What Color Is the Coming Year?

"Stormy Sea" by Sharon Hart

Last year prior to joining the glitzeratti at the vernissage at Art Basel Miami, I delivered a painting to an art patron in Miami. Much to her delight it was a monochromatic painting in the identical color that the Pantone Color Institute, had just announced was the “color of the year.” I knew the color as French Ultramarine Blue, whereas Pantone elected to term it “ Blue Iris,” or No. 18-3943. Coincidentally throughout the year I painted several mono-chromatic paintings in the color of which Leatrice Eiseman, the executive director of the Pantone Color Institute said: “Blue Iris brings together the dependable aspects of blue, underscored by a strong, soul-searching purple cast. Emotionally, it is anchoring and meditative with a touch of magic.”

December first seems to be open season for magazines, newscasts, and even blogs to present “The Annual Best of ... ” or predictions for the year to come. I , therefore, was reminded that every year the Pantone Color Institute chooses a "color of the year", essentially as a media –grabbing exercise. Considering the state of the economy, I pondered what color Pantone would seize upon as “The” Color for 2009. Review of past trends gave me some clues to their thinking process. Here is their previous panel of choices:

2000:
Cerulean Blue: Chosen for the millennium for its calming zen state of mind.











2001:
Fuchsia Rose: A reversal from the previous year, more exciting, more feminine and sexy.











2002:
True Red: Recognizes the impact of 9/11 with a patriotic hue.










2003:
Aqua Sky: A cool blue meant to restore hope and serenity.










2004:
Tiger Lily: Acknowledges the hipness of orange, with a touch of exoticism











2005:
Blue Turquoise: Another reversal to a calming shade.











2006:
Sand Dollar: A neutral color that expresses concern about the economy











2007:
Chili Pepper: Chosen for its pizazz and sophistication and its hint of ethnic taste.











2008:
Blue Iris: A mix of blue and purple that suggests dependability and magic











Pantone is considered by some in the decorating community to be a “Color Authority”. There is a video entitled “Color Watch 2009” that addresses how Pantone’s Executive Director chooses palettes and identifies future color trends, stating that they draw their inspiration from artists, museums, and the economy.


Prior to the Pantone’s announcement, I playfully discussed the topic with a couple of friends, as it provided some light relief to other more pressing issues such as the global economic condition. Someone suggested that green would be a logical choice, considering the focus on organic foods, the environment, and money. Another individual opted for bamboo, as the Chinese influence on the west is becoming an increasingly dominating consideration, both on products, as well as in banking. I, however, suggested that considering the economy, people will opt for comfort foods such as Kraft macaroni and cheese ---a peculiar shade of yellow-orange and that with the focus on optimism that was reflected in our recent elections, yellow-orange would be the most logical color for 2009.

Much to my surprise, today I discovered that Pantone announced that 14-0848 Mimosa, yellow as the color of the year for 2009. Their rational from the press release follows forthwith:

“In a time of economic uncertainty and political change, optimism is paramount and no other color expresses hope and reassurances more than yellow.

“The color yellow exemplifies the warmth and nurturing quality of the sun, properties we as humans are naturally drawn to for reassurance,” explains Leatrice Eiseman, executive director of the Pantone Color Institute®. “Mimosa also speaks to enlightenment, as it is a hue that sparks imagination and innovation.”

Artists have long used color to direct the mood of the viewer, in addition to being used because of cultural symbolism. A good example of this can be found in the colors traditionally selected by icon writers. Here is a brief synopsis of the meanings ascribed to the colors often used in Christian religious icons:

* Gold symbolizes divine light.

* Blues are associated with heaven, mystery and the mystical life

* Red is linked with heat, passion, love, beauty, life ,

* Orange-red, associated with fire, suggests fervor and spiritual purification.

* Purple & crimson is associated with royalty and the divine. It is the symbol of supreme power.

* White is associated with the divine world, purity, innocence, and is sometimes used with what Orthodoxy calls "the uncreated light,"

* Green represents the earth's vegetation, fertility, youth, hope and freshness, and martyrdom

• Brown is affiliated with poverty, humility, bare earth, dust, inert matter and all that is transient and perishable.,


It will be interesting to explore how artists will use color in 2009. Although “experts” such as Eisenman may suggest that we respond to tides such as economic conditions to determine our palette choices, I would suggest our choices are not that volatile. I would also suggest that artists are not that vulnerable and suggestive to marketing influences, but are more apt to be the fulcrum by which consumer choices are directed.

