Traditional Art and its Place in the Future:
A Summary of the CAC October Meeting Panel Discussion

First panel at the Autry Museum's Wells Fargo Theatre. Left to right: Jeffrey Morseburg, Michael Zakian, Larry Wilson, Patricia Trenton, James Nottage, Barbara Pieper, and Suzanne Muchnic.

From notes taken by Elaine Adams

The CAC's October panel discussion held at the Autry Museum of Western Heritage's Wells Fargo Theatre was well attended with nearly 200 in the audience. The all-day seminar was based on the topic, Traditional Art and its Place in the Future, and was moderated by CAC President, Peter Adams. Two separate panels were organized to address various issues, and consisted of prominent art personages.
 
The first panel was comprised of Jeffrey Morseburg, Director of Morseburg Galleries in Los Angeles; Suzanne Muchnic, art writer for the Los Angeles Times - Calendar, correspondent for Art News magazine, and author of Odd Man In: Norton Simon and the Pursuit of Culture; James Nottage, Vice-President and Chief Curator of the Autry Museum of Western Heritage; Barbara Pieper, Director of the California Arts Council; Patricia Trenton, Ph.D., Art Historian and Curator of the Los Angeles Athletic Club's (LACO, Ltd.) art collection; Larry Wilson, Editor of Pasadena Star News and television commentator; and Michael Zakian, Ph.D., Director of the Frederick R. Weisman Museum of Art at Pepperdine University.
 
On the second panel were Elaine Adams, Editor-in-Chief, California Art Club Newsletter, CAC Public Relations Chairman, Director of the California Art Club Gallery, and art reviewer for Art-Talk newspaper; John Budicin, Artist and representative of the Plein Air Painters of America; John Cosby, Artist and event organizer for the Laguna Plein Air Painters Association; Lorna Dryden, Representative of Southwest Art magazine; Ellen Easton, Director of Easton Galleries, Santa Barbara, California; and Glenna Hartmann, Artist and representative of the OAK Group.

The following is a brief report of some of the key points brought up during the first panel session:
Peter Adams began by showing a 15 minute slide presentation linking traditional artists of the late 19th century and early 20th century with today's CAC artists.

Defining the term "Contemporary Traditional Art" proved to be a worthy debate.  No one seemed to take issue with the term "contemporary," however, "traditional" was questionable. There was concern that "traditional" was much too broad of a definition, and that it implied non-progressive thinking, or that it stressed a reactionary response against modernism. A variety of new monikers spewed from the audience, as well as from the panelists. The term that seemed to be most accepted by the panelists was Realism, but some felt that it was too all-encompassing. Dr. Zakian added that as a museum director, he is not impressed with "isms," and that it only makes him think that the artist is not sure of himself. Both Dr. Trenton and Ms. Pieper stated that if the artists in the audience are looking for an identity or brand name, they already have it, and that it is the "California Art Club." However, Mr. Morseburg and Mr. Adams felt that it is important to maintain the term "traditional," as it describes the member artists as a unique category different from modernism. They believe that contemporary-traditional artists are not reacting against modernism, and neither re they typically influenced by the modern art movement. Mr. Adams reiterated, "We are a different catagory of art from Modernism, and need to be recognized as such. We need different art critics who are schooled in traditional art-just as in music there are different critics for different catagories, for example, Classical, Country-Western, Jazz, etc."
 
In considering the direction of art, Ms. Pieper commented that the California Art Club deserves to be globally recognized. She also gave insight into the four main variables applied by the art hierarchy in determining what is artistically valuable. They are earth and the environment; ethnic and multi-cultural; lifestyle; and the ethereal and spiritual. Ms. Pieper informed the audience that the Columbia School of Journalism has recently begun a program in training art reviewers. She added that "all artists are on the cutting edge," and that none should be defensive. Ms. Pieper suggested that artists who are interested in applying for Artist Fellowship Grants can receive information by calling 916/322-6555. Furthermore, artists may wish to apply to the California Arts Council for exhibition opportunities in Sacramento's Department of Justice. In an effort to promote California artists, the California Arts Council is now taking out advertisements in Art in America magazine. It was also mentioned by the panel that a good way to help promote the California Art Club and its individual artists is through the Internet.
 
