Artists working with Museums
I was intrigued to see a number of recent FB and twitter posts marketing multiple-choice options for the public to select what museum an artist should work with. The Connect 10 vote is a social media campaign for people to select their favourite project and venue to take place in the UK for Culture 24, Museums at Night (http://www.culture24.org.uk//places-to-go/museums-at-night). I am happy to see new collaborations between the artist and the institution, although I do question how the artists were selected in the first place? I must have missed this one, although there are a few high profile artists, which doesn’t surprise me such as Rankin, Spencer Tunick and Grayson Perry.
I am pleased to see performance artist Jessica Voorsanger in the mix and my vote goes to her working with Haworth Art Gallery in Accrington (http://www.culture24.org.uk/places-to-go/museums-at-night/art461885-Connect10-Vote-Jessica-Voorsanger). It does feel like slowly but surely institutions are seeing the benefits of working with performance artists although it feels a long time coming. This seems silly really considering the unique way live art can reach diverse audiences and immediately engages people. I have been researching creative marketing campaigns as I feel it is an area I want to use in raising the profile of my project. Would ACE really put the money behind a marketing campaign for an independent artists project? It does feel like if your not working with large institutions marketing is a luxury few artists can afford. On a lighter note I have been designing a cake to give out to potential partners, that combines a Manchester Eccles cake with a Finnish Karelian pastry.
Thinking/Writing/Thinking/Writing
The past three weeks have been all about thinking and writing funding applications for the Manse Project 15. As I am due to have my baby any day now I have been trying to research and contact as many people as possible. I have made a good start on my ACE application, which is challenging as it has a short word count for each question. Don’t get me wrong I like to be precise and to the point with what I’m doing, however this is a complex project that is difficult to shorthand. I have since seen a couple of other funding opportunities such as the a-n Re-view bursary and The New Opportunities Award. I have to say when I saw the The New Opportunities Award I was a bit annoyed as the strategy behind it is very similar to what I want to do. As an independent artist the thinking and strategy is also part of the creative process for me taking a lot of time for one person to achieve. Then suddenly there is this commission were a team of people have worked it all out to hand it over to the artist. The positive from looking at this is that I am on track with the benefits of working with museums and I have similar budget expectations. However I am not sure whether to apply for it as I am convinced that a high profile, national award will mean that the institution will select a well-known or pre-selected artist of choice. I have to remember my motivation for applying to ACE for an Artist Led project, which is to lead rather than to be led.
I came across the a-n Re:view bursary via twitter and feel this would really contribute to making a strong ACE application. If I received this bursary it would allow me to meet with Producers, Artists and Curators. Due to the scale of my project I feel it is important to work with a Producer to help the work reach its potential. I will have the opportunity to showcase my past work and future project, which may in turn create more opportunities/collaborations on projects with my chosen peer group. I want to learn from performance artists how they have worked across different contexts and with diverse audiences. For example I have specifically chosen Lowri Evans who originally trained as a visual artist, although works with performance (). She has created small independent projects and large-scale performances for the stage. Pru Porretta imitates Lady Godiva and works with Coventry Museum. From this research it will help inform my performance character and the potential for presenting the work across different contexts. Meeting a museum curator offers the chance to talk about how they have developed a working relationship with the artist from R&D to the realisation of a finished piece. Speaking to experts in the museum & performance field will inform my presentation in Tampere, Finland, which I hope will get partners interested in my project.
Fingers crossed, I hope I get it…
a-n Re:view Bursary: www.a-n.co.uk/p/4179058/ *Please note this is only available to a-n subscribers. Deadline noon 20/01/14.
New Opportunities Award: http://www.vasw.org.uk/news/new-expressions-new-opportunities-award-launched.php
Mythological Fact
Developing the ‘Manse’ character I want to get a balance of creative interpretation with historical fact. I have been looking at two different characters from very different times, firstly Lady Godiva, 980 AD and Pandemonia, 2008. I was drawn to Lady Godiva as she was a real person in history, although she is most famously known for her mythical act of riding naked on the back of a horse through the streets of Coventry. Pandemonia known as the love child of Roy Lichenstein and Jeff Koons is an international contemporary figure making special appearances at fashion shows and private views (http://pandemonia99.blogspot.co.uk). On the surface I am drawn more to Pandemonia and her colourful, fetishy appearance. However I have become more fascinated with Lady Godiva and how her myth is greatly documented as if it were fact.
Her legend goes:
‘Lady Godiva was upset with Leofric for crippling the development of Coventry with taxes. She persistently pleaded with her husband, who eventually said he would reduce the taxes if she rode naked on a horse across the town. Everyone showed their respect by staying indoors and with only her long hair to cover her, Lady Godiva rode through the deserted streets. Only one person looked – the character we now know as Peeping Tom – but as he gave in to the temptation he was struck blind. Amazed by her compassionate deed, her husband fulfilled his promise and reduced the taxes immediately.’ (http://www.bbc.co.uk/coventry/features/stories/2002/04/the-history-of-lady-godiva.shtml)
The woman and legend of Lady Godiva is well documented in works of art such as paintings and sculptures. I am planning to go and see this painting of her by John Collier, 1897 at the Herbert Art Gallery in Coventry. To keep her memory alive today the artist, Pru Porretta, impersonates her. Pru makes appearances at cultural/religious events locally and internationally. I wonder if I could get to meet her? How does someone get to become a legend impressionist? Pru is well known for her creative presentations to different communities and schools. I would love to see her at work as I feel my Manse character will have broad appeal to different ages and contexts. Why does performance only have to happen in an official art space or exhibition?
