Phil and Kat Taylor are husband and wife art collectors. They live just outside Toronto, Canada which is a cool art city. One day, out of the blue, Phil emailed me and we started chatting about our common interest. I thought that he would make a great interview subject. He has a forthright, down to earth, yet very polite air about him. To me, this makes him “Clearly Canadian.” Read on and you’ll see.

MICHAEL: Hi Phil. Thanks for talking with me. You and your wife Kat (Katherine) are collectors. What got you into collecting? How did you begin?

PHIL: Well, my parents were both professional actors in Canada, so I grew up in an arts saturated environment – literature, music, acting, and of course visual arts. My early passion was photography since I could not draw very well, but I was always drawn to the fine arts of painting and sculpting. As a young adult I started to buy prints of popular master works though I always kept an eye on the contemporary scene as well. But it took many years to figure out what I really liked. We are bombarded with so many opinions and views on art that it can be very confusing. And when you start to buy original art, you really want to be sure of yourself, because it usually costs quite a bit more to buy good originals, even from unknown artists. And about 10 years ago I bought my first quality original by a fine Quebec artist named Louise Dandurand. The art dealer knew it was my first buy and could see I was nervous. When we completed the deal he said “I know it’s a bit scary buying your first original, but it gets easier.” He was right. I married my wife a few years after that and found that we have similar taste in art, and we have been buying new works from living artists ever since.

MICHAEL: Phil, I’m so glad that you got over your fear about how did Kat become a collector? Kat, are you there?

KAT: Hi Mike, this is Kat. Phil does most of the heavy lifting when it comes to our art … but here is a bit about myself. I am a professional singer/actor, and I have been active in the arts generally throughout my life. During my undergrad degrees at Queen’s University in Kingston Ontario. I studied in Europe … “Music History and Performance Practice”. One summer the course was offered in Venice and the next it was in Vienna. During this time I saw a tremendous number of masterpieces. Certainly I never imagined that I would live in a ‘gallery’ of original art! Phil’s enthusiasm has made this possible for me.
MICHAEL: Phil, it seems that your enthusiasm has conquered your early fear of art. I think that fear is the number one thing that keeps people from even visiting art galleries let alone becoming art collectors. Much of society has been brainwashed into believing that art is so far above their comprehension that they dare not aspire. What do you think?

PHIL: I agree with you Michael, but it’s more than just fear. Many people are turned off by art today because they simply don’t like what they see. I am speaking of course about much of the art created since the beginning of the 20th century. And it certainly doesn’t help that the larger art establishment swoons over work that leaves the average person scratching their head. And I have to confess right up front that I am pretty average too. The vast majority of art I see today seems amateurish or uninteresting. The truth is that I have to force myself to go into galleries. I know that most of what I see will not interest me in the slightest, but I do it because I never know when and where I might find a gem. It doesn’t surprise me at all that many people don’t even make an effort. But for me its like a treasure hunt.
MICHAEL: Art is a treasure hunt for me as well. The last time that I went gallery hopping in Chelsea (New York City), I was stunned by some of the crap that I saw! You don’t have to be an “expert” to recognize junk. Fortunately, Chelsea has more than 200 galleries, so there was also some truly fantastic work to see. What really bothers me is when it appears that the artist/curator isn’t interested in trying to engage or inspire us. Not long ago, I visited a new contemporary art museum that staged a BIG exhibition, but I felt that the curators intentionally made it the opposite of what had been promoted. I think it was their way of saying, “We’re beyond caring what you think because we’ll never allow you into our club!” Such a disservice.
PHIL: Well it’s hard to know exactly what many curators, gallery owners, art critics and artists themselves, are really thinking about the average person. But sometimes they let their guard down. I read an interview with a gallery owner who said she only shows art she really hates. I wonder if she tells prospective buyers in her gallery how much she hates the work she is trying to sell them? Fact is I stopped caring what the art establishment was saying or doing, years ago. I keep my eye on the ball – the ball being new art. I make my own judgments and keep moving forward. And you hit the nail on the head. I look for art that inspires and engages me.

MICHAEL: So, what kind of art do you and Kat collect? How would you describe your collection? Is there a common thread?

