Are You Trying to Shock the Viewer into Acquiring Your Jewelry?

In 1917, artist Marcel Duchamp enters a ceramic urinal to an exhibition in response to much cultural judgement that was being passed on the state of contemporary art in America at the time. By then, he was already internationally revered as one of the world’s most Avant Garde artists of his time. Ultimately, the “water fountain,” as he called it, was exhibited at the Philadelphia Art Museum alongside other works of his, his “ready-made series” composed of non-precious found materials, and his famous nude descending the staircase. Some fifty years later, a young art student, “Ivan,” was “copying original cubistic works in that same museum in Philadelphia.

“Copying” was a required class of all young art students who were required to take it on entering the Philadelphia Museum School’s four-year art school. The philosophy behind spending dozens of hours reproducing an important work was based on the concept that when “we” are compelled to “copy,” we learn a bit about how the artist might have conceived a work of art. My own father, three decades before at the same art school, was expected to do the same only in far more stringent circumstances, in his own drawing classes at art school.

Whether it’s Damien Hirst, Duchamp, or others in history that pushed the lines of the shocking or even sacrilegious, today’s makers are part of a long tradition of making and releasing “shocking works." So, here’s the thing. These creatives had a very clear notion of why they were trying to shock! There was usually something in their lives that was deeply troubling them. Narratives usually accompanied their work’s release. This was decades before social media and instant communication.

Almost all of history’s “artists who have made” shocking things, have been fine artists and most were quite well known already before they presented their newest shocking pieces. I also want to remind all, that this is true of all the creative mediums and disciplines, dance, film, etc.

As artists, we all want to be noticed for many reasons, sheer emotional support, our egos and then there’s the “economics” of wanting clients and collectors, to purchase what we make.
 
Now back to the beginning of my article. The Salvador Dali's of the world of art, the Damiens, the Ai Weiweis, and the Andy Warhols, all started with learning hard skills in order to master their craft. They did not start off their career making shocking works, they evolved. Usually, when they were at a creative crossroads culturally, they felt compelled to “speak out through their art form.”

All of the above-mentioned artists I “knew their bench skills” so to speak. Few of them translated their controversial works into the “wearable” or in the form of jewelry. There’s a huge difference in a “shocking, even ugly” work being on the wall of a gallery or a museum. Often a written narrative accompanies the work that makes the context of the work known.

For those makers reading this who are creating the grotesque and making it as a wearable work, be mindful that the notion of anyone really wanting to put it on their body and next to their heart has to be evaluated. I’m not saying here to not make the works, I’m saying the ability to sell these could be a challenge. Perhaps you may want to consider starting to make sculpture on a larger scale.

If you feel passionately driven to make shocking things, do them for a deep inherent creative meaning, not simply to “shock for shock value’s sake.” And if you are lucky enough to grow your career to the levels of a Duchamp, then you can do almost anything, in any medium, and even command a large sum of money for it.

There’s a double standard in the art world, jewelry still has its elements where most wearers want something that has enough beauty for it to be becoming. William Harpers’ works of jewelry manage to accomplish both. He’s a master craftsperson, combining precious materials with non-precious materials.

In closing, paying our dues as makers gives us large flexibility in the marketplace. If you are hiding behind “the anything goes” approach because you don’t have solid jewelry making skills, go back to the bench. “Shock for shock value’s sake” isn’t the best strategy for your career!

Beauty, no doubt, does not make revolutions, but a day will come when revolutions will have need of beauty.
/ Albert Camus, The Rebel


© Ivan Barnett 2024, All rights reserved.
 

About the author

Ivan Barnett
I stir souls. And I know, from decades of experience, how to scale an art business from good to great. I live and work in the oldest capital city in America - “the City Different.” After 25 years, I have stepped down from being the founder and creative director of Santa Fe’s world-renowned Patina Gallery, best known for its soul-stirring works and “Beauty over Time” exhibitions. In my 25 years, I grew Patina from an unknown brand to a global storyteller, exhibiting the works of the most talented artisans in the world.
Here’s what I’d like you to know about me: - I’m a man of my word. - I deliver on my promises. - I’ve produced and directed exhibitions and events that have never been done before. - I have collaborated with some of the world’s most famous opera stars. - I love the Pareto 80/20 principle created by Italian economist, Vilfredo Pareto. - My favorite quote is “Less is more.” - I’m an INTJ. - My favorite movie is Zorba the Greek with Anthony Quinn. - My best ideas come at 3 am. - I like taking the long way around and do not believe in shortcuts. - I was taught to arrive at all meetings seven minutes early. - I make friends for life. - My forte is connecting dots and telling stories about artists.

creativemornings.com/individuals/ivanbarnett
seriousplaysf@gmail.com