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“Art about art”
MUSEUM INSTALLATION FOR A HISTORICAL TURNING POINT
© Raffaele Martini Pan dozy, Ph.D.
MANIFESTO – THE NEW CONSTITUTION OF ART
TO CHANGE THE WORLD
(N. 45 panels 40”x20”: White plaster and wood with mirrors installed in linear eye level manner on regular three wall square space. Original installation design: 1974; New Text written: 2011)
(gallery installation and detail of one panel)
1. The ignorance and the disinterest of artists in the problems of the world, as well as the stupidity and intellectual vacuity of their work have been a part of art history for almost two centuries, while conscious artists are ignored.
We live in a world that is ever more difficult, stripped of its ethical and moral values, of racial hatred, of cruel wars, of famine and poverty, while the artist remains heedless in his studio playing with mere images . To be an artist in post-modern time means to play the part of the imbecile, of the “fou du roi” who once entertained the false masters represented today by those who market images of ignorance and stupidity, erected with dialectical methods to represent the great values and mysteries of life. This Institutionalized hypocrisy only goes to the detriment of the intellectual development of art as intelligent activity and annihilates the work of conscious and well prepared artists who recognize art as an important vehicle for the communication of values that can change the world. Consequently, art., which should play an important role in cultural and anthropological emancipation acts instead contrary to its primary mission contributing to the deterioration of the moral values of humanity. (See in particular the works of Serrano, Mapplerthorpe, Ofili, Faton, et al.)
2. Establish the authenticity of art in social life and in today’s world.
Being art not a divine gift or a religion, and artists, only human beings, art must remain a human concept and the product of human thought, rather than an abstract, esoteric concept. Therefore, only intellectually accomplished artists and not the market must decide what art should be. After having studied art, from every standpoint, historical, philosophical, psychological, scientific and sociological for more than fifty years, Martini Pandozy can state with certainty that there is no mystery, nor divine intervention in the conception and in the making of art. The proof of this can be found in his book “Of Arteology”. The genesis and development of human intellectual faculties are nowadays common scientific knowledge. Today the conscious and mature artist is one that has learned how to develop his intellectual faculties and put them at the service of humanity. Science can demonstrate that what comes out of the brain is no more than the product and the synthesis of what goes into it. If nothing special goes into the brain, nothing special will come out of it. This proves that art can be useless if devoid of substance. To ascribe the absence of conceivable meaning to the mystery or the divine powers of artistic “creation” is absurd and pretentious because it produces the type of ignorance that delays the intellectual development of artists and society as a whole, as well as nurturing hypocrisy and subjective historicity. Corruption of values, prejudice and falsity cannot longer be allowed to replace forever the true concept of art for the time to come. For this reason Martini Pandozy has devoted his entire life to reconstruct the natural principles of art incorporating the latest and more reliable knowledge, both scientific and phenomenological.
3. Establish the authenticity of the artist in social life and in today’s world.
Art, conceived anew phenomenologically is integral intellectual behavior, that is, ontological and existential, and as such it must recognize the values and the ethical and moral duties toward human nature and toward the culture of which it is a part. Human civilizations live and die as substantial values are erected and then suppressed. The artist is the only social being who can determine and sustain true human values and overcome the mediocrity of a class society that tender their destruction. To determine and to sustain the true values of freedom, individuality and authenticity is part of the artist’s profession. Art must be made and recognized within the context of an ideal vision of social organism, not by adopting cross-cultural modes. To annihilate cultural values and traditions for the sake of notoriety and fortune is to do great harm to the emancipation process of humanity. Adequacy to scientific reality, preservation of historical continuity, and adoption of a philosophy of natural rights, are the three active principles helping the artist to realize a rational vision of the future social organism. Art’s potentiality reveals itself as constitutive and integrative capacity of these natural and cultural principles in the social context. Thus the world needs art as ideation and synthesis of all values rather than systematic deconstruction of same. This teleological and existential concept of art synthesizes the thought of Martin Heidegger of “being and time.”
4. Establish the “Telos” of art in social life.
As all things in the world, art must have a natural end and an anthropological vision relying essentially on intellectual development rather than on visual artifices. The natural end of art is primarily heuristic because it enlightens the mind. This end has not changed since the Italian Renaissance. Art can be potential language directed toward intellectual and anthropological development only if enriched by active knowledge. The work of art feeds the intellect only if it carries the true human values. The artist realizes himself as important member of society, only if he understands the natural end of art and possesses the cognitive instruments to actualize it. The school makes the artist and the artist with his work helps the making of an organic and rational model of society. This concept suggests the necessity to adopt new school curricula for the formation of artists and for the public education of art.
