National Art Education Association

Collectible AestheticsAuthor(s): David BurtonSource: Art Education, Vol. 42, No. 6 (Nov., 1989), pp. 42-45Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3193165 .

Accessed: 15/06/2014 03:10

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

National Art Education Association is collaborating with JSTOR to digitize, preserve and extend access to ArtEducation.

http://www.jstor.org

This content downloaded from 91.229.248.154 on Sun, 15 Jun 2014 03:10:43 AMAll use subject to JSTOR Terms and Conditions

0 a

Collectible Aesthetics

By David Burton

We teach students art by helping them create art objects and by showing them examples of

other people's art. But, for the most part, we avoid a cut-and dry definition of art. Students learn what art is inductively, by exposure and osmosis, as it were. Consequently, many students leave us with a vague or downright mistaken notion of art. When they begin to buy art as adults, they often have doubts and anxieties. Is it good art? Should I buy what I like, or what is a good investment? In a nutshell, what is art?

These are problems that people simply don't encounter when they go shopping for a refrigerator. Everyone has a clear idea of what a refrigerator is. Decisions about refrigerators run to function, economy, and superficial styling, not to essential questions like, "Is this really a refrigerator?"

Art is different. Art implies a special type of object defined more by concepts and qualities than by physical properties or useful functions. Without a clear idea of what art is, many people are at a de- cided disadvantage in how to select and acquire art.

Consequently, those who wish to sell art must make a convincing argument to the would-be collector that the object in question is indeed art

Each month in many mass-market magazines we find several advertise- ments for ART. This is "collectible art" aimed at middleclass families with

"disposable income," a few dollars left over after all the bills are paid. This art comes to us from such purveyors as the Franklin Mint and the Bradford Ex- change. It may be porcelain birds and flowers, plates with pictures on them, figurines of pewter or cold-cast bronze, or crystal sculptures.

Many people regard these objects as art only in the broadest sense. Others see them not as art at all but as knick- knacks or decoration. Why not just sell plates with pictures on them? People might spend a few dollars for such knick-knacks, but not $29.95. As we know, art has an intrinsic, aesthetic and cultural value, and it costs more than knick-knacks. If a plate is more than a plate, if it is art, the markup is justified. Therefore, the advertisement presents the object as a work of art.

While the photograph shown in the advertisement may attract the reader at first glance, it is the copy that argues the case for art. Without a clear concept of art, the field is wide open for all the techniques of persuasion and rhetoric. These advertisements make sophisti- cated appeals designed to reassure the reader and extend a slight notion of art to form a concept consistent with the product. Space is limited, so each word is carefully selected to create a general idea about art. The product is of course a prime example of that idea.

Millions of people read these adver- tisements every month. Consider for a moment that a single page, full-color advertisement in SMITHSONIAN

magazine costs $47,260.1 (There are frequency discounts if the advertise- ment runs more than one month.) There are several advertisements in dozens of magazines every month. This amounts to millions of advertising dollars per year.

Are the advertisements effective? The phenomenal success of the Franklin Mint, the Bradford Exchange, and similar companies indicates they are. Millions of people buy collectible art for hundreds of millions of dollars every year.2 A single company, The Bradford Exchange, advertises that it is "regularly serving more than three million collectors."3 The Bradford Exchange also provides a "stock ex- change" for buying and selling collec- tor plates. They trade more than 15,000 plates PER DAY.4

The market is the middleclass, people with homes, families, and friends, people who associate art with refinement, prestige and decoration. The collectible art companies often use the mailing lists of American Express and other upscale companies to target

I Smithsonian Magazine 1989 General Advertising Rate Schedule. Smithsonian Magazine, 420 Lexington Ave., New York, 1989.

2 Bradford Exchange: A Marketplace of Commemorative Plates. Business Week, September 11, 1978, p. 150.

3 Advertisement, Bradford Exchange, Date June, 1988.

4 Barker, Stan. Artist's Market. The Artist's Magazine, June 1989, p. 22.

42 Art Education/November 1989

This content downloaded from 91.229.248.154 on Sun, 15 Jun 2014 03:10:43 AMAll use subject to JSTOR Terms and Conditions

their customers.5 The fact is, collectible art is a very big business. The larger collectible art companies employ hundreds of artists designing thousands of works of art each year. Their adver- tising is thoroughly market-researched, well thought-out, and well-written as any industry selling directly to the public must be. They influence the concept of art for millions of people.

Collectible art is not a new concept. Commemorative plates have been around since 1895.6 Hummel figurines appeared in the 1930's. Until the 1970's, the market focused largely on over-the-counter sales in gift shops and department stores. Then John R. MacArthur of the Bradford Exchange computerized his direct mail-order sales, and the industry mushroomed.7 In 1977, the Franklin Mint, long a pur- veyor of collector coins and medallions, branched out into other artforms.8 The industry has since grown by leaps and bounds, with many smaller companies joining the ranks.

