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Art is a Frame of Mind

Art can give the best thing to everyone.
Art can change our frame of mind.
Art. Make it by buying it.

  • Noting Gained Noting Earned (detail)
    Copyright © 2020 Elisabeth Kelvin

Why buy art?

Art gives when you ask it to give. To buy an original work of art has numerous desirable resonances. Though it may be historically referential and saturated with shared distinctions, art is new and unique. When buying a work of art, we engage in questioning the artistic value of authenticity. 

The artist is paid when a work is sold. Maybe not much and seldom enough, but at least she is valued at the standard value measurement: money.

 “Money dignifies what is frivolous if not paid for.”

   (Virginia Woolf, A Room of One’s Own)

Through buying art the artist can then make more art.

 “The thing that always worried me about art for art’s sake, right from the beginning, was making these precious objects for special people… I still haven’t found the answer. I’ve just had to live with it.”

   (Robert Klippel: interviewed by Rosemary Madigan)

Imagine the thrill! You have a freshly purchased artwork that provides a series of new experiences created out of one visual stimulus. Does the art hold your interest? Is it a perceptive composition? Does it hold elements of play and curiosity within its realm? Could it challenge and enthuse? Will it reveal a time/space relationship or create new thought pathways? Art is not just bought and consumed. It is, as they say, a game-changer. Philosopher Daniel Dennett uses a term intuition pump. Owning art is living amongst art and the capacity to slough off rusty, dusty thoughts and grow new ones is in the human experience defined by excitement. The bought art is allowed time to be looked at and into.

 “When it is authentic art, you go into it, unlike kitsch, which goes into you.”

   (Walter Benjamin, Illuminations)

Visit a gallery and encounter the art. So much to see and never enough time! Closing hours, crowded rooms, and other art and non-art related activities can dampen the experience of developing a relationship with an artwork in a museum. At home, walk past, sit down or have sex in front of, clean around, and share with friends your art. Live with a work of art, unblocked. Art thrives in an intimate environment. It withers when neglected. What better way encourages today’s aesthetic experience to flourish than to buy my painting for yourself or for someone you love? To acquire an artwork is to value current events expressionism. Artists reflect the time, the zeitgeist. 

 “Art means New Art.”

   (Arnold Schoenberg, Style and Idea)

What if the art turns out to be inferior or loses its ability to challenge and interest? Buy another! When placed in proximity artworks will chat with one another. Again, the nearness of each to the other will provide more than double the aesthetic experience. Placed alone, alternating in the space, the implied visual discussion will continue. 

Owning art celebrates the artist’s skills and abilities. Not only does she have knowledge, experience, patience, courage, intelligence, time management, integrity, inquisitiveness, perceptive analysis of situations, cooperation, but also spatial perception, environmental sensitivity, fine motor skills, social awareness, and an ability to make something, out of nothing. Physicists present a strong case to the world that nothing is really something and artists manifest this concept. Ask an artist whence their idea for a work comes. You can contribute to the artist expanding her skills through your purchase of this something.

Copyright © 2020 Elisabeth Kelvin
Copyright © 2020 Elisabeth Kelvin

Supporting a friend, love, or acquaintance wants to acquire an artwork by a living artist, also supports the artist. The dream is to see my art bought, displayed, viewed, and discussed. Rinse and repeat.

Art can give the best thing to everyone.
Art can change our frame of mind.
Art. Make it by buying it.

About the artist

Abstraction in Elisabeth’s art is informed by her professional experience of music performance and composition. Personal – and historical – ideas regarding the differences and shared distinctions of aural and visual media are addressed, explored, and developed in each new work.

Please contact Elisabeth for the acquisition and commission of works.

These online art galleries and music realms are elegant to navigate and designed to suit every budget. Browse and enjoy these new collections of fine art and music. You may fall in love. Immersion and exploration welcome!

