Shifting your gaze: ‘Negus’, a dynamic and revolutionary approach to fine art.

One of Brooklyn’s finest, a child of hip-hop’s Golden Era and regarded as one of the genre’s most introspective and insightful artists, Yasiin Bey more commonly known as Mos Def has shaped a career that exceeds the boundaries that persist within musical genres and artistic expression. Bey has been garnering attention his entire career, confronting challenging social issues through his music with his wit and wordplay- particularly about the black experience in America and the world at large, through an Afrocentric lens. With Negus, maybe his most audacious artistic endeavor yet, it has landed him both praise and impertinent scrutiny from some about his undertaking of such a daring artistic endeavor.

Negus is a royal title in Ge` ez, an ancient Ethiopian Semitic language that denotes a monarch and which has been used to translate the words “king” or “emperor” in literature. It is used as the title to the current audio-visual installation at the Brooklyn Museum of his latest studio recording. Delivered through the usage of wireless headphones, the 28-minute long album will not be released in any digital or analog mediums, and is touted as an artistic experience devoid of “the distractions of technology.” Bey called upon the talents of various contemporary visual artists such as Julie Mehretu, Ala Ebtekar among others and commissioned them to create works (in collaboration with Bey) specifically for the installation after hearing the album. This dynamic and revolutionary approach to artistic creativity continues the upward trend of Rap solidifying its claim as fine art.

Courtesy of The Third Line.

In a recent interview, Bey proposed that his approach seeks to remove the hard line of what is considered fine art- not limiting it to only something one can hang on a wall, but extending it to music, specifically hip-hop music. He saught dynamism in the experience of art by uniquely juxtaposing the traditional museum experience. This juxtaposition boldly infringes upon the long-held fallacy of what it is to be cultured in the traditional fine art sphere, where a cultural gap has always been present between refined high art enjoyed and advertized in white history and culture, and art of people of color. An essay was written recently on Pitchfork.com about the exhibition which expressed a somewhat distant view of this insightful undertaking in art and dismayingly so, highlighted the troubling thought that art may just be losing its aesthetic appeal, even to those among us who rely on its longevity for inspiration.

Photo by Tiffany Sage/BFA.com

The essay partly assumes that the combination of hip hop music and fine art is a plea for validation from the art establishment, to rescue the genre from its assumed lower class. The success surrounding this long documented courtship of fine art and hip hop is widely debated with varying opinions, but historically the relationship has always been present. Rap’s early marriage with graffiti art in the early 80’s sparked the growing influence of art in the genre. With each era however where we see a change in artistic expression, the dynamics surrounding its relationship with music simply repositions itself to further fuel the debate. From artists like Jay- Z and Sean ‘Diddy’ Combs indicating their wealth through the purchase of multi-million dollar artwork, to the increasing number of music videos with embedded visuals of paintings and sculpture, we see that this romance has matured to what Yasiin Bey helped to curate.

The Negus installation is yet another attempt at enlightening us to the powerful influence of black culture, which seeks no validation nor kowtows for attention. From artists like Kehinde Wiley, Isis Kenney (@icewatercandy) and Thomas Evans (@detour303), it is evident that fine art and hip hop have found a life-long marriage that bridge the cultural divide, and stands face to face with the conventions of classism. I further assert that once more, black culture has found yet another way to penetrate the fine art canon, and continue to dispel misconceptions surrounding our ability to pioneer and shape the future. Furthermore, as artists and creators, let us continue this trend of black excellence fueled by unabated creativity and live by the words of Thomas Evans “Be the artist that you would want to meet.”

 

 

 

 

Window To My Soul Exhibition

 

The reception for the Window To My Soul Exhibition commenced on June 4th at the Athens Public Library, in beautiful Athens Ohio. The exhibition was a mixture of some of my most poignant earlier work that has resonated well with a wide audience, plus a few newer pieces that cohesively blend into my artistic vision and body of work.

