The conversation continues:
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Highlighting the rejection/selection element to being an artist shows you and the public where you are placed. Paraphrasing Robert Motherwell’s thoughts – one of the biggest problems a contemporary artist has is to determine who to connect with. For me this has been exacerbated since he wrote this in the 1960’s by the fact that the art world is populated by a vast array of styles and approaches. The liberality of aesthetics makes it harder to occupy a unique territory whilst attracting the support of an industry to develop your work and career and leads many to irony to salve their wounds. The fact that the art world is now international should in theory make it easier to connect with like minds but the practical reality is that it is difficult to convert this to financial benefits without the support of organisational endorsements. A frustration is that you have done all the right things. You have found a voice, produced the academic argument and got the badge, made organisational connections, operated professionally and still feel as if you are operating in a goldfish bowl. Well take it from someone who has done a lot of the wrong things that favela feeling is pandemic and is heightened for me when confronted with art education in schools that goes only as far as Picasso. Research scientists and farmers have similar cries and in the current economic climate this negative outlook is infectious. There is a vast array of arts organisations running a gamut of initiatives, often duplicated. This reproduction of programmes is an effect of a free market and on that basis, like many companies, they will stick to products and services that are proven and economically viable. It is hard in times of hardship to persuade folk to take a risk until circumstances force them to.
Might I suggest that if you are after political change, you may need to be more overt about what you are seeking to change. I think there could be a danger of appearing like the comedian who in the sweaty throws of dying, screams ‘Laugh you bastards laugh’. If it ain’t funny, this ain’t no joke.
response
I am aware of this state in art and, at my age, don’t feel like taking on the monumental task of changing that particular world. I see my job as keeping up production and trying to reach people on the ground. It is all just as confusing for viewers of art and that is where I prefer to concentrate my political activity – which is what this exhibition is trying to do. If a few people enjoy their own powers of decision making and realise that everyone, including the organisations, makes selections that are subjective, then I will feel that one or two grains of sand have been shifted. Alongside that, I will be able to get a taste of people’s perceptions – as well as the satisfaction of speaking my mind here.
