Saturday, August 8, 2009

Does the creator matter?






We can't afford it.
Why should only the elite see it?
These are justifications for forged art that were expressed on the recent NPR On Point Show entitled Faking Fine Art. The above rationalizations made by Laney Salisbury were then followed by a caller who stated If fake art is so much like the original isn't it worth as much as the original?

The show centered around an infamous case of a painter and con-man who worked together to create forgeries of master paintings. Unfortunately the show missed a major point and fell into a sort of collective mentality that assumed there was no ownership to an idea or creation. The imagination and originality of an artist, his courage and hard work, are what make art.

Aesthetics is a philosophical system with definite values. Values that rank highest include thought, imagination, conception, originality, creativity, authenticity, identity, vision, etc. (See Table of Aesthetics for more on this.)

Let's take a look at the above justifications more closely:
We can't afford it. First of all there are thousands of original artists that one can afford, support and enjoy. Secondly if you like something well enough why don't you search it out in a museum or, dare I say, make more money so you can afford it?
Why should only the elite see it? This disparaging term insinuates that the elite don't deserve their rewards and that they are hiding the art from the masses. Possibly it is these elite who empowered the artists to rise to even greater creative heights. Both of these remarks are degrading to artists and patrons of the arts.
If fake art is so much like the original, isn't it worth as much as the original? See above comments on the Table of Aesthetics. This is ultimately for the buyer to decide. The consumer must live with his purchase and if ethically he deems a fakery to be worth his money in gold then that's his choice. Just don't try and pawn off a fake on me.

Salisbury also mentions that there are two reasons to buy art: 1) Beauty, 2) Collection. Again both justifications for fakes, that is, if a fake is beautiful then it's okay and collectors are too wrapped up in provenance to recognize the beauty of the work. But another reason to buy art (and note there may be many others) is the idea behind the art or inspiration one draws from it. A fake does not hold up to this reason.

Unfortunately many artists will be drawn in by this show and use it as a "reason" for their lack of success in the field. I hope that they can see these comments for what they are and lash out in the field with their own courage and originality and thereby succeed.



Saturday, August 1, 2009

Table of Aesthetic Values



Table of Aesthetic Values by Robert Castagna, 24 X 36 inches (first draft)
Enlarge image for a closer look.

The above is a recent endeavor whereby I created a scale of common aesthetic elements fashioned after Chemistry's Chart of Elements. The Table of Aesthetics has two alternate names: The Scale of Aesthetics and The Aesthetic Chart of Commonalities. It contains the common denominators of all art with thought or concepts at the top and matter at the bottom.

The following are notes which can be found at the bottom of the chart which helped define, explain and develop the work.

In addition one can find a paper of further extrapolations from the chart at Equations for Creativity.

Aesthetics and Science:
The chart must be scientific in proportion to the table of elements. It must be aesthetic in presentation and can involve many revisions and drafts. It must be large and on art paper. The chart includes stable values and unstable values such as opinions of art critics. Light values are on the top. There are 118 known elements (observed even if only briefly during decay), 94 are found naturally on earth, 1 possibly in space and 22 artificially derived and radioactive.

Aesthetics and Art:
The word "aesthetics" derives from "perceive" and is therefore a philosophical discussion of our perceptions on art. The word "art" is derived from "skill" and is an act or doing. This chart is an aid to the perception and discussion of art. It is also a tool for the artist to create. One can fashion a table of his own aesthetic values.

Aesthetics and Spirit:
When dealing with aesthetics one is as close as one can be to the spiritual aspect of man. One is at the threshold of the spirit and the physical, the place where the two merge. The superscript °T represents the creator of thought and is written in the form of an isotope. Superscript 1 T represents the aesthetic value of thought, the lightest value on the table. (note: the 1 should be smaller and higher to truly represent this - a limitation of my keyboard skills).

Finally:
Axiom: Art could be described as minimum matter with maximum thought.
Note: I have worked out a mathematical equation to express this axiom however I'm unable to type it in html code here. It states that Matter is less than Thought to the power of infinity. The greater the thought the greater the art produced. This is relative and does not diminish statuary or other "heavy art forms".

Original Greek Elements:
The original Greek elements were Fire, Earth, Water and Air. These have been converted to Concept, Creation, Communication and Culture respectively. Together they make the Cycle of Creativity which you see on the bottom left of the chart.

Aesthetic Values:
Below are a list of the Aesthetic Values as seen on the first draft of the table from top to bottom:
Thought
Imagination
Concept
Originality
Creativity
Authenticity
Perception
Viewpoint
Identity
Personality
Inspiration
Vision
Self Expression
Perspective
Abstraction
Composition
Design
Presentation
Experimentation
Harmony
Simplicity
Rhythm
Form
Space
Pattern
Arrangement
Balance
Symmetry
Color
Hue
Texture
Depth
Dimension
Repetition
Proportion
Muse
Aesthetic
Lines
Shape
Scale
Beat
Pitch
Intensity
Light
Gradation
Shadow
Emphasis
Unity
Refinement
Direction
Wabi Sabi
Counterpoint
Allusion
Tone
Voice
Reflection
Communication
Participation
Appreciation
Experience
Impression
Contribution
Feeling
Resonance
Wavelength
Vibration
Emotion
Elegance
Grace
Poetry
Beauty
Mystery
Geometry
Movement
Melody
Lyricism
Metaphor
Vocabulary
Mood
Shade
Contrast
Chiaroscuro
Subject
Time
Skill
Technique
Quality
Representation
Criticism
Taste
Interpretation
Style
Avant-garde
Symbology
Tradition
Overtone
Allegory
Sensitivity
Significance
Meaning
Value
Iconography
Audience
Portrayal
Integration
Genre
Nature
Reality
Place
Imagery
Series
Perfection
Appropriation
Collaboration
Context
Media/Matter
Universality
Culture