Thursday, March 11, 2010

Who's Representing the Black Subject?-Part Three

commentary by Jocelyn M. Goode

Artists are representing the black subject, even if relatively small in total percentage. The messages are many as are the objectives of those making the art. For the readers, artists and patrons, the question now becomes one to ask ourselves, what is our relationship to black subjectivity? what do we want to see? and how are we supporting it?

My wish would be for a greater diversity and larger platform for black art to exist and for it to be as desirable and marketable as other art forms. Only time will tell...

Enjoy these last images from the Armory Show.
by Kerry James Marshall

by Carrie Mae Weems

by Barkley L. Hendricks

by Adam Mkewen

by Mohamed Bourouissa

by Pieter Hugo

by Louis Cameron

by Kara Walker

by Robert Mapplethorpe

by John Brakston

by John Brakston

by Yinka Shonibae

by Delvin Troy Strother

by Delvin Troy Strother

by Delvin Troy Strother

by artist unknown, Goodman Gallery Johannesburg, Capetown

by Alfredo Jaar

by Peter Saul

by Philip Lorca di Coreia

by Sheila Pree Bright

by Sheila Pree Bright

by Nathaniel Donnett

by Peter McDonald

by Peter McDonald

Wednesday, March 10, 2010

Who's Representing the Black Subject?-Part Two

commentary by Jocelyn M. Goode

My fascination with the representation of black subjects is a personal one. It is now the year 2010. The presence and influence of black culture worldwide is prevalent and undisputed. Still, black people as subjects of musical lyrics, film productions, television shows, radio programming, magazine editorials and fine art is highly marginalized. And even when a black subject matter is presented, it is more common to see the negative aspects of blackness highlighted over the positive. Why is this, especially in the instances when black authors/artists are the creators of the work? Of course the answers are layered in all sorts of historical, political, psychological and economic factors but my experiment last week at the Armory Show was another attempt to extract data to further analyze the conundrum.

When talking about art and showcasing, the underlying issue is sales. Once art moves into the gallery space, it becomes an object for purchase. Preference and taste increase in importance at this point and new questions comes into play: how consumable is art that features black subjectivity? How willing are patrons to buy this type of work and which galleries support it to even present it to their audience? The answers to these most likely provide some insight as to why fine art showing blackness is such a minority.

My observations at the Armory Show confirmed what I already knew, the racial composition of the fine art market is primarily white and upperclass. As a matter of fact, I saw even less black visitors than I did black art during the five hours I spent at the show. Excluding the almost all black security staff, there were very few people of African heritage in attendance as artists, observers or patrons. Given this, I had to ask myself, well how many of these people really want to buy and hang art that shows a black subject? Probably not many. Artists like Romare Bearden and Benny Andrews with a years of critical validation are more desirable, however they emerged over 40-75 years ago, not too encouraging for the present-day black artist.

This is not to say that there are not contemporary black fine artists receiving mainstream appeal while depicting black subject matter. One of my favorite is Kehinde Wiley, who creates large portraits of black men with the highest esteem. He recently collaborated with athletic company Puma Africa and painted portraits of Africa's most celebrated football players.

Another artist is Lynette Yiadom-Boakye. I discovered her work at the Armory Show and was so impressed. Faye Fleming & Partner, the Geneva based gallery representing her, had a booth solely dedicated to her work that portrays understated yet dignified paintings of imaginary black people. She is of Nigerian heritage and works in London. Over the past nine years, the 33-year-old woman has shown in several exhibitions in places such as Cape Town, Korea, Spain and New York.
by Lynette Yiadom-Boakye

Lynette says this of her work,"although they are not real, they are imbued with a power of their own, they have a resonance--something emphatic and other-wordly...These people are neither heroes nor victims. But if they are pathetic, they don't survive; if I feel sorry for someone, I get rid of them. Cruelty is as unappealing to me as pomp and circumstance are. I don't paint victims."

