The Arts in New York City

MHC Seminar 1, Professor Casey Henry

Page 4 of 11

The Intersection of Art and Commerce

Perhaps not surprisingly, art and commerce have been intertwined for a long time. Kanye West and Virgil Abloh are both self-proclaimed modern examples of artists and businessmen, but are actually celebrities using their fame (or infamy) to popularize their brands or friends’ brands.

One of the earliest and best artists to combine art and commerce was Irving Penn. Irving Penn was an American photographer known for his fashion photography done for Vogue. Penn used his fashion photography and came up with beautiful magazine covers that highlighted the art of fashion, as shown below.

However, he was also very established in the photography community for his Modernist still lifes of everyday objects, portraits of creative magnates, and photograph of peoples from around the world. He was undoubtedly a great artist.

Still, Penn also used his art for advertising, beyond Vogue.  He did a lot of freelance advertising for companies like Clinique, Chanel, and L’oreal. My favorite of his ads was actually for L’oreal and I believe that it truly highlights Penn’s phenomenal synthesis of art and advertising. It is clearly art, but it is also selling a product, lipstick.

The Met actually did an exhibit showcasing Penn’s work this past summer. It included all types of photographs by him, showing his extreme versatility. For more works by Penn, check out https://www.metmuseum.org/exhibitions/objects?exhibitionId=b89b15b9-a009-4149-b682-6b603d22093b#!?perPage=20&offset=180.

Art and Commerce

One of the definitions of art according to the Merriam Webster dictionary is “the conscious use of skill and creative imagination especially in the production of aesthetic objects.” If we look at history, at most of those who produced art the “classical way” as defined above (such as paintings), they did not make a living from it. Instead, they lived in complete poverty. Many of those artists only became famous after their deaths, such as Vincent Van Gogh.

I never thought about the relation of art and commerce but with the above in mind it makes sense that they are closely related. Practically, everyone needs to earn a living one way or another to survive. Therefore, those who are creative take their skill and choose to apply it in an area that still will reach the public and earn them a living. Advertising and fashion are two main fields where the above can be accomplished.

However, what I find sad is that celebrity endorsements are the “big thing” today and basically the only way to make something popular.  Virgil Abloh understands the “modern necessity of having influential allies”  to shape his brand. Because of that it is hard for him to accomplish his goal of creating for kids of his demographics; he would need to leave his celebrity friends since he will not be creating products form them.  It is sad that people are only subjecting themselves to the tastes and views of celebrities regardless of quality, design, functionality and many other factors.  Today there are many ads that show the celebrity and not the actual product.  This actually hinders creativity because what becomes the focus is the celebrity and not the actual item.

On a different note, what was especially interesting to me was the way others use their creativity. I especially loved Warhol’s idea of using “leftovers” to create art. When I read that, crayon art came to mind. Instead of throwing out the old and broken crayons no one wants to use, they can be glued on a piece of cardboard and melted with a blowdryer to create art.

Art and Commerce

After reading the assigned articles, it became clear to me that the authors view commerce, advertising, and fashion as a distinct for of art. In the article “Like Art,” O’Brien writes about his journey in finding the right career for himself. His passion was set on art early in his life, but soon he realized that making a living solely as an artist would be a difficult task. O’Brien noticed that to make it as an artist, he had to learn to work with advertising, a practice in society that had gained momentum with the evolution of technology. Over the years, advertising became a new form of art in which artist are required to learn and bring a creative mindset into their working environment. O’Brien points to the fact that advertising opened the doors to aspiring artist seeking working opportunities in society today. In the second article, “On Business,” the author refers to a commerce as a form of art. The process of learning how to run a business and how to work with people to help it improve overtime takes both time and effort. These skills are not learned overnight and this is part of the real why he believes business is a form of art. A person seeking to start a business and make it a successful one starts off with a blank canvas that is later filled until the final product is reached.

From the Interview with Virgil Abloh and Kanye West Excerpts, one of the prominent ideas expressed by the authors is that fashion is heavily influenced by celebrities. social media has become an important tool in dissipating information to the public, and many fashion designers have become icons due to their connections to these celebrities or even because of their own celebrity status. An example in this case is Kanye West, who when asked if fame makes being a successful fashion designer easier replied “you need fame to sell your shit, that’s why people pay for advertisers.” In the interview with Virgil Abloh, the author defends this claim by writing that “celebrity is influence, influence is power, and the digital realm provides an ever-expanding series of platforms from which to wield it.” To some extent, I do agree with these authors. In our society, people tend to lean towards the trends of the time which are usually set by celebrities. A few examples can be seen in the business of cosmetics with Kyle, KKW and FENTI products being amongst the most popular due to the celebrities behind their launch.

