At the turn of the century artists were mythologized, different, outside society. Later we still encounter rugged individuals such as Hemingway, Kerouac, Pollock, or Allen Ginsberg; a rejection of social conformity in favor of a specifically individual path. We learn about a greater vocation, based on universal truths, centered on the uniqueness of individual vision prevailing over herd instinct and mob rule.

A contemporary definition of art and creativity is rather different. Now we must consider curatorial response, or the ability to fit into a sophisticated international fine arts circuit (predicated by enormous budgets overseen by administrators whose careers are undone by the insecurities of controversy).

Other considerations include essential role playing or public image; the creation of a readily identifiable persona both in the style of one's work and the positioning of one's visual appearance and conceptual territory.

Finally, there are the necessities of contemporary issues, which must include current political analyses as well as an understanding of French, Italian and German semioticians, including perhaps an in-depth appreciation of Heidegger, reread by Derrida and Foucault - or Nietzsche as reread by Deleuze.

Familiarity with "The Science of the Concrete" by Claude Levi-Strauss may be helpful. Painters will realize that Levi-Strauss' comments on painting are painfully misinformed, but would do better to keep quiet about such embarrassing revelations. As an artist, it may be helpful to avoid "the trap of aesthetics" and concentrate on social issues. Are we now to be only journalists, newspaper writers?