The latest issue of Sluice magazine is out now. The theme this time is looking to the natural world and to deep time for survival strategies. As usual I wrote an article for the magazine, and there's the now traditional cheeky decontextualised quote from it on the back cover... Londonians may wish to join us … Continue reading Sluice Magazine, Autumn/Winter 19-20
Tag: art world
New article for a-n News.
My latest column for Sluice magazine.
Folkestone, Saturday 23rd September 2017.
New edition of Sluice magazine out now, May 2017.
I contributed my wisdom (?) to this book by Rosalind Davis and Annabel Tilley. As a famous idiot once said (and as referred to on page 9 of the book itself!), there are known unknowns and there are unknown unknowns, and I think many artists reading this book will realise how many unknown unknowns they've … Continue reading What They Didn’t Teach You in Art School
Southampton City Art Gallery, Thursday December 1 2016.
… every single year, guaranteed… BY NOT GOING.
I’m severely late on this one, because Frieze Art Fair [sic] was last October and at the time I was far too fucking busy touring Japan and having an amazing, inspiring time in the midst of the most staggering beauty to even think about paying £40 to be milked by a loathsome trade fair for oligarchs, blood money gold diggers and other moneyed Eurotrash, even if I’d been in London at the time. However, this is an excellent– and dare I say even Career Suicidesque– response rant by Morgan Quaintance to Frieze’s jaw-droppingly unironic and egregious discussion panel entitled Off Centre: Can Artists Still Afford to Live in London? During a ticketed fair where a person earning minimum wage would have to work for nearly six hours to afford the admission price, and putting your coat or bag in the…
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Saturday 30th April at IMT Gallery, London E2, 6-9pm
When I and a few enlightened colleagues started talking about the art world and money in about 2009, hardly anybody was interested and we were very often asked why we bothered. Within a few years, nearly every agency and artist-facing organisation was talking about artists, art and money if they had any sense. The mainstream art magazines like Frieze still don’t talk about it very much except in a celebratory way, as if there’s nothing at all problematic about the whole high-end art scene, because their reason for being and their main income is from courting the (rich) hand that feeds or fists at its own whim.
Likewise, I have asserted for many years that the real story at the top end of the art world is not how bad, irrelevant and vapid most of the art and most of its suppliers are– don’t get me wrong, they are all…
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An interesting article by Daniel S. Palmer about what ArtNews calls the “hyper-professionalization” of some artists. I’d go further and call it something like “jobification”; the reduction of a vocation to a mechanical and wholly uncreative grind. As Palmer points out, it’s not even the best way for an artist to make money or for anyone to make money from an artist’s work, because it’s so shortsighted:
“The entire system seems designed, predominantly, to disappoint. What has arisen from these failures is a marked distinction between product- and project-based artists. Product-based artists have been led to think of an artwork as a product serving a demand, rather than a single step in a longer, sustained development, as is the case with project-based artists. Consider the most visible trend in recent years of Zombie Formalism, a kind of reductive, easily produced abstract painting, sold quickly to collectors queued up on…
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“Young collectors cocktails”
At PULSE (sic… they always style it like that) Miami Beach 2016 this December, there will be a “private preview brunch”, followed later that day by “young collectors cocktails.” I know, I had an urge to vomit too. The poor grammar here suggests that the cocktails will be made from young collectors; while I do think it’s a good idea for the 1% to be pestled and pulverised I’m going to assume they mean cocktails for young collectors.
These young collectors will probably only be slightly richer than the exhibitors, because it costs a (non-refundable) $275 to apply, plus a $2000 deposit against your final charge of either $4960 for a small booth with three lights– woo!– or a medium booth with a crazy FOUR lights for $6,200. You do get your $2000 back if they don’t accept you, you lucky thing, though $2000…
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Some magnificent verbal kamikaze quotes from Australian gallerist Evan Hughes, on the occasion of closing down the business founded by his father and then run by himself.
PRODUCT FOR DICKHEADS
“… It was almost as if we were given permission to declare that the art world had been taken over by dickheads. Too much of the commercial art trade has become about the selling of product and the accumulation of capital, much to the confusion and disillusionment of young artists. ”
A commission for Malcolm Turnbull, Australian prime minister: “In the 1990s, when Malcolm was still a merchant banker, the Turnbull family commissioned one of my father’s artists, Lewis Miller, to paint a portrait of Malcolm. Unhappy with the work, Turnbull confronted my father at a function and exclaimed: “That artist of yours is no good; he’s made…
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About five years ago when I and a few colleagues started talking about the (mostly really shitty) economics and realpolitik of being an artist who isn’t one of yer Damien Hirsts, Tracey Emins or Turner Prize winner– and aren’t we all glad not to be?– everybody else’s reaction was what the who now? You want to talk about money? Why? Don’t artists just do it for the sake of art? Then hundreds of artists, arts professionals and art lovers turned up to the public discussions we organised on the subject. Now everybody’s talking about it everywhere, all the time, from Facebook groups like Stop Working For Free to art blogs like Hyperallergic. Books are written about it, although none of them are as good as mine. There are campaigns like W.A.G.E. in New York and the UK’s Paying Artists. The more the better because it’s still not enough…
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… of the art market. What were you thinking of, you dirty wee puppy? I’ll deal with you later. No, according to a University of Luxembourg study, the international art market is in a “mania phase” and the bubble is going to pop any time soon, leading to a “severe correction”. Countdown starting right now to an art exhibition called either Severe Correction or Mania Phase.