 

In the article “ Like Art” Glenn O’Brien addresses the problem that strikes most up and coming artists: job prospects. Realistically speaking, finding a job in the fine-arts is simply not practical. Most students fresh out of college aspire to find jobs that will showcase their talents, while simultaneously providing for a sustainable salary. This is rarely occurs. O’Brien describes how he himself, although reluctant at first, ended up channeling his creativity and talent into advertising. Now, can advertising be seen as an art form? O’Brien addresses the revolution that took place during the 1960s, where fine art was being transformed intro commercial advertisement. Andy Warhol was one of the first titans of this new era, starting out with show advertisements, and eventually, moving up to designing the Campbell’s Soup can.

476.1996.1

Stan Freberg was one of the first to display advertisement on television and radio platforms. It wasn’t long until celebrities began to become involved in the advertising industry. One of the earliest cases of this can be seen in the following Rice Krispies advertisement made by the Rolling Stones.

A modern example of using celebrities to promote products can be seen in the array of Pepsi commercials, ranging from Britney Spears to Beyonce. O’Brien suggest that advertising has indeed become an art form, and art, has become increasingly like advertising. The only difference is the logo.

http://https://www.youtube.com/watch?v=ztpgEy3bCZA

Art and Commerce

How do you actually define “Art”? When we say the word “art”, many usually identify it with a person holding a paint brush and producing a beautiful masterpiece that may be worth a lot of money. However, in reality, the definition of art is so broad that it can be just about anything we associate it with. For example, science also comes in art form, as well as food, advertisement, fashion, and even business according to Andy Warhol. We all may value different types of art form higher than others. For Warhol, it is business and for Kanye West, it’s fashion.

In “On Business”, Warhol mentions that, “if you get things when you really want them, you go crazy. Everything becomes distorted when something you really want is sitting in your lap”. As a result of that interpretation, Warhol believes that good things will happen once we stop wanting them. This is actually ironic considering his desire to be an “art businessman”. The logical assumption of most businesses and their purpose is to maximize their profits. And large companies achieve that through promoting and advertising their products, to get consumers to want those products. Consider this ad that I have seen multiple times throughout the city:

This juice companies in many ways is successful in making that product really appealing and desirable: it tastes delicious and is extremely healthy (only 5 calories and naturally sweetened!). Because of that, we now probably want that beverage more than the other choices. There’s no doubt of the “art” in that advertisement. The varying colors and images on the bottle make it visually appealing to consumers, and can be seen in a similar way as a pencil shaded drawing:

Again, after all, art is extremely broad and not limited by our imaginations. These different forms of art are all interconnected in many aspects, such as its creativity, colorings, and more. The only difference, as mentioned by Glenn O’Brien, is its “logo”. In other words, the purposes and meanings and behind them.

Art and Commerce in America

As a capitalist country, the American marketplace revolves heavily on money and influence. Both Glenn O’Brien, in “Like Art,” and Virgil Abloh, in his interview, speak upon the intersection between art, commerce, fashion, and advertising. This interplay is quite obvious to me as advertisements use art for fashion to make commerce. However, what was interesting was the idea that this network of success is most greatly achieved by members of influence and power. More so than authentic designers or artists, the American royalty that has become our celebrities have taken over this industry.  Rather than a professional or educated designer, consumers today would rather purchase overpriced products made by their favorite celebrities. Rihanna just recently launched her own makeup brand called, “Fenty Beauty by Rihanna.” What makes these products powerful is not the special qualities of the makeup itself, but the name attached to them. Rihanna purposefully puts her name in the brand title because that is what is really appealing to consumers. A small travel sized tube of foundation with Rihanna’s name on it costs $40 and already has 1400 reviews on her website.

This idea of celebrity brand name culture is not new. In the past, the interplay existed for certain designer brands. Today, this interplay has evolved to American celebrities, making them royalty for America like the nation has never seen before. This all stems of consumer’s yearning and aspirations to these celebrities. The biggest example of this is the Kardashian-Jenner family who have created a dynasty on that very belief. Each of the girls have their toes dipped into some sort of fashion business, from clothing to makeup, which they market entirely through their own selves. Here is a promo video of an upcoming collaboration between Kim Kardashian’s makeup brand and Kylies. In the video, they don’t even show any makeup at all, rather they show themselves, which is enough advertisement for the product.

Rodin and Michelangelo both portray the human form in great detail, but the contrast is in how this form is depicted. Michelangelo’s figures are graceful, showing the best side of humanity – hopeful images of God and the beauty of the human figure in the nude form. Michelangelo uses bright colors and light to bring out the positivity of life. Rodin’s work is literally darker, as he often used bronze, in contrast to Michelangelo’s preference for marble. His bronze figures, particularly those recreated from his sculpture “The Gates of Hell,” are often twisted awkwardly, folding into themselves, hiding their bodies. Rodin’s work emphasizes biblical suffering, where Michelangelo focuses more on angels and heroes.

