Technique or Talent

Christine Rosamond's Storyteller 2
So many artists struggle with matching their passion to the medium. In New York City over the past few weeks and again this weekend, the internationalism of art is on display at various venues other than galleries. At the trade show level, publishers and printers seek new artists at the 30 year old Art Expo. What is on display is more printers from Epson and HP than stop in your tracks, take a double peak at earth shattering, movement making fine art. Decor has been the focus of the show for the last 6 or so years and this year is no exception. The show does not have the importance that it once did for too many reasons to mention here….o.k. one being that mass produced art is not unique.

In the past great talent has surfaced from the show. Survivors of years past who ventured out this year include Emmy Winning – Golden Globe Winner Jane Seymour (yes your bedroom collection can also be paired with her purses, movies and California pleinaire technique for the wall). Her technique is evolving and definitely resonates for a select collector. While she is part of the USA Olympic art program for the upcoming China games, her notoriety helps bring attention to other artists. (She has an encouraging group of original works with her “patent” heart design and original studies – she even showed me the heart that will be available as jewelery). For GALLERY M collectors her populist style is similar to Christine Rosamond (shown above: Storyteller II).

At a completely different edge of the art world, last week’s Armory show by Art Dealers Association of America, brought out the best for blue chip and perceived blue chip artists. Perhaps the most impacting work on display was a truly amazing Tom Wesselmann original by our friends at Davidson. Not only can you see why Wesselmann took pop art to the next level at a time with Lichtenstein and the countlessly mimicked Warhol, your understanding of how talented artists pay homage to those before them quickly unfolds (Mondrian and Modigliani come to mind for Wesselmann). And yes I believe that is Andy in the GAP store windows nationally.
Charles Dwyer opens on March 7, 2008 Denver
What Wesselmann had was an uncanny ability to take the technique outside of formal thinking. At MOMA currently, you can see how he grabbed some “junk” (from 7 Up bottles -which he re-created and cut outs of food stuffs), put it on a board, added a refrigerator door and amazingly created a breath taking, show stopping work of art. Of course if you are not into the influences for contemporary art, Wesselmann is just not going to cut it for you. Owning a Wesselmann today ranges from small original studies, editions, and the original metal works, massive canvas acrylics, oils and mixed media paintings.

At both extremes, technique is practiced to bring out talent. Wesselmann had a talent that he continuously refined – he evolved by mastering his technique that distinguished his art from others. While potted plants and boobs were and are part of his distinguished style, negative space, mystery and elegance with the muse set his works apart from so many before and after him.

Author: Mason Hayutin

Founder, Editor and contributing writer, Mr. Mason Hayutin is recognized for his depth of experience and knowledge in technology, energy economics, and the arts (fine and visual). Having worked with recognized world class artists and their estates since 1997, Mason brings a wealth of practical experiences from installations, marketing and private sales.

An active business advocate, he successfully released the fine art documentary film LUBIE LOVE in 2009 ahead of the global auto crisis – in addition to maintaining his tenure as Vice President of GALLERY M INC. Hayutin holds a degree in Economics from Washington University in St. Louis. You can read his insight here at The Art Quarterly as well as in regional and national publications.

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