Texas Trends in Art Education, Volume 3, Number 1, Fall 1985 Page: 16
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77
Camblin, Bob
The Studio
1981
Oil on canvas
73" x 65"
Collection of the ArtistMarcia Tucker categorized recent trends in
art by showing slides of the work of many
contemporary artists. Some of her catego-
ries of subject matter were: narration and
figuration which she sees as having come
directly out of Texas in the past 10 years.
She also classified contemporary art into
work whose subjects incorporated drama/
autobiography, humor, romance, myths,
sexual humor, WWII imagery, violence,
death, war, love, and the apocalypse. Tucker
believes that the worst thing the art world
can do to an artist is to categorize an artist
through geography, region, color or gender.
Tucker emphasized that she has learned this
lesson by having been guilty of doing it her-
self in the past. She now believes the quin-
tessential element in any artist's work is the
strength of the work itself and that that
alone should be the basis of its classification.Carter Ratliff affirmed New York City as the
informational and financial market for the
U.S. He similarly believes that because of
the plethora of information and the speed of
its dispersal, the glut of shared images and
ideas is too great today to make possible an
undiluted regionalist art. It is no longer pos-
sible for artists to be purely regional in their
work. Ratcliff saw some subtle nuances and
some surprises in the "Fresh Paint" exhibi-
tion, but he felt no deep shock or surprise at
the show and believed the exhibition did not
reflect a specific Houston school or a partic-
ular Houston sensibility. In an analogy using
Jackson Pollock's overall field painting as de-
stroying the idea of a painting serving as a
window through which one views the artist's
vision of the world, Ratcliff remarked that
the "Fresh Paint" exhibition attempted to
bring back "the window" and still uphold Pol-
lock's destruction of it. That is, the exhibi-
tion included both abstracted field paintings
and realist works. Ratcliff stated it is not
possible to surpass Pollock.
Henry Hopkins, the last speaker of the day,
added that New York City is no longer the
only art center for the country but that New
York City certainly remains the only business
center for the nation's art. Looking to future
demographic projections, Hopkins sees new
centers for growth and, therefore, finance
which will be centered in the southwest, on
the west coast, in the Orient and in Central
America. Hopkins posited the question,
"Who knows where 'The Center' will be in
the future?" Hopkins stated that it is difficult
to live away from "The Center" when New
York City is currently the marketplace and
source of livelihood for artists. As a possible
solution to New York City's monopoly of the
marketplace, Hopkins proposed, somewhat
tongue-in-cheek, that museums throughout
the country should accept second-rate
works of art, hold them, then resell them
and buy fresh, contemporary work. This
plan would support artists without having
artists move to one centralized marketplace.
Hopkins expressed current revisionist think-
ing of America as the vast "melting pot" of
cultures when he stated America should
nurture her differences and aesthetic sen-
sibilities rather than subsume them into one
category. Reinforcing an idea recurring
throughout the symposium, Hopkins noted
that artists must start with their roots, their
environment, before making universal
statements.TRENDS / fall 1985
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Texas Art Education Association. Texas Trends in Art Education, Volume 3, Number 1, Fall 1985, periodical, Autumn 1985; Dallas, Texas. (https://texashistory.unt.edu/ark:/67531/metapth279681/m1/18/?q=architectural+drawings: accessed July 18, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Texas Art Education Association.