Rodin and Michelangelo Met Museum

The Weeping Burgher

By looking over both the artworks of Rodin and Michelangelo, subtle differences can be seen through careful observation. As I looked over the sculptures of Rodin, I noticed that his works of art focused on some state of the human body in connection with emotions. Rodin is able to portray emotion in his sculptures by giving states of being a recognizable pose. Take for example “The Weeping Burgher,” in which Rodin decided to portray a character in grief. The way Rodin accentuated the feeling of grief in this particular piece is by having the figure cover its face in distress and arched slightly forward as if to show that the sadness it feels is too much to bear. Another example of how Rodin plays with emotional representation through his work can be seen in “The Thinker,” which shows a male figure in a position that suggests he is in deep through about an issue. In this case, Roding has the figure in a sitting position with his body leaned forward and his head resting on his hand made into a fist. The thinker is a popular sculpture of Rodin and it helps to show the way in which he portrays emotion through his work.

The Thinker

 

One feature I noticed in Michelangelo’s work that is different from Rodin is his practice of exaggerating the physical features of the human body. Michelangelo add a touch of masculinity in his work by accentuating the muscular tone of the subjects he focuses on. In the unfinished sketch of “Madonna and Child,” Michelangelo portrayed the faces of both Madonna and the baby with light physical features. Their skin is smooth and free of harsh distinguishable lines. The bodies of these subjects, nevertheless, add significant contrast to the sketch. Madonna and even the child are showcased with heavy muscular tones that are not usually seen in other sketches. The muscular focus of this sketch perhaps is meant to develop the idea that the women and the child, despite the fragility associated with their faces, are strong and fierce characters.

 

Madonna and Child

Michaelangelo to Rodin: Decay of Art

The transition of the five hundred some odd years between Michaelangelo and Rodin is so starkly symbolic of a “decay” in artistic values and ideals throughout history. When we look at Renaissance sculptures, we see a lot of very clean cut pieces of art that seem almost too perfect. The stone is smooth and cut completely, any traces of its original form almost completely lost to the polishedness of the figures. The godly themes of Michaelangelo’s work are almost translated in how perfectly and cleanly his pieces are cut. Even in the drafting process, his forms clearly have had a lot of work put into them, demonstrating meticulous attention to the most minute of details.

Meanwhile, Rodin’s pieces almost resemble what one would imagine Michaelangelo’s pieces looking like a couple thousand years down the road. The forms that were once stark and ethereal are now suddenly gross and molten-looking, as though one had poured battery acid onto the stones upon their completion. He is also very conscious of his leaving of the original form of the stone, the artist making sure that the clandestine form of his medium still gets some attention and is not neglected by the viewer. You’re almost forced to recognize that this was once a piece of stone, and that the forms we recognize as “perfect” and “godly” root themselves in imperfection. Rodin cared less about sanctity and more about humanity.

Rodin/Michelangelo/Mapplethorpe

In this piece by Rodin, the passion and romance of The Kiss is undeniable, the figures are so involved with each other that their faces can barely be seen. The total embraces with which they hold each other make the tragedy of their love even greater and Rodin draws on themes which all audiences can appreciate in a way which is both romantic and sensual. Although both figures are nude, Rodin’s skill as an artist made sure that the way the figures were rendered was in a classical way and one which was not overtly sexual.

As with many of Rodin’s sculptures The Kiss is designed to be viewed from every angle and Rodin wanted the piece to be believable and real. The artist certainly creates this and by making a sculpture which is visually stimulating from 360 degrees the dedication and skill of Rodin is successfully demonstrated. The contrast between the smooth skin of the lovers and the rough marble of the rock they are sitting on adds further sensual elements to this piece.

This is the last marble sculpture upon which Michelangelo worked during the last weeks of his life in 1564. This sculpture is fascinating for its minimalism, even suggesting the possibility that Michelangelo purposely left it “unfinished,” thereby making it, in some art historian’s view, the earliest piece of “modern art.” The Pieta Rondanini was ignored for centuries, but this is the kind of quality you get in the work of old artists who are skillfully great. They can simplify; they can leave out; in the Rondanini Pieta there’s a whole of Michelangelo’s 89 years’ life somewhere.

Mary stands elevated on a stone platform and bends over the full length corpse of Christ, supporting it with difficulty, from behind. Mary is holding up the slender Christ with her outstretched arms as if offering his spirit, but with time and through nearly three different stages, Christ sank down, now emerging from Mary’s breast and exaggerated in his slender form. Finally, Michelangelo drew the heads of the two figures closer and closer together, dissolving the barrier between mother and son.The two figures have virtually melted into one, with a rigidity that only heightens its emotional appeal that has found admirers in our modern times.

In this piece titled Ajitto by Robert Mapplethorpe, it does not picture two bodies, but it emphasizes on the one in great detail. With a simple glance, the viewer can easily spot every form of muscle definition present in this man and, even without his face on display, his apparent internal turmoil is evident. Sitting on such a stool in the form he is presented in exhibits a level of pain and discomfort, but the feeling of comfort in coiling into himself may be strong enough to overpower the physical torture.

 

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