Tag Archives: Tate

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.


State of the Arts – ode to a jackdaw

Victoria Ward
Victoria Ward

The Jackdaw is a bird in England that kind of looks like our crow, it is also the best art rag in existence

While in Manchester we visited a very hip, ultra cool indy film + art place called the Cornerhouse. The place was great but the exhibition there was an endless deconstruction of an art/house/horror/cult/film hero whose last work was never filmed, and on display were posters and props made but never used. Frankly I couldn’t tell exactly what the point was and whether this whole thing was for real or not. The film shown on one of the floors seemed a tedious but nicely made disjointed film that was out takes? unused clips? Still not sure even after watching it.

On the first floor however was an amazing magazine store. I could have spent a thousand pounds in it. The art magazine in the UK and Europe is not dead, thankfully. And what did I spot on a shelf but a copy of The Jackdaw. The Jackdaw is a black & white rag, made in cheap newsprint and published a few times a year. They also have a website but I can’t figure out if they are on social media or not. Probably not since in some ways they like to hang on to a 19th century vibe (vicars occasionally chime in on religious art). It is a rag in that many of the articles are poison pen pronouncements about what a bunch of bollocks contemporary art is. But, there are also amazingly well written articles on what a bunch of bollocks contemporary art is. It can be laugh out loud funny and like much of English humour, truly nasty.

What I love about The Jackdaw is that it writes about art in intelligent, chippy prose without resorting to that ridiculous art jargon which keeps anyone without an MFA away from actual art. If you are Canadian you might remember Frank magazine. I loved Frank magazine. It was a really virulent rag that took shots at our federal government and Canadian celebrities (all twenty of them). I think it died just shortly after announcing a contest to deflower then Prime Minister Brian Mulroney’s daughter, he might have threatened a lawsuit. In any case, The Jackdaw is like Frank magazine only it is devoted entirely to the art scene in England. We have no equivalent here and the first time I read The Jackdaw I thought, I want to do this. This blog is a tremendously feeble attempt to honour some of the outrageousness of The Jackdaw.

The Jackdaw has a section devoted to translating art speak. And if they can’t translate it then their preferred option is to make as much fun of it as possible. Conceptual artists don’t ever get a fair shake in this column I’m afraid.

Like any good rag The Jackdaw has some high profile hates. Damien Hirst is a constant figure though I believe he probably secretly donates to them, Antony Gormley is often lampooned cruelly, Nick Serota of the Tate Modern is given full on corporate dbag treatment and the Serpentine Gallery in London, that dazzling new edition to all things wealthy and arty (the list of celebs that attend their openings are way to long to record here) is given full on ballistic assault regardless of what manoeuvres they make. You see, The Jackdaw believes that there is an art conspiracy wherein the Tate, State Art (what they call Arts Council England, their Canada Council if you will), the Arts Fund (a national charity that contributes to art, supposedly all English art) and all the glittering galleries like the Serpentine have colluded into making art stars via the Turner Prize (jurors are regularly dealers and curators working for any of the above) thus stoking the dollar amounts of contemporary art in the London market.

Is this sore loser paranoia? Well I would have said yes had I not actually experienced the impoverished state of art support in the regions. Every art organization in the country has taken a hit since austerity measures were introduced but not in London, most funding stayed the course and in fact, the ED and curator of the Serpentine were just given raises. Many of the galleries I dealt with and the artists I met were all very familiar with this unbalanced state of things, they know well how underfunded they are and like us everywhere, we won’t make a stink because we are too afraid of losing the little we already have. Enter The Jackdaw who does it for them.

O to have something like The Jackdaw here. Wouldn’t you love to read about art as though you weren’t an idiot or not let in on some kind of secret club? Wouldn’t it be great to have funding bodies criticized publicly when they are due without reprecussions? Don’t ya want to see pretentious nonsense stripped of its power? Maybe not, perhaps we are too small over here and perhaps we need another 1000 years of culture before we can confidently take a stand against injustices in our own community. For now however, never mind the bollocks read The Jackdaw.

The Jackdaw also writes reviews and profiles artists who deserve more attention.