I had the honor to attend a workshop by Lynda Barry today. I’ve been a fan since reading her strip in the Baltimore City Paper, and I love her books on making comics, and creativity.
I volunteered at the workshop, and had some time to talk and ask questions. Lynda has a fabulous sense of humor, and is generous with her teaching. She shared many anecdotes, and demonstrated just how effective her approach is as she ran us through exercise after exercise.
I’m not going to recount the entire day here, but I will say that talking with her sharpened one of my ideas about imagination, and I have a new insight into the practical value of art (even my modest art).
Below are some pics to took throughout the day.
Everyone that I interacted with seemed to leave feeling inspired and a little lighter in their spirit.
This spring, I gave a talk at Towson University to seniors preparing to undertake their BFA final projects. In preparing for the talk, I reflected on what I’ve learned about making art and being an artist. I thoroughly enjoyed writing and giving that talk, and I want to record some of my guiding principles here in my Labors of Love opinion section.
Pessimism robs ordinary people of their power
I’m starting out with the wooliest of my principles, because it was the first one I came to believe. For years, I’ve attributed this as an actual quote from Colin Wilson. In writing this post, I looked it up and found that it’s not a direct quote, but rather a paraphrase from a 2005 article:
In books on sex, crime, psychology and the occult, and in more than a dozen novels, Mr. Wilson has explored how pessimism can rob ordinary people of their powers. Brad Spurgeon, Aug. 17, 2005
When I read this in August of 2005, a light switch flipped on in my brain. Pessimism is poison.
I made a rule about my online persona, which is to always be positive. I do not argue with people online, and I do not post negative comments on social media. I use this blog to amplify the positive things in my life—and I try to do this offline, too.
I cannot prove to you that the Law of Attraction is a real universal law like gravity or photosynthesis. My experience has led me to believe that it works—and I think that’s how it’s supposed to be. You try it, and you decide for yourself. I could point to Albert Einstein, who reportedly believed something similar. It may also be that I have advantages that make it easier for me to “manifest” things. And yes, bad things happen to people all over the world, every day.
Popularized by Rhonda Byrne in The Secret(and before that Abraham-Hicks), the Law of Attraction states that we attract to ourselves whatever we most think about. I’ve written about LoA previously. Focusing on negative feelings and experiences generates more negative experiences and reinforces negative feelings. For me, there are far worse things than trying to live a positive life, and thinking positive thoughts. Even if reality itself isn’t altered, your experience of it certainly can be.
I have spent years actively experimenting with this – it’s as close to a religious practice as I’ve come (meditation is my spiritual practice). I will tell you: my life has improved. I find value in this, and continue to work with these principles. It is part of my way in this life.
I bring this principle to this artistic website: Always be positive.
What do you want?
Goals and deadlines are great things.
You can’t manifest anything unless you know what you want. What you really want, in the secret places of your heart.
Do you want to direct films? Or be a published novelist? Do you want to make all your own clothes, or run an artist co-op? It’s really important to get clear about what you want.
It might be that you just want to be an artist. What is an artist? I think an artist is someone who makes art. That’s it. Is there a difference between a craftsperson and an artist and a designer? Who cares? That question feels irrelevant to me. The real question is, what lights you up? Do you want write romance stories? Are you a poet? Do you sing?
Once I figured out my paper cut dioramas, I felt like I made a great discovery. I felt awake, and excited. After awhile, I asked myself, now what? I have this thing I love – what should I do next?
That same week, I went to a talk in Baltimore, and a friend introduced me to an art professor as “an artist,” having seen my dioramas. The professor asked what my goals were and seemed surprised when I said I wasn’t interested in selling them—I just wanted to show them. “So refreshing,” she said.
She told me to make a packet with photos and short descriptions of my pieces, including the medium, size and year made. She suggested three galleries in town that accept “quirky” work. That same week, I assembled photos of the 11 dioramas I had created. I included a short, polite cover letter and attached my resume.
Within weeks, I heard from two of the three galleries, and that’s how I got started. Without that concrete goal, I might not have ever begun to show my work. As for the third gallery, I met the curator a few years later, and we became dear friends.
Use up all your ideas
Ideas are creative currency that need to be spent. Hoarding them accomplishes nothing, yet executing an idea produces new work and usually leads to more ideas.
Many years ago, I was in a band called Bazooka Joe. I played drums and sang, but also wrote songs for the band. I was just starting out in the world as an adult, and I had a lot of growing up to do.
I used to go to our practice space by myself and write songs, playing guitar and bass. I wrote several particularly good guitar riffs. At the time, I thought they weren’t right for Bazooka Joe, so I didn’t share them. I figured I’d record them myself someday.
