Taiwanese art critic and curator Chien Hui KAO[1] in her book “A Journey to Contemporary Art” questioned about the definition of contemporary art. She used the analogy of chess board game to describe art today. In her opinion, contemporary art is positioned on the boundary river on chess board. Nobody has ever drawn the boundary clearly enough because of its flexibility and always-changing-movement.[2]
It is equally hard to define what contemporary illustration is, and to draw the distinctive difference between illustration, popular art and fine art at this post-modern new age. The reason for this blurriness is because the whole complexion in the design field has change in just the past eight to ten years. Back in the earlier days, designers used to sketch out what they wanted. Then the sketches would be handed to a typesetter, who would do the type size and style; and to an illustrator for illustration work. Then the designer would collect all the components and combine them together for layout for printing. However, computers have changed all of this. Designers nowadays usually combine design, illustration and typesetting into one continuous process which they dot hem all by themselves. With the help of the elaborately changing computer programs and technology, visual communications become handy in the internet world, artist are becoming more and more active, thus illustration becomes trendier, more mature and delicate. As a result of all these, artists become illustrators; illustrators become designers; and maybe the other way around.[3]
When I began formulating my ideas for this article, I was looking for ways to link the identity crisis of contemporary illustrator of Malaysia with the current movement of illustration style in Europe and in the USA. However I thought that it might be pointless to discuss this at the first place if I failed to define the need of identity and style of an illustrator. In Malaysia’s context, illustrators are often been briefed by art director of the style they are looking for. Being given limited freedom and a pre-set style, most illustrators fail to express their own drawing style and with that develop their own visual language. And when this phenomenon has become a common practice in the creative industry, more illustrators has simply become a craftsman.
My goal for this article is to stimulate discussions and not arrive at any conclusion. Is illustration fine art? If there is not much difference between the two, can illustrator create whatever they want to disclose their personal thoughts? Illustrator Benjamin Guedel[4] claimed that ‘only to draw a “nice” picture, for a client that has his own idea is very boring. Under these circumstances it’s only about skills that are brought to the customer. This may turn out good for both sides but such a picture will never become an amazing thing, to draw real good stuff we must have the possibility to give our own view.’[5]
Many art critics and connoisseurs of art claims that the works of illustrators as “minor” arts. This argument is sometime ridiculous. Marshall Arisman[6] said that renting a studio, buying canvas and paint, and painting anything you want does not automatically produce “fine” art. The intent of the artist determines the substance of the work.[7] Like what Otto F. Ege[8] said, no one will challenge Calcar’s draftsmanship by created Versalius Fabrica. The illustrations make a contribution to the total and exact meaning which words alone cannot convey.[9] Why can’t we claim this “illustration” a good example of fine art?
Otto F. Ege said that an artist-painter is more class conscious than an artist-illustrator. What painters concern are the matter of presentation and the audience, while illustrators are concern with mass but not class, reaction. In any illustration the “what” is obviously more important than the “how.” The ability to interpret the text and thereby enrich or increase the perceptibility of the reader is more important than technical skill or the exploitation of current “isms”.[10]
David Smith[11], the sculptor, defined commercial art as “art that meets the minds and needs of other people,’ and fine art as “art that meets the mind and needs of the artist.” Following these definitions, Marshall Arisman comment that many fine artists are “commercial” and some illustrators are “fine”. Andy Warhol said that “the finest art of all is the business of art.[12]
The problem that arises today is that we are in an industry flooded with computer-generated images, photography, the Internet, stock illustration and a lot of ready-made images, and many claims themselves to be artists. In the ocean of design field, sensitivity, intuition and craftsmanship are essential to illustrators and painters alike. I agree with what Steven Heller said the word “illustration” is too limited to be accurate and carries a negative connotation that does not allow it to be viewed as drawing, figurative, or as representational, but rather as commercial, lively entertainment. The phrase “fine art” also needs to be replaced with something that more clearly defines the field and the areas it represent.[13]
[1]Kao, Chien-Hui is a Taiwan art critic and curator who work actively in the USA and Taiwan. Her criticisms are popularly found in Chinese art publication.
[2]Kao, C. H. (2003). A Journey To Contemporary Art. China: BBT Books.pg. 3
[3]AmatterofdesignTM. (2006). It’s A Matter Of Illustration. Victionary.
[4]Benjamin Guedel, a freelance illustrator and comic artist based in Zurich, Switzerland. His bump and grind style is reminiscent of pulp fiction covers and cult film posters of the 1950s with a distinct contemporary, politically incorrect edge. Guedel striking drawings are collected in Blood, Sweat and Tears, a rollicking romp through pop art portraits, pin-ups, pirates and more.
[5]AmatterofdesignTM. (2006). It’s A Matter Of Illustration. Victionary.
[6]Marshall Arisman is an internationally known illustrator and painter. He is the chair of the MFA degree program, “Illustration as Visual Essay” at School of Visual Arts.
[7]Steven Heller and Marshall Arisman. (2004). Inside The Business of Illustration. New York: Allworth Press.pg. 51
[8]Otto F. Ege (1888-1951) was Dean of the Cleveland Institute of Art and Lecturer on the History of the Book at the School of Library Science at Western Reserve University, Cleveland, Ohio.
[9]Ege, O. F. (Autumn, 1949). Illustration as a Fine Art. College Art Journal , 3-11.
[10]Ibid.
[11]David Smith was an American Abstract Expressionist sculptor best known for creating large steel abstract geometric sculptures.
[12]Steven Heller and Marshall Arisman. (2000). The Education of an Illustrator. New York: Allworth Press.pg. 3
[13]Steven Heller and Marshall Arisman. (2004). Inside The Business of Illustration. New York: Allworth Press.pg. 49
Originally posted in http://sioyean.wordpress.com/ by sioyean on March 14th, 2008
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