Improvisation. Sponteneity over composition: The American Ideal.

Abstract

The research around the primary influences on my own practice as a painter has led me into an examination on the very essence of improvisation as a technique used in contemporary painting. Improvisation for example is defined by Townsend (2000) in his article: “Jazz as an aesthetic model” defines improvisation as ‘any situation which is not wholly pre planned’ (pg:154). This definition lends itself a broad context in which to operate however what becomes interesting is how improvisation defined in this essay as a technique or approach to contemporary painting can operate as kind of social construct. That is to say, improvisation operates as a style which is influenced perhaps outside of the artists own studio and is influenced by cultural factors. The focus of this essay will in particular examine the idea of the style of improvisation as an American cultural trait as I look at important American artists like Pollock, Basquiat, Warhol and Wool and examine how this may affect the market today. What becomes clear over the course of this study is that improvisation is not necessarily individually constructed although it does tend to rely on personality traits, but rather is a actually a style of working that is reflective of wider society in this case American culture. Jazz music for example is one aspect which relates these artists as a strong influence on their work. However, what are the social and political ideas around this? Technically speaking, improvisation perhaps influenced by wider American culture manifests itself in something new and immediate and perhaps today is seen in the contemporary art market as a style of painting that thrives in and from American culture.