Artist's Community:Show Space

The second thing an artist's community needs is a place to show the artwork. This pretty much goes without saying that when the space is made available for making artwork eventually that artwork should be shared with the rest of the community. The most conventional way for this to happen is through two methods: The first is the time honored art galley and the second is an art fair. Either display or setting has its strengths and its weaknesses which I'll explore in the following paragraphs. I'll also propose an additional display opportunity that I've not seen that I think should be entertained by a community.

Art fairs or street fairs are great opportunities for artists to get out there and meet people interested in art. It is also an enjoyable way to spend a nice sunny day (I enjoy camping and barbecues and liken the art fair experience to a little of both). For artists this provides an opportunity to exert some control over what is shown and how it is displayed. On the other hand the context in which the artwork is shown is determined by the organizers of the event and the artists' booths often appear a little like a side show where the main event might be the local restaurants, corporate contributors' booths, or kettle corn. For the most part, however, art fairs do make the display of art by local artists an event and an opportunity for those without gallery representation a place to show their work to the public, therefor they are necessary and desirable.

For those with gallery representation I have little to say because this traditional meeting place for art and art collector is, strongly and rightfully, in a good position both financially and socially. My only suggestion to gallery owners is, perhaps, to provide and publicize greater openness to the public for a greater overall understanding of art by the public. I do understand the interest in the exclusivity between collector and private gallery. I've also enjoyed the availability of public galleries in the area. In most cases a small membership fee is attached but I find the benefits of this small fee understandable and seldom insurmountable (especially when compared to the fee for some art fairs- Wow!). Perhaps a little more civic planning would help funnel some tax dollars into or consolidate these galleries into art districts or areas that may, in fact, benefit both the galleries and the local stores, restaurants, and community. (Did I contradict myself? Very well, I contain multitudes!- but then, it is a matter of priorities)

I would like to interject the idea that public galleries could and should promote art collecting by celebrating the collectors themselves. By this I mean providing a mild competition open to collectors for recognition of their savvy discretion and taste. Perhaps a juried event based on theme- around local art collection, course- like a contemporary surrealist collection, seascapes, landscapes, political/social awareness, etc. This would be a chance for collectors to show their collection, receive accolades and reward for their support of local artists without having to invite an entire community into their home.

This last idea is to suggest collaboration between artists' communities and local retail outlets such as furniture stores. Although I believe the best way to see art is in the home with the time to look and think about it, galleries and museums run a close second. This does not mean that other settings would not provide an opportunity to see and appreciate art. I'm sure we've all heard the "that'll match the sofa" story that many artists find offensive but the fact is there are some artists that do not mind such a thing and, in fact, create accordingly. For just such artists an association between the artists' community and local retailers would help these artists find a place to show their work to the public. With a little education, salespeople may also help inform those in the community that may know little about art understand it and appreciate in more. This may even benefit the artists disinterested in matching sofas reach a new audience; and, like I mentioned before, it may help a person picture the work in its best setting, the home.

The artist's community

I've been mulling over some ideas about artist communities and how I think they should be established. As I work to get my own studio off the ground while earning a regular salary as a high school teacher I wonder how difficult it must be for those fresh out of college. Where would one start? "Flip burgers" or work an empty job just to pay the student loans seems to be the common path though I would propose that the frustration faced by the average artist must be exacerbated when also faced with a dead end job where time spent does little for the future. A far greater guarantee seems to be some sort of parental support or other means of income such as that enjoyed by Cezanne or Frankenthaler. This kind of security appears to allow a certain amount of freedom as both Cezanne and Frankethaler were able to pursue new ways of making art without initial commercial success. I can't help but wonder if Frankenthaler might not have painting happy little trees in an impressionist manner if she depended on the sales of her work for the food on her table. If that were the case she may have stayed "safe" rather than risk being sorry for her large color stain paintings. (I don't think she was "sorry," probably just the opposite, I am just trying draw attention to the risks an artist faces when exploring individual expression.) Now if security is not available from some preexisting source as in these last two cases it must be made up by the first, that is unless the community is willing to accept some of this risk faced by artists.

Why would a community even want to accept some of this risk? I mean, does the accept any risk for its other members? Sure it does! Tax breaks are often advertised to businesses to relocate to a community. Local newspapers promote new business as if they were real news items all the time. These are just a couple of examples of the risk as it is accepted by the community for the sake of its members. Of course it is the community in general that benefits from the acceptance of some of these "risky" endeavors: Jobs are created, the tax base is expanded so additional services and civic works can be completed, and of course citizens hear about a lot of tasty new restaurants that open up.

"What about art?" you might ask. Why would a community accept the risk inherent in any new art form? Why should we care if an artist sinks or swims? The answer to that lies in humanity itself- that is the big answer- in that as human beings we derive a large part of our lifes quality from the things we see around us. Proof for this can be found in the cars we drive, the shoes we wear, and the shape of the cell phone we keep on our being at all times. "Sure." you might say, "but those are things we need and as we all know "art is useless." (I'm not saying that, Andy Warhol did- besides that would contradict myself- ooh, sorry, almost another quote, I'll try to stop myself) "Form always follows function" you might say but I say, "function fills a need that's true, but form sells- form is what we want!" So, in short, by having artists around we get what we want and that promotes a greater quality of life. (Was that too much of a jump to the simplistic? Probably.) Therefor, most artists need communities and communities want artists.

Now it is important for me to admit ignorance on the details of many communities though I am familiar with a few and I have, at least a bit of information on a number of civic programs to promote the arts in communities in my area of the United States. Artists need three things for initial establishment assuming, of course, their work is of reasonable merit (this is not required, however). I think I'll focus on these three things in my next few posts: I want to look at each one in some depth to explain what I think is needed and what a community can do to promote a healthy environment for the arts to develop.