Artist Fellows in the RSA

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Comment by Vittorio Cirefice on February 28, 2011 at 22:07

can i just add this to your excellent summary

Despite the arrival of modernism, realism persisted in American art in the 1920s and 1930s, chiefly in the form of regionalism and social realism. Most of the regionalists were white, American-born, of European ancestry, and antiurban in their outlook. They celebrated in their art the culture of small towns and rural life, which they regarded as authentically American. The social realists, on the other hand, consisted mostly of Jewish and black artists and were urban in their orientation. They saw the United States as a place of discrimination and injustice, of privilege vested in a wealthy upper class. Both groups sought to portray American subjects in a way that could be understood by all people, not just by an elite few.

 

Comment by David Cotterrell on February 28, 2011 at 11:09

I agree that not all artists rely on grants or subsidies for support, however the greater issue is that not all art valued by society is actively supported by commercial markets or possible to realise through the personal subsidy of artists' private incomes or individual philanthropists.

It is interesting that you mentioned the depression era in the US. Roosevelt's New Deal program specifically embraced the potential for collective cultural benefit through progressive taxation-based investment in the arts. As a direct precursor to contemporary federal or state funded programs, the "New Deal Cultural Programs supported activities not already subsidized by private sector patrons. Rather than following private patrons' leads they emphasized the interrelatedness of culture with all aspects of life, not the separateness of a rarefied art world."

( http://www.wwcd.org/policy/US/newdeal.html ).

Much of the most interesting work that offered social commentary. analysis and insight from this period was supported through the visionary adoption of state rather than private investment in the arts. The most significant programme was called the Federal Art Project. Commissioned within the Works Progress Administration in 1935. It employed or commissioned over 40,000 artists. Although deeply controversial (and later dismissed as harbouring many communist sympathisers) this program was incredibly successful in attracting great public audiences, sustaining a generation of artists and in providing recognition of the importance of a cultural record of the most challenging times.

Holger Cahill, director of the Federal Art Project, stated in a 1939 speech:

...the Project has discovered that such a simple matter as finding employment for the artist in his [sic] hometown has been of the greatest importance. It has, for one thing, helped to stem the cultural erosion which in the past two decades has drawn most of America's art talent to a few large cities. It has brought the artist closer to the interests of a public which needs him, and which is now learning to understand him. And it has made the artist more responsive to the inspiration of the country, and through this the artist is bringing every aspect of American life into the currency of art.

The visual artists supported included Jackson Pollock and Adolph Gottlieb. Despite the involvement of the state in subsidising and nurturing the arts being played down, it is arguable that enormous critical and commercial success of America's artists, later in the century, could owe something to the visionary understanding of the intrinsic value of culture, art and artists, remarkably demonstrated by a government facing a far worse economic catastrophe than our own.

Comment by Vittorio Cirefice on February 28, 2011 at 0:03

I see this recession as a breeding ground for some really good fresh work to emerge across the board.(not all artists rerely on grants or subsidies or even aproval of the institutions) look at the significant work produced in america after the depression and how methods of handling and selling work changed.perhaps we could do with some changes here.

The exhibition on urban landscape sounds very exciting . it not relevant to me though as i regard art as being more often than not the urban mans nature : where as for me it is the bi product of a creative process.

Comment by martin stynes on February 21, 2011 at 13:05

RSA ARTIST FELLOWS AT THE PORTICO

“ROMANTICISM IN THE URBAN LANDSCAPE”

The urban landscape is a living museum of past and present voices and ambitions. Thus, a romantic view of this landscape will be manifest in the artists’ emotional response to the history, the present, the future, the people and the vistas of the city; no less than the intellectual and emotional life of urban endeavour.

The RSA and the Portico perform an intermediary role in supporting enlightened change and intellectual liberation; thus the changing city can be seen as an expression of these endeavours.

But, can the romanticists look into the future as our changing social networks affect the vista of the urban landscape?

 

The Portico Library & Gallery, Manchester is hosting an exhibition of RSA Artists during the months of July and August 2011. We are seeking artists from all backgrounds to submit images of their work (paintings, photography, sculpture, etc) that ties in to the theme of Romanticism in the Urban Landscape.

A maximum of 10 artists will be chosen to take part in this prestigious exhibition.  This is an excellent opportunity to display and sell the work of RSA Fellows.

If you are interested and would like to submit some images (2-3 jpegs), or would like to know more, please email either Martin Stynes, FRSA at martinstynes@hotmail.co.uk or Charlotte Wand, Exhibitions Organiser, The Portico at charlotte.wand@theportico.org.uk

Comment by martin stynes on October 29, 2010 at 11:00

Here goes......Vivs Long-Ferguson (Manchester) suggested joining so here I am with my first request: RSA Manchester and Portico Library are considering an exhibition here in Manchester next year. Theme and concept will be decided in November but I would like to know if any RSA artists would be interested in taking part. You are more than welcome to suggest a theme........get in touch via martinstynes@hotmail.co.uk or through www.martinstynes.com (be patient though, the website is being redesigned at the moment.)
Looking forward to hearing from you all.......

Comment by Magnemar on October 26, 2010 at 14:57

It's all rather quiet on this wall so I thought I'd add a comment/discussion topic...

21st Century Enlightenment - I like the tagline but how, as artists can we reflect on this (or indeed illustrate it)?

I'm thinking I might try and do some work on the topic and see where we go from there - if no one else is interested - no problem, but I'll post a few pics up here if I get some done!

Comment by Susan Jones on April 7, 2010 at 16:31

welcome Michelle - please feel free to start a discussion here. It's a space for artists. Please also extend the invite to other artists in RSA.

Comment by Michelle Baharier on April 7, 2010 at 16:25

I guess as an Artist i SHOULD JION