The collectible art industry is a major player in the art and aesthetics of this country. In 1977, The Franklin Mint alone spent $65 million dollars on ad- vertising and promotion.9 All of these resources were aimed directly at the public and garnered a response of $307 million in sales.10

Some collectible art is created by committee which carries the product from concept to market. "The people who conceive a product are the same people who must market it. From the beginning, the idea is not just to design a product someone likes and might buy off a store shelf. Our goal is to begin a product he will buy off the printed page. "' Individual artists also work on

I Tobias, Andrew. "How to Make a Mint Fast." Esquire, November 21, 1978. p. 16.

6 Bradford Exchange: A Marketplace for Commemorative Plates. Business Week, September 11, 1978, p. 150.

7 ibid. p. 150. ' Business week, April 25, 1977, p. 60 (The

Franklin Mint was sold to Wamer Communica- tions, Inc. in 1981.)

9 ibid. p. 150. 10 ibid. p. 150. " ibid. p. 150.

commission, receiving a royalty for each piece sold. The Bradford Ex- change works with 200 freelance artists per year on individual project assign- ments, while the Franklin Mint "rou- tinely uses about 2,000 realistic, repre- sentational artists working in a variety of media.12

Collectible art has certain features dictated by the nature.of the collectible art industry, not by the nature of art. It is basically a mail-order business selling a product mass-produced in tremendous quantities. The essence of the business is repeat customers, "collectors" who buy another plate or coin or doll month after month.

It is one easy step from being a col- lector to being a connoisseur. Several of the collectible art companies publish magazines describing their products in greater detail, offering new products, giving related background and history, charting market prices, and offering brokerage services if you should wish to buy or sell additional pieces. The publications build interest and knowl- edge in one's collection and give a sense of community with other collectors.

Porcelain, pewter, and glass lend themselves nicely to mass-production and to a consistent-quality product that "looks good." While these materials may look delicate, they are strong and sturdy enough to make it through the mail system, an essential feature of a mail-order business. The material used in collectible art is not always what it appears to be. Many "bronze" collect- ibles are "cold-cast." They are really made from bronze powders mixed with an epoxy resin. Resin-based substitutes for wood, marble, and recently, porcelain are also "cold-cast." Cold-casting further reduces the cost of firing ceramics and casting metals, and produces an even more durable product.

Often the collector will receive at no extra cost, a handsome decorative shelf, cabinet, or folio in which to display his or her collection. This repository frequently has specific areas for each piece in the collection. The handsome

12 Barker, Stan. Artist's Market.The Artist's Magazine, June 1989, p. 26.

display rack encourages the collector to complete the collection. Who would leave obvious gaps in their display rack?

When people don't have a clear concept, they must fall back on the few notions they do have. What words pop into mind when you think "art?" Words like "genuine," "unique," "original," "valuable" bubble up. These buzz- words are peppered throughout collect- ible art advertisements to flag our attention. But the concept supporting the assertion is often questionable. In a format frequently used by The Bradford Exchange, we are asked to "Consider the Evidence" regarding a collector plate, "It's a genuine work of art." The supporting paragraph goes on to say," 'Erica and Jamie' is crafted to Miss Hibel's (the artist) stringent specifica- tions of fine Knowles china with lavish 22k gold highlights. Each plate is hand- numbered, and the edition closes forever May 11, 1985."'3 Is this what constitutes the "genuine" qualities in a work of art? Do the materials or an edition number make a work "genu- ine?"

"It's a unique work of art." "'Erica and Jamie' will be the exclusive Edna Hibel Mother's Day collectible, in any medium, to appear in 1985. Miss Hibel is one of America's most honored living artists, world-renowned for her mother-and-child paintings."'4 Is a work from an edition of several thousand pieces "unique"? Does the reputation of the artist make a work "unique"? Unfortunately, to someone with a tenuous concept of art, the answers may well be, "Sure, sounds good to me!"

Collectible art focuses on the physical object. The quality of the materials is always mentioned. The work is described as "intricately crafted," "meticulously painted by hand," "an original work of art," "most intimate detail," "meticulous hand craftsmanship," "uncompromising quality," "exceptional realism," "qual-

13 Smithsonian, March 1985, p. 183. 14 Parade, May 21, 1989, p. 3.

Art Education/November 1989 43

This content downloaded from 91.229.248.154 on Sun, 15 Jun 2014 03:10:43 AMAll use subject to JSTOR Terms and Conditions

ity, authenticity and fine hand crafts- manship" and "certificate of authentic- ity." All of these phrases focus on a jewel-like precision as the most desirable and recognizable characteris- tic of art.

