Rhythmism has been tested, proven and applied in commercial graphic design and illustration since 1973. In major markets. In the USA. In Europe.
That means millions of folks have seen and experienced my work. Yet I often am asked, about my not being known or followed. Funny have these same folks may have read a book or played an album that featured my designs or illustrations. Same with the newspaper of advertisement. Seen. Experienced. But not recalled.
But what were Rembrandt or Michelangelo but commercial visual artists with a great client history?
So those creeps declared me unfit foe any type of scholarship.
They were jealous that me, a 20 year old Black male had secured a level of practice that their limited esoteric practices did not. Envy was not a good teacher. So I dropped out after that year. Took a year to earn even more money. Returned, but interviewed my future instructors before deciding to take their classes. Ultimately I found the Art Education Department a better place for me. It was more about earning money and professional practices. I paid tuition mostly by being a major market freelance illustrator and graphic designer.
At the time that school was rated to number one art school in the USA and that suited my perception of me and my practices. #1!
Living the dream!
These were not affirmative action set-aside gigs. Nope! They were hard fought for and won high level, well paying assignments with some of the most important publishers of that time.
This meant navigating an ocean of Art Directors, Editors, Graphic Designers, Production Managers and meeting all types of unrealistic deadlines. With no mentor or agent
This was wild! I used to call it "Big Game Hunting"!
Freelancing back then was like being a gunslinger in the Old West. Draw Fast! Draw well! Get paid! Then get outta town! I roamed around looking for those who needed my quick, sure shooting skills.
It all started for with this collectible, unique, raw Rhythmistic published treatment I did for the Delmark Record label in 1973.
If it hangs in a gallery, office, church or home its applauded as "Fine Art" or "High Art"....but when it arrives in print on a book cover or advertisement it is seen as "low art". Ever notice how many celebrated Fine Artists cite comics or illustrations was a critical influence in their practices.
Yet those highly gifted cartoonists or illustrators are never regarded as real or important artists?