Who Wants To Go To Dismaland?

Part of an installation is seen at Banksy's 'Dismaland' exhibition at a derelict seafront lido in Weston-Super-Mare, England. (Matthew Horwood/Getty)

While listening to CBC Radio 'Q' yesterday morning on the topic of Banksy's Dismaland art project, located in the seaside town of Weston Super Mare, England, I was left feeling that any criticism of Banksy is not so acceptable because his work is considered almost sacrosanct. 

Personally I thought the Canadian art critic RM Vaughan made some very valid, and relevant points, in spite of the fact that he did not see Dismaland.

His comments resounded with me being a fellow Maritimer, who well understands the tiredness and poverty that exists in small rural areas, as I live in one. Artists and locals often rely on tourism to bring in the dough to alleviate our financial hardships, declining economy, natural resources, and increasingly aging population.

If artists or people in general have no sense of humour toward difficult circumstances we'd be unable to survive. Bansky understands this as well.

RW Vaughan's comments made me hearken back to my art school days when he referenced that seemingly oppositional defiant, clever art student, full of snark, who appears to know everything in class. Turns out he's mostly a jerk, when you go for a beer with him afterward. I had a little nostalgic snort and giggle.
To be clear I am not saying Banksy is the jerk in this case, as RW Vaughan stated he's just preaching to the choir.

When Damien Hirst 's name came up in the conversation my ears perked up.
Damien Hirst has in many ways become the “ it boy”, and, perhaps even a victim of his own persona, that represents all that is superficial, shallow, capitalistic and self-absorbed and dishonest within the art market. In light of accusations and legal charges made against him, being accused several times of art plagiarism, including the public controversial comments he has made, leads one to seriously question his scruples and integrity. In many of his public statements his lack of integrity is evident, “ I can’t wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at it, consider it and then say ‘f off”. But after a while you can get away with things.” Julian Spalding, The New York Times 2008

I have to say, much of the behaviour and attitude exhibited by Damien Hirst was a result of abuse and use of substances and one needs to take this circumstance into consideration when judging his work and who he is as a person taking into account that he no longer is the same person as he was in earlier years. That said, the body of painting has produced more recently, I appreciate and I would conclude he has more to contribute as a painter.

I think Banksy has a different kind of scruples and personality than Damien Hirst.

As RW Vaughn stated I agree his politics hasn't changed. If the basic premise is to educate an uniformed public with answers instead of questions, he may very well be "preaching to the choir" and Dismaland has mostly captivated his art smart fans as opposed to the so called locally uniformed.

I am of the opinion like Damien Hirst, Banksy he has also perhaps become a tired victim of his own persona, but I do think the art world is taking advantage of the "it boy" status, and exploitative for capital gain, and in the very ways that Banksy's purports to abhor about the art world.

Damien Hirst-How Come You Can't Paint Your Own Paintings?

Your new boss Damien Hirst?

 
I have been fantasizing a bit this morning. I saw a job posting in the The Guardian. He's at it again. He being, Damian Hirst, looking for painters to create his paintings. When you are Damien Hirst you can afford to do this sort of thing. 

My question is why would you want to? Especially when you are a capable and talented artist, who CAN paint. Only reason I can come up with, is to fast track your 'artistic creative out put' in order to make the big bucks that Damien Hirst's name brings in.

In my opinion it reduces art to the lowest common denominator, devalues the creative process and talent that should be Damien Hirst's. I can't say, I just don't get it. Sadly I do. It's all about money, and not really giving a flyin' F--- about what you do, because you are Damien Hirst.

I recollect in the past he'd said, “ I can’t wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at it, consider it and then say ‘f off”. But after a while you can get away with things.” Julian Spalding, The New York Times 2008.

Fantasizing about what it would be like to work for Mr. Hirst, I no doubt I'd get fired, but I have no desire to work for Mr. Hirst. I have never been a fan, especially of pickled and rotting dead things.

I don't think I'd ever have a desire to paint anyone's paintings but my own. I can see where some would be tempted by the money, and prestige of saying, "I create Damien Hirst's paintings, he's my boss."

Follow Your Bliss

I admit it I have some OCD (obsessive compulsive disorder). Perhaps it comes with the territory being a creative person I don't know, I am not a psychologist. I am familiar with stereotypical labels and characteristics that artists so often are perceived as having. I do think artists are driven by their creative passion and they can't help but engage in the creative process. This could certainly be construed as being a compulsion.

I've been making baskets and tying knots with float line rope. Seems it's all I think about lately, and no doubt will do so until I feel this is enough, and I need a change. There is something very satisfying about this kind of creative process indulgence, but when it's run it's course, and come to completion, I feel rather frustrated and lost. I think to myself what now? I don't panic, but can feel a little anxious in that, I could easily fret about the return of my creative muse. I've gone through this process so many times, for so long, that I know I need to be patient and so I wait, for the muse to return. If I tire of waiting, I simply do something, anything creative. Daily long hand writing helps with this dryness of creative spirit and it's why I do it habitually. If I don't write every day, I just don't feel right, complete or together within myself. 

