The Police Report, The Novel, and The Poem

by Keith Bond This article is by Keith Bond, Regular contributing writer for FineArtViews. You should submit an article and share your views as a guest author by clicking here.

Suppose a crime happened in your city or town. Three people write about it.

First is a police officer who responded to the incident. The officer writes in exacting detail everything that happened. Nothing is left out. It is a completely thorough and meticulous report. But reading it is very cumbersome and tedious. It puts you to sleep on about page one.

The second writer is a novelist who is able to explain the same event in an exciting way. The novelist’s version is enthralling and captivating. The details are controlled so that you read them only when necessary. They are carefully composed to lead you over and under, in and around the events. The author creates a narrative to tell the story. You find the read thoroughly enjoyable and suspenseful. It is a page-turner. You cannot put the book down, because you need to know what happens next. Hours go by and you find that you read all night to finish the book. The twists and turns kept you guessing, but in the end you really weren’t prepared for what really happened. It caught you by surprise. You wonder why you didn’t see it before – the butler really did do it!

Yes, the novel would be much more exciting to read than a police report. But once you have read it, what then? Would you read it again? Perhaps in a few years.

Both Paintings By Michael Orwick

www.MichaelOrwick.com

The third writer is a poet. What would his/her version read like? Likely, it would give you only the most essential details. But the poet would also leave much to the imagination. The poet captures the feeling or mood of the events. Rather than telling you what everything means, the poet would subtly point you in the general direction, but you would be faced with the task of coming to your own conclusions. Each time you read it, you find new things hidden in the words. You think the poem means one thing one time you read it and something entirely different the next time. Thus, you never tire of reading it.

It is the same with art. Three people paint the same subject, but in very different ways (actually, the possibilities are far more than three, but for the analogy’s sake, we’ll keep it simple). What kind of artist are you? Do you tell your viewers everything in such exacting detail that they are bored out of their mind? Are you a story teller? Do you create wonderful narratives in your art? Is it exciting to view the first time, but there is little to bring the viewers back time and again? Or are you the poetic artist who merely implies themes and allows the viewers to interpret the art in his or her own way? Do they come back time and again to view the painting because it keeps drawing them in, revealing more to them each time?

Before I go further, I must clarify what I mean by these different classifications.

The Police Report

I am not picking on the highly detailed artists here. I have seen highly detailed works that are very poetic. Though the analogy is built around recording every last detail, it is really about not knowing how to edit and compose. This is the artist who cannot decide which details are important and which are not. This is also the artist who can’t arrange the details in a compelling way. This artist simply records things just as they are. A police report has no emotion. It is simply an outline of facts and events, regardless of whether the work is done in photorealism or impressionism or abstraction.

The Novel

I don’t use the term narrative in the typical sense. We all have seen those works of art which depict a story – a narrative. But even these can be done poetically. I am talking about the method of painting, not the subject (I hope it’s not too confusing). Do you lead your viewers through your painting in a controlled way? Do you keep the painting exciting and enthralling at every turn, but in the end, the viewer comes to the point that you wish them to get to? This is a novel in this analogy.

Poetry

Or do you simply create a painting in which the viewer gets a gist of what your intent is, but it is left open to them to interpret? Do you put in only the most important details and leave the rest out? Do you imply rather than explain? Do you search for new ways of expressing the old ideas? Do you say so much with each passage, that more is revealed each time your work is viewed? Are the works felt?

What kind of art do you create? What kind of art do you want to create?

Best Wishes,

Keith Bond

PS This analogy was derived from a vague recollection of one I heard years ago, so I can’t take total credit. The artist who told it to me claimed that it was John Singer Sargent who came up with it. I have never confirmed that. If you happen to know, share it with us.