ArtPal. Original works and high quality prints:

https://ArtPal.com/lismusart

Fine Art America. Prints, gift cards, notebooks, and accessories such as Art Face Masks:

https://fineartamerica.com/profiles/elisabeth-kelvin

Red Bubble. Amazing collection of prints, clothes, face masks, accessories, gifts, and home decor:

https://www.redbubble.com/pepole/lismusart

Art of Where. Face masks made from 100% cotton:

https://artofwhere.com/artists/lismusart/accessories

Art of the Human Form. Breathtaking figurative art:

https://art-by-elisabeth-kelvin.jimdosite.com/

© 2021 Elisabeth Kelvin

By Elisabeth Kelvin

Elisabeth Kelvin
D.M.A., M.Mus., B.Mus.
Musician and Visual Artist

Elisabeth Kelvin’s creative practice blends the visual with the aural – she paints what she hears and plays what she sees. She received a Bachelor of Music from the Sydney Conservatorium of Music, and a Masters, then Doctorate of Musical Arts from Michigan State University. Early experiences as an orchestral musician with numerous orchestras and ensembles including the Australian Chamber Orchestra and the Lansing Symphony Orchestra, alerted Elisabeth to the importance of precise communication and potential of the collective in music making. Her extensive chamber music experience from classical standards by Mozart, Schubert, and Brahms through to twentieth century composers including Stravinsky, Messiaen, Sculthorpe, and Boulez, awakened in her a sense of exquisite balance and refinement that has carried on into her contemporary performances. As a lecturer at the Victorian College of the Arts, the Tasmanian Conservatorium of Music, the Tamworth Conservatorium of Music in regional Australia and working with contemporary indigenous artists, she was introduced to the role and meaning of place in social connectivity, improvisation, symbolic and abstract art, and movement in live performance. Elisabeth performs professionally in the USA, Europe and Australia, presenting her own compositions, collaborations, and jazz greats. Her musical practice centres around woodwind instruments, primarily clarinet, bass clarinet and saxophone, as well as integrating her art with music composition and improvisation. Most recently, she was invited to play and exhibit at the Währinger Improv Festival (Vienna), Frühlingsfest at Galerie Alma Kulturcafe (Vienna), COOK, EAT and CLEAN/Smoke and Mirrors saloon, V:NM Festival Graz/Vol.12 (Graz), and the Viennese premiere of Breathcore in collaboration with the Belgium-based new music ensemble Ictus at the 2019 Wiener Festwochen, and was guest soloist at the recent Foundation IHOS Amsterdam concert series. Elisabeth was invited to participate in a collaborative social media project with the new international arts group, perform solo at Raw Matters Theater Group, and participate in several festivals including Cook, Eat, Clean, Hear me Roar, Grotto Futura, Lärm, and the Midleton Arts Festival. Future plans include involvement with the Youth program at the famous Wiener Volkstheater. Collaborative works in 2020 include a multimedia presentation, commissioned through Velak, with composer John Plankenhorn .

Elisabeth launched her professional visual arts practice in 2000, and has staged solo exhibitions and participated in collaborative shows in USA, Australia, and Austria. She became an active member of One+2 Artist Studios, Sydney in 2009. Her visual arts work, abstractions of body movement and music, encompasses a range of media including oil, watercolour, pastel, ink and mixtures. She exhibits her art at galleries and festivals and business. Recent career highlights include a well-received solo exhibition, Harbour City Tones and Colours, at Salerno Gallery (Sydney), and a series of solo and group shows in Galerie Contemplor, GalerieTakt, Reinl Galerie, and in grand palatial halls such as Historisches Volksmuseum (Konstante Art Fair, Vienna) or intimate wine bars like Vinotek Rochus. Her visual arts exhibitions include performance elements as she plays her paintings.

By being now based in the city of her grandparents, she is rediscovering her own cultural heritage. From upper-story Vienna windows, she imagines she hears long-forgotten songs, conversation or dampened piano chords still crisscrossing streets and years. Elisabeth currently creates music, art, and movement events – along with being a founding member of Gentle Enquiry – performs and exhibits throughout Europe as a soloist and with Ozmosis, Leo Taudin and his Art Orchestra, Vienna Improvisors Orchestra, Stolen Moments, Free Form-Just Music and Trio Amacord+. During the COVID19 Crisis, Elisabeth initiated ImprovFreedom Sessions and Art in the Age of Isolation, both being online multimedia improvisation projects in the Zeitgeist of the times.

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