I am an artist curator based in London and working regularly in China. I am also Irish, educated in Ireland & France and a woman. Art is in transition (when has it not been?) across almost every aspect of its manifestation and we need to raise our awareness levels. I believe that these are a number of awkward questions that artists and the public alike should be asking.
Particular areas of interest relate to:
As an artist curator I want to query why curatorial practice has been so dominated by academics, critics and gallerists? and why so many artists have allowed themselves to be disempowered by this process - which never appears to be reciprocal.
The increasing incidence of the artist curator is evidence that things are changing, but are they changing quickly enough? Why is the power balance in favour of those with words, rather than those with images, in a world where visual language has far greater potential for global relevance? It feels both timely and appropriate that I have been invited by ArtZip magazine http://www.artzip.org/ to be guest editor for the Spring edition; the theme is the Artist Curator.
Another sea change in the art world is the rising importance of inclusion, in the context of publicly funded contemporary collections.
Globally, all major contemporary art museums need to redress the shocking gender imbalance in their collections, the fact that most of the works they purchase, as distinct from those they exhibit, are by men– these are the questions which need asking:
In terms of Public funding for the Arts, the UK has recently had a review the arts sector’s growth (with the aim of axing funding – of course). It was found that the Arts Sector had a contribution to the economy of 4% as compared with 2.5% from the New technology sector and 1.5% from the pharmaceutical sector. This put paid to any Arts Council cuts, but it is appalling that the misconception of the arts as being an economic burden – a luxury item still persists.
Of course, another part of me is disgusted by the constant drive to ‘monetise’ culture and creativity as though they were not necessary for our human well-being and quality of life…….
MOBILITY & CROSS CULTURAL IMPORTANCE
Referring to the situation in Ireland particularly, cutbacks to cultural funds have made international mobility very difficult if not impossible for many Irish artists. As a small island nation, how can artists battle against this isolation and narrowing of horizons? What will the impact be for practitioners who need to develop an international practice? How will Ireland sustain an international profile in the visual arts?
Every political/business link between countries has a cultural handshake to begin with, why are cross-cultural arts projects not seen as a vital part of this and funded accordingly. Yes, I know that no one has any money! (except for those who have….). But money also has to be spent to earn money in the long run and investment in the arts has wide reaching potential.
Other areas which I believe need careful monitoring and ongoing evaluation are:
In particular, I would argue that the age bias mitigates against women, who need to have their children when fertile and often can only gain professional freedom when their families are older, that’s right, not every woman who is an artist, is single and without dependants…... In an ideal world men and women would share family responsibilities but in practice, this is not so often the case. So why not design residency programmes around real lives rather than a Utopian ideal? i.e. more options for say, one month or even 2 week programmes? These could be valuable research opportunities and more feasible for artists with families, female and male.
If the focus of public and private funding bodies is age restricted and disproportionately allotted to young artists, then we need to consider whether this is entirely logical. Many graduates from art colleges remain ‘practitioners’ when they embark on post-graduate studies but, by the time they’ve reached 35, having despaired of the lifestyle, they’ve given up. I would query whether allocating funds simply on the basis of age, when funding is very scarce, to those who may not remain practitioners for very long, is both wasteful and discriminatory.
I really like to connect with people but if I don't know you and don't know why you want to connect with me then I won't! If you are an artist and you want to connect with me please send me your website address otherwise I won't follow up your invitation.
If you're an artist and you don't have a website then for your own sake set one up asap. I can recommend Weebly. As someone who has to research artists websites on a regular basis my advice would be to have a simple, clear layout plenty of good quality images - put your text (bios, statements etc on a separate page) and have very straightforward navigation.
If you look at my own websites:
www.fiongunn.org, http://www.bigsmallartists.com/www.intimatetransgressions.weebly.com and www.sewinginstreatham.weebly.com you will see the kind of artists I collaborate with and the kinds of projects in which I'm involved. So if you want an 'agent', a gallery or someone to promote your work commercially and if your work falls into the category of commercial then I'm not the person you should want to connect with!
