Ongoing maintenance and modification of this page
From now on, every New Release will be presented on this page. When a new release coming, the current artwork on this page is moved to Bender Gallery 4 or later.
New Release vs. Nobel Literature Prize
is, as you know, an Award that has been awarded for decades by the Swedish Academy, Sweden.
The authors are nominated each year and the Academy Award Committee appoints the award winner.
When the Nobel Literature Prize is published, the demand and sales of the author's literature increase and it is often said that the award means; not infrequently dramatic life change for the attention of the author.
How is this magic possible?
The book publisher does not sell any originals. Instead, it includes a sale of 1000's of 'copies' of the author's book. The book publisher rejoices, and readers rejoice when they have access to the book and can quench their thirst. Now all readers who wish can access the author's magical language through their own copy. The only original that exists is the manuscript, and it is NEVER sold, what I understand. How is it possible for demand to increase so dramatically?
Probably because there is a different perspective; the art perspective, whose purpose is often described as; to spread the literary art to as many people as possible, to all who wish, - and the project is fulfilled every time. Those involved have understood the idea for decades.
If we now include 'all' other writers and book publishers around the world, they represent a gigantic volume of literature, of books, hundreds of thousands of copies. Individual books as long as there is demand for literary works of art. Together far more in number than the Nobel laureate is likely to achieve. And readers wait and long for new literary works, every time.
Where do we find the magic ingredients in the recipe?
It naturally arises from the 'content of the work'. From this we can assume that the entire literature industry actively contributes to this - that the literary art should be spread to as many people as possible, who want their own copy. It is part of the inherent power and strength of art, and it satisfies the thirst of readers.
But one question is still in the woods, cry for help; why have we never seen similar developments among other arts; genres, categories etc? Some are not possible to spread similarly. Although there are categories, music is an obvious, well-known, powerful phenomenon. Therefore, the music is "allowed" to spread. How else would we feel in a civilization without music, without literature, all categories?
But, it seems there is another category that has long been questioned, lower than all decency, that could make it possible, and that is the spread of painting. Stop, stop, it's already happening, says friend of order. Well, does it? There is also only one (1) original in the painting. But there is no unlimited number of copies for the benefit of the viewers, the 'readers and listeners of the visual painting'. The whole industry (within painting) has for some peculiar reason decided to prevent as many people as possible from the art of painting. It seems that the concepts have been confused.
Today, 2020, as is well known, print art has reached such a high level of quality, even within this part of the art, but the industry in its performance world has for decades chosen to limit the opportunity for people to enjoy their own copy. The individual viewer with their own copy, just as with literature and music. But friends of order greet again: "You can't have art prints hanging everywhere in the home".
Q: Do you have all your books open at the same time in your home?
Q: Do you play all the music you have, at the same time?
Maybe we and the historical industry live in opposite worlds without questioning. Obviously, this is the industry's mental spin change that instead tries to 'prevent the spread' of the painting, by limiting the numbers (copies), which should also be numbered, to really tell the viewers that 'thirst' can never be satisfied by the longing connoisseurs and can never be developed.
Everything to sustain what we believe; the 'economic value' of each original and / or individual art print. Value for whom, there is only one original? In this way, painting in the art is crushed as an idea for more people who want to experience. Part of the idea of art is that as many people as possible should have access to the content of individual works, by all thirsty potential viewers.
But, here you have thus grown a notion in painting that differs markedly from the principle of accessibility for the viewers, in accordance with the Nobel Literature Prize, or the Polar Prize in Music. The individual artwork, regardless of category or genre, carries content that should be available to the recipient who wishes. The content of a book or piece of music does not change because of the number of copies available. It seems, once again, that numbers have been mixed with the content of the work, hm!
The viewers VOICE
the Viewer's Own Copy for Discoveries and Inner Experience
Just like the Nobel Prize for Literature, and all other Literature Prizes. Just like for all other writers who have thirsty readers. Just so, it could be. Just as with the Polar Prize and all other awards in music, where musicians and composers have thirsty listeners. Yes, exactly it could be that way, when we decide that this is how we want it.
When the artist has completed the work, the artist is already out on new waters. Now it is the viewer's tide that begins, and we want to discover and experience the content of the specific artist's artwork, every time, with the possibility of our own copy. Make it possible with reasonable prices.
A consequence of the reasoning might work in the same way as for authors when they 'release' a new book. When the artist 'releases' a new painting, a new work of art, the audience may want to meet the artist to see and hear the artist tell the story about/behind the content and the work.
And all this we find through the Cross-Border Force of Art, but which has been completely ignored by underdeveloped notions for decades. I´m now working on to open the door...to the viewers VOICE - the Viewer's Own Copy for Inner Discoveries and Experience. Wherever they live, when they want and how often they want.
- Vision -
Inspiration - Intention
Target - Goal - Strategy
A cloudy day is no match for a
- William Arthur Ward -
1921-1994 - Writer
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