 

 

The exhibit displayed 10 pieces, from limited edition prints to original paintings. It called for each visitor to have a sense of connectivity with fine art; connectivity that is increasingly lacking, as fine art is being vastly devalued because of what I believe is the de-sensitivity to it, partly as a result of the oversaturation of the market with bad or meaningless art. In my artist talk which is an important presentation at all my exhibitions, I challenged each individual to engage in provocative conversations surrounding each work as they engage with the symbology embedded in every piece.

Peilian Wu

 

I had the opportunity to share the space with another phenomenal artist, Peilian Wu. In her own words, Wu explains that her artwork is “influenced by formulas in traditional Chinese paintings which can be traced back to texture strokes in Ming landscape painting.” Her interpretation of the Ohio landscape in this style was a refreshing take on the natural beauty of the area, which I as a fellow international artist have come to love and represent in my own art. What I admired most about her work is her conveyance of cultural identity through her traditional style, which is seen as a direct extension of herself as a Chinese artist.

 

It was nice to see a few familiar faces who supported my previous shows in Athens, but even better to see some new faces who got introduced to brand ABFA that evening. My gratitude extends to each and every person who attended the exhibit and to those who helped to make it a complete success.

Myself and Curator Todd Bastin

 With another exhibition under my belt in Athens, I set my sights on surrounding towns in Ohio, aiming to diversify their artistic landscape and open doors of opportunity for artists of color like myself who have found a home in hidden gems across the American landscape similar to Athens Ohio.

 

 

 

 

 

On The Easel Today.

On my easel today I have yet another landscape painting, and you know well my love of creating beautiful landscape and seascape pieces. In this new work, I intended on portraying the majestic beauty of clouds and the effect they have in this work of art. In the piece, perspective plays a vital role, and this is primarily as a result of the clouds. Take a look below.

 

 

In landscape art, the understanding and usage of values and the principle of perspective is the most important thing to consider. In representing nature, one has to capture the essence of 3-dimensional space on a 2-dimensional surface, so the sense of depth is essential and is achieved through the proper treatment of the elements contained in a composition. Even in non-representational paintings such as abstract landscape painting, the paint can be used skillfully to convey depth. This is where Atmospheric Perspective can come into play. The clouds in the artwork recede into the distance, taking your eyes along a visual path deep into the horizon. Pay close attention to the cloud formations and their relationship with perspective, coupled with their direction in the composition.

 

Like many of my other “scapes”,  they boast a deep understanding of how to achieve depth in an artwork. Always paint with the principles and elements of art in mind. They are your framework for successful representations and connecting visually to your audience.

 

 

 

 

 

 

Reading Between the Lines. Draw More.

 

Drawing has always been a BIG part of my life.  My love for drawing started when I was quite young.  During those early days of my engagement with print media, I was mesmerized by the Hardy Boys illustrative Classics and Archie comics, and I started to draw “childlike” creations of what I was reading. My love for drawing remains true till this day, and it is the basis of my illustrative paintings – and let’s think about it, every great painting begins with the act of drawing to some degree.

While in school, I learned to utilize my ability to sketch and draw to my advantage. Essentially, I was able to encapsulate the large volumes of information presented during lectures in sketches, and sometimes in detailed drawings. One had to be “quick on the draw” to keep up. This led to a personal discovery of my most astute ability- my visual/spacial intelligence.

A recent post on Fast Company highlighted recent research done by the University of Waterloo, Ontario that discovered that drawing is particularly beneficial for older adults regarding memory. This is so because certain regions of the brain dealing with memory remain intact in spite of aging. As human beings age, the brain deteriorates; oftentimes leading to diseases that affect memory like dementia and Alzheimer’s, so episodic memory is directly affected. What is interesting however, is that while structures like the hippocampus in the brain (thanks Fallout 4) that deal with memory retrieval and coding may deteriorate, regions associated with visuospacial skills remain mostly intact, and this is what aids in the memory retention despite the effects of aging.