The contemporary art market has been a very bad, bad, dirty, disobedient and thoughtless pig.
The “zombie formalist” artists (i.e. makers of art as an asset class, devoid of narrative, representation, politics, ideology, etc.) and their handlers are partly to blame, but as the gentleman who created the term rightly says, and as I have also said in a various ways over the past few years about a hundred bloody times: “Since the entire market is entirely irrational, it can’t be rationally…
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This is what you get when rolling around on the floor, self-harming and generally making a tit of yourself become normalised as art practices: a woman (really, but non-fatally) stabbed by another woman in the neck and arms with a craft knife during an altercation at Art Basel Miami Beach and taken out on a stretcher while police cordoned off the crime scene was described by onlookers as “a performance art presentation.” Two of these patrons were “sipping champagne” and gawking at the bloody floor from behind police tape even as they expressed their horror that it was a real stabbing. Still think covering yourself in body fluids, paint, food (etc.) is cutting edge or exploring new territory? The public are now so blasé about this “transgressive” type of art that they assume crimes, violent incidents and bloody accidents are art interventions, so the answer is a resounding NO.
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(Image via the sadly long-defunct http://lookatmyfuckingredtrousers.blogspot.co.uk )
Findings have just been published from a national survey about the working lives of cultural and creative workers in the UK. It was carried out by Goldsmiths, University of London, University of Sheffield and LSE as part of their project Panic! What Happened to Social Mobility in the Arts?
The findings provide hard evidence for the common impression that the arts sector is a closed shop where most people are middle class and it also makes revealing discoveries about how gender and ethnicity can affect a career in the arts and how higher wage earners view the sector in comparison to lower wage earners.
They’re not kidding. People who earn over £50,000 PA tend to believe it was their hard work and talent that counted, while those earning under £5,000 (over a quarter of the respondents) believe that it’s not what you know…
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… is one of the possible reasons why all the people appear to have lost control over basic motor skills as well as their damn minds in the aforementioned Anish Kapoor and Friends [sic] video, making the most of the inexplicable craze for Gangnam Style a few years ago. Like your grandad realising several years after the fact what twerking is or what whippits are, so he keeps saying “twerking” or “whippits” all the time and nudging you because he’d like you to admit he’s totally with it and hasn’t lost his touch. Anyway, dance along like a toddler to some horrifying GIFs from Anish Kapoor and his imaginary friends.
Firstly some box-fresh gallerinas, straight from the Gallery Maid factory’s affordable basic range. Jackie O bug shades? Yes. Short dress over black tights? Yes. Straight, shoulder length hair? Yes. Moves like granny? No, granny’s actually a…
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BONUS fun fact: Marina’s head is actually very loosely balanced on her neck and it could fall off at any time!
Here are nine more facts about Madge Ab that will surprise you and fun you, inspired by this listicle of great importance which is definitely not filler hackwork at Artnet News, in which we learn that the “grandmother of performance art”* did performance art at a museum, her mother didn’t like seeing pictures of her daughter’s breasts, and she affects not to like being famous despite gleefully hanging out with the Beyoncé family and Lady Gaga. None of these are particularly surprising or fun facts and nor are the other six “fun”, “surprising” facts surprising or fun, but what can you do? Clickbait headlines gonna bait clicks.
* Not the nice grandmother, the other grandmother that the mother and grandchildren of performance art would really like to get…
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Joseph Devlin’s book from 1910, How to Speak and Write Correctly, is like many similar books in that much of its advice still has relevance and is still ignored by (or unknown to) many people who describe themselves as writers or work as writers but are not worthy of the term except in the most literal sense.
“Don’t imagine that a college education is necessary to success as a writer. Far from it. Some of our college men are dead-heads, drones, parasites on the body social, not alone useless to the world but to themselves. A person may be so ornamental that he is valueless from any other standpoint. As a general rule ornamental things serve but little purpose. A man may know so much of everything that he knows little of anything… Cant is the language of a certain class — the peculiar phraseology or dialect of a…
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