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Art-Rage: An Introduction
A massive amount of the world around us is visual.
How profound…
I know, right?
But seriously, what I mean is this: for millennia, visual information could be thought of and generated in various ways, but was not endlessly mutable in the way it is now. Way back when, humans could solve problems with sticks in the sand, and, if a vast number of chemical and geographical factors were thrown into the mix, leave a visual residue of themselves and their culture in some pigment applied to cave walls. Such authors have no say in the fact that their images get reproduced and published in the enormous volumes of Western Art History that proliferate in the expensively published sections of nice bookshops.
We cannot ever know if those images were considered 'art' the way we conceive of the notion, and it is unfair to apply our cultural systems to those we know next to nothing about. Perhaps the fact that these are the only clues of their existence is what draws us to them; the evidence of their lifestyles as depicted through abstracted representations of animal-hunts, for example, come to be perceived as snapshots, of sorts. Furthermore, they conform to our present ideas about beauty in visual representation – which are undeniably filtered through the entire twentieth century of Western art, often described as a consistent drive towards abstraction.
If there was a turning point in fairly recent history that gave way to the proliferation of visual data we experience these days, then it could be argued that it was the increasing availability, in Europe, of cheap paper. Printing techniques had long been known in the region – woodblocks were used to print fabrics, for example, long before Gutenberg came along, and, in terms of the technology that was to come, many of the Medieval goldsmiths were highly skilled engravers. It was the arrival of paper, however, brought to Spain in the middle of the twelfth century, that heralded an explosion of pictorial reproduction - paper mills were established in Italy in the thirteenth century and in Germany by the latter decades of the fourteenth. Parchment had been unsuited to printers' ink and was expensive, but this profusion of paper – far cheaper and far more appropriate for publishing – opened up publishing opportunities that, up until that point, had simply not existed. It's generally accepted that the manufacture of printed images began in earnest around 1400, and these often consisted of playing cards, or woodblock pictures of saints – which were becoming massively popular due to papal encouragement of pilgrimages at the end of the fourteenth century.
Much is made, and rightly so, of the idea dissemination that followed Johannes Gutenberg's mid-1450s development of moveable type. According to Robert Klanten, it created 'an explosion of mass-produced reading matter', that 'helped to democratise access to information and served as a key driver for the European Renaissance and thus the spread of knowledge, art and enlightenment.' It is often argued, furthermore, that pictorial reproduction is also extremely significant for the sustenance of technological development – only so much can be described with words – as anyone asked to produce a concise and accurate written description of a tin-opener, for example, will attest.
More recently, art, in the 'fine art' sense of the word, has been made increasingly available to a global audience. One of my Art History professors reminisced, in an emphatically non-nostalgic way, about the fact that when he was studying, very few of the books had colour plates. When I took a course in 17th Century Italian Art – not currently a very fashionable academic subject – most of the books I had to consult were of that vintage. It was definitely frustrating, though at least… I had the internet at hand. Which, three years ago, anyway, was not actually all that advanced. Oh, the internet art-world, with all of its errors and low resolutions and enthusiastic fansites; for an undergraduate art student in a rush, you are an utter minefield. But it is improving, and in any case, it is still a vastly more democratic situation than a few decades before, when art historical texts would just assume the reader had done substantial amounts of swanning in Rome or Paris or wherever. At least there are those beautiful editions of books; that you can leaf through Monet's Waterlilies and get a sense of their beauty, and that you can search for specific works by Picasso without spending any time or money or even getting out of your pajamas.
There are limitations, of course, and all sorts of problems with the digitised production, display, and dissemination of artwork. It's very difficult to get a sense of scale, for example, and what you see is dictated, to an extent, by the quality of the photography or scan, or by the angle, or by the whims of whoever coordinated the presentation of the image. It's still largely about 'framing', you see – even if the image border is met by the glowing white frame of someone's blog, rather than the green silk wallpaper of London's National Gallery. But then again, that's still up to you. You can take it, save it, and do whatever you want with it. Juxtapose things whatever way you like. Then make other things and upload them and enlarge them and reproduce them and then, well, then it's art too, right?
Bizarrely, however, much published art criticism persists in assuming a huge amount of gallery-venturing knowledge on the part of the reader, and often, even from top-ranking newspapers, is strangely biased, snobbish, or just plain under-researched. It's often unclear if they're written in a hurry, or if the author just couldn't really be bothered with the content and is regurgitating a mildly altered version of the press release instead. Now, if film critics did this… well, they don't. Film criticism appears to play an influential role in the industry – not in terms of commercial success, but in deciding whether something is genuinely 'good' or 'bad'. And their justifications for different rankings usually make it quite clear to the readers and viewers why something deserves whatever number of stars. Is this because film, in general, is regarded as more reproducible and therefore accessible? Because it is not 'elevated' onto painted plinths or put in tanks of formaldehyde, or placed into specific configurations in particular locations? Because, really, film is just as much of our visual culture as art is, and perhaps, currently, is arguably more reflective of it. So why shouldn't art be subject to similar criticism? Those frames and glass casings are not there for protection; they are there because the objects within them are purported to have value, in some sense. And we, the critics and the viewers, should be able to have a say in what gets put there and why.
I call this site 'Art-Rage' because I am frustrated with the strange unquestioning stance of a great deal of current art criticism, and want to change this – or in the very least, have somewhere to express my opinions. I do not belief that visual art is something uniquely represented in a gallery or on a canvas; it crosses over to many different arenas, including cinematography, illustration, and online representations. It's a curious and fluid beast. I reject the ongoing insistence that art is meaningful simply because it is provided with a gilded frame or a minimalistic gallery setting, and find it unnerving that much criticism has an 'oh well, but perhaps it's sort of nice' approach to things which go for insanely high prices and receive sponsorship from unsavoury sources, and yet fail to actually express or reflect anything meaningful or even contemporary. Visually and materially, we live in an extremely interesting age; visual data can be transmitted instantly with amazing clarity, and much-needed resources are beginning to run out. We should also be aware that much of the visual information we consume is edited and retouched in ways which are increasingly invisible – and a consistently critical approach is perhaps one way to avoid being completely taken in by these carefully composed, persuasive environments and twenty-first century optical illusions. A lot can be said, and a lot can be published and exhibited… but a lot of it, truth be told, is curiously stagnant.
Interviews With Artists That Use ArtRage
Check out our collection of featured artists to see the astonishing art that they are creating with our ArtRage program. Game designers, hobbyist painters, concept artists, art teachers and professional illustrators, they're all amazing and what they can do with our painting software is extremely impressive.
In these features we discuss their painting styles, drawing tips and how they use the ArtRage tools. Expandrive 5 4 2 download free. The art alone is well worth a visit, but you might just pick up a few digital painting tips along the way, as well!
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If you're trying to find the artist behind a particular picture on our website, such as the website banner or the startup image inside the program, visit the Artist Credits!
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