Tag Archives: artists

Ode to a Jackdaw, the sequel

Victoria Ward
Victoria Ward

When I started this blog I innocently thought, hey, no one is discussing some things in the Canadian art world. Where are the public conversations about money? Are the arts councils working for us? Are artists treated fairly? How come rural artists are treated like crap? And why does no one know how to use Twitter in the art world?

Moving forward in time I found that there were lots of people who felt the same way I did and we were able to share some of the things I was writing about. I still naively believed that the art world needed a good dose of social justice and that artists would unite to recognize this. Has this happened? I am uncertain. I still maintain that these issues are relevant but social media has become a place for fighting and fighting is not what I signed up for.

I did not begin this blogging gig so that I could ‘change the world’ or ‘help people’ or get ‘popular’ or even just get some notice. I honestly thought that I was doing something constructive for myself and my friends. I thought I was helping change the channel on how art is discussed.

from ‘To Walk Invisible’, Sally Wainright’s astounding drama about the Brontes. Herself a former Yorkshire bus driver, Wainright knows better than anyone about being invisible.

It all began in Yorkshire and my discovery of the Jackdaw. This zine publishes a few times a year and is written by artists and art supporters in the north who see an unfair advantage to how the arts is funded and promoted by London. I’ve written about this before but the Turner Prize is but one example of this. The prize is often awarded to artists who are pet projects of curators and arts investors who need the prize to uptick the art’s value creating a situation where money flows like confetti all over the place but not in the coffers of arts organizations that need it. This is a huge paraphrasing of the corruption – you really need to read about it in the Jackdaw – but it’s a circle of life that has been normalized which in turn has essentially killed off funding and interest in any kind of art making not associated with the Westminster zone. Austerity and now Brexit in that country has ruined not one but perhaps two generations of artists not living below the midlands. When I got back to my rural log cabin in the central Ontario I looked at the world very differently. Was this kind of thing happening here?

In a very different way it was. Money was flowing then to Luminato, Nuit Blanche and all sorts of southern Ontario artistry while most of the galleries I show in had a hard time coming up with a per diem so that we could eat while visiting their community. For awhile conversation and community sprung up around these issues and I actually thought things might be getting better but… while we wait and wait and wait for the Canada Council and Canadian Heritage to dole out money to supposedly ‘a more diverse’ amount of art the talk of art making has switched to the discussion of who should be making art. This may or may not be a discussion that will have happy consequences; all I know is that it probably stems from a community’s desperation more than anything.

If you take food away from animals they starve or eat each other. It’s just what happens.

The Brontes and Elizabeth Gaskell brought international attention to the plight of northern people and the lives of those who worked and lived in the heart of the Industrial Revolution. They were northerners (Gaskell was born in London but lived for a time in the north, the sisters were Yorkshire rural), even today they are perceived as writers from a genre, or a time and a place. But they helped pave the way for Karl Marx and George Orwell. They are world famous now and beloved but their contribution is far more reaching. Books such as Jane Eyre and Mary Barton helped bring about a labour revolution – one that we are still fighting today. I mention these writers, these artists because I think it’s folly to think that art needs to have a time and place or be of somewhere or be popular. Art has no ‘dominion’ really – it just exists and sometimes in the unlikeliest places made by the unlikeliest people.  I have hope we return to these conversations at some point.

Fakin’ it

Victoria Ward
Victoria Ward

“We look back at past ages and see how things people deeply believed in at the time were actually a rigid conformity that prevented them from seeing important changes that were happening elsewhere. And I sometimes wonder whether the very idea of self-expression might be the rigid conformity of our age. It might be preventing us from seeing really radical and different ideas that are sitting out on the margins—different ideas about what real freedom is, that have little to do with our present day fetishization of the self. The problem with today’s art is that far from revealing those new ideas to us, it may be actually stopping us from seeing them.”

