Postmodern vs. Evolutionary Art

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.

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First They Came for Black

Venus 3

Newberry, Venus 3, oil on linen, 46 x 26 inches.

First they came for black and removed it from our spectrum. Next to go were the colors of light and shadow. They said that color was a power in its own right, not to be used as a slave to luminosity. The real, they said, was freedom from restrictions.

They came for form, claiming that the canvas was flat. Next to go were proportion and spatial depth. They said that painting projected the outside world, like looking through a window was a lie. The real, they said, was that paint was paint and it shouldn’t look like something it is not. Continue reading “First They Came for Black”

Synergy

Newberry Synergy oil painting

Newberry Synergy oil paintingSynergy
oil on linen, 82 x 66 inches, studio inventory.

Laying down in a closed, dark, tiled space, too young to understand, too inexperienced to sort through feelings, and in too much pain to be aware of the world around him, the ten year old had no choice but to examine everything–or face oblivion. Deep inside him surfaced a feeling of goodness. That feeling would ultimately anchor him to life and earth.

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Chaos, The Bringer of Equilibrium

Counterpose: Chaos, the Bringer of Equilibrium

Counterpose: Chaos, the Bringer of EquilibriumCounterpose: Chaos, the Bringer of Equilibrium, oil on linen, 36 x 42 inches, studio inventory

 

Chaos was depressed. No matter how hard she tried she couldn’t manage to cope with all of the contradictory forces within her: darkness, burning lights, forms, demons, angels, and bright colors. No single element was the answer to the meaning of existence. It was as if a hundred opinionated voices were speaking all at once, forcefully demanding their spot at the top of the heap. There was nothing tangible to fight, and there was no place to flee. She said: “What an unbearable life.”

 

There was one tiny, microscopic Sublime atom in the chaotic flux that wasn’t fighting, yelling, or competing. It softly mused: “This is all so silly because there is beauty in everything and everything has its nature. I know there is sense to all of this, we only need to discover the key.”

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The Collector

"The Collector" oil on linen, 60 x 50 inches, private collection

58A1D7B0-E9CB-4495-9A41-B41318FB52D4“The Collector”, oil on canvas, 60 x 50 inches, private collection

“Life is made up of compromises,” said his teacher. “You will learn that the world doesn’t work that way,” said his other teacher. “Yes, I know I said ‘always be aggressive when you are ahead,’ but make this an exception and be safe,” said his desperate coach. Only once did he discount his inner voice and follow advice that didn’t compute; it ended in a colossal failure. The problem wasn’t so much that their advice was bad, but it didn’t resonate with him.

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Lights and Darks in 3’s

Female Nude, Lights and Darks

Lights and Darks in 3’s by Michael Newberry

One big problem that artists face when developing light and shadow in a work is that they tend to have the exact same darks and lights scattered around the surface. The result is that it kills the life out of the drawing!

A great way to solve that problem is to celebrate a hierarchy of lights and darks. The simplest way to do that is to focus on three different tones of lights and darks.

Here I will take you through what I mean.

Female Nude, Lights and Darks
Dreams of Round Things, 2006, charcoal on Rives BFK, 26 x 19 inches.

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Creating Denouement

Newberry, Denouement, 1987, oil on linen, 54x78 inches.

Creating Denouement by Michael Newberry

Newberry, Denouement, 1987, oil on linen, 54x78 inches.
Denouement, 1987, oil on linen, 54×78 inches.

Why this painting?

Painting Denouement was a chance to live inside glowing, colorful light and to express through art what love feels like to me.

Influences

Puccini, Polyclitus, Aristophanes, Beethoven, and Michelangelo rock my world. In their time, they were innovators with a love of beauty, humanity, and passion. Their art was a constant source of inspiration.

There were visual influences for Denouement. But most of the epic works were from “brown” painters, classic technique with a limited pallet in which dark things are brown and black hues. The French Impressionists had a fantastic sense of color harmonies in light and shadow. What I had in mind was to take the best of both and integrate them.

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