Artist Story: Frederick Holland

"Art as a vehicle for social control" is as old as Art itself, while I realize many people will take exception with that statement, I will stand by it. From a historical perspective, images were often used to glorify a God or successful citizens (who served as an example of behavior that one should emulate) or to celebrate a hero (who sacrificed in service to the state). The relatively high cost and specialized skills needed for the production of imagery precluded the creation of artworks that challenged the existing powers. The Reformation and the invention of faster and less expensive reproduction technologies was a watershed moment for those who choose to use Art as a vehicle to foment social change. Art was becoming a hammer that shapes the world. Regrettably, and almost simultaneously, the value of Art as a vehicle for introspection (and harmless visual delight) came into vogue.  

In my own practice, I ignored my responsibility to the human condition concentrating instead on my own concerns and hoping that an audience of similarly minded individuals would connect. And they did, and it was very gratifying to me. In retrospect it seems that I spent many years and worked very hard on the creation of work that now seems very small to me. You can look inward for your sources or you can raise your eyes and look outwards. Now my head is up, and I have taken it upon myself to raise other's heads (or hackles) to the broader concerns of humanity. If you can change one mind you can change the world. I believe that.

But how do you get the message out, and more importantly what is the message? It is easy to single out individuals for ridicule, to take the cheap shot, but I think that while it maybe fun, its effect is too short lived to be useful. An approach that examines systemic issues provides more substance, and the effect lingers.  Is it the artists job to be an advocate, or is it to formulate works that allow others to question and pursue change? I believe that it is the later. Why not be an advocate? Because I think it would be the height of arrogance to imagine that I have the answers, it is better that my talents be used to encourage others who might be in a position to foster change. So how do you get your work out there? My method is to make monotypes or limited edition works that subsidize the production of larger editions that can be given away. While I am fully cognizant of intellectual property rights, I take to heart the example of Alberto Korda who never sought monetary gain for his famous photograph of Che Guevara but successfully prevented its use by others whom he felt were perverting the message.  

I knew a long time ago that I would never get rich making Art, and I was right. But the blessings it has brought me are incalculable, my companion of  27 years, the opportunity to share a community, to teach others and to do my part  in trying to make the world a better place.

Fredrick Holland       
Fredrick Holland was born in Chicago in 1954. He grew up in the Rogers Park Neighborhood on the Northside, attended Chicago Public Schools and graduated from the University of Illinois in 1976.  He has been exhibiting in both commercial and non- profit galleries since 1978. He has worked as a painter, drywaller, tile setter, and bartender. He is an Assistant Adjunct Professor at the School of the Art Institute of Chicago.