Over the last 10 days I've been completely deaf - well, not completely....more like being underwater and trying to hear people from 2 rooms away. Nothing serious just a mega inner ear wax problem - very yuck. There is a point to my writing this - it made me reflect on another aspect of life as an artist.
This kind of 'deafness' takes your internal noises to a completely other level - eating is ferociously noisy with every chew sounding like cement mixer, swallowing is like a vast underwater bubble bursting and breathing is like being shadowed by an iron lung. One has absolutely no idea of pitch or volume so I had to ask friends to warn me if I was shouting - which I was, when not mumbling incoherently. Yesterday I was saying the word 'Rottherham' and could actually hear my tongue 'sawing' against my teeth in an backwards forwards movement - it felt deeply weird and hard to focus on sensible things.
So having had my ears 'hoovered' today and my hearing return to normal, I thought about how the blocking up of my ears had turned my world inward - the outer world receded and I felt like a prisoner in my own head, discombobulated and disconnected. It felt like a metaphor for what to avoid in life, especially as an artist. We need to 'unblock' ourselves and our responses otherwise the inwardness becomes overwhelming and disorientating - we miss the whole wide world.
Well, it felt like a meaningful epiphany at the time!
I woke up last Thursday morning filled with a spirit of optimism - my new blackout curtains had helped me to get a better night's sleep, the weather was good and I wasn't particularly behind with any of my current projects. I had a couple of simple things to do on my checklist and wasn't expecting any bad news.
Even better - my Proxxon electric carver arrived (it had been dispatched 3 weeks previously) and the prospect of being able to work on some of my current book sculptures was delightful!
Within 2 hours all my plans had gone awry, I couldn't find my daughter's travel insurance documents (this was one of the simple things on the checklist....). I couldn't find the international adaptor for the carving tool, I'd had 3 annoying phonecalls and a couple of bad news emails.
The final straw - having gone through the instructions for the carver (in Japanese) so I just had to follow the visuals....I plugged it in and tripped the circuit breakers in the house. I am not electrically aware I hadn't absorbed the fact that the AC voltage required a transformer - yes I know that's stupid, I'll never make that mistake again! but given that I've been blissfully using Chinese electrical products in my house for years without one and there was no image or reference to needing one in the info, I can't be the only one who makes a mistake like this.
So in short I was having a really frustrating day until I watched the news and saw all those poor people in Gaza and the coffins arriving in the Netherlands with the bodies of the victims of the MH17 crash and all I could think of was how lucky I am, what a great life I have and how useful it is to have annoying things happen so I can learn from them rather than being dead or terribly bereaved. Blue Sky Thinking or what......
At the same time the bloody Japanese Proxxon supplier could have mentioned the transformer!!!!!
This photo was taken at one of the installations of 'The Dress My Mother Wore' (Streatham Food Festival). Both the local MP and Councillor were very interested in how the project involved the whole community and were interested in its potential for combating radicalisation as well as encouraging social inclusion. Streatham Women's Sewing Group CIC (with whom I've collaborated on the project) is in ongoing need of funding (albeit very modest) so it is a positive step to have a degree of political support!
What to do with out of date catalogues????? had fun doing some page rolling at the Stanthorpe Triangle Street Party recently - hampered by windy conditions or we could have created a much taller tower.
This image is a glimpse into the utter mess of my studio. Despite the fact that my house is tidy and well organised, my studio is a chaotic space filled with a bizarre mix of art materials and strange objects that I accrete like barnacles. I am in a perpetual cycle of losing things and then finding them again - I actually enjoy this and it is strangely inspirational.
I can recognise the perversity in this but I just can't work in a clear space.....
As my eyesight gets weaker with age I have become increasingly fascinated with miniaturisation and despite my lack of computer skills, I am gripped by a desire to master new technologies.
This is, I guess, a fair description of the processes I go through when I make work. It's hard to explain rationally why I enjoy it so much and am impelled to do it.
Fion Gunn is a London based visual artist with an international multi-media practice.