Barbara Grossman is an American Artist living and working in New York.
She has won several Awards: Fulbright Hayes Grant (Germany), Ingram Merrill Foundation, Connecticut Commission on the Arts, Ranger Prize (Nat’l Academy), Member National Academy of Design (1994). Barbara has taught at Yale School of Art, University of Pennsylvania, Western CT State University, New York Studio School, Chautauqua Institution, Mt. Gretna School of Art, and more.
She has widely exhibited in many Galleries & Art Institutions: Bowery Gallery, Millersville University PA., Dartmouth College, Wadsworth Atheneum, CT, State Museum of Pennsylvania, Washington Art Association, National Academy of Design, Lohin Geduld Gallery, College of William and Mary.
Art, Whatever It Takes – Rome Art Program has made interviews with people involved in art, living in Italy, the USA and the UK, to know their feelings during challenging times.
Barbara Grossman Interview:
Rome Art Program: What is your definition of “art” today?
Barbara Grossman: “Art” is the expression of an artist’s understanding of the world and the revelation of who they are. This has always been the case and as communication is increasingly fast and available, we see more of it.
RAP: Art is dynamic and regenerates itself… how does it change, and how did it change us?
Barbara: Over time “Art” is responsive to the times and all that occurs before and after the immediate zone in which an individual works. That includes the demographics, the political and philosophical climate and the material that is available. We are living in a very fastmoving era where the past is being distanced and the present, is over-taking human kind. The vast change in communication and material contributes to this. However, the makers are still very much connected to the history of what people have made. It remains to be seen how it will evolve. There will be those who anticipate the future, those who cling to the past and those who are in the present but it is always about the artist as maker.
RAP: When (and how) did you understand that art was becoming very important in your life?
Barbara: I went to the High School of Music and Art in NYC so my desire and interest in Art was formed early on. There was no question which path I would take, only how I was going to survive doing it. Luckily my passion for making images was supported and nurtured by my teachers and my peers.
RAP: What role does art play today? What are the “great figures” who have recently changed it? Do you feel close to any of these figures?
Barbara: Because of the advances in communication and the availability of the Arts, all the discipline have become entwined in many parts of people’s lives. The visual arts have influenced a lot of what we see today. Think of artists whose work is influential in surprising ways, from the distant past such as the Assyrians to the most contemporary, like Tuan Andrew Nguyen.
RAP: Are there still traditional figures such as collectors, muses, mecenate and patrons, in today’s art and society interaction model?
Barbara: There will always be ‘traditional’ actors in the Art world as long as they bring attention of the Art to the public. It could be through exhibitions, the sale of work, elevating people who support the Arts and the interaction of visual art with other disciplines or commercial endeavors. Compensation is one of the big motivators… as it always has been and probably will continue. Without culture our society is devoid of humanity and soul so ‘traditional’ or otherwise it will find a way to be present and exist.
RAP: How have the new technologies and media culture changed art today, improving or worsening it…? What do you feel are your biggest challenges?
Barbara: Technology has had a huge influence on segments of the Art we see today, but not all. It has changed the culture of looking and understanding what the extent of ‘art’ means and broadened the field. It is never about better or worse but how effective and meaningful the outcome is. In the hands of an authentic artist any medium can be powerful and communicate the human endeavor. I feel the loss of some of the visual art that is my language. I personally am challenged by most technology. This is an obstacle in managing my career but it does not have any bearing on my working process or thinking about the work. Artists try to work no matter what the environment presents.
RAP: Art as a mirror of man, in this moment of emergency seems to be shattered …what do these fragments reflect now?… Shadow or light of the moment?
Barbara: The current series of crises bring to the fore the question of the importance and value of art. Is it part of most people’s lives in an ‘emergency’, does it change anything for those embroiled in the crisis, does it matter? Does it have value for those who are just observing? Only each individual can ascertain if the urgency of making or being part of this connection has value. For me it is urgent and sustaining. It guides me through human kind’s journey on the planet.
RAP: Understanding, interpreting, and then possibly judging the work of art; which is the right path when we are in front of a piece of art?
Barbara: Having been an art teacher for over 40 years the process of looking at art work is most gratifying whether it is a masterwork or student work. Most importantly the work has to be seen and judged for itself, not to be compared to other works of art. One needs to enter the work and absorb its character, sensibility and skill to determine if it relates to the world the artist is in. Does it fulfill the notion of invention in communicating an idea or feeling to the viewer? Is it authentic?..
RAP: What is the real role of Academies and Art schools today? What can artists learn from these institutions today?
Barbara: Art schools, art programs and art institutions are valuable experiences for those who wish to learn not only the making of art but the ideas and connections that art has for others. The communities in these situations are a way for people to test themselves and their work around others who themselves are involved in examining, exploring and challenging themselves in the realm of making art. In the long term these may be the most supportive people who one will know. Honesty and camaraderie are essential components of the group experience.
RAP: Art too has undergone a complex process of globalization; can having an authentic and genuine style be an advantage or a drag for an artist?
Barbara: That is a strange question. An artist’s “style”, one hopes, is genuine, authentic and real, however one wants to define what the person is doing. Why would that be a disadvantage? If commercialism is the outcome or key to globalization then we are changing the meaning of culture and taking it away from individuals.
RAP: How do Art Galleries and Museums position themselves today, and, in your opinion, how should they?
Barbara: Art galleries and museums have different functions. Galleries are there to disseminate the art work by selling it to people who can afford to grace their lives with ‘real’ art. Museums are more to present art to the public for their pleasure and education. Both make judgements about what to display but because their reason for being is different they will automatically have different tactics. It is best that their missions remain different and separate for the most part. Imagine if we did not have the choices or opportunities to see the greats of the both distant or recent past such as Assyrian, Cambodian, Indian Miniatures, Cezanne, Gorky, Dekooning or Piero della Francesca? Or more recent, Philip Guston, Magdelena Abakanowicz, Pat Passlof, Fred Sandback, Ruth Miller or Agnes Martin? Our lives would be less enriched without those visions.
RAP: “Figurative” or “Abstract” ? Which of the two is better descriptive of the period we live in? Which one will have a better future?
Barbara: Abstraction vs. Figuration is an ancient argument. First of all, all art is abstract. How one prefers to identify a work is up to the viewer. The pendulum seems to swing periodically in favor of one or the other. Of course, I am drawn to figuration since that is what I do, but I am often more intrigued by non- objective work or even art made with different material than what I use. The language of art is multifaceted and we live with that experience.
RAP: Today we often speak of “emerging artists”; what advice based on your experience do you feel you can give to young artists?
Barbara: In my experience one of the things I would say to emerging artists, particularly if it seemed they were having success is “beware of becoming a ‘has been’ at 35”. It is a life long journey that is most satisfactory over time while the process of evolving, changing, reflecting and getting more and more able, will be the most important accomplishment. “Be true to yourself” is another bit of advice I believe in, as it will keep a person on track especially when life in the studio seems difficult or confusing.
RAP: Art as a lens for reading the present, can it modify the space and time we pass through? …will art save us?
Barbara: Art will never save us as a society but as individuals there is a chance that it will strengthen our souls and make the path to finding ourselves more feasible. I believe we are always in our time, how could it be otherwise? Our work reflects both ourselves and the time/space we are in. Pay attention!
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