In hindsight, I should have brought those ideas to the band. They would have made my ideas better. Instead, those songs now only exist on an old cassette in a shoebox in my basement. No one has heard them. Had I shared them, the band might’ve taken new musical paths. Whatever spark those ideas held has faded.
As a visual artist, I work all the time. I get an idea, execute it in some form, and write about it here. Often, more ideas come as I work. I document them in my sketchbook and keep going.
At the very least, once I finishing a work, there’s room inside my head for the next thing.
Make your best work and put it where people can find it
Austin Kleon wrote this in his book Steal Like an Artist. It’s obvious once you hear it: Let people discover you. Put your work where folks can find it.
If you don’t already have your own domain name and website, I recommend getting one. Email me if you don’t know how.
The diagram above shows a typical online presence, with some of the tools available to you. I suggest that a website should be at the heart of anyone’s online presence, artistically speaking. This is an older graphic I made for another talk that I gave, and it demonstrates my point. Twitter no longer exists in the form it did when I made this image. And Substack has become a popular thing for people to use. Platforms come and go. Your website can and should outlast them all. This website predates most of the services shown in that image.
Perfection is a trap
If I waited for every idea to be completely formed in my head before I started working on the (recording/film/animation/story/drawing/comic/diorama/zine), or if I tried to make the art be “perfect” before I shared it, I would never finish anything. In all likelihood, I would never even start. The is something very authentic in letting some “mistakes” survive our artistic processes. I think a lot of my identity is seated here. It’s viable, even vital, expression. Let it rip! Get onto the next thing. We do not get to know how much time we have.
Keep going
As I just wrote, we do not get to know how much time we have. We cannot look ahead, only back.
We can’t know how close we are to achieving our goals. If you decide to throw in the towel while you are in the game, you might just be a few feet away an artistic touchdown, and you wouldn’t know it. We cannot see what’s just ahead of us, so keep going!
Show up
Go to things, talk with people.
Almost every major opportunity I’ve had began with a handshake, a conversation, or an introduction. I am an introvert, and every evening spent at home in my studio with my wife and the dogs feels like heaven. Still, I go to things, and I talk with people, and I’m always glad I did.
Make as much work as possible
This is the cousin of “Use up all your ideas.” Not only will you get more ideas, but you’ll learn about yourself. Aren’t we always evolving and growing? I hope so—and making a lot of work helps us see that evolution.
At the very least, you will have a good time.
I work in cycles: periods of intense productivity followed by rest. Even while resting, things percolate in the back of my mind. I need both parts of the cycle—and I feel no shame about that.
I keep sketchbooks and composition books for all my pursuits. I have one dedicated solely to documenting song ideas using guitar effects, with notes on the pedal chain setup so I don’t forget.
I often wake up in the middle of the night after a few hours of sleep. It’s not uncommon that I walk down the hall to my studio and work for an hour or so, by which time I can get back to sleep. It’s time well spent, and when I’m extra motivated, I will spend time working in the studio for an hour before work. An hour spent working every day ends up being 7 hours a week – that’s about a full work day. It adds up!
I am a creature that responds very well to deadlines, so I’m always on the lookout for opportunities to exhibit art and screen films at festivals. I rarely will pay a fee to be considered for an art exhibit. I believe those costs should be covered by the gallery. A lot of them seem to be fleecing artists. Animation/film festivals are a little different. It costs money to produce a festival (especially ones that’s aren’t in a public park under a gazebo). But those costs add up, and they often don’t produce a screening. That, as my dad used to say, is showbiz.
I am a creature of habit, and I will habitually spend time in my studio working through a backlog of ideas while waiting for the next BIG idea to land. At this point, I probably have more ideas than I can execute, although I will certainly try. Habit, then, is yet another tool I rely on to be productive.
What does success look like?
You decide! This connects directly to your goals—and goals evolve.
I consider myself to be a successful artist (Remember, an artist is someone who makes art). Art allows me to express myself, and create joy in my life. I am happy.
“What about money,” you might ask. “Do you make a living at this?”
No. I have a day job for that.
And I like having one—it lets me be an artist. I have health insurance and can afford the modest supplies I use. I can take risks with my art because I’m not financially dependent on selling it. That freedom is wonderful.
I’ve learned a lot from my jobs—how to use technology, communicate, manage complex projects, write clearly. All of that makes me a better artist.
In the early days of Bazooka Joe, I didn’t always have a job. It was awful. We made weird, difficult music. It wasn’t going to pay the bills. We tried to get signed to noise labels. I released our music on my tape label. Releasing music and touring takes money.
I love selling my work, and having it out in the world. And the money I earn from this work goes right back into my art.
But art is my preoccupation, not my occupation.
Let’s revisit the question, “Do you make a living at this?”
Make a living.
I make art because the making of art makes my life better. It’s my joie de vivre, my joy of living. Art has saved my life, and at one point, was the antidote to suicide. Art gives me purpose, and it’s my preoccupation.
