreciation.
2) When did you first become familiar with Ayn Rand and her works?
When I was 19, my sister Janet—a world top-20 tennis player—told me she had a book I needed to read. That book was Atlas Shrugged.
3) What most interested you or hit you with an “Ah hah!” about Rand’s thinking?
I felt like Rand was giving me a pat on the back for being an artist. She has a very high regard for artists. It was like she was saying to me: “You’re doing a great job; keep going.”
4) How does her work inspire you today?
She’s a great champion of creators. Rand’s work is a reminder that it’s the creation that matters the most, not superficial things. That is inspiring.
5) Rand wanted us to aspire to a world as it can be and should be. Can you tell us something optimistic you see in the world today or in the future?
What a great question! When I started my career, there were only a handful of figurative artists and they were not held in esteem. Now there are thousands upon thousands of exceptionally good artists who’ve paid their dues and really learned all the skillsets to create incredible figurative works. This is a huge, monumental development and I think Rand helped to set the stage for it.
Michael Newberry is Artist-in-Residence with The Atlas Society