  

Illustrations by Adrian Blake.

There are myriads of studies that prove the positive correlation between drawing and memory development and retention. Each individual has unique skills and talents, and I know that not everyone will become famous artists and illustrators. However, if only for the fact that drawing promotes memory retention in humans as they age, or simply just passing the time without the guilt of wasting it, it is a good enough reason for everyone to explore their creativity and simply draw more. For as Paul Klee said: “A drawing is simply a line going for a walk.”

 

 

 

 

The Black Artist And The Negotiation Of Identity.

Many more black artists could have been recognized and even celebrated as the traditional masters of the art word are today, had it not been for the color of their skin. Black artists try to penetrate the stereotype and show that despite the difficulties, we deserve recognition and praise for continuously navigating challenges to our breakthrough and longevity in the art world. We oftentimes end up negotiating our identity, rarely breaking the glass ceiling to success and even stardom as a result of the compromise we are ushered to embrace.

[When The Rain Comes- Adrian Blake]

The struggle to define oneself being a black artist, and to find one’s identity in the art world that will propel us on a global scale is not something that is taught or even attained via a degree from a prestigious institution. I believe that success is innate in us, but suppressed.  It is manifested eventually through embracing our black history, applying knowledge from our experiences and understanding the minutiae of our existence and individual calling as black artists. But more importantly, having the desire to change the disproportionate balance of power that has played a role in our endeavors.

The negotiation of identity for black artists is far more complicated however, because we are constantly being steered towards what is commercially profitable or towards social acceptance. That is the experience of the black artist. It does not necessarily point us toward our own talent and freedom of expression; which if widely accepted, would be a conduit to the fulfillment of being revered as great artistic minds throughout history. So many black artists nowadays are embattled between simply being refered to as an artist and being identified as a black artist, as if being referred to as just an “artist” gives a subliminal validation of acceptance.

[Kehinde Wiley. Photo by Chad Batka]

Artists such as Kehinde Wiley challenged “the visual vocabulary and conventions of glorification, history, wealth and prestige” – kehindewiley.com  using images of black and brown men and women throughout the world. He being the consummate modern day (black) master portraitist, surpassing the archetypal role of black artists throughout history, sets the bar high, because of bold and historic artistic statements in his works. His initiative to educate those like him to aspire to greatness through self discovery and acceptance is profound. He refused to negotiate his identity; embracing his black history, applying his knowledge and understanding that his existence as a black man is in need of representation in art.

[Artwork by Kehinde Wiley]

As we evolve as artists, especially black artists it is our duty to counter those longstanding stereotypes and break the glass ceiling that cripples our creativity, in hopes of changing minds and opening doors that have long been kept shut. Remain steadfast in your creative freedom, refuse to succumb to the pressure of creating mere ‘popular’ art and art for arts sake.

Sketching: The shorthand communication of Artists.

Several years ago in high school, as I sat in English literature class listening to my instructor talk about writers, and how they made it an art form to jot down bits of information quickly using shorthand writing, I was instinctively sketching the entire classroom. After the class ended, I analyzed the sketch and discovered all the actions that really took place in that moment in time, and how in the blink of an eye scatterbrained boys who simply wanted to get on to the next class forgot them. My sketchbook told a story.

In later years, I came to understand the importance of sketching. Similarly to how writers use shorthand writing to document quickly, artists use sketching to the same effect. Not only is it a form of documentation, but to the artist it is an intimate language that communicates more than just what is rendered- it also communicates who the artist is, and what better words to hear from an artist than “go ahead, take a look,” as he/she willingly allows you to enter their mind through their sketches.

Aspasia (sketch) by Eugene Delacroix.