I will argues that I do make a living as an artist – I keep living my life. I’m literally making my life.
Make work as though no one is watching
Make things just for yourself, with no intention of sharing. Doing this regularly helps me connect with and express my authentic voice. It’s unselfconscious play.
It’s worth noticing what we’re attracted to. I used to collect images that inspired me—other artists’ work, design, images of 1950s ephemera, etc. I’ve got gigabytes of reference material. There’s a reason Pinterest is successful. The things that resonate with us say something about who we are. That can help us bring out our own voice.
Be so good they cannot ignore you
I heard Steve Martin say this (I’m paraphrasing here):
“When someone asks me how do you make it in show business or whatever, how do you get an agent, I always say this: Be so good they can’t ignore you.”
~Steve Martin to Charlie Rose
I love that advice, and it makes sense.
Conclusion
I hope this was helpful, or at least interesting to you. Writing these things down helps me organize my own thoughts, and lets me inventory some of the things I’ve learned.
Modest Art (Les Arts Modestes) represents a significant artistic approach that emerged in the latter part of the 20th century, presenting a notable challenge to established hierarchies within the art world. At its core, this perspective champions the artistic merit of “marginal creations and the peripheral territories of art” 1, thereby encompassing a diverse range of objects and practices that have historically been excluded from the conventional understanding of “high art.” Hervé Di Rosa stands as the central figure in the development and promotion of Modest Art. His pivotal role includes co-founding the Musée International des Arts Modestes (MIAM) in Sète, France, which serves as a crucial institution dedicated to showcasing and exploring this artistic viewpoint. This report aims to thoroughly examine the history of Modest Art, to delineate its defining characteristics and principles, to analyze its cultural significance within the broader art landscape, and to contextualize its relationship with other contemporary artistic movements. The very designation “Modest Art” suggests a deliberate move away from the frequently ostentatious and commercially focused nature often observed in the contemporary art scene. Hervé Di Rosa himself articulated this sentiment, stating that the term “modest” arose as a reaction against the “certain pretentiousness in the contemporary art world”.3 This choice of terminology is not arbitrary; it reflects a conscious critical stance towards the prevailing norms of the art establishment. Furthermore, the initial definitions of Modest Art consistently emphasize its inclusive and boundary-breaking nature, with a clear focus on elements traditionally relegated to the periphery. Terms such as “marginal creations,” “peripheral territories,” and the encouragement of an “open outlook on all forms of art” 1 immediately establish inclusivity as a foundational principle of this artistic approach.
The definition of Modest Art, as revealed through various sources, is characterized by its dynamic and evolving nature, resisting rigid categorization. It is frequently described not as a fixed “concept” or a defined “movement,” but rather as “a way of renewing the definition of art and extending its field”.2 This approach seeks to draw “the spectator’s attention to marginal creations” 1, encompassing a diverse array of “objects that evade all classifications”.2 Notably, Modest Art embraces both “mass-produced objects and unique creations” 2, often attributing significant “emotional worth” to items with “little monetary value”.5 Hervé Di Rosa clarifies that “modest” should not be interpreted as denoting “humble” or “poor,” but instead represents a deliberate counterpoint to artistic pretension.3 This perspective underscores the emphasis on “feelings, desire and all the things that have no place in a theoretical context”.3 Di Rosa further outlines specific criteria for appreciating Modest Art, including the creator’s intrinsic motivation to produce the object, a lack of concern for established art historical narratives, and an intention to imbue life with beauty.3 The continuous process of redefining and expanding the boundaries of what constitutes art is central to understanding Modest Art. Multiple sources explicitly state that it serves as “a way of renewing the definition of art and extending its field”.2 This suggests an ongoing re-evaluation and inclusion of artistic expressions that might have been previously overlooked. Moreover, Modest Art directly challenges the traditional gatekeepers of the art world, such as museums, critics, and historical narratives, by consciously focusing on artistic forms and practices that these authorities have historically marginalized or deemed insignificant.4 The aim to be “understood by everyone” 2 reveals a strong democratic impulse underlying Modest Art, striving to dismantle the barriers of specialized knowledge or theoretical understanding often associated with contemporary art.
