Is This "Good" Art? I Don't Get It.

Balloon Dog  (Blue)                                              New Hoover Convertible, Green, Blue; Doubledecker
1994-2000, Jeff Koons                                                                                 1981 - 1987, copyright Jeff Koons
The Broad, Los Angeles                                                                        Whitney Museum of American Art 

I sometimes find myself wandering through a museum or gallery with a friend. We’ve been having a great time, but as we round a corner, my companion just stops. The look on their face changes. A shake of the head followed by that classic line, “I don’t get it. What makes this good?”

It’s a fair question. The variety of ways to create art and the issues artists explore have grown and evolved in tandem with the development of today’s complicated world. There are undeniable benefits and challenges of living in this era. In today’s world, an artist’s work is limited mostly by their imagination and resources.  Unfortunately, one of the side effects of almost limitless creativity is work that challenges traditional ideas of what can be called Art.

I often think of  my husband and father at the Whitney Museum of American Art staring at Jeff Koons’ New Convertibles, Red Green, Blue; Doubledecker. To this day it remains their prime evidence that the art world is playing a giant practical joke.

“How is this art?” they ask. “Did he even make it? Does this require any actual skill?”

Their reaction highlights exactly how complicated this world can be. But here is the truth: the idea that art can be categorized objectively as “good” or “bad” is a myth..

The Myth of Objectivity

Categorizing things is part of human nature; it’s a survival mechanism. We learn that running into the road is bad because it’s dangerous. However, if we see a child’s toy in the street or someone who needs help, we pause, look, and realize the context has changed. We step into the road.

Art, not unlike many of life’s daily events, deserves the same pause. While artists, critics, gallery owners, art historians, and collectors will happily declare the merits of a piece, those judgements are not objective truths. They are opinions shaped by a specific lens and they have no bearing on your personal taste.

It is important to let go of the idea of  good and bad in art because “good” and “bad” are moving targets. They depend on culture, tradition, and “rules” of an era. Throughout history the world has become more and more connected. Certain visionary artists, scientists, philosophers and businessmen began to experiment with concepts discovered through progress and exploration. Art can create  new means of expression by adapting novel styles and concepts into its current language. These new ideas have often challenged cultural norms and created hostility from the public and experts alike. Whether something is “visionary” or merely “disruptive” usually depends on who you ask.

How you perceive a piece of art depends upon a variety of factors. Age, cultural background, knowledge, and even mood on a given day can impact how you might view, understand and feel about a piece of art.

Add in your profession, income, aspirations, trust of expertise, political views, the flexibility of your mind set, well the list is endless. So, how can you possibly look at any art objectively? Realistically, is it even possible for Art World insiders to be truly objective?

No. The Art World is really no different than other groups. These are people, who by virtue of age, education, experience, and perhaps track record, are considered the leaders whose insights and opinions guide the field. They are professionals who have spent countless hours studying and working in the particular area. 

Reasons for championing certain work over others are as complicated as in any other business. Politics, reputations, etc. are as present in the Art World as in any other field. 

So how do you, the viewer, and perhaps fledging art enthusiast, navigate this landscape riddled with experts who declare winners and losers and guard their positions with the vehemence of a miser hoarding his treasure?

Why the Concept of “Good” Keeps Shifting

If you dive into art history, you will see the term “Master” applied to many artists. And there are Masters without a doubt. But even the status of “Master” is changeable. Take the 17th-century Dutch giants, Rembrandt and Vermeer.

• Rembrandt was the "Art Star" of his day. He was prolific, dramatic, and sought-after. He painted everything from grand civic groups to religious scenes. His work was in major collections during his lifetime, which helped cement his legacy. During his life his popularity declined, but his reputation was cemented by the early patronage of influential people.
• Vermeer, equally skilled, lived a very different life. He worked slowly, produced few works, and died penniless. He sank into such obscurity that it took nearly 200 years for him to be rediscovered, and another century before he was declared a "Titan" of art.

It can be stated without controversy that each man was a master of his craft.

The Night Watch, 1642                                                 The Milkmaid, 1657-8
Rembrant va Rijn                                                              Johannes Vermeer
​Rijkmuseum                                                                                Rijksmuseum

What changed? Not the paintings. The brushstrokes remained exactly as they were in the 1600s.
 
What changed were people’s tastes. Rembrandt’s drama is timeless and his broad oeuvre ensures that something will always find favor. But Vermeer was a specialist, and his quiet, contemplative interiors fell out of fashion until the world was ready to appreciate them again.
Simply put, trends changed. Even Impressionism, so popular today, was ridiculed well into the 20th century. Its success is thanks to a few persistent dealers who kept the work in the public eye until the world’s "eye" finally adapted.

First Look, Pause, and Then Think

When you are out looking at art remember that, like everything else, art is subject to trends and fashion. As with any other trend, you can decide if you wish to take part or not. So the next time youIf you find yourself face to face with a piece of art that feels alien, try this:

Don’t worry about captions or catalog copy. Don’t worry about what the experts say. Simply look and ask yourself this: What do I feel? What do I see? 

Your reaction does not need to be an intellectual thesis. 

Simply take stock of what the piece makes you feel: joy, sorrow, anger, annoyance, serenity, even a vague sense of boredom. And they are all perfectly acceptable. There is no single way in which to view a work of art.

The second step is to ask: Why?  Maybe you don’t “get” abstract art, but a certain color makes your skin tingle.

You may still see the earlier Koons as “just vacuum cleaners” but standing in front of Balloon Dog and you may find yourself thinking, “Wow, this is kind of fun and cool, and sooo shiny and big…” because it’s fun.
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As I have already said art  does not have any single group of standards. Each person brings their own personal ideas, emotions, and experiences with them as they look at art. 

As a painter I work with my perceptions of the world, but I believe that there must be a point of entry for viewers. If a viewer has space to enter the canvas and find something, which may be entirely alien to my intent, who am I to say their thoughts are invalid? They simply connect with the image through their own experiences.

If you find yourself liking a particular style or individual artist, look at more work. You will not necessarily like every example you see, but it can help clarify your feelings. Simply spending time exploring can help you develop an authentic appreciation of art based on your connection to the work. Trust your feelings, rather than Art World valuations, and you will select work that will resonate for years to come.

How to Navigate the Gallery:
Leave It, Appreciate It, Love It

To avoid “overwhelm,” you can divide everything you see into three buckets: 

Leave It: You do not like it, you do not understand it, or both. This is personal. Just because a friend likes something, great. But you don’t have to. Just walk away.

 Appreciate It: You recognize the skill or historical importance, but would  not want to live with it. This work just doesn’t speak to you in any way. You are the buyer, and it is your desires that matter. You may appreciate an artist’s skills, but the subject matter or ideas don’t resonate with you. Maybe it will not work with your decorating style. This is perfectly okay.

Love It: This is that sweet spot where everything aligns. The style, the subject, the feeling. This work resonates. You can’t wait to see it in your home. Even if you can’t afford a “Love It” piece right now, let that feeling guide you to a more affordable piece with a similar spirit. ​

The Bottom Line

First, don’t think about art as an investment; think of it as a connection. Comedian and seasoned art collector, Steve Martin, bought his first picture when he was young. At $300.00 it was a big purchase for him. Decades later, that painting’s market value remains about $300.00. But Martin still enjoys the painting as much as the “more important” works in his collection. To Martin it is the personal feelings that matter, not the monetary value.
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Art is an expression of one person’s thoughts and feelings, and you are an individual with your own. You do not have to connect with everything out there. You only need to find that sweet spot where the work speaks to you. 

The art world is vast, and there is something out there for everyone. So, get out there and explore—on your own terms.