Ology Magazine, published by Omnibucket

Reknowned for her eye for detail and respected for her professionalism, A Muse Gallery owner Caren Petersen chats with OLOGY magazine About the future of art.

What's been happening lately? Any new plans or events we readers should know about?

Let's start with what's happening at A Muse Gallery. I've tried to move outside the box, so to speak. Not interested in sitting in the gallery waiting for the next person to walk in, I'm taking steps to be more interactive with the community. I'm offering trips to Santa Fe, New Mexico; Athens, Ohio; Nantucket; and next year, possibly Seattle and Rome -- to visit artist studios and get a broader view of the artists' world. We're also, as you know, publishing a quarterly newsletter where we're offering more in-depth information on the artists and their work, and general information about events and upcoming shows. My husband and I have also opened a gallery on Grandview Avenue, to present the idea that art can be all-encompassing, through creating artful exteriors and living environments and incorporating art into all facets of your home (inside and out). In Columbus, I think the Wexner Center has some great events scheduled, and continues to be an institution that has a great outreach program, that offers interesting alternatives to the usual dinner and a movie, and shows that push the boundaries of our perceptions of art.

Can you describe any changes in the world of art-making that you’ve noticed?

As far as art-making, I see more and more artists using modern technologies and materials. Huge movement in digital art, effecting both two-dimensional "fine art" and assemblage pieces to facilitating different ways of creating sculpture and 3-dimensional art. I think the art world in general is in flux. I think there has been a division of what's "artsy" and "cool" and what's actually reaching and talking to the general public; which, by the way, I think is the ultimate goal. Anyone who adopts the attitude that "if it's sellable, it must not be good" is full of shit.

What is the function of the artist in today?

Art is a language, meant to communicate ideas, and I believe change people. If an artist cannot communicate with his art, and blames the public, he is just passing the blame. Everybody starts from somewhere. People, especially in Columbus, want to grasp it. They typically don't want to be offended by it, but don't mind being challenged. As with everyday conversation though, if a person adopts a combative attitude to begin a discussion, it is usually futile.It gets you nowhere in that particular conversation, and nowhere in society. So I think art needs to push and prod and make people think, but, and here is where I ponder the state of the art world --I think there has been a chasm.

Can you talk about that divide in a bit more detail?

The NY art world, in particular, continues to push the conceptual and installation ideas that are incomprehensible to anyone not in the art world. They insist that if you continue to show the porcelain toilet, it will mean something. I believe it doesn't. I believe it just pushes people further away from art. Art becomes as weird as they have been told it is. The message is a separate language, unfamiliar to all but the knowing, and therefore unable to communicate outside that circle. Tim Wright, a client with whom I was having this discussion, offered that the world of conceptual art lives for discussion; and the world ofnon-conceptual fine art lives for dialogue. To quote Tim: "I believe it was Ilya Prigegine, a Russian born Belgian theoretical chemist who said: 'the world is richer than it is possible to express in any single language.' to me, this is where 'art' comes in. I have spent most of my life immersed in biology, chemistry, physics and finance, and wandered into 'art' as a stranger. Even as a stranger, I began a journey, of sorts, with Carol. . . My thoughts -- for what they are worth: Dialogue: to the Greeks dia-logos meant a free-flowing of meaning through a group -- what would allow the group to discover insights not attainable individually. Interestingly, the practice of dialogue has been preserved in many primitive cultures (i.e., American Indian). Dialogue differs from the more common "discussion", which has its roots in "percussion" and "concussion" -literally a confrontational heaving of ideas back and forth -- for no real purpose other than to create 'chaos' and 'imitate art'." I say, a much more knowledgeable and savvy collector than he admits to being.

Would you say there are viable movements happening still today?

In other parts of the country, as with other things in life, there are people who are trying to show valid pieces, pull people in; and then there are those who just continue to feed what is comfortable and decorative. My point is, there is no cohesive movement, but instead a tug of war. Normal people don't read the art magazines, they aren't attending the shows. The artsy folk become more and more elitist (harking back to the days of yore). And then there's the American commercial factor, which sells "art" as a misnomer. It's not really art, and does nothing to educate and push people to think. It's a wide open field right now.

There’s been increasing amounts of activity in the American South West regarding art making. Can you speak to that a bit?

The Southwest, where I lived for a few years, has been a haven for artists since Blumenschein made his way across the country and since Georgia O'Keefe made it popular and cool. Artists congregate there and thrive there because there are innumerable resources for them to produce art. The community supports artists and promotes art as its core, as its lifeblood. Santa Fe is the third largest art community in the country, behind New York and L.A. It’s a concentration of galleries and visual arts venues that is walkable, beautiful, quirky and exotic. Although I don't think everyone would want to live in the Southwest, it is a beautiful place to connect with and feel the energy provided by the artists, a beautiful place to visit, and a place where (looking at the mountains and the sunset) a person can understand how an artist would be inspired and energized and feed off the land, so to speak.

What trends in art-making do you see emerging, good or bad?