Here are some examples of her work along with others who represented a black subject matter.
by Lynette Yiadom-Boakye

by Lynette Yiadom-Boakye

by Niki de Saint Phalle

by Niki de Saint Phalle

by Niki de Saint Phalle

by David Levine

by Alexander Calder

by Bernard Perlin

by Fred Wilson

by Fred Wilson

by Whitfield Lovell

by Whitfield Lovell

by Whitfield Lovell

by Peter Blake

by Dimitris Andreadis

by Hank Willis Thomas and Rashid Johnson

by Xiomara de Oliver

by Chris Ofili

by Hank Willis Thomas

Here is a list of galleries that carried some of the featured work:
Rena Bransten Gallery
77 Geary St., San Francisco, CA
94108
www.renabranstengallery.com

Nohra Haime Gallery
730 Fifth Ave, New York, NY
10019
www.nohrahaimegallery.com

Jack Shainman Gallery
513 West 20th St, New Yorkm NY
10011
www.jackshainman.com

Gallery Side 2
2-6-5 Higashiazbu, Minato-Ku
Tokyo 106-0044 Japan
www.galleryside2.net

Jenkins Johnson Gallery
521 West 26th Street, 5th fl, New York, NY
10001
www.jenkinsjohnsongallery.com

Faye Fleming & Partner
14 rue de l'Arquebuse, CH-1204
Geneva
www.fayefleming.com

Tomorrow I will show the last set of twenty and continue this conversation...

Tuesday, March 9, 2010

Who's Representing the Black Subject?-Part One

Commentary by Jocelyn M. Goode
"Market Twins" by Jocelyn M. Goode

The debate over the definition of black art is a long-standing one. Is black art, art that represents a black subject or topic regardless of the race of the creator of the work or is black art made by a black person regardless of what he/she is representing in the work? and who is black anyway?

I take the position that black art is art about a black subject and anyone of any race can create it. The black subject includes people of African heritage and topics related to the history of that heritage. Given this premise, who is presently representing the black subject in fine art and what are they visually communicating through their work?

For the answer on a microcosmic level, I attended the Armory Show held last week in NYC. This annual festival reputes itself as being "America's leading fine art fair devoted to the most important art of the 20th and 21st centuries". Over 300 galleries from all across the world had booths showing more than 2,000 pieces of art. I surveyed each exhibit, taking five hours, to find the art that featured black subjects. My curiosity was tiered: how popular is blackness as a subject, what are artists saying when they do make black the subject and which galleries have opted to represent this work at such a major showcase?

Well, I came across approximately 60 pieces of art out of the thousands. Over the next few days, I will post the images and the names of the artists who made them. It was an exciting experiment, just discovering new work and seeing the different dialogues about the black subject emerge.
Here are the first 20 pieces.
by Kehinde Wiley, one of my favorite contemporary artists

by Titus Kaphar

by Luigi Ontani

by Zwelethu Mthethwa

by Ken Lum

by Will Ryman

by Corneille

by Ulrich Lamfuss

by Romare Bearden

by Chuck Close

by Romare Bearden

by Romare Bearden

by Helen van Meene

by Beauford Delaney

by Benny Andrews

by William H. Johnson

by Benny Andrews

by Benny Andrews

by Benny Andrews

by Ed Paschke

Something to note is the high percentage of work by men. Regardless of race, male artists receive more exposure than female artists. Also notable is the general sobriety of the art. While this is just a third of the pieces, you will see in the following posts that much of the art addressing a black subject is serious, carrying an unsettling weight. Few pieces are upbeat and whimsy but this is not the trend.

I have 40 more images to share. While I have made a case study of the Armory Show, I do not believe that it is the end-all in terms of demonstrating the best in contemporary art. There are some amazing artists out there struggling to have their worked viewed on a larger platform. One of the objectives of FAIM Internet Magazine is to represent culture and creativity, from the margins to the mainstream, so readers please post links to your sites if you also represent black art. It would be great to have this dialogue continue on a broader level.

Until then, check back tomorrow for "Who's Representing the Black Subject?-Part Two" where I will also list some of the galleries that support black art.

Tuesday, March 2, 2010

Making the Brand: The New Way to Start a Business!


by Jocelyn M. Goode
photo: www.talltim.com.au/tim4.htm

Traditionally, completing a business plan would represent the first cornerstone in establishing a new venture. However, in this day and technologically-mediated age, the framework of a business must expand beyond the standard categories and incorporate new, significant factors from the start. The main one is the creation of the brand. This article will explore the methodology of making a business plan and making a brand, and provide readers with some preliminary steps to be successful in both.

The Old Way: Business Plan First
There is a wealth of resources and guidance about business plans available to the curious entrepreneur. Upon a basic search, most would find the following components as the most basic:

1. Business Description: defining what the product or service, the structure and how it will make money.

2. Marketing Strategies: identifying who to sell to, pricing, distribution and promotional tactics.

3. Competitive Analysis: identifying competitors, analyzing their strategies, weaknesses and strengths.

4. Design & Development: product development, marketing development, organizational development, costs of material, labor, overhead and equipment.

