The future of artist-led activity
The title of this piece already predicts that there will be a ‘future’ for artist-led activity as it has been defined over the past 10 years. That is maybe being a little presumptuous, or prescriptive as we all know artists are supposed to be unpredictable and innovative. Perhaps a better introduction would be ‘Is there a future for artist-led activity?’
That would maybe start on a negative tone, although there are many positives to be pulled from the rather stagnant murky waters that artist-led initiatives currently evolve from, hoping to graduate from fresh-faced tadpoles to (sometimes) bloated frogs.
About 5 years ago I was commissioned by the now defunct, but at the time exciting website Midwest to write a polemic to accompany a show of graduates from the West Midlands area. Not wanting to write directly about the show itself, I wrote a rather facetious essay titled The Worst Years Of Our Lives. This poured half-witted scorn over the art scene whilst sitting back cocking my devil advocate’s hat. The backbone of this was that there were too many artists, artists / curators, curators, galleries, museums and frankly too much art. For example:
There are too many artist-led initiatives. They continue to prosper despite having any obvious evidence of ambition other than having an opening for their friends and local art dignitaries. They gather together, reading Protect & Survive in murky spaces with their wagons circled to protect themselves from the natives. The artist cowboys have learnt defensive skills and are now surviving more and more, in larger numbers than ever before. They now are adept in reaching the hallowed land of the establishment whilst still wearing their ten-gallon hats. One or two of their number will get some reputation or attention through their combined efforts, and will leave the group to lurch on in their slipstream.
This essay developed into a lecture, which I took round various universities and art colleges to varying responses. Delivered deadpan, I started to believe in what was supposed to be a sarcastic take on a career as an artist. Pity the poor students who also believed it and gave up there and then (actually, they made the right move). Although this is supposed to be about the future, looking back I can’t see much difference between then and now.
Whilst there are many successful artist-led initiatives currently operating in the UK, such as G39, Cardiff; Workplace Gallery, Newcastle; Collective, Edinburgh, to name but three, they all have a unique selling point that underpins their continued success. G39 is celebrating its tenth anniversary this year. This is tribute to a small team on an even smaller budget who have stuck to what they know – offering graduates and emerging artists the opportunity to exhibit in well curated group and solo exhibitions, whilst tentatively building a wider international network. Now in their second decade they are developing larger, more ambitious plans whilst staying to true to their artist-led ethics.
Workplace offers an alternative whilst still supporting emerging artists. Running a small gallery, they have made an impressive impact on the contemporary international art fair market, showing, and selling new work across the world. Collective Gallery has continued to show new artists, established names, establish an offsite programme and started exciting initiatives as the New Work Scotland Programme. Run by an annually changing committee, Collective remains fresh whilst having the experience of many years at the coalface.
Unfortunately, not all artist-led initiatives work as hard, or are as supportive to a large community of artists. Many graduating artists, and others that are old enough to know better group together because they feel that this is the done thing to do. Whilst artist-led galleries, groups and initiatives have become part of the establishment, it would be wrong just to take the basic blueprint and think it leads to ‘success’. Of course a small group can be supportive to each other on a short term basis, but it can also be a stranglehold, both conceptually and aesthetically, and also to development of an artist’s career. Think of the glut of derivative work seen up and down the country, whose influence has seeped into art colleges leading to a certain ‘artist-led aesthetic’.
There has been a trend recently for artist-led spaces to become commercially aware, attending art fairs and operating in business like manner. This is not a wholly negative response to an increasingly difficult funding situation. Relative success can be seen at Moot Gallery in Nottingham, which evolved out of the artist-led group Stand Assembly. However there is a clear line between the two. It would be wrong to promote this as ‘the’ one right way to do it, as there is a danger that the already stagnant artist-led aesthetic becomes diluted by commercially influenced work.
These ever decreasing circles of influence are leading to a homogeneous brand. Artist-led has become a by-word for scratchy lo-fi work, and a distinct lack of ambition from individual groups. No-one seems brave enough to break out of this, to attempt something radical or new. There is a tendency to have a little bit of this and a little bit of that and hope it all sticks to the wall without any forward looking adhesive.
I’m being purposefully and perhaps overly negative here. All of the above-mentioned have clear directives and deliver them in a concise and professional manner, often with work of the highest quality. Perhaps those mentioned have strived harder because of their regional activity, or lack of it in their respective cities. Cardiff, Nottingham, Edinburgh etc are all deserving of an artist-led scene (I shiver when I hear of the latest artist-led group in some backwater – like, why?)
Any initiative now has to hit the ground running, both professionally and in a business sense. Marketing and Pr are as more important than ever, with a clear business plan and short-term aims and long-term goals. Once the foundations are firm the need to expand your immediate and wider network is essential. No one can underestimate the worsening funding scenario so being prepared for either the short term (nothing wrong with existing for a year if that’s what you intended) or the long haul is essential. Putting your hackneyed ethics on the back burner and actively seeking corporate sponsorship could see you survive past your first few private views for your friends and family.
Is there an alternative to this? I would hope so. The artist-led scene has become so predictable that it must soon come full circle where a rebellion of sorts takes place, something more anarchic (apart from the bad performance art and naked fire eaters please). Where and when this takes place, if at all is unpredictable. The internet, rather than allowing larger networks to collaborate and influence new thinking has just led to some small town hick to send you 20 emails about his forthcoming artist-led show in his garden shed.
So, bigger, better and bolder please, smaller, sexier and successful please. Cut out the flab. If you make a mistake make sure it’s a bloody great big one. And if by some kind of fluke you come across a great idea or formula grab that chance and make it look professional (or professionally bad).
Over to you. The future’s yours, the future’s kind of orange, but a bit overcast.
Gordon Dalton is an artist , co-director of commerical art agency Mermaid& Monster and is currently curating a major public art commissions programme for Situations in Bristol.
www.gordondalton.co.uk
www.mermaidandmonster.com
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