5. The intentionality of the artist must aim at the realization of a rational model of society.
Intentionality, as defined in the book “Of Arteology,” is the stimulus, the origin and the product of human consciousness. Universal consciousness, as Hegel envisioned, is integral knowledge of all phenomena. The artist, through the phenomenological study, gets to know the true existential aspirations of the human genesis and to communicate them through the work of art. To understand the phenomena of the world means to be able to act upon the dynamics of causal reality and to change it. On the contrary, to camouflage reality for play and self-enjoyment, or to please market demands retards the intellectual growth of the artist and humanity as a whole. Art is intentional activity and precious message of human substance only if wanted by the artist’s consciousness. The constitution of consciousness must substitute the empty play of images and have absolute priority on the particularity and peculiarity of artistic modes. This, more precisely, defines the critical concept of “style.” The interest in the particularity of the work may be considered linguistic distinction, but must not dominate or annihilate the intentionality of art.
6. Art and philosophy must march together in history because they aim at the same humanistic end.
Art was born spontaneously as instrument of representation of substance and sensibilization of the senses. This is how the history that was never written should begin. Substance is represented by the thought about what counts in human life. This is how it should begin the history of art, which has never been written. One cannot write art history without first knowing the fundamental principle of history. History signifies continuity and evolution of human substance. Art ceased to possess historical continuity at the moment it stopped to be substantial representation and become manipulation of imagery (art for art’ sake). This happened precisely because philosophy could not attribute to art a logical existential reason. After the overcoming of metaphysics and the advent of phenomenology one should have known that the play of imagery would not have endowed the work of art with a substantial historical value. Presently, humanity experiences an anthropological regress also because art is not conscious of its infinite potential to emancipate the intellectual and sensible faculties of humanity. Hegel attributed this problem to a lack of “self-consciousness.” The intellectual vacuity of art therefore misdirects and delays its own intellectual development, that of society, and necessarily of anthropology because it does not recognize the function of language. The Paleolithic frescoes of Lascaux and Altamira, show that art was never empty representation of imagery, or we would not have had anthropology. Evolution today can be ascertained only by recognized aesthetic sensibility at the genetic level. From Paleolithic times the process of human sensibility has been marked by the constituting substantial values of thought, which are the basis for the qualitative judgment of the consciousness of art.
7. Redefine the notion of “creativity” in accordance to the latest neurological scientific findings in order to reawaken humanistic thought and overcome the false historicity of art.
The artist is not a “creator”, only a researcher of hidden reality. The discovery of phenomenal reality is not accidental, but it is part of the logical formation of knowledge, which represents the true end of research, both for art and science. The meaning of “creativity” of art must be intended as activity of intellectual development and process of synthesis of human knowledge. Knowledge extends the mental faculties behind the artist’s intuition. What has been established by recent scientific studies was predicted by the thinkers of ancient Greece such as Anaxagoras, Protagoras and Plotinus who explained how the mind is open, productive and self-determining. Two century ago Nietzsche was first to announce the death of art which had been left without substantial knowledge. Since then art has not been re-conceptualized on the basis of new scientific knowledge. To keep pace with scientific progress is a duty of all disciplines, art included. The museums of the world are full of dead works because without substance and cannot keep pace with the time. One hundred years ago Marinetti’s idiotic “Manifesto of Futurism” announced that art would have anticipated the times and human progress, instead it marked the beginning of an era of ignorance and inexistent values driven by an aggressive market, which continues to pursue economic and class supremacy. Today art is an industry founded on “nothingness”, as Sartre and Marcuse used to say during the 1960’s, which offers to the observer only petite perceptions and stupidity in place of true human values. The works of modern and post-modern art are to be considered “empty containers of human substance,” which make of stupidity an absurd and surreal cult and render the artist incapable of dealing with reality.
8. The historical turning point consists of implementing the true concept of freedom to overcome external formalism and to open the way to substantial spontaneity.
