June 2008
Collateral Artistic Goals
Artistic creation does not primarily aim at the utilization of the artistic result. In other words, the artist, even knowing that their work may not be used, will still create it or, at least, want to create it.
Artistic photography, largely drawing its sources from the recording of family memory, is more accustomed to the "uselessness" of its presence, as everyone knows that neither does time stop, nor the past return.
The sale of photographs, or any other artwork, is a coincidental result of artistic activity, even if it is welcome. In other words, the artwork is not made to be sold, but is sold because it is made. The reverse process would turn it into craft or industrial, and certainly commercial, production.
However, if beyond the personal ethical need and satisfaction, a secondary purpose for the artistic act had to be identified, it could be nothing other than the search for common viewers and, in the best case, admirers. This is also a reason why the artist is so exposed and vulnerable. Not only because they act with great seriousness in something that does not even fall within the usual utilitarian and practical values of today's society, but also because, through this "useless" artistic outcome, they desperately seek recognition and acceptance. The communication and the praise. That is, the artist feels that they produce something that moves on the fringe of a society, which however, they still absolutely need, not only materially but also morally.
If the artist chooses to isolate themselves in their complacency, to renounce communication, and to disavow the potentially broad audience, they will not only fail to achieve self-sufficiency but will also demonstrate that what appears as humility could be nothing but arrogance and fear.
If the artist chooses to limit themselves to their undoubtedly significant and personally selected audience, namely those they love and those they respect, they will always remain with the doubt whether in this way they have trapped themselves within known safety limits and simultaneously excluded themselves from the magical communication with the unknown.
If, in the end, they choose to open up to the broad public seeking the recognition and admiration they do not want to hide that they find alluring, they risk becoming prey to the rules of a communicative and economic market and their own vanity.
Clearly, the risks are many and the clear answers almost nonexistent. The artist is right to want both communication and praise. It is also logical to use whatever means society offers to achieve these two collateral goals of their artistic act. However, it is tragic, as often happens, to forget that before and beyond any communication or praise, one must seek and maintain recognition and acceptance from oneself. Because the artistic work, and in this, it differs from the commercial product, cannot be separated from the moral persona of its creator. And this is the only measure the artist has to judge their communicative choices.
Lastly, my photograph accompanying this article is but a small attempt at communication.
Plato Rivellis