PHIL; Well Michael, I thought you would never ask. Our taste is quite eclectic in that we do not look for a particular style or theme. Most of the work is two dimensional and all of it is by living, working artists. They are mostly Canadian, but we have also bought pieces from American, French, and Chinese artists. There are four essential elements we consider when buying art, and in no particular order they are:

1. Technical mastery by the artist in his chosen medium. As you know the importance of mastery has taken a beating in the last century or so. The message is all important now, but there are still artists who strive for the kind of excellence that we saw during the Renaissance for example. And mastery takes years, so most of our artists are in their 40s and 50s. We keep an eye on promising young artists,

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Created by Michael Corbin On 07/06/09 At 12:31 PM

Flounder Lee is a photography professor at the Herron School of Art & Design at Indiana University/Purdue University in Indianapolis, Indiana. I met him there after I did a presentation about my first book, “Art In King Size Beds: A Collector’s Journal.” I thought that he would make an interesting interview subject. I think you’ll agree. By the way, the attached photograph is a shot of him being interviewed in Serbia for his recent one man show there called, “ReMove”. After reading out chat, check out his website at www.photoflounder.com

MICHAEL: Hey Flounder. Thanks for agreeing to chat. First, let’s start with the question that I’m sure you’ve be asked a million times. Flounder is an unusual, yet very cool name. Is there a story behind it?

FLOUNDER: Hi Michael, I have definitely been asked that question a lot or at least some form of it. I can’t convince some people that my name is not Lee Flounder, especially businesses. I wish that meant I didn’t have to pay my bills! The origins of my name are shrouded in mystery but it came to prominent use in the Secret Snail Society. I should probably leave it at that. I legally changed it to Flounder in 2006. I find it helpful as a promotional tool and a conversation starter.

MICHAEL: Secret Snail Society? I probably already know too much. Moving on … I love your photography, but what I’ve seen isn’t photography in the mainstream sense. It appears that you splice and dice photographs to create totally different compositions. It’s almost like painting with pieces of photographs. Am I correct?

FLOUNDER: I don’t really consider myself a photographer. Maybe a photographic artist or an artist who uses photography. Sometimes I do video, sometimes performance, sculpture, etc. In my teaching I take a similar approach: I am teaching artists, not just photographers. My recent work has definitely been described as abstract painting. I think that some of it looks like Mondrian from a distance. Really what I’m doing lately is making work from a series of preset conditions. I’m taking as much control out of my hands to investigate the way things are instead of the way I want them to be. So if we stick with a painting analogy, it is more like programming a robot to do the painting.

MICHAEL: You just said you are teaching artists, not just photographers. Doesn’t that really get to the heart of the role of contemporary photography? I visit these art fairs and exhibitions where I see great photographs but they don’t necessarily rise to the level of “art” for me. It seems to me that even with preset conditions and lack of control, turning photography into art requires insight, physical manipulation and the introduction of unique elements. Perhaps my ignorance is showing.

FLOUNDER: I think it does get at the heart of it, I don’t think the sort of contemporary photography that I’m making or trying to teach is just photos. It isn’t about how pretty your sunsets are or how good your photoshop skills are, it is about the idea that drives the work. But that said, I think they generally need to be somewhat technically proficient and formally pleasing because we are past the conceptual 1970s. Dave Hickey helped change the notion that beauty is a dirty word in the art world. Work can be engaging and beautiful.

MICHAEL: I had the pleasure of walking with you through your exhibition called, “Own.” It involves old Native American lands, map making and photography.
It’s beautiful, engaging and has a powerful social and moral message. What’s it all about and where did you get the idea?

FLOUNDER: It is always good practice showing someone around a show, so thanks for coming. In the current work, I am mapping treaties between the US government and various American Indian tribes. I have European and Native American ancestry. Most likely it is Choctaw and/or Cherokee, but it is really hard to trace when your family narrative says that they were the ones who hid from the government to avoid moving west and tragedies such as the Trail of Tears. I’ve never been raised with any real awareness of my family’s history, but it fascinates and conflicts me. I have ancestors taking from ancestors. Not really sure how I decided to pursue this now, but I was mapping the borders of Los Angeles when I moved to Indiana and I wanted to keep mapping so this came up somehow. So far, I’ve mapped the treaties in their actual locations in five states. I find the original maps, import them, and follow the borders using GPS. I photograph at one mile intervals at set points in the four directions. This removes as much of my hand as possible from the equation. I want to show what is actually there, not what I want to be there. So if there is a casino or a Wal-Mart a quarter mile down the road and an empty field where my GPS says to shoot, I get the empty field.

