***My first abstract collection is below! “Abstract Art: Part 2” will contain the tutorial and titles for the compositions. Enjoy!***
I FUCKING HATE ABSTRACT ART!
I was never certain when my loathing for the style started. It had always been the primary scent of who I was as an artist: anything but abstract. I do know that my hatred solidified when I was in college and I remember the precise moment in all of its disgusting and jealous glory.
One of my teachers had the class travel to the MoMA (Museum of Modern Art) in San Francisco. Our assignment was to evaluate our favorite piece of art and our least favorite piece of art. I couldn’t tell you what my favorite piece of art had been, but without taking a millisecond to recall, I could tell you what my least favorite exhibit was.
One would think that the ordinary plaster-white toilet would have taken the prize for first worst place, as he basked in the museum lights, and grinned with pompous arrogance. Fuck that toilet!
I walked into a huge room, and looked to my left, and to my right. The canvases were about five feet wide and eight feet long. Two were spaced the same distance apart from each other on all four walls, and all of them were painted a familiar elementary school crayon color: pumpkin orange, cherry red, cobalt blue, lemon yellow, royal purple, emerald green, fucking black, and fucking white. (The last two aren’t even colors!) I walked around with my mouth dangling. They were PLAIN SOLID COLORS! No texture. No hint of any character, except maybe in their massiveness and hue, or lack of hue…did the artist even PAINT the white canvas?! This artistic experience got so much better, though.
In the center of the room sat a lazy cement block. From the top of that lazy cement block a thick metal rod grew like a flower stem that was on the verge of wilting. A natural sponge, the size of a small watermelon, had been dipped in cobalt blue paint. It was quite apparent that this poor blue sponge had lost all faith in life because he decided that he had no choice but to impale himself on the top of that metal rod. Thus, the art exhibit was complete. Fuck that blue sponge!
Needless to say, the nature of my essay was not uplifting.
My next huge run-in with abstract art punched me in the face two years ago at the Getty in Los Angeles. I walked into a room that hosted one of Jackson Pollock’s famous compositions. It plastered the museum wall and beckoned all living creatures in the general vicinity to come and share in its narcissistic breathing room. My first thought was “it’s so big!” My second thought was “why do people think that this is good? It’s just paint that’s splashed and twirled on a board. Yeah, it’s big. But, why do people like this?!” I wandered through the rest of the museum and left in a rage as Pollock pricked his untalented needle fingers into my brain. FUCK FUCKING POLLOCK!
WHY IS ABSTRACT ART SO GREAT?!
During my journey in “all things art”, I made the decision to explore the abstract world; I tried to figure out what made this sloppy, child-like, finger painting so lovable and mesmerizing to millions of people. There had to be something that I was missing. As I absorbed the characteristics and commonalities that the most famous abstract pieces were composed of, my respect for abstract painting started to take shape. When I started to paint, I understood and appreciated the style.
So, what made good abstract art?
Well, “anything goes” in art. Art is subjective, on all levels. Just because one person likes one style of art doesn’t mean that the next person will feel the same about that style. But, what is consistent across the board, for all good art, is the presence of technique. It is the purposeful application of texture, balance, layers, color compatibility, and the formation of emotion. These categories are all present in good abstract art. What looks like paint splattered on a canvas is coherent. Every stroke and detail should be intentional in its thought. With that being said, famous art isn’t always good art. There are many famous singers who cannot sing well, but they are marketable. Marketability and talent aren’t one in the same.
What looked like blobs of paint colors on a canvas, in Pollock’s painting, were actually layers of compatible colors. They were applied with different tools, in different paint weights. They ended up creating a mishmash of artistic patterns that were executed by the trained, seasoned, and unique movement of Pollock’s arm and body. No artist can replicate another artist’s work without fault, because so much of the character of an artist’s composition comes from unique body movements. No two people move in the same way.
When I look at Pollock’s work, now, I can see the glory behind the artist. He was talented and created with purpose. I can see which colors he started with, what weights the paints were, what kind of tool or surface he might have used to create that kind of stroke with that specific paint color, and in what way he moved his arm based on the splash angles and how the medium hit the canvas. What I didn’t know, until a few weeks ago, was that most people don’t know how to dissect a piece of artwork and analyze the details. But, that didn’t matter. Breaking down the technicalities of a composition was a great skill to have, but I was missing the whole point of abstract art: subjective emotion.
I decided to whip up a collection of seven abstract paintings. Painting a landscape or cartoon characters that formed a story was talented in one way. Painting subjective emotion, was talented in another way.
The following collection of paintings is displayed in order. I would like to invite you to analyze and try to figure out what they are. In my next article, Abstract Art: Part Two, I will reveal the titles for the pieces, as well as the intense planning process that was built up behind their execution. There is so much more to abstract art than meets the eye and I would like to challenge all of the critical purists to explore the medium in the same way that I did. Doing so might end up killing the pride that has clogged your arteries due to your fattening arrogance. And you might have a little fun in the process.
‘Til next time!
24″ x 36″ Acrylic and Mixed Media on Canvas – July 2016
Titles of pieces and collection to be revealed in “Abstract Art: Part 2”