Anyway, I attribute the reason for those words being stuck in my head in the first place was a tour we took earlier today.* At this point I should explain that the museum originally was made up of two villas that Sheikh Hassan used to house his collection of artworks and also to provide a studio for Arab artists to work in. When he donated his collection to Qatar Foundation, one of the villas was converted into office spaces for the staff, and this is where we are currently. Some of the artworks are being restored and are in the other building, while the other artworks that have already been stored and organized are kept in the two upmost floors of the office villa. So today, Michelle, the Head of Education, was taking a new staff on a tour of the two villas and took us interns along with them. (“Took us interns” Hah! Next thing you know I’ll be writing sentences that go: “It was them staff and us interns who went to that there room for a-meetin. Hey, that yonder painting’s katty-wonkered!”)
Since I moved to Qatar almost four years ago and seeing the initiatives being taken in education, sports, and arts, I keep getting the vibe that we are living in the midst of what will be a defining moment in the history of future generations. That vibe was present again today when Michelle reminded us that some of the artworks being painstakingly restored and organized in time for the museum’s opening probably were created here in the first place, when the villa was a studio. And wouldn’t-ya know it, I was googling around for the artist whose painting caught my attention during the tour and found this interview:
"I have been able, however, to put together some thoughts on the artist from a recorded interview that I conducted with him in his studio in Doha in 2002, as well as through the many conversations I had with him over the years, particularly in the mid-1990s when I used to meet with Fattah in the studio in Doha that the Arab Museum of Modern Art provided for him. It was there that he produced a collection of works that many believe best represents his achievements in both sculpture and painting."
Collection of Heads, by Ismael Fattah (from artnet.com)
Which makes me wonder, were the people in the past who were responsible for creating some of the greatest artworks today aware that they were doing so? Unlike things like buildings where the architect has some idea of the impact his design will produce (It will be stackable, so that we can add floors to make sure it stays the tallest in the world! It will be the headquarters of the most awesomest organization ever! It will float on air!), artists might have a harder time predicting the impact of their work. I assume, though, that most artists don’t create things for other people, but more to simply express themselves and exercise their talent. Which would maybe explain why an artist’s studio can be incredibly messy with their works in various stages of completion strewn about with a seeming disregard for their care, and then years later, we find experts meticulously preserving or restoring those same artworks.
I think those artists have the right mindset, there’s no need to obsess about becoming the next great thing if you’re secure in the knowledge that you’re contributing to the overall greatness of humanity in general, while acting in accordance with the beliefs you profess. If what you do is worth commending, people will notice and it will be a really cool surprise for you when they do. As opposed to doing everything to be recognized and constantly bummed that you’re not getting the attention you feel you deserve.
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*This post was started last week so the “today” I’m referring to was actually last Wednesday, but I only got around to finishing this post today, which is why it’s posted today instead of last Wednesday, when the events that I talk about actually occurred. Confused? Maybe I should’ve just pretended it was today and spared myself writing, and you reading, this footnote that is turning into a paragraph.
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