I have to revisit my
October 3 statement about commercial art versus fine art. I'm pissed off, and I need to approach my anger constructively, even philosophically, so that I don't take it out viscerally or throw a diva fit.
A fine artist comments on society. A song, a painting, a play -- all are reactions to the environment in which the artist resides. A work of fine art is a work of great art when it challenges the listener's/viewer's/observer's view of their environment. Fine art
asks questions. And great fine art doesn't answer them.
A commercial artist comments on a product. A jingle, a poster, a television ad -- these also comment on society, but these questions it asks of society are answered by the particular advertised product. Commercial art doesn't just ask questions but
answers them. Sometimes the questions are dubious to ask ("Do you need penis enlarging pills?"), but it wouldn't be commercial art if the question wasn't answered ("Of course you need them, pencil dick!").
This is good and all when you're talking about products. A Coca-Cola ad, for example -- Thirsty? Drink a Coke! But what happens when commercial art is used to promote fine art? How do you promote more questions? I suspect that it depends on how good the art and the artist is.
Great art is easy to promote because all you have to do is present the questions. A great example is the
Museum of Contemporary Art here in Chicago. Their advertising campaigns are some of the best, mostly because they have great artists. When they did a
Chuck Close exhibit, they simply put a painting on the ad with a ruler next to it. In the ad, you are seeing the painting small, but you have no idea what it's truly like until you see it 10 feet tall like you are supposed to. The fine artist asks, what is it like to experience portraits at this enormous scale? The commercial artist simply presented the question, "What is this painting like 10 feet tall?" And the answer is, "Come to the MCA to find out."
The question of why should a patron attend this show is easily answered -- because you don't know the answer to the fine artist's question, and you have to attend to get it.
Ah, how ideal.
Problem is, most fine art is not great art. It's usually mediocre art. Not-so-fine artists want to answer every single question and never leave the listener/audience/viewer wanting more. Browbeating. Insulting. Bad.
The commercial artist still has to approach the project in the same way -- what questions can I pose that can only be answered by attending the show? But that leaves unanswered questions, and a less-than-fine artists can't handle that.
When less-than-fine artists meddle in the affairs of the commercial artist trying to attract audience to a piece, a less-than-commercial piece is created. All of the questions are answered. The conflict is already resolved. So there's no reason to buy a ticket. Furthermore, if there are no unanswered questions in a show's advertising, then there are probably no unanswered questions in the show.
Great art can easily be promoted greatly. Mediocre art is usually promoted with mediocrity.
Mediocre art can be promoted greatly, though, which is why promoting
all art should be done as if the piece is the greatest ever. I.e.,
keep the fine artist out of it. Of course, the commercial artist should understand the fine artist's questions (even if they are all answered). But make it very clear: a patron doesn't belong to the fine artist until said patron purchases a ticket. Until then, that patron belongs to the commercial artist, who should present the fine artist's questions in a compelling,
unanswered way.
I'm not saying fine artists should stay out the development of advertising completely. But they'd better have a very good reason for why the advertising doesn't adequately represent the piece. It isn't about the fonts or the colors or the amount of blood on the poster. It's about the feeling one gets from the poster and the legibility. EMPHASIS ON THE LEGIBILITY. And if the advertising doesn't evoke the right feeling or it's illegible, then you have a legitimate gripe. Otherwise, stay out of it.
Let me put it another way. It's like an addage that a very talented dramaturg once passed on to me: playwrights should always cut their favorite line because it's the one that doesn't fit. To all you fine artists out there (and sometimes, I try to be one), if you're treating the poster like your "favorite line," then cut it. And let other people handle it. You have more important things to worry about.
If I'm talking about you, I hope you think about what I've written here instead of throwing a diva fit. As you can see, I didn't. I threw a
pretention fit, which is much healthier for all of us.
The closest I'm going to get to diva, however, is this: If you want to let me share my developing craft as a commercial artist, then I'm happy to volunteer. But if you just want me to perform the task of putting your idea on paper, then you'll have to pay me. Look at me grow up.