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For the artist, fulfillment of self consists not in marching in the ranks of the liberators but in being entered in the roll of the Masters. The artist tends to find himself in the position of a deserter from his social group — or, at best, one who collaborates, with secret reservations.
--
"Being Outside" (p. 271)

 

Harold Rosenberg

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'Now, it's just occurred to me that we're missing something crucial. Ah, yes, an artist! Bugg, have we a court artist? We need an artist! Find us an artist! Nobody move!'

 

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Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.

 

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A fundamental problem in such studies stems from the long tradition that has regarded artistic productions as social facts. by regarding such productions as social facts the analyst is relieved of the burden of demonstrating what meanings these productions have for the artist and his [sic] audience. It is too frequently assumed that such meanings can be identified by a capable analyst, independent of the interpretations brought to such works by the artist or his audiences. In my judgement artist productions must be seen as interactional creations; the meanings of which arise out of the interactions directed to them by the artist and his audience.

 

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Until now Gregory Colbert has been that rare artist who goes out of his way not to be noticed. He was represented by no gallery, he held no exhibitions for a decade, and he gave no interviews. He was in a sense a secret artist, though the secret was shared by a small group of wealthy private collectors who, through acquisitions and sheer enthusiasm, helped to finance his work.
He needed this help. In his quest to photograph the mystical relationship between humans and animals, he made 27 lengthy trips to distant corners of the world over nine years. He was usually accompanied by a support team, supplies and equipment. He even rented oceangoing vessels for months on end. In brief, it was both costly and complicated to produce images of great simplicity.

 

Gregory Colbert