Again, I think digital art is a good trend. It is a tough sell, much like photography. People have the mistaken impression that they can do it, that they don't have to have the innate talent that, say, a painter would need. That's not usually true, as the composition, color, and original idea is usually the most important factor, with the materials being integral to the overall satisfaction of the piece, but a tool nonetheless. Bad trends -- more and more stuff being touted as art that isn't. Bad photographers or voyeurs using the title of art or artist as an excuse for bad behavior. Decorative stuff labeled as art that is nowhere near what art is. It may be a picture of something, or a painting of something, but entirely misses the point of what art is or isn't. It simply presents an image that is appealing or pretty, or sentimental, and calls itself art. I haven't done any research into this, but I feel it's a trend of modern society and marketing; nonexistent in the past really. Americans will buy many many things because they're told they're good or worth something, when in fact that is no value except by creating an artificial market for the product. For example, coins or plates or limited edition "things." To call something like a Thomas Kincaid, for example, art, is degrading to the process of educating the public about art, and does not present a true picture of either what art is, should be, or is valued at.

How much should artists consider the audience to whom their work is being exhibited?

I think ultimately it is important to communicate. It's important to actually create a dialogue, and that typically requires that that communication be interesting. I don't, however, think an artist should produce pieces to "sell". Generally, people can feel when something is artificial or staged, even with art. It might be subtle, but it exists. A piece produced to sell is a rip-off. But, having said that, as an artist produces a piece I think it's important to ask if it opens a dialogue, if it is worth discussion or pondering. If it is worth considering, not for purchase, but for the purpose for which it was intended. If an artist has in his mind that the public is stupid and doesn't "get it", that may be more of an indication that the artist doesn't have an effective dialogue, that they are unable to communicate, that they are unable to make people reflect or want to think or live with the piece. Blaming the public doesn't make the artwork more effective, and indicates in general what that person is like as a person, combative and unable to begin a dialogue that is interactive. Do I think an artist ought to hold back or temper their emotions? No. Do I think they need to accept responsibility for the message they've put out there? Absolutely. If you want to have a fight, you're probably going to have one. If you want people to get it, even if your message is difficult, there are ways to communicate that message without offending people. Now, people are offended by all levels of things. Some by nudes, which is ridiculous. Some by violence, which is understandable. Some by sex, which is a subject that would take up far too much time in this column. . . for the next discussion.

Ology refers to "the study of". What is your Ology?

Human nature. I'm not particularly interested in the details of construction or methodology of art, nor am I particularly interested in selling art for the prestige or to be part of a group of the "in" people. I don't think I'm going to get rich doing this either. I sell art because it changes and effects people. I like to watch that change, to understand how people grow and participate in life, to hear about the interactions with their friends and family about the art, and to share the sense of importance I feel about these more internal messages. This is about passing down a legacy to our children, about making them more responsive to their own environments, about presenting them with enough ideas to make them question and debate the world around them. And lastly, I sell and collect art to understand myself. I am continually studying why the events and images in my life have made me think, feel and act the way I do.

To learn more about A Muse Gallery please visit www.amusegallery.com.

An illustrated storybook for adults, God's Acre's "stories within stories" will follow two children into a graveyard full of secrets to eventually unearth the lessons buried within. It is also an ongoing example of collaborative publishing whereby multiple artists and writers are able to flex their muscles within a single compelling narrative.

Here's a quick preview...

The border of the cemetery is slowly but surely becoming visible to the two children between the trees. Its stone markers catch a few of the morning sunbeams and splinter them on pieces of angular granite that haven’t been completely obscured by either greenery or the grey buildup of dirt and neglect. As Norman’s head bobs along to keep pace with his skipping and singing sister, his curiosity gets the better of him.

“And what’s that song you’ve been singing all day?” he asks, continuing a conversation that's been happening in his head for the last few minutes.

“I dunno. I learned it in my sleep last night. I like it,” she casually bobs back to her brother without a second thought.

“What, you mean like in a dream?” questions Norman with a slightly raised brow. The path has finally leveled out and only a few final lines of trees remain to block their view.

“Yeah, a dream,“ answers Isabel without the slightest moment’s thought. With a few final steps the two kids pass the last line of trees into a small clearing which has all but coughed them out right at the entrance of an old cemetery.

A set of dense hedges are all that separate the unkempt stone garden from the surrounding clearing and woods. A thin and overgrown walkway between two wooden posts on either side of the shrubbery allows them through, any gate previously attached long disappeared. The hues and tints of the morning and the fading crispness in the air give the entrance a hint of warmth and allure despite the cold stones beckoning from inside. The children are quick to recognize the path they’ve taken before and continue forward after a brief pause to catch their breath.

More previews to come next month...full book available for pre-order on www.omnibucket.com soon.

Really Cute Pictures of Animals we Found!

Horrible Celebrity Anagrams!

1| Harpo; 2| With Smill; 3| Beat Gills
Answers: Oprah; Will Smith; Bill Gates

Please fill out the form below and we'll give you something for free.
No, it's not pneumonia...it's something better.

Why are there so many damn songs about rainbows?
We don't know, but what we do know is that you take care of the people that take care of you, like these two.