Monday, April 29, 2013
Themed Exhibitions:
cohesion or cop out
By: Kurt von Behrmann
Order
is a desired state. When chaos rears its
head, most would be quick to seek organization.
Art exhibitions operates much the same way. Art is not always created with the idea of
cohesion. Creativity can be a curator’s
nightmare. It sometimes follows a
snaking path. It may not be mindful of what makes an exhibition a fluid
experience. When guiding eyes are missing, the results can be confusion to view
and difficult for viewers to digest.
Under
the guidance of a curator, artists chosen for display are selected based on
quality of work, or some unique vision.
Pairing artists with each other is based on how well the respective
artists’ works connect with each other. Either
with one artist, or several, unity is based on shared visions among those
participating or a common creative direction.
Similar to art movements where there is difference accompanied by
similarity, relationships styles are the governing connecting tissue.
The
problem with organizing predicated on significance is that it requires finding
artists who have a shared direction. If
not a shared perspective, seeking works that visually make sense when brought
together is a governing factor. Either
way, both methods require some sophistication.
It demands an acute eye to make exhibitions work.
The problem with organizing predicated on significance is that it requires finding artists who have a shared direction.
The problem with organizing predicated on significance is that it requires finding artists who have a shared direction.
The Achilles
heel is that it requires careful laborious effort to make the selected make
sense when quality or merit are the yardsticks of success. If no artists can be found, pairing can
literally be a “hot mess.” The resulting
exhibition will tend to look like a collection of parts and pieces haphazardly
chosen. The sum of its parts is a
disjointed whole.
One
method to bring order to the complexity of putting assembling work is selecting
a theme. Arbitrarily or by deliberate
design, curators rely on the topic to offer up order. The Achilles heel here is what to do in an
art world where work is created by artist and then brought to public view. In
the themed centered world, for the most part, a general call to artists are
placed. Sometimes open to the general
public, or a selected group, the aforementioned is the most common way.
Subjects
that artists develop that are directed by each artists’ imagination is a relatively
new idea.
Without,
or without criterion, artists who are professional are thrown into the same
pool as beginners. Seriously
trained artists with degrees compete with anyone taking the time to enter.
Free or
with a cost either per piece or one solid fee that includes several works,
public calls for work are rarely free. To offset the costs of the exhibition,
artist share the expense. Almost
universally if not accepted, the fees are not refundable. For the creative this amounts to a
lottery. You risk the gamble of paying
for nothing, or the option of being in an exhibition. More often than not, if work is sold, there
is a commission paid to the gallery, curator whatever. In these situations the artist is hit up
twice to help pay for everything.
For a
point of measure, most galleries, though some do, most take only a commission
after works is sold. The split can be
50% and higher. 50% is becoming the
minimum. In other times the system
operated differently.
Subjects
that artists develop that are directed by each artists’ imagination is a relatively
new idea. Historically art was created
specifically for a patron. Guided by the
needs of those paying for the work, there was some wiggle room for imagination. The measure of success was already
established by convention or a prescribed set of standards.
The old
system of art created for a specific person could circumvent the issue of
connectivity. But that was the old way
of doing things. Some work is still
created that way. An artists is
approached, given a theme and then paid.
Sometimes the artist is paid an advance to cover material costs and
labor to deter a patron from backing out at the last moment.
With
themed approach artists must chose existing work, or create new work for the
show. For artists now working with the
chosen theme, the options are clear cut.
a.
Make new work
b.
Taking existing work and hope it fits
c.
Not enter at all
Keep in mind, artists have to pay
for materials, Subjects
that artists develop that are directed by each artists’ imagination is a relatively
new idea. storage and transportation.
The results of “fit the theme” exhibition
can be positive. If you have an astute
curator the show can hit the mark. Even
if not versed in the wide scope of visual art, a director or gallery owner can
get lucky. It all depends on a plethora
of factors.
"...the artist ends up as producer, patron, shipper and p.r. specialist".
\
"...the artist ends up as producer, patron, shipper and p.r. specialist".
\
Risks factors rise when work is
open to an open call themed based show.
