Artist

The New Renaissance

If art is the expression of the human soul, then the highest, most noble aspiration is that art enrich and empower humanity. What if a new art renaissance came about where art’s purpose was not only to entertain, but to educate, inspire, and to a greater extent, eradicate disease, assist disaster victims and provide assistance to any number of other gallant endeavors? Da Vinci showed us that art could help answer questions which science alone cannot.

The artistic expression of painting has evolved and taken shape in

many forms throughout history. Painting, like fashion, seems to have certain popular styles, to which the majority of painters subscribe and follow in their own interpretation. It makes sense, as the movement and its methods are taught and are also widely approved by critics, historians, and patrons alike. But what if it became fashionable for the message to be more important than method and medium?

“Great art reaches beyond the senses and sensibilities to touch the soul.”

–Michael Israel

Too often we assume all similar vehicles carry the same message. Certainly without an enticing and novel method and medium, an artist’s message would go largely unnoticed. Throughout history there are a few who dare to stand out from the pack. Those who, for whatever compelling reasons, have opted to step away from the accepted standard to create something novel and original. Despite resistance from those who have yet to comprehend a new style, a handful of artists have followed their vision to break new ground. These artists have proven to be the innovators who have been responsible for the evolution of art.

As late as the end of the 19th century, artists were experimenting with new ideas, breaking away from the accepted norm of academic Realism. Edouard Manet chose to paint the way he preferred, rather than in the style others deemed acceptable. His ideas became Impressionism as we know, and revere it, today. Monet, Pissarro, Renoir and others worked in the same fashion, opting to capture the transient effects of light and color of a subject rather than to paint it with perfect, realistic precision, as was the accepted practice. Dedicated to their art, these artists continued to paint the same subjects and scenes at different times of the day and thus in different light, without

Warren Buffett signs his portrait

apparent regard for the opinions of their critics.

Later still, in the 1940's, artists like Mark Rothko and Jackson Pollock pioneered Abstract Expressionism, dismissing not only the idea that art must stem from nature, but that art might not need to be about any particular subject at all. Rather than merely depict images, Abstract artists worked to evoke thoughts, feelings, or emotions. No one knew how to interpret the work, some of which seemed to be a mottled mix of drips, drabs and slashes. Yet today, decades after his demise, it may be difficult for anyone to look at Pollock's massive Number 1, 1950 (also known as Lavender Mist) without forming an opinion or experiencing emotion on some level.

For more than 4 decades, beginning as a child in the early 60’s on the walls of his parent’s home, Michael Israel has ventured beyond the traditional and accepted styles and “norms” of art. Since then Michael's work has touched millions. He has shared limelight with celebrities, CEO’s of Fortune 500 companies, and world leaders alike. He has painted and presented at some of the world’s grandest venues including Grimaldi Fourm in Monte Carlo, the Olympic Medals stage in Salt Lake, and presidential events in Washington DC. Michael has helped inspire compassion and bring millions of dollars in support for numerous charities.

One might wonder, then, how his contributions might be perceived in the future. Has society progressed so that a burgeoning artist might be recognized as a visionary with new, exhilarating facets to his work that might be viewed as insightful and revolutionary? Or rather, must he follow in the footsteps of his artistic forefathers, struggling for acceptance from a world largely refusing to widen its scope? Indeed, Israel's work moves far beyond the act of painting and the final result of what is achieved on canvas. Yet, if only those portions of his work are considered, he may well be keeping company with some of the most brilliant artists.

And while our First Amendment guarantees us the right to make any statement we wish, Michael believes that such freedom comes with the moral obligation to use it for good purpose and not sensationalism and vulgarity for the sake of profit and greed. So, how can emotional and social value be heightened? If painting is the expression, and a canvas is consistently the same flat format, how can one hope to move beyond the traditional limitations of his art?

Michael Israel, it seems, has found precisely that answer. For him, the act of painting is just one component of his artistic expression in a fervently charged performance, one in which his audience is very much a part of the process. To date, there may not be a specific definition for Israel's work. Is it a performance? Is he a painter in the artistic sense? Is it a concert? A social commentary? An experience? The answers are all emphatically yes, yes, yes, yes and yes. It is all of those things and more. Michael Israel is an anomaly.

To experience his work is to be swept up in a fantastic maelstrom of emotion, to give in to the electrifying current of energy coursing between artist and observer. His performance encompasses a multitude of components. The initial and most obvious being the heart-pounding music, pulsing and reverberating, crescendos highlighting Michael's performance in perfect unison to his strokes, sometimes with double fisted paint brushes, others with only his hands. As he spins his canvas, round and round, back and forth, the audience is mesmerized, curious as to what his movements and strokes will reveal. Michael Israel, lithe and athletic, uses his whole body in what seems to be a magical, lyrical, exuberant dance, pulling his audience in as part of a heightened experience. To witness him in action is to think that he personifies the concept of kinetic art. it is that and more, which defies definition. As his program builds to a booming, thrilling conclusion, audience members are left exhilarated and fulfilled, having been captivated by his hypnotic performance. Far more than an up-side-down portrait or abstract splashes Michael’s presentation exudes originality and significance.

Possibly it is Michael's innate ability to delve into each creation, through movement and music that delivers a message more profound than any still piece of imagery could begin to convey. Passion for his work, and compassion for a cause fuse together for an energy that begs enlightenment and understanding on a new plateau. To witness any of Michael Israel's programs is to surrender to the energy, the exhilaration, and the unmitigated emotion generated by his unique style. Though Michael has paved the way for others, one must only experience his performance to realize that it is an emotional odyssey like no other, the result of which is a newfound insight into that particular cause, and it touches each member of the audience on a personal level.

For charities, Michael's performances raise awareness, goodwill, and funds on a grand scale. Certainly, these achievements alone are the purpose in orchestrating such events and yet, through Michael's moving, compelling program, he reaches beyond the usual altruistic endeavors and reaches a little more deeply, clearly, and honestly on a more personal scope.

Whether he is performing for Special Olympics, the American Red Cross, Susan G. Koman Breast Cancer Foundation, City of Hope, or countless other charitable organizations, one thing is certain, Michael Israel knows how to reach his audience, and he touches boldly, deeply, and succinctly. His generosity and compassion are evident and make for a rewarding experience for all.

Clearly, Michael Israel has transcended the boundaries suffered by painters of the past. His work, both during the process, the performance, and subsequently in the end result of the composition have proven to reach out to his audience, embrace them, and thereby evoking feeling and emotion. Will this concept go down in history as the next chapter to ultimately be praised and followed? Hopefully those emulating his movements and technique will in the process discover: it is not the paint that lands on the canvas or how high you jump that is significant but the message that lands on the heart and how it empowers others.

In an age of abundant multi-media, it is possible that Israel's performances will be viewed and studied in classrooms, the progression beyond the proverbial slide show of French Impressionist paintings. One thing is for sure, decades into the future, he will be exalted for creating the next genre of art, when a new movement in art is exactly about that: movement in art.

Thursday, January 22, 2009

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