In the musty halls of Fine Art and the critics, gallery owners and collectors who
walk them, there can often be felt a barely disguised disdain for the art of the
classic automobile.
Within the large population of Automotive Artists, especially in North America
and Britain, it has been difficult to find acceptance by the mainstream art
community. Perhaps many of the artists involved create illustrative portraits of
cars in styles that support auto racing fan merchandize more than what is
considered fine art. Some fit more easily into the areas of recreation, muscle
car, motor sport, NASCAR racing, or other thematic visual art. As such, these
gifted stylists and their work are considered commercial offshoots of these
areas. But there are many other automotive artists who’s work stands equal
with any traditional fine art. The only thing that marks this art apart is its
subject matter — one of the most ubiquitous and powerful icons of our society
– the classic automobile.
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Writer John Rushkin once said, “Fine art is that in which the hand, the head, and the heart of man go together.” There are few things more breathtaking than a well-composed painting – one where all the right colors, brush strokes and open space just dazzle the eyes and capture the imagination. A fine art auction is a great way to buy and sell fine art.
Despite the credit crisis, most purchasers who attend a fine art auction, aren’t affected by the middle class squeeze or imploding housing market, as 6,000 to 7,000 eager bidders appeared at many of the fine art auctions this year. British abstractionist John Cecil Stephenson and American graffiti artist Shepard Fairey are expected to sell very well at prices from 7,500 British pounds to 150,000 pounds.
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Compared to most art forms, photography is a relative newcomer. Having been around for less than 200 years its place in the art world is still being established. Interestingly, there have been many arguments against photography being considered art, one of which is that the camera is a ‘machine’. However, one must ask if a camera is any more a machine than a musician’s instrument, a sculptor’s chisel or a painter’s brush?
Another argument is that because of the nature of photography, endless prints can be made from the one negative. While true, it is for this reason that many photographers will produce their work as limited editions just as screen-printers, etchers and wood-block artists will. Some photographers have even been known to destroy their negatives after they have completed printing the edition. However, the ability to produce numerous prints is usually considered part of photography’s uniqueness.
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