The genesis of the term “Modest Art” can be traced back to a specific moment in 1988. Following Hervé Di Rosa’s exhibition at the Museum of Modern Art, a child, upon exiting, referred to it as the “modest Museum of Art”.2 This seemingly simple observation resonated profoundly with Di Rosa, serving as a catalyst for his growing recognition of the artistic value inherent in everyday objects and his desire to legitimize their presence within the established art world.2 Prior to this pivotal moment, Di Rosa had already established himself as a significant figure in the “Figuration Libre” movement since the 1980s.4 This movement was characterized by its vibrant, illustrative style, drawing inspiration from diverse sources such as comics, graffiti, and popular culture. “Figuration Libre” emerged within the French art scene as a response to international artistic trends and initially faced a mixed reception, with some critics dismissing it as “banality and vulgarity”.5 Di Rosa’s early involvement with “Figuration Libre,” with its existing inclination towards popular culture, laid the groundwork for his subsequent exploration and formalization of the concept of Modest Art as a broader and more inclusive artistic perspective.5 The fact that the term “Modest Art” originated from a child’s innocent remark highlights the potential for a direct and unpretentious engagement with art, contrasting sharply with the often intricate theoretical frameworks that can surround contemporary artistic practices. This anecdote underscores the core values of Modest Art: accessibility and a focus on genuine, perhaps even naive, appreciation. Furthermore, Di Rosa’s background in “Figuration Libre,” a movement that already embraced elements of popular culture and challenged conventional artistic norms, provided a natural progression towards his development of Modest Art as a more comprehensive philosophy. His experience within this earlier movement likely shaped his broader interest in artistic expressions that existed outside the traditional art historical canon and his desire to find value in the mundane and the marginalized. The initial negative critical response to Di Rosa’s work and “Figuration Libre” suggests that his subsequent advocacy for Modest Art was also a form of resistance against established artistic tastes and a deliberate endeavor to redefine the boundaries of what is considered valuable or worthy of artistic consideration. This historical context reveals a consistent theme throughout Di Rosa’s artistic journey: a persistent willingness to question and challenge the prevailing norms of the art world.
Modest Art is defined by several key characteristics and principles that distinguish it from more conventional artistic approaches. A fundamental aspect is its inclusivity, which involves embracing a wide spectrum of objects and practices, ranging from “popular figures” and “action figures” to “amateur paintings,” “devotional objects,” “tourist objects,” “advertising signs,” “body arts,” and “imagery of video games”.2 This inclusivity extends to a rejection of hierarchy, challenging the traditional distinctions between “high” and “low” art and asserting that “each [form of art has] its value”.14Emotional resonance is another crucial principle, with Modest Art prioritizing the emotional and personal connection that individuals form with objects, emphasizing “feelings, desire” 3 and a “spontaneous, of-the-moment delight”.5 The creator’s intent is also highly valued, recognizing the intrinsic motivation behind the creation (“the creator’s need to make the object”) and the desire to “embellish life, of making something pretty, rather than beautiful”.3 Furthermore, Modest Art exhibits a disregard for art historical precedent, showing a lack of preoccupation with traditional art history or the need for innovation within that established framework.3 Ultimately, Modest Art aims for accessibility, striving to be an art form that “rejects nothing and can be understood by everyone”.2 These defining features indicate that Modest Art fundamentally re-evaluates the criteria for artistic value, shifting the emphasis from formal aesthetics and historical significance to personal connection, emotional impact, and the very act of creation. This represents a significant departure from traditional art criticism, which often relies on formal analysis, historical context, and market performance. Modest Art, in contrast, empowers individuals to discover artistic merit in unexpected places and forms based on their own experiences and feelings. The deliberate inclusion of mass-produced and often commercially driven objects within the realm of art further challenges the traditional art world’s focus on originality and uniqueness. This prompts a reconsideration of the artistic potential inherent in everyday material culture, aligning with broader cultural trends that explore the intersection of art, commerce, and popular culture. The emphasis on accessibility and the desire for art that can be understood by a wide audience suggests a democratic impulse, aiming to dismantle the barriers of specialized knowledge and make art more inclusive and relatable. This principle stands in contrast to the often-exclusive nature of the contemporary art world, indicating a desire to connect with viewers on a more direct and personal level.
The Musée International des Arts Modestes (MIAM), established in Sète, France, in 2000 by Hervé Di Rosa and Bernard Belluc, stands as the primary institutional embodiment of the principles of Modest Art.4 MIAM’s mission centers on showcasing “fringe and unorthodox work,” examining the dynamic relationship between high and popular culture, and transcending traditional boundaries that often separate artistic genres and cultural expressions.4 The museum’s collection and exhibitions feature a remarkably diverse range of objects and creations, including toys, gadgets, comics, traditional art forms, naïve art, raw art, psychedelic art, cinema, and commercial art.4 Notable exhibitions, such as “Archipelago Hervé Di Rosa,” have presented extensive selections from MIAM’s holdings, further mapping the expansive territory of Modest Art.2 MIAM also houses the Bernard Belluc collection, comprising thousands of objects that exemplify modest art, predominantly toys, small figures, and gadgets.15 Described as a “laboratory open to artists of all horizons” 16 and a “place for debate and dialogue” 9, MIAM is deeply committed to breaking down artistic barriers and fostering cultural diversity. The creation of MIAM represents a significant step in legitimizing Modest Art within the art world, providing a dedicated space for its exhibition, study, and public engagement, thereby elevating its status within the broader cultural landscape. Without a physical museum specifically devoted to its principles, Modest Art might have remained a more abstract or niche concept. MIAM offers a tangible center for its dissemination and recognition. Furthermore, the diverse and unconventional nature of MIAM’s collection and exhibitions directly reflects the core tenets of Modest Art, showcasing the artistic merit found in a wide array of often-overlooked objects and practices. The museum serves as a living demonstration of the principles of Modest Art, illustrating its practical application through its curatorial choices. MIAM’s dedication to being a space for discussion and exchange indicates a proactive and critical engagement with the very definitions and boundaries of art, positioning Modest Art as an ongoing dialogue rather than a fixed or static category. This dynamic aspect of MIAM reinforces the idea that Modest Art is not a rigid movement but a continuous process of re-evaluation and expansion.
