Rarer than Platinum: The Minority Artist

America is a very business- and professional-minded society. It is also the land of tremendous opportunities for immigrants, the place to pursue the proverbial “American Dream.” The country is not one to rest on its laurels in terms of history, arts, culture, or anything else that is not pragmatic and geared towards professional success, STEM advances, or money. Even our language is very efficient and to the point: compare American English with the more flowery nature of British English. These are not bad things in and of themselves.

But what about those who are more right-brained, more creative-minded outside of STEM fields, those who like to create works of art that are political or art for art’s sake or crafts? It is not easy to be an artist in American society, period. And what of those who are artists, but come from a minority group, some sector of society that is socioeconomically disadvantaged or from an immigrant background whose primary motivation is to stay alive and establish themselves in American society, or whose members prefer other professions and values?

Being a minority who is an artist is probably one of the most difficult pursuits anyone in this society can undertake. Understandably, many minority groups, especially immigrants, place a high value on professional careers that are stable, solid, provide benefits, and socially recognized. Art is already seen as a luxury in American society: add to it the stresses of immigration, and it becomes almost frivolous. Many minority artists are not understood by their own communities, for if they are not seen as frivolous, they are perhaps simply not appreciated. “Art” for many immigrant groups can often be formulaic, such as blockbuster movies, soap operas, or community/cultural/folk traditions. There may not be any desire for individual creative output, for it can challenge the norms of what is understood to be art. Those who strike out on their own are often not emotionally or financially supported. At the worst, they might be ostracized in their own communities for making obscure films, odd paintings, or music that is unfamiliar.

This is all the more reason that minority artists need to be supported. What is an artist after all? Someone who has a unique vision that they want to bring out to the world. Whatever medium they work in, there is something that is so intrinsically and personally beautiful to this artist, it is the best language they how to express themselves in. Part of the difficulty that arises with supporting minority artists is that minorities often get lumped into certain groups and there are certain expectations. If one is a non-white writer, they must write “trauma fiction.” If one is a minority pop singer, she might have to fit into a “cute” mold that is like an ethnic Barbie doll instead of an ethnic Patti Smith. If one is an ethnic painter, they may be discouraged from bringing influences from their own culture into their work.

Ultimately, any artist, minority or not, must be allowed to create what is uniquely their vision, in a way that nobody else can see it or do it. And society must allow for that to happen. Here’s to all the minority artists that dare to do what they love.

The Training of an Artist

Biographies are tremendously fascinating, because we get to know about creative people’s lives and the truth about who they really are, rather than the stereotype or caricature or popular image. I watched a documentary on the fabulously prolific and talented Woody Allen, who is best known as the Icon of New York. Not too long ago, I watched a documentary on the legendary Carol Channing (who doesn’t love to mimic that voice? I certainly do!), who is still going strong even over 90 years old. And a few years ago, I had the opportunity to see Patti Smith speak, and once again, it was interesting to see the difference between the stringy-haired, unkempt, androgyne image and the cultured woman who seemed much warmer in person than her forbidding appearance in Mapplethorpe photos would suggest. I suppose I could say that lately, I have had a habit of learning about the biographies of various performers and artists, and it is probably one of the best kinds of training a budding artist can have.

To expand on the above—-Woody Allen is extremely versatile, a multi-talented artist who has mastered film, music (he plays jazz clarinet with a band weekly in Manhattan), screenwriting, fiction writing, and of course, comedy. It is interesting to chart his course as to how he became a filmmaker. He began with writing comedy, and then performing it. Performance was not easy for him, but I believe it gave him an understanding of acting and stage performance that later made him (according to many accounts) the ultimate actor’s director. His influences are varied, from classic literature to New York Jewish culture to music to, nowadays, a very youthful global sensibility. If we look strictly at his artistic work, we see a man who is extremely disciplined, dedicated, and hard working. He seems to put out a feature film almost every year, which is by no means an easy task: there has to be the script, the right cast, the production (sometimes they are on location in a variety of places overseas), the funding, et cetera. It is amazing how Allen always manages to synthesize a wide variety of influences and yet always keep the story focused on his unique and complex characters. He has his own voice; there’s really nobody else quite like him. He’s an artist who really trained himself, not having come from a formally educated background. His most recent films, in my opinion, have a certain freshness to them that some of the earlier ones lack; set in exotic locations or cities with younger and more numerous casts, they are less neurotic and repetitive than previous films. I happen to call it the Soon-Yi effect, but who knows.

Carol Channing is an extremely educated and cultured woman. She grew up in the liberal, diverse city of San Francisco (she herself had some African-American ancestry through her father’s side). She was trained in ballet as a girl. In her documentary, she talks of some Russian music that she liked. She studied at Bennington College (I believe French was her major) before embarking on her professional career. Her husbands were of different ethnic backgrounds. And despite being the object of much mimicry, she herself is an excellent mimic! She has performed everywhere, so her sense of peoples and audiences is vast. What we see on stage is a Broadway star, but the real woman reveals herself as an artist with a tremendous work ethic and great knowledge of culture beyond Broadway.

Patti Smith is another “surprise,” if I dare to use the word. The “Godmother of Punk” with a rather wild, bohemian past is also an autodidact who imbibed as much culture as possible when young. She would read French poets like Rimbaud and peruse books on great European painters. She lived in New York City, the world’s great cultural mecca, with a budding young photographer named Robert Mapplethorpe. She mingled with other artists and musicians, spent time in Paris, and played in bands. She is known primarily as a musician, but she is also a writer. When I heard her speak a few years ago upon the release of her award-winning memoir Just Kids, she talked about her discipline in writing. Smith also said she never feels a lack of inspiration, because she is always reading the work of other writers or seeing the work of other artists. She mentioned, with admiration, how bassist Flea (of the Red Hot Chili Peppers) warms up with Bach runs. Last year, I saw her exhibit, Camera Solo, which was a collection of photographs of places and objects she loved. The photographs themselves were not so extraordinary were striking; however, what was most fascinating was Patti’s canon—-her choice of subjects that she photographed that meant something to her. I must be clear, I am not so familiar with her music, but I find her extremely fascinating as an artist with such a vast knowledge of culture in all its facets. Apparently the French agree: they awarded her the prestigious Ordre des Arts et des Lettres in 2005.

These are just 3 examples of artists whose paths and training I found inspiring and fascinating. There are so many more artists’ paths out there waiting to be discovered by young or new artists. It is my feeling that, ultimately, an artist must educate her/himself.