---------------------------------------------- This article appears courtesy of FineArtViews by Canvoo, a free email newsletter about art, marketing, inspiration and fine living for artists, collectors and galleries (and anyone else who loves art). This article originally appeared at: http://clintwatson.net/blog/16298/the-police-report-the-novel-and-the-poem For a complimentary subscription, visit: http://www.fineartviews.com

Talent

Talent by Keith Bond http://www.keithbond.com Today's guest author is artist, Keith Bond. I first saw this great article on Clint Watson's Fine Art Views. This article has been edited and published with the author's permission. Dear Subscriber, The most recent Southwest Art Magazine (December '08) honors 20 legendary western artists. Each of these artists is 70 years old or older, and each has been at the top of the western art scene for decades. They are gifted, successful, and influential artists. (Among the list are several that I have admired for years: James Reynolds, Richard Schmid, David Leffel, Kenneth Riley, and Howard Terpning.) As I read the interviews, I was intrigued by the similarity of the answers to many of the questions. One particular theme caught my attention. Each artist interviewed expressed this same idea in his or her own words. To summarize: 'Art is not easy. It is extremely difficult. It takes a lot of time, effort, practice, etc. Many people think it comes easily or naturally.' This sparked several ideas and thoughts in my mind. I will share only a few of my thoughts. I agree with each of the artists' assertion that creating art is extremely difficult and requires a tremendous amount of work, practice, determination, etc. However, included in the list of attributes an artist has is also talent. Some shy away from using that word, because it implies success without work. On the contrary, work is essential to the development of talents. Clark Hulings stated it well, "Most of us artists have a gift. But a gift is an inclination and some small ability to do something along with a great deal of application and hard work." Interestingly, I often hear people talk about someone who plays an instrument well or who excels at sports. There is usually a comment made about how much practice and time was devoted to achieve such a high level of skill. Yet those same people making those comments see an artist's work and say something to the effect of, "What talent you have!" In reality, there is no difference between the musician, the athlete, or the visual artist. Each has a great gift or 'talent'. However, each must also perspire. Each must practice long and hard. Each is never satisfied with mediocrity. To attain greatness each must push the limits, train, learn, practice, fail often, but get back up and learn from the failures. There are frequent successes, but there is also the realization that there is still much more to learn. A huge component is the unrelenting desire to become the best. It is a passion, almost an obsession. Being an artist (or musician, athlete, etc.) comes with a price, but it is gratifying. I do not pretend to know the magical recipe of how many parts talent, how much determination, nor how many dashes of luck is required for an artist to succeed. As for me, I intend to work as hard as I can to ensure that I reach my fullest potential. I want to find out how much talent is still in its infancy, waiting to be nurtured. I also hope that luck favors me along the way. Thanks again to Keith Bond All the best, Michael Orwick Orwick Arts http://michaelorwick.blogspot.com/ http://www.michaelorwick.com/

Art: Speak wisdom with every word. One must have something to say

WWW.MICHAELORWICK.COM

Art is a Language
Part 3
by Keith Bond

"As an artist, when an idea or scene inspires me, I must decide which elements are essential to convey the message that I wish to convey."

Dear Michael Orwick
A few years ago I read a quote by the late Paul Strisik. I don’t remember it verbatim, but it goes something like this:

A man fluent in the English language and having a large vocabulary can have nothing interesting to say, while on the other hand a foreigner with broken English and a small vocabulary can speak wisdom with every word.

He used this analogy illustrate a point. Proficiency in art is not enough. One must have something to say (the debate on self expression vs. traditional art instruction will be saved for a future issue). I have seen many pieces of art which were masterfully executed, yet had no life to them. The level of skill was there, yet there was no emotion. The works seemed nothing more than a record of the artists’ labors - and often one could emphasize ‘LABOR’. I have also seen work by artists who are still ... (oh, how does one be politically correct?)...beginners. However, the works were very moving and had a lot of strength. I could feel something in the art. What is the difference? The sincerity of the artists’ message(s).

A work of art, deeply felt by the artist - even if the work is technically lacking - is a much stronger and more powerful work of art than a masterfully crafted piece in which the artist had no emotional connection to the subject. For a work of art to be truly meaningful, the artist must have something to say. The artist must mean what they say. The artist must be sincere.