There may be talent that opts to opt out of the process. If your theme only hits mediocre artists, the
pickings are slim. A show becomes pick
the least weak work and hope no one notices that the exhibition is little more
than the middle of the middle.
Quality can sneak into the system
of pick a theme and hope. There is a
high probability the truly gifted are scratched off the list. Factor in the “pay before you play” system
and the most talented may be excluded because they just do not feel luck that
day.
When artists are specifically
selected, and without upfront costs to the creative participants, at the very
least the curator knows what they are getting.
The odds of hitting critical success become a little less risky. This manner of selecting does not guarantee
perfection, but it certainly raises the odds for positive outcomes.
Themes that are open ended are the
most like to attract better artists. Open
ended types of themes, for example
selecting a particular color as a theme, automatically confers some
cohesion. There is less likelihood for
confusion or going off subject. The only
down side is if artists are not creating in that color. The options are simple. Pick an old work and repaint it to fit,
create new piece of pieces or the last option, don’t play.
Topics that are gimmicky, or time
sensitive, can lead to the best departing the party. If the theme does not lend itself to
inspiration, the work contributed falls flat. Even if it meets the stated goal,
anticipate a boring exhibition.
One way around the limitations to
themes that draw the creative is to expand the definition what of is considered
acceptable. If pushed too far, you end
up with a sharp contrast between art that fits and those works that are tangentially connected to the
curator’s stated vision.
Themes like “painting
impressionist styled works that relate to the vanishing rainforests that speaks
to the historical periods following the impression left by surrealism” are so
spefic that the wiggle room for creativity is narrow. Or, everyone winds up with working like each
other. What usually happens is the topic is expanded to include that which does
not fit.
"Life is not fair. That is true. Then again, should everyone use that as an excuse to maintain inequity?"
"Life is not fair. That is true. Then again, should everyone use that as an excuse to maintain inequity?"
The example I chose, “painting,
blah blah blah,’ is a far fetched example of what can happen. To creative people, this is just a byzantine
trap that does nothing to foster innovation or technical facility.
Compound all of this, lets look at
what the artist is expected to do when the pick a theme any theme process is in
place. Below is what an artist can expect.
1.
The
artist needs to create work that fits the theme.
2.
The artist must pay a fee, almost always non
refundable
3.
Create the work with labor provided by the
artist, this can include assistants
4.
Purchase materials for the construction of the
work.
5.
Provide storage for the work
6.
Provide transportation of the work.
7.
In some instances the artist may need to do
P.R., and or have a substantial following willing to purchase.
8.
Expect to see half of what you sell going to the
gallery or the curator.
In the scenario above the artist
ends as producer, patron, shipper and p.r. specialist. If that were not enough, expect to create
work for a themed show that may, or may not be accepted and then pay for the
“privilege” of being considered.
Life is not
fair. That is true. Then again, should
everyone use that as an excuse to maintain inequity? No one is forced to be an artist. The talented are drawn to the creative sphere
because of a burning desire to create and have something to say. The idea is to enrich the world by holing a
mirror to it. Reflecting the good, the
bad and the indifferent, art in all of its form imparts insight, wisdom,
understanding and if looked at closely an implied moral. Art contributes to the world, communities,
cities and towns.
If no one dares to pick up the
crown left by art history, precious stones are lost. It brings to mind Napoleon’s comment, in so
many words, “found the Crown of France
just lying in the gutter”.
From:
http://momentsintime.com/napoleon-proclaims-his-accession-to-the-throne
The
gutters could easily become the home of art if it is not supp ported. Burdening artists with the weight of carrying
the hard part of the load without assistance will lead to art that is only the
purvey of those seeking to amuse themselves, in short rank amateurs. The educated artists will take on other jobs,
paint part time, or stop making art.
Compounding the problematic problem
of themed shows is that there are fewer and fewer professionals writing about
art that have a breadth of history or art. Even that field is relegated to
everyone but those trained to do it either as artists, educators or art
historians.
Some may say good riddance to art.
If it costs so much and requires so much effort, why bother? The question is
then what would have Michelangelo, da Vinci, van Gogh and a slew of talented
people have just stopped due to lack of interest and support.
One thing is certain had they left
the profession of art, collectively the world would be lacking. We would all be
that much less.
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