This week’s work was inevitably overshadowed by looming deadlines and other work stresses. The topic however was an interesting one, trying to answer the question of ‘what is art’ and ‘who decides what is good art’? Clearly, they’d decided to leave the easy topics to the end of the module!!
The work of Rirkrit Tiravanija was introduced, in particular his work ‘Untitled (Free)’, which was originally created in 1992. This work essentially consisted of Tiravanija turning a gallery into a kitchen from which he served free food to visitors. Watching this, my first reactions were ‘Can this be considered art? Why is it art? What’s the idea?’. As I pondered these questions, the video went on to show clips of interviews with patrons who had visited this exhibition and partaken of the food on offer. To my surprise, the reactions from visitors were universally positive, with smiles on faces and people feeling happy and challenged by the new experience they had just had. They had clearly found it memorable. My takeaway from that was that it’s not right to dismiss artistic activity just because one doesn’t understand it, or think it has particular merit. The stance of Marcel Duchamp then, that things were art simply because he declared them to be so, suddenly felt less like a pretentious indulgence and more like the statement of an artist’s manifesto that deserved respect.
Sam Abell was introduced as the photographer who took the original cowboy photographs that were subsequently ‘appropriated’ by Richard Prince. He discussed his reaction to seeing what amounted to a direct copy of his work being put forward by another practitioner, who attracted both commercial and critical success with an image that Abell had originally created. Most gallingly of all, Prince achieved a level of success that had not been available to Abell in the first place.
He was amazingly sanguine about it all (much more so than I would have been!), but he raised some really interesting questions about the nature of the art world and how they assign value to certain works over others. He made the point that his original photograph, which had been shot for an advertisement, would never have been welcome in an art context, nor been eligible to be sold at high value, as it was considered ‘only’ an ad image and thus of no real creative or artistic merit. On the other hand, Prince’s facsimile was hailed as a great work of art and sold for millions. Abell calmly questioned the rationale for this.
To me this example highlights the ridiculous opacity of the ‘art world’ and hints at the idea of a closed and somewhat irrational cabal that holds a disproportionate degree of power over the fortunes of practitioners everywhere. Because the answer to the question ‘who decides what is art, or what is good art’ seems to be a small number of curators/museums/critics whose opinions are not open to challenge or scrutiny and who literally hold the power to bestow success upon someone, or prevent a practitioner from ever rising out of obscurity. This state of affairs is elitist, conspiratorial and self-serving, particularly when you consider the demographics of this group and consider too those who remain perpetually under-represented when these decisions are being made and the prizes handed out. For example, female practitioners and issues relevant to women, people of colour, working class people or their concerns, perspectives from developing nations or cultures with traditions or ideas that do not conform to Western norms, have long been grossly under-represented by the art world.
Lewis Bush recently wrote passionately about the lack of transparency in the circles where these decisions are made, arguing that the opacity surrounding decisions about whose work has merit, who gets to win the prizes and whose careers shall be catapulted forward can hide alarming conflicts of interest that not only threaten the integrity of such awards but also call into question the idea of prize-giving at all in art.
Lewis Bush's recent blog about his concerns surrounding the judging criteria for the Deutsche Börse prize
The art establishment is a conservative place stuck in its way of doing things, it is unresponsive to change and operated by people who are predominantly from a very narrow section of society, and yet who somehow retain the responsibility for all of culture and for all aesthetic concerns in our societies. They decide what we should look at and experience and tell us what’s good and what’s not. They get to bestow the title of art on an item and decide if it has value as a commodity, if it can be worth a lot of money or nothing at all.
Like with most things, the people with power get to decide.
If you’re not in the club, or lack influence, you don’t get a say. You don’t get to decide if something is art or not, you don’t get to decide if something is museum-worthy or not. Your opinion is unimportant, your aesthetic preferences are irrelevant. It’s easy then to see how closely the ‘art world’ mirrors wider society, with inequality of influence, under-representation of minority groups and preservation of power within a small minority of society, to their benefit and the disadvantage of all others.
Art cannot be separated from society. Its influence and importance has long been understood by powerful people, hence the desire to retain control of decisions around what can be valued or acknowledged as art and the prevention, or at least regulation, of true freedom of artistic expression. It’s interesting to note that the degree of regulation of free creative expression rises directly in proportion to the authoritarian nature of the ruling regime. It’s no coincidence that Hitler sought to control the way his subjects viewed art for example, and the Nazi regime systematically stole and destroyed culturally important works. The more recent persecution of Ai Weiwei in China could also be considered in a similar light. We are of course lucky in the UK that things aren’t quite as extreme but that shouldn’t lull us into believing that there isn’t a subconscious agenda at play that might not be working to our advantage as practitioners. Reluctantly, I can’t escape the impression that the British art establishment is a white middle class preserve, and work that originates from a different perspective begins at a disadvantage, though that is not to state that there’s no room for alternative viewpoints.
Reflecting on how this relates to me and my practice, I am ambivalent. I don’t think anything I’ve stated above is outlandish or particularly controversial. I also don’t believe that the prevailing conditions prevent work that doesn’t fit the mould from necessarily being seen or championed by the establishment. In all things, I’m inclined to return to an old maxim, which is that ultimately the primary objective of all practitioners is to make good work and stay as true to oneself as one can while doing so. Any further good that may come as a result is gravy.
References:
FRIEDMAN, Martin. 2014. ‘“It’s Art If I Say So”: Martin Friedman on Marcel Duchamp’s 1965 Visit to Minneapolis’.Walker Art Center[online]. Available at: https://walkerart.org/magazine/martin-friedman-duchamp-minneapolis[accessed 22 April 2018].
ROTH, Michael S. 2017. ‘How Nazis destroyed books in a quest to destroy European culture’. The Washington Post [online]. Available at: https://www.washingtonpost.com/opinions/how-nazis-destroyed-books-in-a-quest-to-destroy-european-culture/2017/02/24/244aee94-cdf3-11e6-a87f-b917067331bb_story.html?noredirect=on&utm_term=.664bdadf95f2[accessed 23 April 2018].
