This book was on the suggested reading list for this terms module guide, I tend to always get a handful of these and because of the recent feedback from the first module I am pleased about how relevant this book is. The feedback from the work that I handed in for the module suggested that my work was stronger when I was not looking at personal things, I have never been one to leak personal elements into a work and I believe that doing it at this time was a learning curve. One piece in particular that was raised as an example of a work that was effective was at Firstsite, Colchester for a Pop Up exhibition a few months ago. I recorded my Nan’s conversation as she walked around an exhibition of Bruce McLean’s work, her kind critique spoke volumes of the issues that the Firstsite space has with the media and locals. My Nan questioned the role of the artist and their intentions, and the need for understanding in being able to fully appreciate the artists work. She also questioned the institution the work was in and the barriers that the modern architecture of the space posed to an audience that lacked confidence and understanding, therefore resulting in an easy and often angry dismissal of everything held within. For this semester and the very last module, I plan to explore some of these ideas further, and in particular some of the things mentioned within this book. I have only read the preface of the book, and so far many interesting points have been made. I will be discussing a few of these a bit further, giving myself a more concrete place to start in relation to my practice and the rest of the book. It was written by Linda Weintraub, and after reading the preface I flicked hurriedly to the acknowledgements in order to discover more about its surrounding context. Weintraub speaks of the book happening from a desire to give guidance to those wondering how they could possibly make it in the art world. She talks of graduate students floating precariously on that edge, unsure of what lies ahead. As I am now going into the final part of my degree, that feeling of panic has been threatening to grip for the last few weeks, I am hoping that this book will not only enrich my studio practice but also give some well rounded advice for what comes after. Although I do not plan to be a practicing artist I hope to work in the art world, an understanding of how it functions today is crucial to being able to survive when thrown into it without the ties of tutors and fellow students.
Linda Weintraub outlines questions that as an art student I have often been asked. Interestingly enough, I am usually asked these questions by people who do not have much knowledge of art and what it entails. Often when I state that I am an art student many feign interest, but they are simply dismissing the idea altogether, like there is an invisible barrier. The questions are: Why am I an artist? Who is my audience? How can I communicate with this audience? What is art’s function in society? We are taught to ask ourselves these questions, but I have realised that I do not do that enough. Although I know I might not be practising in a few months time, I feel these are still relevant. I hope by the time I have gone through this book and am more sure about what it is I will be doing for the final module I will be able to answer these question’s more confidently, these might even be my starting point, perhaps they will give my an idea of what it is I want to work on for the final module. For now I am going to discuss some of the points raised in the Preface of this book.
Weinstraub talks of how there are no longer measures of success, no standards, these have disappeared for artists. She suggest that we are in a position to make a difference, there are no limits, there is so much to choose from. The question is, is the lack of limits what makes it so hard for artists to find a way into the art world? Have we given ourselves an impossible task? She discusses how art now can be revolutionary: ‘But evolutionary development also entails a disruption of the status quo.’ When she mentions works that have caused a stir and artists who have caused ‘irreversible mutations in the DNA of an entire culture’, there are two examples that immediately come to my mind. Tracy Emin is the first, and her work ‘My Bed’ (1998). This piece was groundbreaking. Many argued that her bed cannot possibly by an artwork, the high profile event and introduction of the work caused a backlash from an audience that would not usually partake in such a scene. The other is Marcel Duchamp and in particular his piece ‘Urinal’ (1917). Duchamp is an example of an artist whose work mutated the development of an entire culture, he was a major influence on the growth of the Conceptual art movement, where the work was about the idea not the physical qualities of the piece. An emphasis on the idea is still prominent as the skill of making and the aesthetics of the work have taken a step back.
Weinstraub discusses what artists have sacrificed for a taste of freedom. Being free has left us with the impossible task of having limitless options, which becomes a restriction due to vast array of choices that we have to make. She suggests that this freedom leaves art whimsical, not necessarily dedicated as ‘no decision demands a lifelong commitment’. There is no longer that dedication to the making, a perseverance to grasp perfection. Weinstraub also suggests separately other difficulties we now face because of this bid for freedom and uncontrolled expression. Gone are the days when the value of the work depended on the skill of the making, the dedication of the artist in his craft. The artist was no longer given the title but became self-declared. I am an artist. Unprotected they are launched in this space, with an uncertainty about what their future holds or what they will achieve. Weinstraub questionably suggests that art has become a method of financial gain, but not necessarily for the artist. Artists strive to make for a society that sets out to question every step they take. Nevertheless, Weinstraub emphasises that it is a risk worth taking. Art can make a difference, it can be revolutionary, through art a mark is always made, and it is a given that it will one day be appreciated. This short piece of writing poses many questions about why artists take up this challenge, why some are compelled to continue on no matter what they may face, I believe that continuing to read through the book will allow for a greater understanding of the questions that are raised as at this moment in time I feel unable to attempt to answer them.
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