Art in dark, Dark in art - Essay Example

Art in Dark, Dark in Art Most of the time, people take pleasure in beautiful works of art so much they make it a central part of their homes. Paintings of a scenic mountain view, antique portraits, and still life are hung in strategic areas and walls. Abstract art is a favorite in condominiums with modern and stylish interior designs. Meanwhile, some people enjoy spending most of their time in art galleries just staring at each unique creation. What is even more surprising is how affluent men and women are willing to dispose tons of their cash just to bid on particular artwork that they fancy. On the other hand, art may not always be depicted in the same positive scenario. In fact, the opposite side of what is picturesque and ecstatic is shown through bloody images that sometimes evoke negative feelings on those who view the art. Gloomy colors, grotesque bodies, and distorted imagery characterize art in dark. Does art in dark have a place in people’s sight, thoughts, and emotions? Why is there such a thing as dark in art and for what purposes does it serve? During the Late Renaissance period, a distinct type of art emerged in Florence, Rome, Italy and eventually the rest of Europe (Esaak). While it was considered a down time for artists in general, there was a group trained in the ancient styles who focused on a different kind of art that was the exact reverse of those during the High Renaissance. This was aptly called the Mannerism and it showed masterpieces packed with unsettling characters with very long limbs, uncanny emotions and ideas, and conflicting colors. The same could be observed with the nude characters that were modeling strange positions. Mannerism was said to be a mixture of Christianity, Classicism, and mythology. Esaak adds that even Michelangelo himself joined in the craze as a reflection of his adaptability and tendency toward emotional art. Michelangelo typically seem to be a bit uncaring when it comes to his portrayals of human beings. In the modern day era, lots of other artists have delved in the same artistic but pessimistic theme. Some of them have graduated in traditional art schools with flying colors. While they have started out in the mainstream, others became confident enough to express their real emotions in their art. Feelings of fear, emptiness, aggression, confusion, anxiety, anger and defeat surround their art works. Despite this inclination towards art in dark, most of these artists have been successful in their respective fields of endeavor. For instance, Anthony Clarkson, a budding artist in the dark art, has gone from head graphic designer to featured artist in the well-known galleries in the United States including Thinkspace, Cannibal Flower, and Gallery 1988 (“Anthony Clarkson’s Grim Wonderland”). He builds from his own intense and gloomy emotions that he has gone through in adulthood. Despite this seeming negativism, he continues to receive offers from companies that value his individuality. Alternatively, an award-winning illustrator and graphic designer in the person of Michael Bohatch is another testimony to the success attached to artists who have opted to bring the other side of life alive in their work (de Barros). His famous creations include “X-files,” “Outburn,” “Fangoria,” “EFX, “Third Alternative,” “Tear” and “Dark Realms.” Bohatch believes that it is but human nature to be curious about and get interested in what is surreal and what is obviously frightening. For example, it is very human to stop in the middle of the street just to see the commotion that is taking place from a car accident. He expresses though that the human emotions such as terror and depression that are presented in his creations are being such not for any other reason besides his wanting to feature the extraordinary. Bohatch himself clearly explains: We have seen our share of angel depictions, but the world needs balance. The fantastical provides a release, a moment of connection, a moment of release from reality, a moment of wonder — that wonder exist both in the light and the dark. I have just chosen to show that darkness, and reference it through my emotions. (de Barros) Evidently, the art in dark is more than a worthwhile activity. It is driven by such intense emotions that it results in creativity and flexibility that is like no other. Even in the fashion scene, the tendency towards portraying negative feelings such as despair, rejection, and some spiritual domination are being made part of powerful exhibitions (Givhan). Some fashion specialists have noticed how the dark theme has reemerged time and again in the industry. It will tend to rise then disappear and emege again. Givhan suggests that while fashion celebrates life it also recognizes the attraction behind the process of death and rebirth with each dying and rising of every style and trend. On the other hand, Carlson describes art in dark as alternative art. Alternative art have veered away from the ordinary to provide a different kind of appealing experience. There are two types of alternative art that are refreshing to the senses (Carlson). One is visionary art and the other is called underground art. While visionary art is more spiritually-inclined, underground art is the one that exhibits more of the opposite of the world. For instance, if mainstream art focuses on the elegance of high rise buildings, underground art emphasizes decaying facades. Conversely, what are apparent in underground art are anger, monsters, terror, and amputations that mean to reflect human being’s innermost fears and emotions. Underground art have been such a potent and stimulating genre that artists in the field have explored various mediums from painting and sculpture to tattooing and computer-generated art. In this sense, art in dark has created combined forms of medium that have resulted in their enhance abilities and some cultural developments. On the other hand, what is it