MICHAEL: What you’re doing incorporates photography, artistry, anthropology, sociology, politics and travel. It all makes for very heavy subject matter that will inspire some and incite others. Yet art is your venue. I liked the exhibition, but you obviously know that pitching this to collectors or even curators can’t be easy. In short, it’s not “entertaining” and you know how much people want to be entertained … that’s assuming you can even lure them into a gallery. Is this a concern?

FLOUNDER: I make work that is important to me. Quite often it will be important to others too. I sometimes make work that is more fun or entertaining but that is not generally one of my primary goals, except maybe when I’m doing performance art. I honestly haven’t had many encounters with collectors at this stage in my career, but I’ve shown this work a few times already. A curator of a show in Europe liked it enough that she invited me to come make more work there for the show. I’ve also used this as a platform for teaching others about this history, including my own family. Even still, the patterns of images that emerge from my work can be enjoyed without knowing the history of what the work is about at all.

MICHAEL: Flounder, this brings up what I think is a great question. When you’ve busted your butt to make your art meaningful and true, isn’t it a little irritating to have people look at it and say, “I like the colors!” or “Will it match my sofa?” I’ve even heard artists reduce the work of other artists to simple whims. You’ve done all of this work and they’ve missed the entire point.

FLOUNDER: Artists aren’t the only source of meaning for their art, so art is going to mean different things to everyone. How’s the saying go? “You can’t please everyone.” Well, things are going to be pleasing to people for their own reasons. I want some people to get my work but know not everyone will. I really dislike a LOT of art, I don’t get it, but know other people do. I don’t think this is an issue really. I’ve always thought that colors and matching and such are just levels to the work. Maybe levels that I don’t care about, or even care to know about, but levels none the less. My wife isn’t an artist and she is definitely more concerned about artwork fitting in with our other decorations than I am, she doesn’t understand how I don’t really worry about color schemes and the like.

MICHAEL: Many of the artists I know are totally “consumed” by art. Many, if not most artists consider art synonymous with who they are as individuals. Does this describe you?

FLOUNDER: Yes, I think it does and I’m sure my wife would agree. She has a hard time grasping that my work does not really have any sort of set hours. I can just be playing online but it is usually at least tangentially related to my art. I’ll either be looking for blogs to submit, looking up new artists or shows, reading about mapping or science. I never know where my new ideas are going to come from so I keep constantly looking. But even all that said, I still take plenty of time to do other stuff if I can find it. I love to camp, hike, cook, and garden (although I rarely do most of these activities without a camera).

MICHAEL: You said earlier that you dislike a LOT of art and that you don’t get it. Do you think this is more of a reflection of your personal taste or the artists’ failure to communicate effectively? When people read my writing, I find it somewhat upsetting that they missed my point. They don’t have to agree, but they do have to get the point, otherwise we’re not really communicating.

FLOUNDER: I think sometimes it is a combination of both of those things and also the fact that some art really doesn’t carry a lot beyond its surface. Art means a lot of different things to people and sometimes it is purely a visual exercise. Of course this is the art that I generally don’t like and it rarely receives any sort of critical praise, but still might be popular with many people who think the best a painting can do is look like a photo and the best a photo can do is look like a painting. Ha! I like art that gives you something on multiple levels, it has the surface stuff that you can appreciate, but it has a depth to it that allows you to explore. Writing is sometimes similar, just because something is funny or exciting, doesn’t mean it doesn’t have depth of meaning. I’m currently reading a couple of books about geography and history. One is textbook type writing and I can barely stay interested even though I love the subject. The other is narrative style and I hate to stop reading it to do anything else, but I still feel like I’m learning a lot about the subject.

MICHAEL: When it comes to art, what do you think you’ll be doing 20 years from now?

FLOUNDER: Well I’m really hoping that they come out with Dream Recorder by then because I think my dreams are really where it’s at. Otherwise some sort of digital media and installations probably. But honestly who knows, 20 years ago I was 10, playing on a playground wanting to be a rocket scientist. That desire got me to 19 when I left the University of Alabama’s aerospace engineering program to take a year off and move to Florida where I got my degree in photography.