There is frequently a blurring between object and art. The physical qualities are described as "genuine" or "authentic," implying that it is therefore "genuine" or "authentic" art. The object always bears a hallmark or some other attesting seal of approval. It frequently comes with a "Certificate of Authentic- ity," What is being authenticated? That it is art? That it is produced by a certain manufacturer? That is looks like a flower? The Certificate of Authenticity is left dangling. In a recent PARADE magazine, I found this note in a Franklin Mint advertisement: The porcelain sculptures come "With a Cenificate of Authenticity attesting to their status as original sculptures by the great marine artist Richard Ellis." There, it's certifiable art!

A little knowledge is a dangerous thing. People sometimes pick up scraps of information (or misinforma- tion) about art, and, with no further knowledge, they make these tidbits the basis for their concept of art. A single encounter with an artform may lead a person to inductively generalize about art. In our desire to give students as broad a view of art as possible, we may end up presenting a series of disjunctive episodes in which incidental informa- tion is retained better than common features. It is not uncommon to find high school students or even college art majors reasoning that a print is art because it has an edition number of it, that something is art because it is made by an artist, or that a work is art because it was made from art materials. Collect- ible art advertisements play upon these highly recognizable (though incidental) features and the inductive reasoning that follows from them to form a general impression about art. Obviously the reasoning is faulty, but if one has no better understanding of art, well, one grasps at straws.

Collectible art companies give the impression that their wares are rare and

exclusive, possessed by only the lucky few. Yet the advertisements make ludicrous statements like "Strictly limited edition of 15,000" or "The edition of this plate has been rigidly confined to 175 firing days." Frequently one is urged to order before a certain date "when the edition closes forever." In this case, the collectible art company waits until all the orders are in before starting production. There is no inven- tory overrun, no stock left on the shelves. Everything is pre-sold.

Another important feature of collectible art is that it must be small enough to make a hazardous journey through the mails. Consequently, collectible art represents small scale objects like birds and flowers, or makes miniatures of larger things. The desire of "exquisite detail," "meticulous craftsmanship" and "handcrafted worksmanship" and "the finest materi- als" attends to their perilous journey more than to aesthetic values. Porcelain, pewter, and many of the ersatz media retain details of texture, form, and color very well. It is difficult to say whether "exquisite detail" is associated with small objects or with art.

If at all possible, collectibles are trimmed in gold. Gold has its own value and seems to enhance the value of anything it touches. Collectible art companies go to extraordinary lengths to work in gold somewhere. Frequently, the gold is extraneous or not even visible; it might be an edition number or hallmark on the bottom of the piece. Of course, the gold is a gold glaze or gold electro-plating and adds nothing to the actual value of the object.

Collectible art is often imported from other countries with a reputation for the medium or the style. Bone china from England or porcelain from China and Japan are popular. The subject matter follows what people commonly associate with the art of those cultures. Religious subjects of a vaguely Baroque style are always available. Antique Greek, Egyptian, and Roman works oc- casionally show up. "Oriental" bowls and vases are pervasive. These contem- porary works are rarely direct copies of existing works (as museum reproduc-

tions are). Actual copies are too distinct for the generalized taste of collectible art. Collectible art from other cultures tends to be caricatures or allusions to a style. They are what the collectible connoisseur "thinks" a Ming bowl should look like. There is no black African, Pre-Columbian, Mid-Eastern, or East Indian collectibles. Apparently there is not a large enough market for the an of these cultures. American Indians appear as subjects (the noble savage, the stoic individual), but their art does not. The only styles called by name are Art Nouveau and Art Deco.

Among artistic styles, naturalistic realism dominates, which goes along with the criteria of meticulous attention to detail and flawless perfection. For the untutored aficionado, an object that lools like the real thing is a simple match; it does not require an extensive aesthetic analysis of form.

There are surprisingly few subjects in collectible art. They include animals, plants, very young children, women in romantic settings, and patriotic and historical themes. Whenever any of these can be combined, all the better.

The choice of domestic animals runs to cats and horses. Dogs rarely appear, probably because there are too many breeds to support a market for each. Cats and horses are more generic. Among the wild species, birds are the most popular, with wild ducks dominat- ing the field. They are followed by songbirds, eagles, and surprisingly, owls. Occasionally, we find other species such as bears and wolves.

Subject matter is THE central feature in collectible art. The subject almost always evokes a strong, positive emotion - love, motherhood, freedom, courage, wisdom, or patriotism. Many people associate art with emotional response, and this helps convince them that this is art. (If I get a lump in my throat, then it's art.)

While collectible art advertisements make a concerted effort to lead the reader to an emotional response, they don't come right out and state it. Even the word "beauty" rarely appears. "Beauty" reflects the experience of a person; it is not a property of an object.