The cultural significance of Modest Art lies primarily in its challenge to established art world norms and its promotion of a more inclusive and democratic understanding of artistic value.2 It has played a crucial role in blurring the traditional distinctions between “high” and “low” culture, encouraging an appreciation for forms of creative expression often marginalized by mainstream art institutions and critics.1 Modest Art fosters an open and curious approach to all forms of artistic expression, valuing the personal and emotional connections that individuals form with art, regardless of its formal training or market value.1 It also holds the potential to democratize art appreciation by validating the artistic merit of objects and creations that are accessible and relatable to a wider audience, thereby challenging the exclusivity often associated with the contemporary art world.2 Hervé Di Rosa’s intention for Modest Art to be “an art which rejects nothing and can be understood by everyone” 2 underscores its inclusive and accessible nature. The primary cultural significance of Modest Art resides in its radical inclusivity and its challenge to the often-exclusionary nature of the traditional art world. This prompts a re-evaluation of what constitutes artistic value and who holds the authority to define it. By championing marginalized forms and everyday objects, Modest Art disrupts established hierarchies and opens up the possibility for a more diverse and representative understanding of artistic expression. The emphasis on emotional resonance and personal connection within Modest Art can cultivate a more direct and meaningful engagement with art for individuals who might feel disconnected from more academic or conceptually driven forms of contemporary art. This focus on individual experience has the potential to democratize art appreciation, shifting the emphasis away from expert knowledge and towards personal impact and relatability. Furthermore, by blurring the lines between “high” and “low” culture, Modest Art reflects and contributes to a broader cultural trend that questions rigid categorizations and embraces a more fluid and interconnected understanding of cultural production, potentially leading to a richer and more dynamic cultural landscape. This aligns with postmodern and post-structuralist critiques of hierarchical cultural structures and suggests a move towards a more egalitarian valuation of different forms of creative expression.
Modest Art engages in a dialogue with various other contemporary art movements, sharing certain affinities while maintaining its distinct characteristics. In comparison to Pop Art, both movements exhibit an interest in popular culture and mass-produced objects. However, Pop Art often employs irony and commentary on consumerism in a more explicit manner, whereas Modest Art tends to focus more on the emotional and personal significance of these items.3 Regarding Art Brut (Outsider Art), there is a shared appreciation for art created outside the traditional academic and professional structures. However, Modest Art distinguishes itself by including mass-produced items and encompassing a broader range beyond self-taught artists in marginalized conditions.3 In relation to Naïve Art and Folk Art, there is an overlap in valuing non-academic approaches and often depicting everyday life. However, Modest Art adopts a more theoretical and consciously inclusive stance.4 Within the broader context of contemporary art, Modest Art stands as a significant current, reflecting the diversity and ongoing questioning of traditional norms and definitions that characterize the field.4 While Modest Art shares common ground with other contemporary art movements that challenge traditional hierarchies and engage with popular culture, its specific emphasis on the emotional and personal significance of a wide range of often-overlooked objects distinguishes it as a unique artistic approach. This comparative analysis helps to delineate the specific niche that Modest Art occupies within the broader art historical context, highlighting its unique contribution to contemporary artistic discourse. The inclusion of mass-produced objects as a defining feature of Modest Art sets it apart from movements like Art Brut, which typically focus on unique creations by individuals outside the mainstream. This difference underscores Modest Art’s engagement with consumer culture and the artistic potential found in everyday manufactured items. This distinction is crucial for understanding the scope and intent of Modest Art, which extends beyond individual artistic expression to consider the cultural significance of mass-produced objects.