about the dark in art that has brought out the best in every artist? Greenspan advocates that in as much as life is all about affection, excitement, and delight, it also involves amounts of sadness, frustration, and betrayal. As such, if art is indeed an expression of the genuine human condition then revealing the truth will not only be beneficial to the artist but to the spectators as well. It is no wonder then the negative emotion presented in art is not such a strange experience to put to life for an artist because he himself is subjected to such realities. It further means that best dark artists are those who are able to freely draw from deep within and be able to competently communicate what is at the root of their beings. For instance, for someone who has just experienced a death of a loved one whom he or she has been much attached to is one event that cannot be easily overcome and takes a lot of time to heal (Greenspan). For an artist, this could mean feelings of denial, anger, guilt, and relief all at once. While some of these feelings can be considered undesirable by the society as a whole, they only depict what is sincere and genuine in the root of the person’s being. In this way, the authenticities by which the emotions are revealed in dark art are enough impetus for the inventive mind to wander and produce the most impressive of artworks. Nevertheless, Ngai assumes that the ugly feelings that the majority may deem as undesirable or trivial are the very emotions that actually result to the complicated social evils that beset humanity in general (Chua). Consequently, denying these emotions and covering them up with fake aesthetics will not really help solve the problem. In the meantime, upcoming artists who individually recognize their dark side are not only doing themselves a favor but prevent bigger catastrophes from taking its course. Similarly, those who view and appreciate the dark in art begin to journey with the artists towards feelings that otherwise they would be too ashamed to open up. In this case, the dark in art is an accurate representation of human weakness than when recognized by the artist results in a striking phenomenon of universal interconnectedness. If the dark in art is such a popular and immortal genre then it could be mainly because of the real-life experiences that are hidden behind the negative depictions. Kennedy-More and Watson points out that evidence has shown that while the expression of negative emotions can intensify the distress that goes with it, responding to the same feelings with a resolve to work them out are very beneficial (qtd. in Spett). This is especially true in the case of artists with each and every stroke of their paintbrush on the canvass or with every dash of their pencil on drawing paper. Negative feelings that are kept for so long could get repressed and after some time wreak havoc in the individual’s life without him or her knowing it or knowing why. The opposite is true for illustrators and designers who always have their art to depend on to let it all out. They have all the time in the world to explore each and every pessimistic or damaging sentiment and while they are doing so the colors and images in their artwork get more and more enhanced. While for some artists, art is just their hobby, talent, or interest, there is really more to their art than meets their eyes. The dark in art, no matter how bizarre, shows aesthetic details that are hard to deny. In every drawing, painting, and sculpture is a part of the individual that gets developed (“Art Therapy”). The mood is brightened; self-knowledge is expanded; and the confidence in once abilities solidifies. More importantly for the artist is the enhancement of his artistic abilities. The strong passion that goes with every execution of the dark in art is equivalent to the exercise for the sense of sight, smell, sound, and touch. In specific, the eye-motor coordination gets better and better. Likewise, the neurological passageways from the brain to the hands get invigorated. The answer to the question of artists augmented capabilities while working on the dark in art is a resounding yes. Then again, Levinson recognizes that while the dark in art elicits negative responses in people, it is probable that they are the same emotions that have inspired people to hold such work of art in high regard. He presupposes that while the initial reactions of people tend to be disapproving, this is compensated by the common knowledge that works of art are supposed to be valued. In addition, he emphasizes that any emotion, including the negative ones, are actually inherent in each individual that anybody would naturally appreciate the art despite of the emotion it may invoke. But whatever the reason for the admiration extended to dark artists and their artwork, it is but fitting to say that the art in dark and the dark in art are powerful combinations that any dark side artist would respect. Works Cited “Anthony Clarkson’s Grim Wonderland.” anthonyclarksonart.com. 2 March 2009 . “Art Therapy.” Natural Standard Research Collaboration. 6 December 2007. 2 March 2009 . Carlson, Royce. “Visionary and Underground Art.” 9 April 2000. 2 March 2009 . Chua, Fu Jin. “Sianne Ngai: Ugly Feelings.” 2007. University of London. 2 March 2009 < http://www.brynmawr.edu/bmrcl/Ugly%20Feelings.htm>. de Barros, Adriana. “Biography: Michael Bohatch.” 2 March 2009 < http://www.scene360.com/ARTdirect_Bohatch.php>. Esaak, Shelley. “The Italian Late Renaissance and Mannerism - Art History 101 Basics.” 2 March 2009 < http://arthistory.about.com/cs/arthistory10one/a/late_ren.htm>. Givhan, Robin. “Gothic: The Dark Side of Art.” 12 Sept. 2008. 2 March 2009 . Greenspan, Miriam. “The Wisdom in Dark Emotions.” 2008. 2 March 2009 . Levinson, Jerrold. “Emotion in Response to Art: A Survey of the Terrain.” 2 March 2009 . Spett, Milton. “Expressing Negative Emotions: Healthy Catharsis or Sign of Pathology?” 2 March 2009 . Read More