In discussing the expectations of the media, Suzanne Muchnic explained that at the Los Angeles Times, the art reviewers are not interested in labels or style. They are, however, interested in what's "hot and new" - material that inspires them to write. Larry Wilson reminded the audience that the story on the one hundred CAC artists painting along the proposed route of the 710 freeway two years ago was an exciting topic for newspapers to cover, as it contained a combination of controversy and art. In order to expand the art and philosophies of the California Art Club, it is important to keep the press informed with updated press releases. Ms. Muchnic advised that in sending press releases, it is best to keep it direct and brief. The pertinent information, such as exhibition title, dates and place, should be in the leading paragraph, followed by background material. At the Los Angeles Times, they require that material be sent to them at least two weeks in advance, and it could be sent to several writers and editors at the same time. If press releases are sent months in advance, they are kept on file and brought up at the appropriate date to be considered for publication. It is also a good idea to send press releases with various story ideas and color photographs, perhaps one of the stories will a attract a writer.
 
In considering how artists can gain acceptance into the mainstream museums, Dr. Zakian sympathized with the audience by stressing that "Everyone in the art world feels embattled." He continued by revealing that the mainstream museums consider "the most vital art to be linked to the time," and that it is generally the "innovator" in art that is the one who will be remembered. James Nottage added that it is important to build relationships with museums and that "Each of us should actively support museums," and that we should get out to exhibitions and support other artists. Mr. Nottage expressed that a good way to keep informed with museums and art activities is to subscribe to various art magazines. Mr. Nottage revealed that at the Autry Museum, they schedule main exhibitions five years in advance, but have plans to be more active with smaller exhibitions.
 
The following is a brief report on some of the key points brought up during the second panel session, which was held in the afternoon:
 
In discussing concepts for promoting fine art, John Cosby described his involvement with organizing the very successful Laguna Plein Air Painters Association's (LAPAPA) first annual event held at the Laguna Art Museum. At their weekend event, they attracted 500 people paying $90 each for the Saturday night reception party. The following day, several hundred visitors attended the exhibition at the museum, resulting in tremendous visibility and sales in paintings grossing over one quarter of a million dollars. Mr. Cosby revealed that one main factor for their success was in having an appropriate venue from which to exhibit. They believe that it is crucial for art groups to build relationships with their local museums. LAPAPA accomplished this primarily by holding their board meetings in the conference room at the Laguna Art Museum. Eventually, the museum took notice of them and became interested in their activities.
 
The audience brought up their concern that their professional image may be at jeopardy by participating in week-long plein air painting events and "quick draws," where the artist becomes a performer working at rapid pace for public consumption. John Budicin responded by saying that although most artists do not enjoy this type of "pressure" painting, their audience is only recently becoming acquainted with the concept of plein air painting. These types of events have helped promote the process of painting to a larger audience, thereby, turning them into future collectors.
Using a sophisticated approach to art and artist promotions, Ellen Easton, who represents many Santa Barbara artists, shared her experience at publishing books on a particular environmental theme illustrated by her gallery artists. This way, the artists have a focus on subject content, the gallery has a unique exhibition to introduce to the public and collectors, and the press has an interesting topic to cover. In addition, the book becomes an excellent promotional tool for the artists. Lorna Dryden stressed that Southwest Art magazine is not alone at seeking unique exhibition ideas for feature articles, and that we should try to intentionally develop group exhibitions around innovative and timely topics. As a leading member of the OAK Group, Glenna Hartmann, affirmed the success of their environmentally-minded group exhibitions. As a group, they have managed to raise awareness and funding towards land conservation, while at the same time building a large collector base. Ms. Hartmann offered the audience the opportunity to learn more about starting their own art groups by contacting her for further information (if interested, call CAC office).
 
Elaine Adams talked about the importance of marketing and personal image-making for the artist. She cited that Forbes Magazine reported that in 1982 there were 13 billionaires living in the U.S., where today there are an astonishing 267 American billionaires. Mrs. Adams questioned their purchasing interests compared to their turn of the 20th century counterparts, such as Carnegie, Rockefeller, Mellon, and Frick who amassed great art collections, resulting in some of the nation's most important museums. She pointed out that today's billionaire does not seem to have the cultural interest in collecting fine art, and that the closest they come to this is by acquiring cartoon celluloids. She vowed that the CAC must find further ways to inform and to educate the fine art audience and potential art collectors. Peter Adams quipped, "Take your local billionaire out to lunch." Elaine Adams appealed to the audience by requesting that each artist get more involved in promoting the movement. She recommended getting involved with their local art museums, making friends with their local press, and inviting important contacts such as celebrities and dignitaries to attend exhibition receptions. She stressed that if we work together, we can succeed in placing traditional art back in the mainstream where it belongs.
 
For further reading on good basic marketing ideas and habits, Elaine Adams recommends Creating Demand by Richard Ott (ISBN 1-55623-560-7); Selling the Invisible by Harry Beckwith (ISBN 0-446-52094-2); and The Book of Excellence by Byrd Baggett (ISBN 1-55853-167-X).
  
This article was originally published in the December, 1999 issue of the California Art Club newsletter.

Return to Past Articles