How Artists Can Survive the Economic Downturn

The Chinese word weiji (危機 translated as “crisis”) is often said to be composed of the characters for “danger” and “opportunity”; the implication being precarious situations afford us opportunity. I remember how surprised I was when I learned this is an often-repeated misconception based upon etymological fallacy. While the deconstruction has gained momentum as a modern piece of wisdom, in truth in the word weiji (危機), the “ji “ ideogram actually means “crucial point”, not “opportunity .

Despite the fact that the ideogram doesn’t support the theory, whenever there is a significant problem, such as the global economic crisis, there is opportunity for people who choose to take advantage of the situation. This was pointed out quite clearly by Carol Vogel of the New York Times who noted that “There were bargains to be had" due to the economic climate. In her in her Nov 5, 2008 news report, Bleak Night at Christie’s, in Both Sales and Prices, she refers to these opportunists as “bottom-feeders”:

"Early on, a Cézanne watercolor landscape from 1904-6, “The Cathedral at Aix From the Studio at Les Lauves,” was expected to bring $4 million to $6 million. It failed to sell. One bottom-feeder was willing to pay $2.8 million."

However, she’s not alone in viewing smart art investors as “bottom-feeders", as Editor at Large of Art+Auction, Judd Tully, published these words in response to the same auction:

“ It was an evening of price corrections, and some bottom-feeders took advantage. Long Island dealer David Benrimon acquired three significant works, including two bargain-basement deals: Georges Braque’s Nature morte à la corbeille de fruits for $842,500 (est. $1.2–1.8 million) and Joan Miró’s Femme et oiseau devant le soleil for $2,154,500 (est. $2.5–3.5 million). “Tonight you had great opportunities,” said the dealer. “It’s between 20 and 25 percent below market value,” he added of the works he purchased. “

I suspect I would have written the accounts in a more charitable vein, electing to use a less pejorative term than “bottom-feeder” to describe the individuals who purchased the art for relatively low market prices. However, I do believe we’ll be seeing more of this---and I applaud it, for it is important that the art market be supported at a more authentic level than it enjoyed in recent history.

My sentiments appear to be shared by Jerry Saltz who recently considered how the economic downturn will impact the entire art economy, not just artists and the auction houses. Here’s what he had to say in NY Magazine:

"If the art economy is as bad as it looks—if worse comes to worst—40 to 50 New York galleries will close. Around the same number of European galleries will, too. An art magazine will cease publishing. A major fair will call it quits—possibly the Armory Show, because so many dealers hate the conditions on the piers, or maybe Art Basel Miami Beach, because although it’s fun, it’s also ridiculous. Museums will cancel shows because they can’t raise funds. Art advisers will be out of work. Alternative spaces will become more important for shaping the discourse, although they’ll have a hard time making ends meet.

As for artists, too many have been getting away with murder, making questionable or derivative work and selling it for inflated prices. They will either lower their prices or stop selling. Many younger artists who made a killing will be forgotten quickly. Others will be seen mainly as relics of a time when marketability equaled likability. Many of the hot Chinese artists, most of whom are only nth-generation photo-realists, will fall by the wayside, having stuck collectors with a lot of junk....The good news is that, since almost no one will be selling art, artists—especially emerging ones—won’t have to think about turning out a consistent style or creating a brand. They’ll be able to experiment as much as they want."

Ok. So that’s the good news! We can experiment during this down time. We can explore different techniques, improve our work, make contacts, develop our portfolios, and increase our inventory. And when the market starts to move from being bearish to bullish, we’ll be ready for it---fully armed with great art and visions to share with the changed world that will welcome new ideas.

Is the Laborer Worth His Wage?

A couple of weeks ago Ed Vaizey, the UK Shadow Minister for Culture, published an article in the Art Newspaper entitled "Artists are apolitical, leaning to the left but embracing right-wing standards". The article asked and attempted to answer some excellent and timely questions posed by the UK's Art Fund, including "Has contemporary art sold out? Have contemporary British artists sold their soul to Mammon?"