Adam Curtis in conversation w Arspace Magazine

I have been a fairly devoted social media user for quite some time now. I have spent much time engaging with my local arts community on issues regarding fair payment for artists, maddening obfuscation by the Canada Council, wondering when any mainstream arts media was going to begin to discuss things like… how digital was taking over culture and how no one wants to pay for things anymore and also how using platforms like Instagram and Facebook were changing how we speak and relate to each other.

Social media has helped me connect and retool my profile and practice of being an artist. I had my own guidelines (always choose dignity, never share anything suspect, and never denigrate) and used Twitter et al to build a little world of interesting and thoughtful people who just wanted to make art or support art.

With the election of Donald Trump to the US Presidency I have now felt bereft of once believing I was building something positive for my career and mostly my life. His use of Twitter has turned my gentle turns of sharing and supporting into a gutter. Some would argue it already was but not for me. Being on social media was a positive, forward reaching endeavour that introduced me to a whole world of potential. Now I must contend with endless Facebook posts and Twitter feeds about Donald Trump and everything he touches. Why so many of my friends share news about him to the point of obsession is really bizarre. I’ve always been told be the change you want to see. Or, if you don’t like the way something is do something about it. Endless posting on Facebook isn’t going to change reality… or is it.

What if all the ranting against Trump and all the sharing about how awful he is has in fact led to him being in power? If you follow documentary film maker/art/philosopher Adam Curtis’ way of thinking, particularly in such works as Hypernormalisation, you would see a very strong line between heightened reality or ‘fake’ –ness being consumed and its manifestation in life. What I think he may mean (and I am still figuring this all out) is the more we share things we didn’t really make or didn’t really experience the more we create a world that isn’t really ours. The more we opt for replacing action with ‘media’ or ‘culture’ or even ‘art’ the more we allow this lack of reality to dominate our social and political space. Everyone calls for Trump to be honest, not lie and be transparent but that isn’t what he is; in fact he is exactly the chimera or mythological figure that we have summoned.

Courbet saw the Vendome Column as an expression of war, conquest & imperial dynasty. His destruction of it cost him his career.
Courbet saw the Vendome Column as an expression of war, conquest & imperial dynasty. His destruction of it cost him his career.

Unfortunately his presidency will have very real consequences for many people who are not buffeted by money or privilege. Not all Gods are going to dole out salvation; many of them can be vengeful and bring great havoc to the worshippers. Not that I think the president is a God but if you listen to some Americans they might as well be. The US is a deeply religious place.

As a Canadian I am luckily removed from the worst of this coming epoch. But as an artist and someone who works in the world of interpretation and illumination I feel somewhat involved. I make my living creating things, objects, but my work is also about the space, or relationship between my object and the viewer. I try my best to make that space a unique experience, an intimate voyage of emotional presence and context. However when Curtis makes the claim that perhaps self expression and the need for individualism in art has backfired in our culture, making our lives vulnerable to the machinations of dark money and inhumane power brokers and that we’ve kind of taken our hands off the wheel of civil society negating common good for celebrity status I have to admit to feeling a bit of shame.

I was raised Catholic so my go to feeling will always be shame. I feel shame when something I am eating tastes amazing, so, you know, it’s just how I am.

But then I think about Gustave Courbet and Dimitri Shostakovich. Both artists who lived and died in violent political eras. Both were subject to the whim of oppressive political forces, Courbet in 1870s France, specifically the Paris Commune and Shostakovich in Stalin’s Russia and both made their outstanding contributions regardless of what these forces were taking from them. Courbet’s life ruined by protest, Shostakovich’s ruined by obedience. But then, they didn’t have Facebook. If they did they might have given up their fight and gotten stuck on endless threads debating the very merits of what they were doing in the first place. Instead they took action, some of it effective, some of it not. At least they DID something. They seemed to know why they were artists and able to take such risks.

If we do now live in what Curtis calls Hypernormalisation, where there is no reality just ongoing facades that allude to it, then you would think artists might be the perfect people to hit the refresh button. But that would entail us grappling with the question of what we really want from our art careers. If we are to put our objects on display then what are we doing exactly? Do we want to change the world? If you do, sometimes it might make sense to leave the studio and go and do just that.

Image from Wikipedia