Neon Yellow, by Lee Puffer. 2016. Watercolor on paper.
Recently I wrote about the urge to be original, observing that young artists are especially concerned with making something absolutely “new”. I believe that research and study is an integral part of art-making. When artists have done thourough research, they almost always find artists who have made work similar to what they are making.
Indeed the point of research is to find the other artists, either historical or contemporary, whose work shares qualities with our own work. There are several reasons why this matters:
Most importantly, other artists will inspire us. We call this inspiration “influence”. We will see how other artists approached issues, materials, and expression and learn from their progress.
We are required to know who our influences are. Our first influences are usually our teachers, parents, or peers. As we develop the practice of research, our influences will grow and change. This is a valuable, even critical, part of artistic identity. We are all members of a continuum, it is important to remember that.
Also, from other artists with whom we share certain qualities, we will find out where our markets might be, who our audience is, and which galleries may like our work.
Ideally, when we connect with these artists we will find friendship and camaraderie. Trade secrets will be shared. We will know what to call our style or movement. Importantly, we will be able to put our practice into context.
Just as a singer needs to have musical knowledge, an artist must study art. Knowledge should be both broad and specific. A broad art historical education includes at least a basic knowledge of all major art movements in human history. Ideally this would include art from all continents and cultures on earth. Along the way, specific movements and genres intrugue us more than others and we naturally develop a deeper knowledge and affinity for those.
Neon Red, by Lee Puffer 2016. Watercolor on paper.
Regardless of our personal preference, it is also important to be aware of art hierarchies even if we choose to disregard them, which many contemporary practitioners do. We must familiarize ourselves with the arguments surrounding Art versus Craft, for instance. It is valuable to be able to differentiate between High Art and Popular Art, for example. These distinctions are becoming less and less relevant to artists, but the philosophies that form the basis of those arguments still effect us.
Fortunately there are many channels through which we can acquire this knowledge if we are motivated. While Art History courses at a college or university may be useful and enjoyable, they can be prohibitively expensive and time-consuming. With a little effort we can educate ourself with books and essays easily obtainable through libraries and reputable internet sources.