The Social Status of the Artist

Self Portrait in Fur Coat (1500)

Albrecht Durer

Knob (1997) Gavin Turk

Damien Hirst and Maia Norman (1995)

1. Identify aspects of Durer's self portrait that show a changing view of the artist's view of himself as an individual.
From my perspective, this self-portrait has been manipulated to depict Durer, the artist himself, as a man of great importance. The title suggests what he is wearing in the painting is in fact fur, an expensive commodity at the time this work was painted. Its confrontational directness to the viewer is contradictory to any self-portrait before it. In the Renaissance period, the front-on style of portraiture was reserved only for important religious figures. Because of this idea, it is clear that Durer had a very high opinion of himself, as his representation in the self-portrait challenges the importance of dozens of people’s loyalty to their religion and beliefs.

2. Explain how the artist's social status increased during the Renaissance period. Briefly explain why this happened.
The social status of artist’s increased through the Renaissance period as artists started to become freely educated individuals as they separated themselves from other craftsman.
“The renaissance period was the start of a great debate over the social position of the artist”, (Blunt, 1962).
Evidence that certain artists asserted an individual reputation that set them apart from other members of their profession was a letter written in 1470 to the Duke of Ferrara by the Italian painter Francesco del Cossa (c.1436-78) in which the latter complained that all the artists working on a series of fresco paintings for the Duke at the Schiefanoia Palace (plate 3) were being paid by the same rate per square foot of wall regardless of reputation. Late Renaissance, artists had a better name for themselves as they were no longer seen as just skilled workers or craftsmen. Artists were able to prove that their intellectual ability and knowledge exceeded above the usual craftsman and were therefore directly hired by individuals or groups of a high status, consequently raising the status of the artist too in terms of importance and wealth.



3. Comment on Gavin Turk's work in relation to individualism, status of the artist and egotism.

Gavin Turk has displayed a sense of Individualism in his work “Knob” (1997) by using his own name as the center focus. I believe the autograph style he has used to produce his name suggests he is labeling himself as an artist before considering the opinion of the viewer. This idea may give the viewer the impression that Turk shapes his own status in society without valuing the opinion of others. The title “Knob” could possibly refer to the critical idea viewers may have of Turk when they view this work, as the piece strongly suggests Turk has an egotistic and self-obsessed personality.

4. Comment on Damien Hirst's use of his work and the media for self promotion.
Damien Hirst is believed to be one of the most commercially successful contemporary artists in the world (Art Encyclopedia, 2011). But behind his artistic reputation is an intelligent businessman who knows how to capture the public eye. Aware of the global attention he acquires, Hirst can take advantage of the media at any time for self-promotion. In his work “Damien Hirst and Maia Norman" (1995), Hirst has displayed himself in a photograph embracing his beautiful young partner. I believe the image suggests a connection between his work and his personal life as his partner in the photo is wearing clothing that identically matches the wall pattern behind them. Hirst however, is wearing dark clothing which draws focus towards him as he stands in front of the bright wall. The idea behind this composition could possibly be that of an attempt of self-promotion. My first impression of this image was that Hirst is depicting the result of all his work (the result being his beautifully portrayed partner). But at the same time, it tells me “It wasn’t all that hard to achieve”, with the use of simple patterning making the connection between his work (the background) and his personal life (his partner). Being the wealthy man Hirst is, the simplicity of the pattern may be symbolism to suggest he regards his work as effortless. This idea has concerns of egotism, as people who are familiar with his work would be well aware that what he produces is far from effortless.

5. Find 2 images of work by artists or designers that reflects some of the ideas of individualism, self promotion or egotism that have been discussed on this blog. Upload images to your blog, title and date the work, identify the artist/designer and comment on the work in relation to the question.

Jasper Johns - Flag (1954–55)
Jasper Johns was born in the United States and claimed to have painted Flag (1954–55) after he had a dream of the American flag. It was only a couple of years after World War II and during the beginning of the Cold War when this Flag was painted. There is no doubt that it would have been common for a lot of Americans to have felt patriotic at this period of time which may have opened an opportunity for Jasper Johns to use the American flag for self-promotion and win the hearts of many Americans.

Colin McCahon - Six days in Nelson and Canterbury (1950)
Colin McCahon (born in New Zealand) has expressed a sense of individualism in this painting as he has represented his identity with the portrayal of the landscape that surrounds the region of New Zealand from where he was born.

6. How do you think artists and designers are viewed in Western society today?
I believe the media is responsible for the view Western society has on artists and designers of today. Depending on how the artist is portrayed, some artists who gather media attention will often obtain a reputation as being successful. This can separate them from other artists, solely based on the way they are publicised as an individual.

Reference List:

- Art Encyclopedia (2011) Damien Hirst. Retrieved May 2011 from 
http://www.visual-arts-cork.com/famous-artists/damien-hirst.htm

- Blunt, A. (1962). Artistic Theory in Italy 1450-1600. Oxford; Oxford University Press.