44 Art Education/November 1989

This content downloaded from 91.229.248.154 on Sun, 15 Jun 2014 03:10:43 AMAll use subject to JSTOR Terms and Conditions

There is a delicate balance here. The advertisement focuses on the physical properties of the object, implying they make it art. The advertisement does not try to suggest that the reader has a personal, aesthetic choice to make about art. Yet an emotional response to the work is desired. Guiding the prospec- tive collector's feelings, this subtly shows the sophistication with which these advertisements are written.

This dilemma is resolved by SYM- BOLIZING emotions. In this way, the object can possess the emotion as a symbol. Many people intuitively recognize and respond to the archetypal imagery. This also goes along with the realistic and naturalistic subject matter. Animal subjects, particularly wild animals, are metaphorical and symbolic, and the symbols are designed to evoke emotions. This is a very interesting insight since artists and art educators generally concentrate more on artistic style and composition rather than subject matter to convey the mood of the work. Collectible art ties feelings directly to the subject. It takes an iconographic approach to art rather than an expressive or even formalistic approach.

When collectible art is sentimental, it is poignant and nostalgic, never humorous. A toddler might be portrayed as being contrite after getting into trouble, rather than shown getting into trouble in the first place. (Being contrite is a positive emotion; getting into trouble has a negative connotation.) Children are portrayed as charming but not cute. Animal babies or babies and animals are often shown together. The baby elicits an emotional response, and the animal tells you (metaphorically) what that emotion is.

Norman Rockwell's images often appear in collectible art. The nostalgic sentimentality pulls at our heartstrings without being really saccharine. Norman Rockwell is the collectible art industry's dream. Many of his works are not copyrighted or have passed into the public domain, so the manufacturers do not have to pay royalties on his images.

Art, as defined by the collectible art companies, is hand-crafted with meticu-

lous detail out of the finest materials. (It is actually mass-produced and only touched-up by hand.) It is made from "the finest materials available," such as porcelain pewter or glass. (These materials are also inexpensive, du- rable, and easily manufactured in large quantities).

In sum, collectible art is small and generally has realistic subject matter. It is signed, often numbered, and bears a seal, hallmark, or some other emblem of "authenticity" to bear out its "genu- ineness." Collectible art generally has a miniscule amount of gold plating or gold glaze on it, often with no real purpose. Collectible art is often devel- oped around a central theme - Endan- gered Species, for example - which encourages the collector to acquire the complete collection. It generally comes with a means of display which further encourages completion. (Repeat business is essential.)

The advertisements proffered by the collectible art industry form an implicit definition of art in the minds of millions of people. It's not necessarily wrong, but it is certainly narrow. It focuses on the materials in the object rather than on the form itself. It easily elicits emotions rather than thoughtful understanding as the basis of our response. It uses highly cliche and stylized symbols to evoke an emotional response, not an aesthetic response. It substitutes technique for talent. Naturalistic style is its stan- dard - the more realistic it is, the more it is art.

All this begs the question, how can we teach an adequate understanding of art to our students, especially in compe- tition with these colorful, glib cam- paigns for collectible art? These advertisements are actually a good place to start. They are very short, precise descriptions of what art is purported to be.

There are two main parts to the advertisement, the picture and the copy. Looking at the picture, most children (and for that matter, most adults) will say the object is beautiful and desirable. The question is, Is it art?, and that is what the copy is designed to establish.

A close reading of the copy is usually revealing. Does it answer the questions it raises? What criteria for art does it offer? Can you find a description of the art object in the copy? What additional information would you like to know? Are there buzzwords like "genuine" or "original," words you often associate with art. Do they really describe the work? Does the copy "line- up" with the picture.

Most students at middle and high school level understand that commer- cials and advertisements must be taken with a grain of salt. We can approach these advertisements with a healthy skepticism. Look at each of the selling points in the advertisement, and try to determine why it is there. Remember, it has been thoroughly market-researched to build upon tastes, preferences, and scraps of knowledge, that the reader already has. It is these bits of incom- plete information that need to be brought out, discussed, and resolved.

New collectible art advertisements come out every month. They are an ever-renewable resource. Your students will find them for you. Long after they leave your class, they will continue to look for them, read them critically, and look for flaws and fallacies in the reasoning and the aesthetics.

Whether we like it or not, collectible art advertisements have a strong influ- ence on what America believes art is. The fact that people can be so easily persuaded by the rhetorical arguments found in these advertisements says as much about art education as it does about collectible art.

The nature of art and beauty is one of the least discussed topics in the art education curriculum. Many artists and art educators prefer an intuitive ap- proach in which we "just know" what art is. This creates a vacuum. The collectible art companies can then define art simply as properties of the physical object and turn a handsome profit. There is more to art than that. L

David Burton is an Associate Professor of Art at Virginia Commonwealth University, Richmond, Virginia.

Art Education/November 1989 45

This content downloaded from 91.229.248.154 on Sun, 15 Jun 2014 03:10:43 AMAll use subject to JSTOR Terms and Conditions