From Kantian philosophy we learn that there can be conscious intuitive spontaneity, which constitute the open ground for the concept of freedom. The “free spirit” thus can be conceived as a conscious thinking being, rather than the unconscious being. Freedom without an integral, rational thought is only an illusion because a loose mind and without self-guide has a tendency to fall into subjective prejudice. Subjective prejudice appropriates the decisional power of judgment without leaving room for the exercise of rational freedom. The realization of a new vision of art requires above all the knowledge of these philosophical boundaries. The concept of freedom of art must be realized in a context of natural expansion of rational thought, which antecedes all linguistic expressions. The rationality of thought in art is completeness and individuality which entails ethical and aesthetic values, recognized and not corrupted by bourgeois materialism. Today’s artist only produces what the buyer calls “art” and that the market demands. This state of affairs causes material and emotional dependence and leaves no space for individual freedom. To support the true values of art in place of the irony of “styles” is like erecting a monument to individual freedom. It is necessary that the museums of the world be no social clubs dedicated to the visual entertainment, but centers of study and research to ensure the edification of human substance, which energizes the true notion of artistic freedom, individuality and integrity.
9. The ethical duty of the artist is representation of pure reality because it implies anthropological values.
Perception, as has been defined in Martini Pandozy’s book, is the genesis and the infinite process of objectivation of substance as a vital reason. Art becomes anthropology only if it exercises its capacity to embody the knowledge of nature. The artist embodies universal knowledge of phenomena and attends to his ethical responsibilities by passing such knowledge to others. He cannot neglect substantial values in favor of the formalism of imagery without violating the natural laws. Hegel’s theory of “two worlds” perception makes just reference to the non-sustainability of images by themselves, because their function is to communicate and open the mind to the perception of substance instead of evoking fantasy. Fantasy is only the raw and naive product of imagination without rational rigor. Art works must be considered and evaluated in relation to their anthropological weight. Today this concept of art is buried in forgetfulness. The artist contributes to the universal thought of art by producing works of human substance.
10. The Phenomenology of art, the historic turning point of 2011.
The twenty first century has arrived at the second decade. Life in this old world is still evolving and can be presumed will continue to do so for millions of years if humanity will learn how to maintain the perennial equilibrium of natural forces. This suggests that art must look at the world with confidence through the phenomenological developments of reality. Art cannot ignore the reality of a world in continuous evolution and avoid being a part of the process of scientific and philosophical knowledge, and to work for a better world. In particular, art must be a part of that universal thought dedicated to render a clear and reassuring vision of the order of things in the world. To participate to the natural evolution of the world and to ensure anthropological continuity is sufficient to uncover phenomenological reality.
July 28, 2011
© Raffaele Martini Pan dozy, Ph.D.
ABOUT THE ARTIST AND THE AUTHOR
Email: firstname.lastname@example.org – email@example.com
Martini Pandozy artist, philosopher, Master in sculpture and art history,(Univ. of Dallas, TX), and a scholar of art (Ph.D. in the philosophy of art education from New York University), since the late 1960’s has worked incessantly to advance the perception of art and produce a comprehensive theory of phenomenology and ontology of art. His work as an artist and as a philosopher throughout his life was influenced by German philosophers such as Kant, Hegel, Husserl and Heidegger and has been motivated by the belief that art can change the world and contribute to a better humanity. To this end, the production of art should move from the present “metaphysical” and “esoteric” realms to a ontology of art that embodies the essential values of human existence. For this reason he thinks of himself as the founder and the initiator of the true ontology and phenomenology of art in the world.
Martini Pandozy was born in Rome Italy in 1937, where he received his basic education. He lived in Rome until 1967 where he learned marble cutting and bronze casting in the old “Botteghe of Via dei Coronari.” Pari passu, he developed an insatiable interest in existential philosophy, which moved him to the natural progression of encompassing phenomenological thought. With such cognition in the mind in 1967 he left Italy and went to live in San Francisco CA where he worked as a sculptor, executing marble and bronze portraits for established California families, while taking courses in phenomenology and American Art at the University of California, Berkeley.
In 1969, he moved to New York where he joined the group of the conceptualists “art workers”. There he interacted with Joseph Kosuth and shared with him some philosophical concerns about art and language. Leo Castelli of West Broadway took an interest in his work. His “white on white” works were metaphysical representations of the lost meaning of art. As his phenomenological ideas matured, he began designing museum installations, which were linear inscriptions about art on white plaster he called “Writing with Light.” At the time he also met Joseph Beuys and Klaus Staeck with whom he exchanged ideas about establishing a “Free International University” in New York. Although such project did not materialize, Martini Pandozy continued to pursue the ambitious idea of universalizing the perception of art in New York and in the world. He exhibited works and produced performances in the alternative spaces and galleries of Wooster Street and Pier 21 in Queens New York, but was waiting his chance to mount a major exhibition with prominent galleries, such as Leo Castelli, Ronald Feldman and John Weber, which never materialized for lack of sponsorship. Later his phenomenology of art moved toward more thematic projects proposing The new “Ontology” a series of sculptures devoted to the exploration of conceptual application of existential ideas in art.