 Artists like Eugene Delacroix filled numerous sketchbooks with drawings and journal entries, and even said: ” Perhaps the sketch of a work is so pleasing because everyone can finish it as he chooses,” and how right he is! For when one peers into that window of the artist’s mind through the sketchbook, one gets to somehow be apart of that creation, without actually being apart of it. Delacroix further said: ” The artist does not spoil the picture by finishing it, for in abandoning the vagueness of the sketch he shows more of his personality by revealing the range but also the limitations of his talent.” This leads me to say, it is important to develop your sketching ability.

Study of War: 1833-37 by Eugene Delacroix.

INCREASE YOUR ABILITY

Try not to worry about the subjects you draw at first. Just draw, focusing on expression and capturing the essence of the subject quickly. Do so through practice, and even the willingness to make it your own art form. Make sketching fun. Treat it like a pastime, rather than a chore or task. Just like how writers use shorthand, which is oftentimes very personal, use sketching as your personal shorthand to record visions, or translate your opinions, as many artists have throughout history.

TYPES OF SKETCHBOOKS

There are so many different types of sketchbooks out there on the market these days, you only need to browse through the aisle of say a Hobby Lobby to see the ever growing types, sizes and styles to choose from. But consider these three factors when purchasing a sketchbook:

• Shape: Portrait (vertical with horizontal binding), landscape (horizontal with vertical binding) and square. There are a great many variety in these, and the sizes will vary as well.
• Binding: Stitched (hardbound or softbound), spiral bound, or tape-bound. Artists who keep illustrated sketchbooks oftentimes prefer the hardbound sketchbooks, primarily for comfort, but these can be tricky, for writing/ drawing close to the binding can pose a problem because it isn’t flat. Spiral and tape-bound are far more common. These are more flexible, and oftentimes are perforated as well, so the artist can remove pages easily if needs be.
• Paper: Paper type and quality can never be underestimated or overstated, for it can dramatically affect what the artist creates. A great many selection of sketchbooks containing acid free, recycled or speciality papers are on the market today. If you sketch in soft mediums, and smudging is a pet peeve, I recommend sketchbooks that have glassine interleaves between the sheet. Most sketchbooks are intended for mixed media, but if you work in water media, use sketchbooks with heavier papers, such as watercolor paper that can handle the saturation. If you desire heavy, high-quality drawing paper with tooth, try sketchbooks with hot pressed watercolor paper.

Get hooked on it. Develop a habit of sketching. Use the process to channel your creative side, warm you up and get you loose, even if no one ever sees them.

Slowly but surely.

 

How often do you quote your parents in what they have said to you over the years, once, twice, more than that? I don’t quote my parents very often, but there are always certain things that both my mother and father have said to me over the years that have stuck with me throughout my lifetime. The title of this blog post is one such quote: “Slowly but surely”. This is something that I remember my mother always saying to me growing up, and she said it with conviction and hope. It is a quote that has stuck with me throughout the years because it has given me hope, and taught me to be patient. Things will come my way, but they won’t always come as quick as I would like, but surely, they will be mine one day.

With this in mind, I wake up every day with hope, despite my trials, doubt and setbacks. In my very young art career where doubt faces me every day, with the prospect of failed attempts at reaching audiences, the constant fight between traditional art and modern ways of expressionism and cybercrime, where your artwork can be easily stolen and manipulated, I still persevere saying: slowly but surely. With my many attempts at becoming a revered visual communicator I have made some wonderful connections and have subsequently been published a number of times. One such publication is through the Athens Messenger’s Artist Studio section. View here. This publication explored the type of art I create, the inspiration behind most of my art and my experience as an local artist in Athens, Oh. The publication landed me a number of commissions throughout Athens where I created some wonderful artwork for a few personal collectors.

Being a traditional artist is a struggle in this digital age and in the age of modern means of creating art, like graphic design, which reigns king. My goal however is to be a traditional artist who brings back to the forefront the joy of traditional painting, like the old masters of classical art did. As I grow as a visual communicator I will continue to remember the words of my mother: “slowly but surely”, and one day surely all my goals will materialize how I’ve always imagined them.