Jazz Art Still Swingin' the Market

Art Business News, August, 2000 by Vanessa Silberman

Grooving to the sounds of bebop and swing, a growing number of artists are turning to Jazz for inspiration and finding success along the way

When the revival of swing music made a splash into the mainstream a few years ago, a whole new generation of listeners were introduced to the rhythms and sounds of the `40s and `50s. It was only natural that jazz, the mother of all swing and the "classical music of America," would also experience a renaissance. While jazz is still favored by a somewhat narrow audience, an increasing number of college students have begun listening to legends like Ella Fitzgerald and Miles Davis. Stores like Starbucks and Pottery Barn, geared primarily towards young professionals, can be heard playing jazz standards over the loudspeakers, and both have their own series of CDs for sale featuring jazz classics. Surely this is a sign that jazz has made it to the big time.

But the truth is, jazz has always been cool. Long before the Starbucks and Pottery Barn's of the world had discovered the value of jazz, there were those who faithfully listened to the music and drew inspiration from it in their daily lives. For them, jazz wasn't just music but a way of life, and its ideas could be readily translated to other media like visual arts, as demonstrated by early jazz artists Stuart Davis and Piet Mondrian.

Today there exists a group of artists who specialize in jazz-themed art, and their work is selling better than ever. For them, the desire to create jazz art stems from a deep affinity with the music and its visual interpretations. And galleries across the country are taking notice. From private sales to festival posters and corporate commissions, jazz art is making it to the big time.

The Appeal of Jazz Art

The rise in demand for jazz art can be attributed to the strong economy and the growth of the art market in general. But there are also a number of specific reasons why jazz art is a hit among buyers. For some, it represents a kind of tourist art--a souvenir that one can take home from cities like New Orleans, a popular destination for jazz. For others, jazz art offers a way to put a face on the music. Too often, jazz musicians suffer anonymity--far more than their counterparts in rock `n' roll and country. Another discernable attraction is that jazz art, like the music from which it originated, transcends economic and social boundaries. As artist Arnold Thompson remarked, "Everyone is connected to music, whether they realize it or not." Artist Paul Wegner agreed, stating "jazz is part of our cultural history. It came from the slaves--from their oppression. And it was the impetus for all other musical styles we hear today, from rock`n'roll and rap to R&B." Dale Fitzgerald, the founder and executive director of The Jazz Gallery in Soho, which has hosted two international jazz art competitions, agreed: "Not only is jazz America's music, it is alive with America's history."

Of course there is the purely aesthetic appeal of jazz art. Many buyers are drawn to the bright colors and expressive brushstrokes typically found in the work, which artists usually employ to capture the vibrance and spontaneity of jazz music. This style is evident in the work of Paloma Editions artist Gil Mayers and Arnold Thompson of the Electric Gallery.

The types of jazz art can vary greatly. Some are portraits of musicians or composers, like "Piercing Spirit" by Faith Krucina of Artistic Impressions in Dunedin, Fla. Others, such as "Flippy Lippi Plays the Blues," by Stephen Henriques of San Francisco, are more abstract and have unidentifiable figures.

Keith Rocco of Tradition Studios in Woodstock, Virg., and InRepresentation in San Jose, Calif., strives to make his paintings historically accurate. His subtle hues set the mood and effectively capture the Kansas City jazz scene during the 1950s.

Wegner, represented by the Meisner Gallery in Farmingdale, N.Y., creates jazz sculptures in bronze using a fragmented style that is inspired by jazz rhythms and invites the viewer's eye to jump around to each part of his sculpture, creating rhythm. He strives to make viewers "feel the music and intensity" through his work.

Other art buyers are attracted to the musician's "stamp of approval" on a work. Such was the case for artist Paul Rogers, represented by Artworks in Pasadena, Calif., who painted a portrait of Dizzie Gillespie as a part of his 75th birthday celebration. Each edition was signed by Gillespie and naturally held an even greater attraction for buyers. The limited-edition print sold out in no time.

Meet the Buyers

The buyers come from all walks of life. Wegner noted his patrons include "doctors, lawyers, construction workers ... there is no set pattern." Artist Nina Mera of San Francisco agreed: "Just like a jazz fan, buyers can be wealthy or people who come from the street." Baby boomers now in their middle ages do comprise a strong percentage of the population, but young people are also interested in this art.

For Margarita Bergen, owner of the Bergen Galleries in New Orleans for the past 23 years, many of her customers are Europeans who come to the city for its numerous jazz festivals. "The Germans are especially big buyers," Bergen commented. "They know so much about our heritage that they can tell if a musician in a painting is holding the wrong instrument!" Fitzgerald added that the Japanese are also patrons and "some of the people most interested in our shows."