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Hello Cte; Critics and Gallery owners have long used this criteria
for determining if an artist had "met his stride" and was worthy of
exhibiting, since they had no real understanding of what constitutes
good art. It's a pitfall of modernism. Apparently, repetition was
convincing. On the other hand, if you look at artists with prolific
careers, like Picasso, they have had many "styles" in their lifetime
and generally didn't repeat themselves until they were old and had
run out of ideas. . . .of course, I'm being facetious . . . Here's a
better observance:
If you are going to present a body of work, wouldn't it make sense
to get your viewer involved in seeing you have been developing and
enjoying a particular level of understanding of your work and your
life? If you fill a space with a couple dozen pieces, each
completely different, what are you giving your viewer? Pretty
things, and nothing personal. If you want to see how it works, look
up the work of the painter, Henri Mattisse. You will see that often
he did multiple paintings of a single subject, each one an
abstraction on the previous one, until he had distilled what he
chose to represent the essence of his subject. His is one of the
most explanatory examples of how an artist develops an idea. If you
prefer, listen to Glen Gould's "Enigma Variations". It's another
example of manipulating a form. One can't say whether an artist's
work "should" or "shouldn't" be anything in particular (there's that
pitfall of modernism again), but people will get the impression that
you are a talented dilettante if you don't convey that there is more
to what you do than immediately meets the eye. Don't try to develop
a "style". Better to discipline yourself to making work in series.
Styles are for art historians anyway.
David L. Huffman
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