In reality, being represented by a gallery is not for the many. Hearing lots of curators/collectors talk at the symposium at A Foundation, which was part of The Economy of the Gift exhibition/art fair, was like being in a different world. About 30-40 people attended, all collectors, gallerists and some artists (those in the show). They seemed to be used to operating in their specific circles and a lot of the discussion indicated that unrepresented artists were pretty much invisible to them. It was about wider issues too though, and a very interesting discussion to sit in on. One man (whose name I don’t know as he was a last minute change to the programme), made a bit of a derogatory comment about a-n, their activities, or artists – I’m not sure of the intent entirely, but it made me bristle. I paraphrase, but something like – ‘it’s all very well a-n printing guides to being an artist and trying to ‘professionalise’ the arts, but you either have it or not’.
Anyway, sitting there, as one of those artists without a gallery and finding a-n’s guides pretty useful, indeed, writing about these things myself, I felt belittled. I felt he was basically talking about me, so I could conclude that I do not have it, so may as well go home. But I think he was wrong to generalize like that, and perhaps it says more about his view of where the art world lies. Maybe he is not getting to enough shows/events outside a certain area of the arts? But generally I felt it was unfair and I wanted some recognition for my own position.
But then, evidence of his point turned up. and the case for artists was not helped by an audience member who turned up late. After a discussion on the state of public collections in Eastern Europe by the panel, audience member popped his hand up to ask a question. ‘Can you give me some advice on how to get a gallery’ he asked. You could almost see those around him shuffling their chairs away. Eyes rolled. I cringed inside – what was he thinking? Why did he think such a self-centered question was in any way relevent? How did he think this made him (US!!!) come across? It goes back to the respect thing again, if you want some advice or input from these people, surely you need to listen to what they’re saying and respect the situation, decide what’s appropriate.
Interestingly, an artist on the panel showed another gulf in understanding. She was asked a question about some of the issues brought up – something about public collections, and she said that she didn’t know about that, but could talk about her work. She then proceeded to talk about her practice from ten minutes. I was baffled. I think there were some language difficulties, but I suspect the same might have happened regardless.
So why are many artists unable to engage with the bigger issues or add their opinion to debates? I suspect it is the same reason that we are not very good at presenting a united front; because there is a tendancy towards introspection and self-interest. There is no time to read around these issues while you are trying to make work and work. This is often necessary to make a living, to stay on top of everything, but I wonder if it is also embedded a bit at University and is a standard expectation in the field. I do it sometimes I’m sure – just look how quiet my blog has gone since my workload increased! But I hope I will never get to the ridiculous level of feeling entitlement like audience member. Thankfully, Katriona Beales redeemed us artists at the symposium by making a very intelligent and considered plea on behalf of artists outside of London. There was tangible relief in the room as this eloquent artist spoke up and wiped out the memory of the previous question.