While I disagree with Mr Vaizey in his contention that artists have a responsibility to be political in their art, I fully appreciated the honesty expressed in his statement, "The contemporary art trade is exactly that—a finely honed, global business." As implied in my previous post, it was more than evident at Art Basel Miami that art and business are intimately entwined on a global scale. Furthermore, if one watches the art auction scene, you can witness numerous performances at the Theater of Absurd Pricing.

Several months ago an associate indicated they would like to purchase one of my oil paintings, Boscastle Memories. Of course, one's ego always enjoys hearing that one's work is appreciated so I was pleased to hear this voiced. However, when I unashamedly stated the cost of the painting, the individual was rather taken back and asked me to repeat myself. I, of course, also gave them a graceful "out" of the purchase offer. This experience reaffirmed the general public has no conception of the actual material & time costs incurred by artists in the process of creating their works. Consequently, a "fair price" may appear to be astronomical to someone who isn't familiar with the realities of our profession.

Artists certainly have a responsibility to other artists to not under- or over-price one's work, but to ensure the prices established are fair and reasonable. Too often, emerging artists under-price their work, hoping that it will gain notice and they will recoup some of the monies they've invested in the work. It's not a trade secret that co-op galleries are wonderful places to pick up "steals" because many of these artists don't possess the confidence to ask a "fair" price, thinking it "too high" for their town/region/country/self. Sadly, in doing so, these artists fail to understand six words from the Gospel of Luke also apply to artisans in our day and age, "The laborer is worth his wage." (Luke 10:7)

The Emperor's New Clothes

Rudyard Kipling wisely contended, "Words are, of course, the most powerful drug used by mankind." Words can draw you in and seduce you---they are the Mata Hari of the marketing industry.

Perhaps this is one of the reasons why every profession I am aware of elects to develop its own "jargon." Language serves to act as a barrier against those who are "not amongst the chosen membership". Relatedly, one's lack of knowledge of the jargon or inappropriate use of the language will quickly alert the profession's sentinels and elitist hound dogs meant to keep outsiders at bay.

In a recent article published by the New York Times, Roberta Smith accuses the art community of leading the charge on "obtuse language." Interestingly, I forwarded the article to a dear friend who is "outside" of the art world, and many of the language usages were unfamiliar to her astute and learned ear. Truly, Ms. Smith hit a nerve, for I was unaware that "ArtSpeak" has been so cloistered that it continues to prohibit entry for even the more cultured mavens of our society.

"Symbolical Head, Illustrating the Natural Language of the Faculties."
(Image from Wells, Samuel. How to Read Character. New York: Wells Publishing, 1870. p.36.)

I couldn't help but reflect on my experience at Art Basel Miami---the monstrously proportioned and equally prestigious art fair, with more than 20 fairs that piggybacked on the main event held at the Miami Convention Center. The fair is billed as "the most important art show in the United States." Collectors, artists, VIPs and gallery owners are aware that this is the place to view and sell contemporary and modern art -- works whose intent and meanings are seemingly secret, posed in riddles, and decipherable only by the cognisenti.

Most individuals attending the larger fair darted from booth to booth, exhausting themselves rather than entering into full appreciation of some of the fine art that graced the pristine white walls in the 200+ mini-galleries from all over the world. I was acutely aware that the largest percentage of attendees at the fairs were happily oblivious to what they were actually viewing--so much for the import of artistic meaning and metaphor! Indeed, ArtSpeak was heard frequently at Art Basel Miami this past December; I quickly ascertained that the word of the week was "edgy". By the end of the fair, I came to re-define "edgy" as "over-priced schlock."

More importantly, however, it appeared to me that many people who were actually buying art are more concerned with potential profits from a future sale of the piece than the craftsmanship, skill and message of the artist. As an artist, this offended me. I want my patrons to love my work---and not just buy it as a tax dodge or as another commodity in their investment portfolio. Perhaps it would have been different if the artists were present, rather than the agents and gallery owners who mastered the art of ArtSpeak , psychology and economics; I really don't know.

But I suspect individuals who purchase art as investments and have no concern with regard to the artist's process or inherent meaning of a given work are often the same individuals who would be heartily surprised to discover the reality of the Emperor's new clothes. Perhaps this is why art critics tend to write in Modern ArtSpeak?