5. Operations & Management: organizational structure of company and expense requirements associated with operations.

6. Financial Statements: cash flow statement, income statement and a balance sheet.

Technology and Social Media
Those seeking the financial backing of investors and banks, would definitely follow the steps in the above approach seeing that it provides the numerical data conventionally used to measure a company's potential and viability, and a rational way to determine pricing and costs. Yet, it doesn't account for how the latest technology and social media have impacted the way businesses develop and grow. Particularly, how brand image impacts the value of a product or service, and subsequently alters the potential worth of a company.

Today, gaining a new customer requires more than possessing a good product or service and paying for targeted ads during prime time. These days, consumers are more brand-driven than ever, selecting products on the perceived values and promises projected through a company's image. Blogs and social forums allow the everyday person to voice their opinions and influence the perception of a brand, from consumer endorsements to exposes about unethical practices. There are entire websites dedicated to reviewing products by brand, where individuals rant and rate, ultimately affecting a business' success.
Technology and social media have turned traditional business planning on its head. Now an empowered consumer driven by high brand awareness competes with old-school thinking on a building a business.

An increasing amount of the consumer population constantly utilizes the internet, computers and personal electronic devices to make purchases, access information, manage appointments, communicate with others and maintain major aspects of their lives. As a result, businesses have had to respond by modifying their structures and plans to reach potential purchasers through technology and social media.

Brand Beginnings
If a business plan is starting at A and working to Z, making a brand is starting at Z and working backwards to A. Firstly, entrepreneurs decides how they to be viewed by consumers, what perception they want to give to their target market and the instant associations that should come to mind at the sight or mention of their brand's name. From this point the brand identity goes from concept to visual representation. A logo, the mark, graphic or symbol that embodies all the elements the brand must communicate, draws on the psychological power of color, shape, font and design to create an impression that delivers the desired message.
How many of these brands do you recognize? What words pop into your head as you look at them?

Controlling perception is key in branding. Whatever the product or service is, regardless of the actual productions and marketing costs, the brand perception ultimately dictates what consumers will pay. Brand value is the reason a plain shirt may only charge $5 and the same shirt with the addition of a small embroidery of a man on a horse, just a few extra stitches of thread, can demand $98. The brand, not the shirt, brings the $93 difference. So for Ralph Lauren (a brand built solely on individual's image), projecting classic, American elite has proven extremely profitable because it allows people to buy a product that may not be the best quality, but best communicates an image that is widely desirable. When people pay exorbitant prices for a Polo shirt, they are paying for the perception of being "classic, American elite". The major shift in business development is from actual product to brand experience.
This plain polo sells for $4.88 at www.cheapestees.com

This Ralph Lauren polo shirt sells for $98

Indeed, evaluation of competitors, operational and management structuring and financial reports are integral in creating a businesses. However, starting with a defined brand that speaks to the target market's values, desires and fantasies highlights a new company's destination. All planning must center around creating a plan that tracks back from there.

For those now embracing entrepreneurship, beginning with brand development as the foundation and integrating the brand identity throughout the other components of the business, enables emerging companies to compete side by side with established ones. A brand manager is someone who has training to help a business develop its image and destination. A graphic designer is a person who executes the actual production of the logo and integrated collateral to support the brand. Enlisting the help of professionals to assist with brand development is important because they have the knowledge and expertise to recommend the methods to best communicate the brand's message.

Making the Brand in Review
1. Hire a competent brand manager and graphic designer with proven experience in brand creation.

2. Determine your desired perception, market position and target audience.

3. Evaluate the brand image of your competitors, how they achieved it and what makes your brand distinct.

4. Identify the opportunities for your brand including promotional, media, merchandising, partnerships, sponsorships and events.

5. Develop a marketing strategy to increase brand recognition.

6. Create a logo and supporting collateral.

From this point, completing a traditional business plan is helpful, particularly to figure out the financial aspects like cash flow, overhead expenses and projected profits. Still, with the brand, the heart and soul of the business established, the path to a success is clear from the start.

Jocelyn M. Goode, FAIM Internet Magazine's founding publisher, recently launched J. Goode Creative. Her company specializes in integrated branding and graphic design where she helps new and established business sharpen the definition of their brand and then creates the graphics to support the plan. She holds an A.A. Professional Designation degree in Graphic Design with an emphasis on Branding from the Fashion Institute of Design and Merchandising (FIDM) in San Francisco.

References:
http://www.entrepreneur.com/businessplan/index.html