I will admit, there have been times when I painted what I thought the market wanted. I painted what I thought would sell. Every time I did such a painting, it was a failure. I look at those paintings and there is no life to them (even if well executed). They were merely burdensome tasks to be completed. There was no joy nor magic.

On the other hand, my favorite paintings are the ones that I paint strictly for myself. Those paintings stem from ideas that I am excited about. As I paint them, I am excited. And I am proud of them when I am finished. I am also excited to display them. They are the paintings that resonate most with viewers. (Duh!)

In the last issue, I asked you to close your eyes and think of your favorite place. If you did the little experiment (I hope you did), you would have seen only the most essential elements of the scene in your mind’s eye. As an artist, when an idea or scene inspires me, I must decide which elements are essential to convey the message that I wish to convey. I must choose what is important to me. I then leave everything out that is not critical. That is how I communicate through art.

Best Wishes,
Keith Bond

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This article is reproduced with permission. Copyright 2007 -Keith Bond.To get more of Keith Bond insights into the life of an artist, or to see his beautiful oil paintings, visit his web site at:http://keithbond.com/

All the best,
Michael Orwick

WWW.MICHAELORWICK.COM

Orwick ArtsSign up for my daily paintings, art related musings and tips and techniques.http://michaelorwick.blogspot.com/my new store, items added all the time. http://stores.ebay.com/Michael-Orwick-

My art hints at a story and then invites you to finish the narrative. My style has been called Inspired Expressionism, which combines impressionistic brush strokes and a touch of realism to create the atmosphere and lighting woven into my work.

The easiest way to see my work is at www.michaelorwick.com

Art is a Language - Part 2

" What makes truly great art is its ability to communicate on some level with viewers."

Art is a Language - Part 2

Why do some works of art have the ability to bring us to tears while other works go unnoticed? Why am I drawn to some artworks while you are attracted to others? What makes truly great art is its ability to communicate on some level with viewers. For communication to take place, both the artist and the viewer need to engage in the conversation. Communication is not one sided. The artist needs to have something to say. The viewer also needs to have something to say. ‘Listening’ is likewise important in good communication. I will define listening as an attempt to understand and gain deeper insights through observation and study.

Today we will discuss the viewers’ side of artistic communication. Next week we will discuss what an artist’s role is in the communication process.

First, I would like to illustrate a point. Let’s try an experiment. Dear reader, close your eyes. . . ok, now open them (ha, your eyes weren’t closed were they?!). Actually, read the next paragraph and then close your eyes for a few minutes.

Think about your favorite place in the world. Is it the beach? Your childhood home? Your grandparents’ farm? The park where you fell in love? Wherever it is, think about that place. Try to picture it in your mind. Try to go there for a few minutes.

. . . are your eyes closed?

Now that you’ve thought of someplace, I want you to write down a description of the place. Go on, write. What does the place look like? What smells are there? What colors do you see? What sounds? What are you doing? What season is it? And most importantly, why do you love that place?

Now read what you wrote. Is there any mention of the number of grass blades or leaves on the trees? Is there any mention of any superficial detail? My guess is, ‘No’. You remember only the essential elements that are tied to your emotional memories of the place. The reason you love the place is because of fond memories there. There is certainly some element of emotional attachment.

You are the sum total of all of your experiences. Take this experiment and multiply it by every experience (good or bad) that you have ever had in your life. These are the things you (and I) bring to the conversation. How?

If an artist creates a work of art that communicates with you, it has most likely triggered a memory of something you have experienced or has struck a chord with your philosophies or your ideals. In short, you respond because of the cumulative experiences that have made you who you are. You don’t need to know exactly how or why a work of art spoke to you. The artwork may even appear very foreign to your life experiences, but something in the artwork communicated with something within you. A work of art is incomplete without your side of the dialogue. You as the viewer complete the communication process.