In 1971, disappointed with the art world, which he thought was not ready for his advanced work, Martini Pandozy moved to Dallas, TX with his wife, where he had three children and continued his philosophic studies side by side the making of several art projects. There in 1975 he mounted a major one-man exhibition on the phenomenology and ontology of art, which comprised three installations and a performance.
Among his large body of work, is his series of monumental sculptures, which earned him first prize in the 1978 Dallas City Hall Competition. This series is all in model forms, except the execution of the revolving “Solar Magnet” executed for the Eastfield College of Dallas Campus. Throughout the 1970’s and until 2005, he maintained two studios, in Grand Ave., Dallas and in Lafayette St., New York City. In 1978 he developed a strong interest and deep feelings for basic materials such as the soils of the world. It was then that he began travelling and gathering all sorts of samples of soil (humus) from all parts of the world. He then began making art pieces emphasizing the depths and the natural colors of earth establishing ontic and ontological relationships. During the middle 1980’s he produced some political works with American and Italian soil, a series of flags and maps with soil taken from states and regions.
He was the founder of “Art for the 1990’s” and of the Dallas Contemporary Art Museum of Dallas, where he produced several exhibition of his work and designed children educational programs. His work is part of numerous private and public collections throughout Texas, among which is the Mc Dermott collection, the University of Texas Collection, the Dallas Museum of Art, the Forth Worth Museum of Modern Art, the Eastfield and Mountain View Colleges, and many more.
In 2003 he participated in the International competition of the Ground Zero Memorial with a large work which has been credited by some critics to be a landmark in synthetic architecture for its arduous and daring structures defying gravity and stress. Another major work is his design for “The Museum of Tomorrow”, which he designed between 1972 and 2008. Some compared it favorably against the F. Lloyd Wright’s Guggenheim Museum of New York with its large and continuous exhibition halls. It is a museum of great geometry and functionality with an internal spiral walkway that connects in one single breath twelve large exhibition galleries.
His current sculpture project at the 54th Biennale of Venice is called “The Lost Language of Art” which re-proposes in sculpture employing steel, marble and glass the ontological language which makes the true being of art and the artist. It is a continuation of the “Painting of Stones” realized in New York in 1985, where on each stone he inscribed a word as part of the art vocabulary which has been lost – and we know what the loss of language signifies, i.e., loss of meaning, of values, of our perceptual capacity, of our consciousness and of our anthropology.
During the last 35 years, he has been working consistently on his major life work, which is a book of 2,600 pages (tree volumes) which marks the needed transition to a phenomenology of art. The book is titled “Of Arteology” “A phenomenological Approach to the Authenticity of art.” It is Martini Pandozy’s historic achievement. This “Opus Magnum” was written with the precise intention to change the perception of art. In order to achieve such ambitious goal, he had to obtain the most advanced philosophical and scientific knowledge and interpret art from every angle. To this end, besides philosophy, he had to delve into psychology, microbiology, neural science and even genetic engineering.
Martin Heidegger was his teacher. He believes that Western philosophy ends with Heidegger’s phenomenological ontology of being. For nine years Martini Pandozy studied Heidegger’ single master work “Being and Time.” He arrived at this conclusion after studying the forefathers of phenomenology, such as Kant, Hegel and Husserl. In Heidegger’s book he found the reason and the motivation to start writing “Of Arteology”, namely, the “Authenticity of being” – an indispensable quality for the edification of the new concepts of art and the artists of the future. Thus, his entire book aims at precisely this end. His research material comprises more than 350 books, a cross section of philosophy starting from the Presocratic and ending with the Postmodern thinkers. In other words, it took that much to prove that there is no mystery in art and that art can be defined as ontology, i.e., “the art of the authentic human being”.
For this reason, Pandozy believes that the meaning expressed in the word “Telos” presented at the Venice Biennale is as infinite as our human potential, and that art can indeed change the world, if endowed with the proper intellectual tools. Thus what he advocates is “art for the sake of humanity”, rather than art for the “sake of itself”.
For Further Information about the artist, please visit the website
Raffael M. Pandozy, Ph.D.
(Revised on July 29, 2011)
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