In conclusion, the history of Modest Art is marked by its serendipitous naming in 1988 and its subsequent formal articulation and championing by Hervé Di Rosa, culminating in the establishment of MIAM. Its core principles revolve around inclusivity, the valuation of emotional resonance and personal connection, and a fundamental rejection of traditional art world hierarchies and exclusionary practices. Modest Art’s cultural significance lies in its role as a catalyst for broadening the definition of art, promoting accessibility, and encouraging a more democratic and personal engagement with creative expression. In a world increasingly saturated with mass culture and where the boundaries of artistic expression continue to evolve, Modest Art remains a relevant and critical approach, prompting us to reconsider where and how we find artistic value.
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We visited my friend Bob Benson on New Year’s Day. He sometimes hosts a small gathering – we missed last year due to my having COVID.
Bob’s home is a wonder. He lives in an A frame style house that he built sometime in the 1960’s. Every wall is adorned with art. Behind the house is an underground greenhouse, in which he used to grow his prize winning orchids.
Next to the green house is a mirror house, with an interior completely covered in mirrors.
Bob is (among other things) a former classical music radio announcer, and he has a surround sound system that is jaw dropping and, at times, bone rattling. He doesn’t remember this, but we met once in the early 1990’s when he worked at 88.1 WJHU. I was a music buyer for Towson’s An Die Musik, and he had invested in the store. Anyway, Bob has an encyclopedic knowledge of recorded music, and the most impressive collection of classical recordings I’ve ever seen.
There are mirror trees, mirror sculptures, and mirror structures hanging from many places. When the sun is shining and a breeze is blowing, his place is covered with happy bits of light, like a disco.
We’ve been friends for over a decade, and I’ve spent many hours at his house. Bob is an artist with a capital A, and his home is an extension of his artistry. I can feel it when I’m there. And his artistry has made our house a happier place. He has given me a mirror tree of my own, and lots of hanging flashies.
As I was catching up with him in this wonderland, Bob looked at me and asked me “Are you happy?” There was a kind of urgency in the question.
“Yes,” I answered without hesitation. “Yes, I am.”
Bob then asked Beverly about her creative pursuits, and pointed out how important it is to cultivate some form of artistic expression. He urged us both to keep pursuing our artistic work, and expressed a sadness for people who do have this in their lives.
“Some people just watch TV.”
It was a powerful message to receive on New Year’s Day, and it’s not lost on me. I am sooooooo grateful to be an artist, and surrounded by artist friends, my artist kids, and living in my artist home with my artist wife.
I collect a few of the artifacts of my art making. I have a box of cut paper figures/part/pieces that I will someday incorporate into a new piece.
I collect quite a few things. I’m not a hoarder, and I think that many artists accumulate raw materials for our various mediums.
Collecting is a benchmark of Les Arts Modestes. What we collect says something about us, our preferences and connection to the past.
I have an entire cigar box full of bread ties in the basement, and they make their way into my work.
In addition to various little metal boxes, I have quite a few spoons.
And toys, army men, etc.
Not to mention books.
Back to the artifacts of art making. I save the blades that I use in my paper cutting. I’m guessing there are ~1000 blades in this container (it’s a tall container). I started saving these back in 2012.
I’ve been saving little bits of dried acrylic paint in plastic bottles. They are collected from the top of paint tubes, and from plastic carry-out food lids I reuse as paint palettes.
It took about 10 years to completely fill the first bottle. They are a visual stratigraphical representation of each project I’ve painted, seen through time.
The second bottle was actually started in grad school at my campus studio in 2015. It holds the bits from the giant scrolls I made in the basement. I just filled it today.
These bottles weigh a few pounds – the feel impressive to me.
There something satisfying about these collections. Someday, I will repurpose the old blades int0 some new work.
Here’s a story I’ve been looking forward to sharing with you.
I was scrolling Instagram when I came across this post by Jane Housham:
While in Lisbon, we visited the Museum of Art, Architecture and Technology (MAAT). It’s a gorgeous building, and it’s mostly underground, as in, under the ground. We had a little trouble finding our way to the entrance, as it faces the Targus river. But, enter we did.
We visited Hervé Di Rosa‘s fantastic exhibit of both his work, and materials he collects in his own museum in Sète, France. Here’s a longish video from MAAT where he discusses his journey and history.
In 1988, Hervé Di Rosa heard a child getting out of his exhibition at the Museum of Modern Art, named it “modest Museum of Art.” Delighted with this confusion, he suddenly becomes aware of his taste for every day things: gadgets, action figures, kites, billboards… So many things he wants to legitimize the presence within the art, in the street, into museums: an art which rejects nothing and can be understood by everyone.
lespressesdureel.com
The MAAT website says this about Modest Art:
Neither a concept nor a movement, modest art is a way of renewing the definition of art and extending its field to little or not yet considered marginal forms and practices.
Les Arts Modestes draws the spectator’s attention to marginal creations and the peripheral territories of art. They encourage an open outlook on all forms of art and the free circulation of images and ideas between high culture and popular culture.