MICHAEL: Sounds like the sky is your limit. Thanks for chatting Flounder. Don’t forget to check out Flounder’s website at www.photoflounder.com

MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF THE AWARD-WINNING BOOK, “THE ART OF EVERYDAY JOE: A COLLECTOR’S JOURNAL.” CHECK IT OUT AT WWW.ARTMAESTROGALLERY.COM

Created by Michael Corbin On 04/06/09 At 10:59 AM

Sometimes summer afternoons aren’t meant for lounging outdoors – they’re occasionally better spent finding artful surprises in bookstores.

Such was the case on this day, an unremarkable one until my wandering eye locked onto something of promising note. A book. By the way, most people would agree that they venture into bookstores seeking books. After my experience today, I must say that I disagree. People shop in bookstores because they crave surprises. Yes, in all likelihood, the thing you’ve been looking for will indeed be a book, but is it the book or the thrill of surprise that has you hooked? Hmm. Mystery and philosophy. Do questions never cease?

Anyway, as my gaze ventured down the frittering possibilities among the art book shelf, suddenly a love connection. I saw the book “Actors As Artists. “Hmm, I thought. “Let’s take a look. What a nice surprise.

First of all, “Actors As Artists” authored by actors Jim McMullan and Dick Gautier (Charles E. Tuttle Company, Inc.) was first published back in 1992. That’s not so long ago, but they could certainly give it an update. It’s truly a remarkable book about actors, some more famous than others, who paint in their private time. I’ve just finished flipping through and reading some of it.

It’s really everything an art book should be. With every turn of the page, a surprise. I knew that Anthony Quinn and Jane Seymour painted, but did you know that Zero Mostel and Claudette Colbert were artists? I knew that Billy Dee Williams and Phyllis Diller dabbled, but what about Henry Fonda and Lionel Barrymore? I’m sure Drew knew, but who else had a clue? Mystery revealed. The book is wonderfully unpretentious and it’s so clear that the actors true love may not be acting at all. They paint because they love art.

As I’m sitting here writing and flipping through the book again, a reminder comes to mind. There’s no law of the universe that says we MUST do one and only one thing for our entire lives. In fact, it’s probably just the opposite. If you listen to your creative voice, you can do many things in a single lifetime. That’s how it should be. After all, we’re only here once. While actors get comebacks, no one gets to come back. THIS IS IT. Of course, being an actor doesn’t mean you can pick up a paintbrush and become Paul Gauguin in one stroke. It just means that you went for it. You heard your calling, gathered up the courage and got busy. When you follow your creative leanings, life is full of surprises.

Oh, another thing. Your career is what you do for a living, but what you do in your free time is who you really are. It may not be the WHOLE you, but it’s certainly the REAL you. It’s who you are down in your soul. If you’re an artist down in your soul, you’ve got it goin’ on. In a way, we’re all actors, but how long can you go on ignoring the role of your soul? Ahh, philosophy. What better time than on a summer afternoon?

One of my favorite passages in the book comes from actor Michael Moriarity who says, “Art is not an avocation for me. It is more like a periodic urge to pray in a different way. My pieces exist because there was no other way to reveal what was going on within in me.

In short, I think Michael is saying, “Who needs a Tony, Emmy and Oscar sandwich when you’ve got art feeding you? And let me say, “That’s quite a sandwich!

But seriously, I’m not an art critic, but as a collector, I must say that I’d be thrilled to own anything that I’ve seen in this book. Actor As Artists. I’m so glad that I found this book. You never know what surprise may be lurking around the shelf. Little surprises are the spice of life. One minute, you’re depressed and the next moment, you find something unexpected and you’re laughing at the foolishness of past thoughts.

John Forsythe, an artist? Eve Plumb, who played Jan on “The Brady Bunch, an artist? Who knew? One thing I know for sure Eve probably never yells, “Marcia! Marcia! Marcia! in HER free time.

MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF THE NEW BOOK, “THE ART OF EVERYDAY JOE: A COLLECTOR’S JOURNAL.” CHECK HIM OUT AT WWW.ARTMAESTROGALLERY.COM

Created by Michael Corbin On 07/21/08 At 10:06 AM