Folk art in Cyberspace

It is interesting to consider how the development of the World Wide Web has affected the work of the untrained artist.  Like all artists, folk artists reflect the world they see around them, and have always been affected by the media.  An example is in the work of Ewald Rentz who liked watching Sesame Street on t.v., and so produced sculptures of many of the main characters.   But internet access does not have the same effect as watching television.  Television focuses our attention, sometimes helping to create cultural icons such as Kermit the Frog.  The internet spreads our attention, giving us access to a much wider, but therefore more unfocused body of information.   Things go “viral” and disappear within days, being replaced by the next “flash in the pan”.  But more importantly the web also provides an interested individual the possibility to easily research any given subject.

It is reasonable to assume that most modern folk artists will at some point use the internet to look at the work of other folk artists.  Previously this information would have been available only to those who had access to reference books, or could travel to an exhibition or sale.  Overall this means that if they are so inclined, artists are being more influenced by each other, and if their motivation is to sell more folk art, they will look at and emulate what’s selling.  This encourages fashion or trends which might be considered a negative. However, to a large extent ‘twas ever thus.  Artists have always looked at each other’s work, and if they like what they see, they will consciously or unconsciously emulate it.  The more interesting affect therefore is on the potential for an artist to develop an audience or market for his or her work from their home by creating a web site, and/ or joining a communal web site specializing in their type of work.  This has the potential to encourage and support many who would otherwise never be discovered.  A real God send to those who live in remote places.  Of course it isn’t as simple as throwing up a few pictures up and waiting for the phone to ring.  One still has to promote and be reliable in transactions, etc., but the potential is now much greater for a talented individual to  be discovered by  their audience, and thus support their output.

Finding Value in Folk Art

 

Occasionally I will have a Maud Lewis painting displayed for sale in my shop, and it is sometimes interesting to get people’s reactions to a $6,000 painting that at first glance looks like their 12 year old niece painted it.  A “my goodness will you look at that”, and some covered up snickering pretty well expresses their complete disbelief that something so simple could possibly be worth so much money.  I occasionally will give a brief description of the circumstances of her simple Nova Scotia life, and add fuel to the fire by informing them that in her lifetime she sold them for twelve to fifteen dollars from her tiny little house by the side of the road.  I then suggest that it is probably simplest to think in terms of supply and demand.  The supply of these paintings has stopped since her death in 1970, and there are many more people wanting them than there are paintings available.  This of course skirts the main issue of their confusion as to how anything like this could be desirable in the first place. To answer this you have to go a lot farther.

Charlie Tanner, Mother and Child

Beauty is in the eye of the beholder, and for some people, and I include myself in this group, great value is placed in anything that is produced by man or woman that manages to capture, or in some way manifest beauty.  I do not mean “pretty picture” beauty here.  I mean beauty as in creations that manage to be a celebration of existence, or a connection to the greater truth.  Something that has energy.   This energy can be found occasionally in the works of trained and untrained artists alike.  The real value in truly great works of art is in experiencing them, and in doing so to be educated and transformed by them.  Understanding beauty is our salvation.  Money really just confuses the issue.   So in relative terms, $4 million for a Tom Thompson and $6,000 for a Maude Lewis:  the Lewis is still cheap.

“Open all hailing frequencies”

So oddly, I start this blog space with a rather faded reference to “treky” days  when in fact this is going to be a blog about the life, and times, and observations of Shadflyguy –  humble servant, and seeker of the authentic and beautiful in things produced by past and in some cases of present people.

Come and enjoy with me a nice cup of tea or coffee, or espresso as the case may be, and I will attempt to explain why for the past thirty years I have occupied my waking moments finding, selling, and researching Canadian antiques and folk art, when in my “previous” life I was trained and fully employed making high tech slide extravaganzas, as were “all the rage” then at places like Expo 67, and Ontario Place.

I am going to attempt over time to transfer to this site the four giant drawers I have full of photographs, notes, and background information on some of the Canadian folk artists I have met.  This  in some kind of orderly fashion so as they may be useful to those seeking this previously unpublished material.  I am also going to attempt  to relay some of the juicier “picker’s stories” I have heard in my travels because they are fun.  I may even illuminate some old time dealers tricks, and things to watch out for when buying antiques.  If I really get rolling I may even start to document my furniture restoring techniques. Although I am concerned about the possibility of someone ruining dear Grandma’s rocker and holding me personally responsible…. hmmm.  You can see I am thinking about categories, and ramifications.  I think I may have the hang of this but do I have the chops.  We’ll see.

Right up front I want to thank my daughter Cassandra for leading the horse to water.   O.K. Welcome aboard, and let’s get at ‘er and post this puppy before I loose my nerve.

cheers,

Shadflyguy