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If Memes were art what kind would it be?

Unlike other forms of contemporary art, the creator of the meme is not of importance.  There is no need for creating a thesis, concept, or body of work for the meme to be successful.  Success is measured by gauging levels of understandability and the overall lifespan of the meme. Understandability comes from the language that it is written in, whether the public has a relationship with or is aware of the outside context where the imagery is pulled from, and how people create a new narrative when these elements are combined. The lifespan of the meme is not based on a birth and death timeline, so the meme never dies. Lifespan is measured in its circulation, and how often is it ‘liked’ or ‘shared’ when presented on social media.  The two equal components that control the lifespan of a meme are humor and social relevance.  The meme exists outside of itself, and if it lacks one of these components then it loses majority of its value.  

Memes are made without permission, usually by appropriating famous artworks or photographs of known and unknown individuals. The fact that the creators are virtually anonymous and untraceable allows them to work in freedom, freedom from laws that surround copyright infringement, defamation, slander, libel and responsibility of actions taken due to wrong information. Memes appear like graffiti on a wall, usually made in a hurry to take the opportunity of being the first to address an issue.      

Memes are not a product made concerned with visual beauty, which is why the creator is only concerned with its function. Its function is to energizing the public, proving that the messages is worthy of being passed on to the next individual.    

How does a Meme function as an art object?

A meme is not an art object, but a tool of criticism, criticism of the culture that is portrayed within the imagery. Only individuals that have a connection to that culture can fully understand the message that is encoded in the meme.

To remove the meme from its platform, social-media or any public domain causes it to lose its shareability.  Having a physical meme turns it into a poster, and if placed in a gallery or home then the audience is reduced to people who frequent that location.  Due to its short lifespan, a meme’s value will not increase with time or through exchange of ownership.  Though there are situations where a meme will be reintroduced to the public, its impact will not be as strong as its original debut. The amount of likes or shares that a re-posted meme has will not surpass the number it received the first time it was presented. This is because the audience is already familiar with the image, therefore the image is now stale.  

     I had expectations about the exhibition before I arrived, they were formed by a previous student-exhibitions that I attended in nontraditional gallery spaces. Poor lighting after the sunset, empty holes on the walls due to the work being sold, and hurried departures after just arriving. I am not a prophet, but these are just commonalities of our time.

     The event was held at the Fork and Dagger Eatery, a small Spanish café on Abercorn St. As I entered on the reception night, I was greeted with the sounds of a Cuban restaurant, tropical music playing in the background, a little too loud for whispered conversations.  There were very few people unknown to me, which was a sign that this was an outpouring of moral support rather than an interest in the art. From the door, one would have full view of the kitchen and menu board. Strings of round lightbulbs festooned all four walls of the narrow room.  

     Fifteen artworks hung on the wall, all unframed. Some of them were made on canvas and the others painted on wood panel. There was only a small variation in size, between eight inches up to twenty, next to each artwork on the lower right side was a small label containing, artist information, dimension, along with its price.  The artwork was placed on the walls, too high off center, causing one to constantly look up. The lighting was an issue; however, I have experienced far worse. Though one was able to see the artwork, understanding the true colors of the piece was difficult. Another distraction was the glare upon the artwork, which was heightened by the paintings' placement too close to the lights.

     The works were made using spray paint, the labels provided no additional information about what type of paint or the process, which give the feeling of, ‘that’s all?’  There was no real mystery in the process, the imagery was made by placing foliage over the surface, which was primed with colored ground, then sprayed either using a complementary color or an analogous color creating a silhouette. The foliage is then removed, relocated, or replaced used a different type of local shrubbery, then sprayed again, creating a layered affect. Some of the paintings displayed their florescent ground on the sides of the paintings while others did not. However, they still revealed some of the overspray process, and none of the sides were clean.  

Imagine a space that resembles a strip mall but instead houses art. Welcome to the City Market Art Center. The shops look like pop up galleries, and it’s clear who they are trying to target. The merchandise for sale is overwhelming and price tags all clearly visible. Walking up to Luba Lowry’s room, there is art everywhere, lining the walls, floor, racks, etc. There are many items for sale and it feels like her target audience is tourists. A station of post cards, bags hanging, small prints, and calm music to set the mood. Far from a professional looking gallery space.

The art, however, is unique and beautiful and many reflect life in Savannah from a less obvious point of view. A painting of the cargo ships going by on the river, it is not a glamorous sight, but it was captured very well on the canvas. One painting in particular struck me as my favorite. “Late Night on River Street” an oil on canvas, 40x40, captures Savannah’s charm even in the dark of night. Luba Lowry clearly has a style that she has perfected in all her works. The paint is laid on thick and adds a beautiful texture to the canvas. It feels as if Lowry is looking at her world through a watery window almost like “The Starry Night” by Vincent Van Gogh. The colors are crisp but the edges blurred. She uses the rule of thirds to her advantage, placing the group of people in the foreground. She balances the heavy clutter of the town with the empty blackness of the sky. The road featuring the iconic cobblestone, show unique colors that bring them to life. I even find her signature pleasing. The art is amazing but it is still being viewed from a shopping mall style front. The painting was dropped into a very uncomplimentary gold frame. Lowry clearly did not pick this frame to showcase her work. The frame looks as if she found it in the back of the closet and was thrilled that it was the same size as her art. A smooth black frame would do much better. Then I looked at the price tag, $3,200. As terrified I was at that amount, it seemed fair for an original work. The painting hung on an outer facing window. I could not see the work easily because it was displayed behind an awful pole.

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