Ethnographic Arms & Armour - View Single Post

Bill M · 29th September 2010, 02:08 PM

Ah, drop a pebble in the pond and watch the ripples . . . . .

Last week we visited a couple who have one of the largest private collections of contemporary African and print art in America. They also have 40 Andy Warhol, Man Ray, De Kooning, Picasso, William H Johnson, Bob Blackburn, Dali and others of that ilk.

The man has been collecting for about 30 years. Block prints, serigraphs, engravings, original art - oil and watercolors. He confided in me that the only money he ever borrowed was to buy art. He has never been in a high income bracket.

He has a very important collection. He lends pieces to museums for shows. Three good museums are currently displaying his pieces.

He knew or knows most of the contemporary artists, but he knows almost nothing about the techniques or circumstances involved in creating the art and does not want to know because he feels it would interfere with his enjoyment. I understood his point.

I have not been a fan of contemporary art, but began to feel a connection with many of the pieces. This was good art.

I asked him the common denominator of his varied collection? "I buy what I like!" he answered. He was not influenced by critics or investment value. "I buy what I like."

What he appreciates.

I begin another ramble that hopefully leads to a segue.

Yesterday we had about 40 docents from a major Atlanta museum, visit our home gallery. I gave a brief introduction. "Most of what you will see here was never considered art by its creators. These pieces were working tools that protected the makers from spirits, gave them fertility, were conduits to ancestors, were parts of initiation ceremonies, or protected and nurtured them after death.

"We have about 800 pieces from 100 to 5,000 years old from a wide variety of epochs and civilizations. We invite you to look around and enjoy and come back together to ask questions."

Bright, inquisitive minds. Delightful guests. It is always exciting to see your treasures from other peoples' perspectives. Many were focussed on particular objects. "What is the red hat?" "This hat identified a Zulu woman as being single." "Who is the blue man in the India picture?"

"What is your favorite sword and why? What is your latest acquisition? . . . " Then the inevitable, "What is the common theme in such a varied collection?"

Simple answer, "I buy what I like." A more penetrating question, "Have you ever examined why you like something?" "Because it makes me feel connected to something. Something important, perhaps sacred." Pause, a quiet moment.

Certainly I have studied many of the cultures that made these pieces. Many had no written language, their language, their history, their religion is told in the carefully carved and painted pieces. And I feel something -- a connection when I hold them. I feel battles and noise when I am quiet, holding a sword. Stories, but wordless - images, sounds. Something both episodic, but more of a long, enduring, overall picture. Something greater. And the more I appreciate this connection, the stronger it grows.

Let me say that again: The more I appreciate this connection, the stronger it grows!!!!

Another friend collects "Hudson River School" oil paintings. (American 1825 to 1870s) Landscapes. Snort. I have never appreciated landscapes. But when Anne and I visited him to see his collection, I was moved almost to tears. The oils had luminosity that connected me with deep emotions. It was like there was a light behind the painting that projected a spine tingling effect.

For a while, I ignored our hosts explanations for which painter painted what, lost in the images. Phasing back in to his narrative I heard him say, "This painter was from England. He came here and painted autumnal landscapes. He returned to England and was criticized for painting in colors that could not possibly be real. Leaves just could not be those colors." He returned to the Hudson River and collected leaves. He displayed them with his paintings.

Did this help me appreciate the paintings more? Possibly. Did this information give my conscious mind something to justify my deep subconscious feelings? Did I rely on the enormous value of these paintings to have a personal value? My host never mentioned monetary value, neither did my host with the Warhols, but I had an idea. However that was very much secondary.

What I FELT was much more important. Maybe we need to have some knowledge to feed the conscious mind while the subconscious feeds us with incredible feelings.

I asked my host the common denominator of the many artists who painted in the "Hudson River" style. He said simply.

"They were expressing their love of God through Nature." I think they achieved their goal.

29th September 2010, 02:08 PM	#115
Bill M Member Join Date: Mar 2005 Location: USA Georgia Posts: 1,599	Ah, drop a pebble in the pond and watch the ripples . . . . . Last week we visited a couple who have one of the largest private collections of contemporary African and print art in America. They also have 40 Andy Warhol, Man Ray, De Kooning, Picasso, William H Johnson, Bob Blackburn, Dali and others of that ilk. The man has been collecting for about 30 years. Block prints, serigraphs, engravings, original art - oil and watercolors. He confided in me that the only money he ever borrowed was to buy art. He has never been in a high income bracket. He has a very important collection. He lends pieces to museums for shows. Three good museums are currently displaying his pieces. He knew or knows most of the contemporary artists, but he knows almost nothing about the techniques or circumstances involved in creating the art and does not want to know because he feels it would interfere with his enjoyment. I understood his point. I have not been a fan of contemporary art, but began to feel a connection with many of the pieces. This was good art. I asked him the common denominator of his varied collection? "I buy what I like!" he answered. He was not influenced by critics or investment value. "I buy what I like." What he appreciates. I begin another ramble that hopefully leads to a segue. Yesterday we had about 40 docents from a major Atlanta museum, visit our home gallery. I gave a brief introduction. "Most of what you will see here was never considered art by its creators. These pieces were working tools that protected the makers from spirits, gave them fertility, were conduits to ancestors, were parts of initiation ceremonies, or protected and nurtured them after death. "We have about 800 pieces from 100 to 5,000 years old from a wide variety of epochs and civilizations. We invite you to look around and enjoy and come back together to ask questions." Bright, inquisitive minds. Delightful guests. It is always exciting to see your treasures from other peoples' perspectives. Many were focussed on particular objects. "What is the red hat?" "This hat identified a Zulu woman as being single." "Who is the blue man in the India picture?" "What is your favorite sword and why? What is your latest acquisition? . . . " Then the inevitable, "What is the common theme in such a varied collection?" Simple answer, "I buy what I like." A more penetrating question, "Have you ever examined why you like something?" "Because it makes me feel connected to something. Something important, perhaps sacred." Pause, a quiet moment. Certainly I have studied many of the cultures that made these pieces. Many had no written language, their language, their history, their religion is told in the carefully carved and painted pieces. And I feel something -- a connection when I hold them. I feel battles and noise when I am quiet, holding a sword. Stories, but wordless - images, sounds. Something both episodic, but more of a long, enduring, overall picture. Something greater. And the more I appreciate this connection, the stronger it grows. Let me say that again: The more I appreciate this connection, the stronger it grows!!!! Another friend collects "Hudson River School" oil paintings. (American 1825 to 1870s) Landscapes. Snort. I have never appreciated landscapes. But when Anne and I visited him to see his collection, I was moved almost to tears. The oils had luminosity that connected me with deep emotions. It was like there was a light behind the painting that projected a spine tingling effect. For a while, I ignored our hosts explanations for which painter painted what, lost in the images. Phasing back in to his narrative I heard him say, "This painter was from England. He came here and painted autumnal landscapes. He returned to England and was criticized for painting in colors that could not possibly be real. Leaves just could not be those colors." He returned to the Hudson River and collected leaves. He displayed them with his paintings. Did this help me appreciate the paintings more? Possibly. Did this information give my conscious mind something to justify my deep subconscious feelings? Did I rely on the enormous value of these paintings to have a personal value? My host never mentioned monetary value, neither did my host with the Warhols, but I had an idea. However that was very much secondary. What I FELT was much more important. Maybe we need to have some knowledge to feed the conscious mind while the subconscious feeds us with incredible feelings. I asked my host the common denominator of the many artists who painted in the "Hudson River" style. He said simply. "They were expressing their love of God through Nature." I think they achieved their goal.