Now ‘listen’ to the artwork. The message that you are taking from the artwork is probably not what the artist was saying. Even if it was close, it would be viewed through your eyes, not the artist’s, and therefore would different (even if only slightly) from the artist’s point of view. Therefore, if you engage yourself in the process, you can gain deeper insights by listening to what the artist is trying to say. You may not be able to completely understand the artist’s intentions, but the conversation does not have to end with the first level of communication. Art has the ability to go much deeper. Look for it. There is no right or wrong.

Art is a very complex language, but it is magical. It does have power to speak deeply. If a piece speaks to you, engage yourself in the dialogue. Go deeper. Listen. Respond. It will enrich your life.

Best Wishes,
Keith Bond

Thanks again to Mr Bond,

all the best,

Michael Orwcik

http://www.michaelorwick.com/

http://michaelorwick.blogspot.com/

my new store, items added all the time.

http://stores.ebay.com/Michael-Orwick-Arts











This article is reproduced with permission. Copyright 2007 -Keith Bond.To get more of Keith Bond insights into the life of an artist, or to see his beautiful oil paintings, visit his web site at:http://keithbond.com/

Art is a language that can communicate on a deep level with others

Art is a Language - Part 1

Dear Art Connoisseur,

Several years ago, I was in Scottsdale, Arizona visiting art galleries. There were many paintings which I enjoyed looking at and several that I liked quite a lot. There were also many paintings that I didn’t care for and some that I down right disliked. I am sure that there were many that I didn’t even notice. Of the hundreds, possibly thousands of paintings that I saw on that trip, there is only one that I remember - and it still haunts me.

Autumn Stillness by Keith Bond

Oil on Linen28 x 22 Sold

With my first glimpse of that painting, I was captivated. I stood there across the room just staring. I couldn’t move if I wanted to - but I didn’t want to. I felt something. I felt a profound connection to the scene.

It was not a grand or majestic scene. It was not one that shouts for attention. The painting, about 30 x 40 or so, was mostly sky. Only about an inch or two of the bottom was dedicated to the ground plane - and being in shadow, commanded little attention. It served only as a reference for scale and place. The sky, however, was captivating. A large thunderhead was billowing in the evening sky, illuminated by the sun. I could almost smell the rain, I could almost feel the wind. I must have studied that painting for 30 to 40 minutes (both up close and at a distance).

It has probably been 6 to 8 years since I saw that painting, but I still remember how it made me feel. I know that I don’t remember all the details, but I remember the important elements.

On another occasion, I discovered a bronze entitled “Sustaining the Prophet” by Ben Hammond. Again it was not so much the subject, but rather the interpretation and handling of the subject. It was a biblical story of Moses holding up his arms while the Israelites were at battle. If he lowered his arms, the Israelites would lose the battle, but while his arms were upheld, they would prevail. To help sustain him, Aaron and Hur supported his arms. In the bronze you could feel the tremendous weight and fatigue - the extremely heavy burden. It was a powerful image. I have thought of that bronze for several years - hoping to one day acquire one.

I also remember vividly a charcoal drawing by a grad student while I was at Utah State University. Entitled “The Dirge,” the charcoal was a very powerful depiction of a funeral procession. You could feel the sorrow and pain. You could sense the loss and mourning. Yet the drawing was quite vague - almost dreamlike. There was little, if any detail. It was mostly shapes and gestures. It has been over 10 years since I saw that drawing, but I still remember how it moved me.


Art is a language that can communicate on a deep level with others. Those pieces which communicated to me may not communicate to others. Likewise, much of the artwork that I overlook may touch others deeply. In the next issue of my newsletter, we will explore why and how art speaks to us - and why it may not. If you have any insights, comments, or questions on this topic, please post a comment.

Best Wishes,
Keith Bond

Keith Bond's passion for the outdoors, especially the untouched, pristine wilderness areas, inspires his artistic direction. This passion stems from his youth; growing up in rural Cache Valley, Utah, where much of his time was spent exploring secluded and remote areas.

Printed with admiration and thanks,

part two soon.
Copyright, 2007, Keith Bond
http://www.keithbond.com/

All the best,

Michael Orwick

http://www.michaelorwick.com/

http://michaelorwick.blogspot.com/