When I first arrived in Winnipeg circa 2002, I was intrigued and curious to discover the seemingly happening art world that lurked deep within Winnipeg culture. Being from insecure Alberta art circles, I had heard rumours and speculation that Winnipeg could be the next big scene. A history filled city that had high attendance within the two university art programs and a bevy of starving artists. This was an exciting and enticing prospect and opportunity...then reality hit. I quickly realized that the raging and respected punk vibe of the early 80's Winnipeg scene was a corpse. The commercial gallery scene was stuffy and boring. The non-profit art groups were self-serving and incestuous. The desire and passion for the appreciation of art and the creation of it had withered and frozen. I quickly learned Winnipeg was not unique in this, there was a larger international movement, where galleries and auction houses had the monopoly on the business of art and artists were left with a gaggle of art and no one to care. The general public was alienated from what art was/is and elitism and nepotism took firm hold...again. In theory, the audience should always dictate the market and all galleries can do is feed off of the interests and demands that are already there. Galleries, like art critics, are whores of the aura of art. They should not demand what you as the viewer get to participate in. This is succinctly expressed by Herr Doktor in his excellent blog post, “I am a Philistine”, and I will second his motions. Suffice to say, the role the gallery clings to is bound by self-preservation and bottom feeding tactics instead of community and co-operation.
In the Artspace building of the past was a somewhat contemporary gallery called Site. It would showcase local talent, particularly U of M art profs. The work was current, generally brave and in tune with contemporary art practices. Then it closed in 2005 due to lack of sales. Who should be faulted for this lack of sales? The work was predominately solid. The pricing seemed reasonable. The truth is the business of art is a tough one. It is not like I discovered Site because of a happening event or the such...I knew someone enrolled at the BFA program at U of M and one of their Profs had a few pieces up. Like a good, ass sucking student, my friend wanted to go to be able to discuss the art with said Prof. I only knew of the Gallery because some art student felt obligated to go and hauled me along. Why had I not known about this gallery? Why was it not shakin’ things up? I was confused. Most commercial galleries start as poster and frame shops. Not surprising when you look at the actual work within...but...Site was a gallery that had current non-cliché art (mostly). The problem is, no one was buying...and the sellers weren’t really trying to sell it. The Public was not being engaged with the Art in a bigger, social way. Elitism inevitably becomes incestuous and self consuming.
This problem with being able to market the art has troubled galleries for some time. Conceptualism confused galleries. Multi-Media installations perplexed their marketing strategies. “How can we make money from this?” was the commonly held thought. Why should or would this dictate to you, what is relevant artistically and what is not? Why should some gallery sales person’s ability to make money on an object dictate what is evaluated as art? The onus of responsibility falls on the Artist and the general Public. Times have changed and not only the actions of the Artist are evolving but also the established power balance. Art is for the People and it becomes the Artisits' responsibility and honour to do what it takes to get the conversation to them...outside of hegemony and corporate coddling. The scam is up and Artists need to think about their creative act as a gravitational force with orbiting satellites. One...maybe a few, of these satellites are business built. When intent, production and marketing are held to the foundation of Creativity, galleries will act as great homes for the works that require that space as opposed to dictating who is and is not "worthy". Galleries have a role as facilitating the artist, not controlling them. There is no positive reason that passion, relevance and profundity should ever be housed by the elite and denied to the rest of humanity. Art can hold many diverse practical business modes and who better to navigate this than the Artists' themselves. The pressure is now on the producer of Art is to adapt, take chances and speak loudly... if whispering is not turning ears. Gain the publics participation through strategic stakeholder meetings and commitment to the power of Creativity and Art to everyone. The gallery is to be used and at the call of the artist, not relied upon as the adjudicator and regulator of what art should be. The gallery is most importantly, a facilitator.
A sculptor I knew in art school said it wisely, as we debated the social implications of post-modern bullshit as it relates to the art making process. When asked what an artist was to do in this challenging time, he simply stated,
“Just Fucking Do it.”
Nym
In the Artspace building of the past was a somewhat contemporary gallery called Site. It would showcase local talent, particularly U of M art profs. The work was current, generally brave and in tune with contemporary art practices. Then it closed in 2005 due to lack of sales. Who should be faulted for this lack of sales? The work was predominately solid. The pricing seemed reasonable. The truth is the business of art is a tough one. It is not like I discovered Site because of a happening event or the such...I knew someone enrolled at the BFA program at U of M and one of their Profs had a few pieces up. Like a good, ass sucking student, my friend wanted to go to be able to discuss the art with said Prof. I only knew of the Gallery because some art student felt obligated to go and hauled me along. Why had I not known about this gallery? Why was it not shakin’ things up? I was confused. Most commercial galleries start as poster and frame shops. Not surprising when you look at the actual work within...but...Site was a gallery that had current non-cliché art (mostly). The problem is, no one was buying...and the sellers weren’t really trying to sell it. The Public was not being engaged with the Art in a bigger, social way. Elitism inevitably becomes incestuous and self consuming.
This problem with being able to market the art has troubled galleries for some time. Conceptualism confused galleries. Multi-Media installations perplexed their marketing strategies. “How can we make money from this?” was the commonly held thought. Why should or would this dictate to you, what is relevant artistically and what is not? Why should some gallery sales person’s ability to make money on an object dictate what is evaluated as art? The onus of responsibility falls on the Artist and the general Public. Times have changed and not only the actions of the Artist are evolving but also the established power balance. Art is for the People and it becomes the Artisits' responsibility and honour to do what it takes to get the conversation to them...outside of hegemony and corporate coddling. The scam is up and Artists need to think about their creative act as a gravitational force with orbiting satellites. One...maybe a few, of these satellites are business built. When intent, production and marketing are held to the foundation of Creativity, galleries will act as great homes for the works that require that space as opposed to dictating who is and is not "worthy". Galleries have a role as facilitating the artist, not controlling them. There is no positive reason that passion, relevance and profundity should ever be housed by the elite and denied to the rest of humanity. Art can hold many diverse practical business modes and who better to navigate this than the Artists' themselves. The pressure is now on the producer of Art is to adapt, take chances and speak loudly... if whispering is not turning ears. Gain the publics participation through strategic stakeholder meetings and commitment to the power of Creativity and Art to everyone. The gallery is to be used and at the call of the artist, not relied upon as the adjudicator and regulator of what art should be. The gallery is most importantly, a facilitator.
A sculptor I knew in art school said it wisely, as we debated the social implications of post-modern bullshit as it relates to the art making process. When asked what an artist was to do in this challenging time, he simply stated,
“Just Fucking Do it.”
Nym