I don’t believe in influence. I think that in order to be an artist, you have to move. When you stop moving, then you’re no longer an artist. And if you move from somebody else’s position, you simply cannot know the next step. I think that everyone is on his own line...I do believe we unfold out of ourselves, and we do what we are born to do sooner or later, anyway. Agnes Martin
Recently, I was in my old hometown of New York. Between meetings, I tucked into the Museum of Modern Art to see the Pablo Picasso and Jackson Pollock shows. Both artists are supernovas of the art world, and were worth the crowds, the jostling and the occasional surly guard. Both offered fresh visual surprises and inspiration. Looking at great art, and seeing splendid public art all around the city, rejuvenates me and makes me reflect on my artistic ambitions. My career designs are simpler than they used to be. Time in the studio is my biggest goal, and I no longer worry about being sanctioned by the “art world," since the art world is buffeted by several baffling currents. Among the most baffling: the staggering amount of private money pouring into public institutions, while public monies are declining. For example, the MOMA is poised to raise one billion dollars -- the expectation is that 75% percent of this amount will come from its own Board of Trustees. Other currents include a fascination with posturing, a craving for outlandish flourish, and exclusivity, that leaves the rest of us off kilter and alienated. In some art world venues, it is intimidating to ask questions or talk about the art while looking at a piece. I was discussing a show with a friend at our local museum, and the gallery guide kept inserting himself into our conversation, without invitation. He wanted to make sure we stuck to a scripted interpretation, and kept assuring us that we were looking at real “sophistication.” We retreated to lunch for privacy.
Although I am represented by two small galleries, I know that representation is fickle and may shift. Age and motherhood have liberated me from craving certain approbations, and I now use the platform of social media to launch my own narrative and explore the work of other artists. The artist Amanda Palmer wrote: “The ideal sweet spot is the one in which the artist can freely share their talents and directly feel the reverberations of their artistic gifts to their community. In other words, it works best when everybody feels seen. As artists, and as humans: If your fear is scarcity, the solution isn’t necessarily abundance.” I couldn’t agree more, and there is great peace when you finally get to this conclusion.
Mark Hadjipateras Subway Tile Art