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• W1176941527 abstract "I STARTED WRITING THIS COLUMN on a quiet January day, early in new year. But by time this article is published in early May, almost half of 2015 will have elapsed, and cold of winter will have given way to warmth of spring. These two disparate seasons share similar characteristics, by way of two rituals that distinguish them: New Year's Day and graduation. Both annual events generate resolutions for healthier living and advice for success on new road ahead. In spirit of both these endeavors, we artists and teachers of art should pause and consider why we do what we do, and why-and if-it matters.Yes, pursuit of art of art's sake should be enough (intrinsic reward in psychology vocabulary), yet past several years have been scary ones for future of our holde Kunst. sudden closings of a number of regional opera companies were an ominous harbinger of bigger losses, which indeed came to pass when iconic New York City Opera company filed for bankruptcy late in 2013.1Adding to this unstable landscape is question of what direction singing itself is headed, as evidenced most recently by Renee Fleming's Broadway debut this spring.2 While I applaud openness with which NATS has finally received (to point of actually embracing) nonclassical singing styles, one result has been understandable confusion among our students about which direction aesthetic winds are blowing, and therefore which direction they should send their collective larynges: down for classical, slightly elevated for CCM, or even higher for belt? Or are these questions indicative of that most American of attributes, versatility, and should all young professionally aspiring singers (save for those naturally huge voices that are unequivocally bound for opera) explore all styles in an effort to inculcate flexibility and, therefore, marketability?Speaking of marketability, should singers think beyond pure vocalization and develop other abilities, like dance, or design, or photography? Does future belong to multiplatform artist for whom technique or expertise is not point? point is versatility. Like any good business, you try to diversify.3THE DEATH OF THE ARTISTSo wrote author and public intellectual William Deresiewicz, in provocatively entitled essay, The Death of Artist-and Birth of Creative Entrepreneur, published in waning days of 2014. Deresiewicz presages end of Art, that high old thing due to the democratization of taste, abetted by Web, which he says coincides with democratization of creativity.4Deresiewicz explains how we got here by first tracing modern history of artist. He starts with 16th century artisan/master craftsman, who operated communally under patronage of a benefactor. Romanticism transformed artisan to artiste. figure of lone, creative genius, buffeted about by both winds of fortune and muses, often impoverished, and thus ennobled as a martyr for his art, still predominates in collective imagination. Yet, as Deresiewicz notes, in post-war era, both artists and art itself have largely been institutionalized and professionalized, particularly in America.As art was institutionalized, so, inevitably, was artist. genius became professional. Now you didn't go off to Paris and hole up in a garret to produce your masterpiece . . . Like a doctor or lawyer, you went to graduate school . . . and then tried to find a position. That often meant a job, typically at a college or university . . . but it sometimes simply meant an affiliation, as with an orchestra or theater troupe. training was professional, and so was work it produced. Expertise-or, in mantra of graduate programs, technique-not inspiration or tradition, became currency of aesthetic authority.. . . artist's progress, in postwar model, was also professional. …" @default.
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• W1176941527 date "2015-05-01" @default.
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• W1176941527 title "Graduation Advice: Doing versus Having" @default.
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