The Modest Arts are neither an artistic genre nor a movement; they move the gaze. They are an opening of this gaze, a disposition to curiosity. The Modest Arts concern both mass-produced objects and unique creations. They constitute a kind of super-category that encompasses and connects the margins of each domain.
(Hervé Di Rosa, Artpress n° 493, p. 6)
At the turn of the 1980s, the notion of Modest Arts was forged by Hervé Di Rosa to designate a set of objects that evade all classifications and do not belong not to the Great Art.
Popular figures, Action Figures, amateur paintings, devotional objects, tourist objects, advertising signs, body arts, imagery of video games, from here or elsewhere, these abandoned or downgraded productions challenge us and form the labile territory of Arts Modestes, a dynamic space with moving borders, capable of constant renewal.
Is Modest Art really Modest? Di Rosa says
“‘Modest’ isn’t a criterion of values. ‘Modest’ doesn’t mean ‘humble’ or ‘poor.’ A Superman can be modest. I’m an artist, and when I was younger I really suffered from a certain pretentiousness in the contemporary art world. The adjective ‘modest’ is a reaction to that.”
Di Rosa says Modest Art includes Pop art/culture, which has spread to every corner of the globe. Rather than classifying creations by historical or market value, Modest Art places an emphasis on feelings, desire and all the things that have no place in a theoretical context.
From the same interview, How do you judge what Modest Art is?
Fundamentally, there’s always a personal criterion, the creator’s need to make the object. The second criterion is there’s no preoccupation with art history, in the sense of doing something new, or even being recognised. And the third criterion is the creator must have a feeling of embellishing life, of making something pretty, rather than beautiful, and the one of doing good, even if it’s badly done.
“A lover of modest arts can’t be confused with an art lover. I think to be a lover of modest art, you have to be a collector. Everyone has a sort of personal altar at home.” ~Di Rosa
I had never head of Modest Art until I saw this exhibit. Maybe that’s because Di Rosa and his partner Bernard Belluc at his MIAM museum are the gatekeepers of this “non-movement/non-genre.” The article cited above quotes Di Rosa as saying creative content can move into and away from Modest Art (the snow globe collection, for example). But who decides this? Why, the owners the MIAM museum, of course. Gotta keep selling tickets, if you own a museum, yeah? At this point, I think I should mention there is some controversy surrounding Di Rosa and his 1991 mural in the French Parliament, and according to wikipedia, he “accepted no responsibility for any offense caused by the work nor acknowledged that it could even be honestly perceived as harmful.” I mention that only to say I am aware of that information, but I don’t think it should have a bearing on the ideas I’m about to discuss. Just an FYI.
Something resonated with me at MAAT on a very deep level.
I love this idea of an art which rejects nothing and can be understood by everyone.
Let’s start with the second part: can be understood by everyone. I might phrase that as anyone, as not everyone shares a single unified perception of subjective material, or may have the capacity to understand the artists’ or works’ intention/meaning/purpose. But, I love the inclusive idea of this.
What really excites me is an art which rejects nothing. I consider myself outside of art scenes. I have a community of artist friends and students here, and am friendly with a few galleries, but I do not see my self connected to any particular group or movement. I’ve written that I identify as a surrealist, but it would be more accurate to say I use surrealism to address certain political and environmental concerns.
I began this current leg of my artistic journey in 2007. I started sharing my responses to the now defunct Illustration Friday weekly drawing prompt online. Most of those posts are still on this site, too. The prompt gave me a manageable deadline, and I was able to apply some of my professional production/time management skills to a new creative pursuit, and that simple exercise has served me well.
I started using WordPress around the same time as a means to learn WordPress, and rather than blog about technology, design or (shudder) my personal life, I decided to make a website for art. This completely transformed my life – I had a place to develop and share my art. The potential reach of my little website was unconstrained. I even had something go viral once. Sure, there is an almost infiniate amount of noise and content all competing for our on the web. Yet, I’m still here 16 years later minding this desk, just as empowered as I ever was.
This site is my gallery and home. It’s not just a portfolio site, because prior to 2013, I had the comments enabled, and felt a connection with community that paralleled the feeling I get from in-person interactions. I disabled the comments as my divorce started – I wanted to withdraw for a time, and haven’t felt a need to turn them back on.
In 2015, armed with my gallery and a set of processes for making work, I entered an MFA program. I’ve written about that elsewhere. The academic art world is a container that one voluntarily occupies. It produces historians and critics that are considered experts, yet they do not need to be artists, and often are not. The academic art world is where one is asked to engage in debates such as “is this Art, or is it Craft?” I was told by a professor that I am not an artist, I am a “crafter,” and that this question was a very important one. I asked “Is it? Why is it important?” to which he said it was, but couldn’t explain why it is important. The debate ended on that note. I think it can be a novel (or tedious) debate while one is on campus, and it might help some artists define their identity for themselves. I still identify as an artist, by the way. Ultimately, however, in the real world, I cannot see how this debate matters. You get to decide what you are.
Another professor declared that “the reason your dioramas don’t work is because they are in Altoid boxes. They should be in paper boxes.” Up to that moment, I wasn’t aware that my dioramas “don’t work.” I have obviously used other materials for the containers over the years, but she was wrong and missed the point. Part of the reason they work is BECAUSE they are in Altoid boxes. The humble, accessible, curious little containers are great for my tiny tableaus. After this pronouncement, I was asked to leave the faculty in my studio so they could critique my work in private.
A third professor took me aside after this exchange and earnestly said “Don’t let anyone ever tell you there is no place for humor in art.” I wasn’t privy to that portion of their discussion, and still don’t know exactly what was said. I think I can guess, however. And, of course there is a place for humor in art.
Faculty members are humans, and they only offer opinions – some are helpful, some are not.
Jim Doran, https://jimdoran.art/opinion/a-few-days-away
Upon graduation, I reached out my friend Rebecca Hoffberger, the founder of the American Visionary Art Museum here in Baltimore. AVAM has been designated by Congress as America’s national museum for visionary art, and one of the things I love about the place is that it’s open to all self taught visionary artists. I got my start here, and have been included in two shows. I have a lot of love for this museum, and its mission of raising awareness, inspiring people, and increasing universal consciousness. A lot of “outsider art” museums adhere to showing strictly outsider art, naive art, art brute, and frankly are as out of reach to self taught artists as the big museums. There are parameters around what qualifies one as an outsider artist, and these distinctions help propel the commodification of the “outsider” work by collectors.
I told Rebecca that I hoped I wouldn’t be “voted off” the AVAM island, now that I have a shiny new MFA. Having an MFA doesn’t make one any less visionary, or any less self taught. Rebecca, of course, was retiring, and we left it there. Life moves on, and it seems that it was time for me to move on, too. I thank my lucky stars for AVAM, in any event.
I met a woman in grad school who was an employee of the university, and an accomplished artist in her own right. She worked hard on her extensive body of work, and I loved her ideas. She was never formally allowed to enter the MFA program, and I still don’t understand why that is. Her presence contributed to the cohort I was in, and I enjoyed her intelligence and the work she made. She was/is certainly as worthy as anyone I met in grad school. I’m happy to say she continues to make her work, and why wouldn’t she? She’s an artist.
What if Modest Art was actually a movement?
For me, the Paper Moon Diner in Baltimore, and its accumulation(s) of toys and sculpture is a fine example of Modest Art. I wonder how many thousands of people have been inspired by that place (and AVAM, for that matter)? Many. That’s a lot of good mojo that moves out into the world.
I think Art’s value, including the act of making art, extends far outside the boundaries of New York, Paris, Los Angeles, etc. What if the work that was made for the pure joy of making it was afforded the same respect as powerful social justice art? If the world were a more joyful place, we would need a lot less social justice art. There’s a place and need for both.
I once worked as an expressive therapist in a geriatric hospital/nursing home. I helped people make music, pottery and paintings. There was a retired woman with failing eyesight who always wanted to be an artist. She would grouse at me, and was generally grumpy, and she began painting with me during the last weeks of her life. She painted simply, prolifically, and we all could see the profound joy and a sense of accomplishment it gave her. I held her hand as she passed away, and I believe that being as artist mattered to her, even if for just a few weeks at the end of her life.
For myself, I want people to see my work, and have access to it. That’s why I keep working on my websites. Having had the good experience of exhibiting and screening my stuff in the real world, I know it’s important to me, too. When I figured out that I really need to make things, I wondered if I would die one day, leaving behind a house full of unknown materials. I am glad that hasn’t happened.
An art that rejects nothing, or anyone, and extends its field to little or not yet considered marginal forms and practices sounds good to me. It seems to have vitality, and to be awake. So many parts of our society are currently divided (politics, religion, etc.) that this idea of inclusion by default seems wonderful to me. Do you have an art degree? Welcome! Do you collect bread ties and make clothes with them? Come on in! You haven’t studied art but make your own work? We are glad you are here.
Making honest work leads to finding one’s unique voice, and that brings self awareness, and a kind of “presence” that I think most humans crave. Do we need art movements and genres to be artists? Of course not. Could it help? Maybe.
I really like parts of the Modest Arts ideology: being a collector, finding artistic value in unconventional places, existing both within and outside the contemporary art world, existing in a space parallel to the art worlds acceptance or rejection, and for me, living in an artistic life that is authentic, honest, joyful, humorous and full of wonder.