The wonderful thing about being an artist to me, is my work is my also my passion.The variety of subject matter, expression, and form all enable me to never get bored with my "job". Artists follow their passions, and bliss. They can't help but  do this, otherwise they'd be unhappy. I wish everyone could love what they do, and do what they love to work at. Don't get me wrong I've had many hard, difficult and some of the crappiest jobs throughout my life. 

The saying, find something you love to do and you will never work again is true. An artist rarely can make a full time living at their art, unless you are Damien Hirst, the wealthiest artist in the world I think, and so you need to be resourceful, flexible and willing to do whatever you can find to support yourself. 

Fortunately today, unlike when I went to art school back in the 70s, many Bachelor of Fine Art degree programs now, teachers spend a good deal of time educating students about the business end of selling art, and being an artist. Making art is about creativity, but once money is exchanged it's about commerce. Artists need to know about commerce and how to make a living from their art. Art and commerce are not diametrically opposed, as some might think and making money is hardly an evil thought to have as an artist. Contrary to popular thought we don't like to starve!

The arrival of Spring means, I take my art making out doors to enjoy the sunshine, fresh country air, the plethora of birds and the lack of bugs. 

I have posted my latest basket, along with some Spring flowers popping up in my garden. Yesterday while I was out I had a very welcome surprise visitor, the hummingbirds are back, and I am so enjoying the Canada geese!

Happy Spring friends and follow your bliss, your heart will thank you for it!

Five Artists I Hate?

I have done this exercise on a smaller scale for my Art Seminar class. We were asked

to choose an artist we loved and another we hated and then present the reasons why.

As I have stated in a previous post on this topic, it is much easier for me to choose

an artist I love. I am not comfortable saying I hate any artist, with some exceptions.

I think this belief is based on my personal opinion of the individual rather than the artist. Hate is not a word I'd use loosely to describe my opinion or feelings toward any person or artist, art. The reason being I believe there is usually some thing I can find to appreciate about all people, art and artists alike.

After some investigation about this, I had to ask myself what I consider as being my own definition of art, what good art is and what would I dismiss as being bad art.

I have long been a admirer of Sir Ken Robinson and I strongly align myself with his

ideas and perceptions of what creativity is. Getting hung up on semantic attempts,

to define the word art and artist is really of little interest to me today. It's been an

ongoing historical discussion in the art world and though I do think it can be a useful discussion from time to time and one that we as artists, at some point need to have

if we are seriously going to pursue the life as a creative person and/or artist.

Sir Ken Robinson states, " Creativity is the process of having original ideas that

have value". He says intelligence is diverse, dynamic and distinct. I would purport

that creativity and intelligence are directly related. We all have an intelligence

and an emotional quotient.

So how does this relate to hating an artist? It doesn't for me, other than I can't

truthfully say I hate any artist. There are definitely some I prefer and

like more than others, simply based on my opinion however there is a certain

standard that I would think comes into play here, because at some point we all

make judgments based on some kind of standard imposed personally or externally

from some kind of institution or ideology.

I did a, "what is bad art" google search and came up with this site MOBA, There's

some pretty rough looking art in this collection. Would I call it art to hate? It's all

a matter of opinion.

Is it bad art? According to the museum, yes it is bad art.

Choosing art that I "hate" would depend on the "artists' intention. Suffice to say

discernment needs to be used objectively and subjectively, in balance one with the

other. If the artist intention is an evil one, I would say it's bad art. Hitler was an

artist and even an accomplished artist but was an evil and deranged human.

I do believe artists have a certain responsibility to be socially conscious and even

a moral responsibility to his or her own personal integrity as an artist and human

being with empathy for humanity, and I think this is often reflected in their art

practice. I think this makes for good human beings and more likely good artists.

That said, I am beginning to dance around naming the five artists I "hate."

I don't hate any of these artists but there are particular things I don't like about them or the art they make and for a variety of reasons , some similar and some different for each artist.

Damien Hirst

I did a presentation about Damien Hirst and why I did not like his work. I found

him to be more interested in art as a commodity, as opposed to the creative process

and this I find very unappealing and self-serving.

His obsession with death creeps me out and his dead animals in formaldehyde

sicken me. The fact that he had next to no involvement with the actual construction

of his work doesn't impress me much.

His early work I did not like at all however considering he was under the influence

of alcohol and substance abuse, this contributed to his flippant and arrogant attitude, though not an excuse, I do take it into account. He has returned to painting and

figurative work which I find more appealing and the fact that he appears to be

doing the work himself is commendable.

Gary Kennedy

I once read in a book about Garry he said he believed in nihilism and he described this as being his philosophy toward art. This I find very troublesome but not terribly surprising as

I read that Garry has a persona that referred to him as being the conceptual guru.

I suppose because I was inundated with conceptual art at NSCAD, all through the

70s. I was not ever a fan and I am perhaps somewhat cynical about the whole movement.

I felt the baby was thrown out with the bath water, and I was one of those dissenters against, " a small cadre of conceptual-art enthusiasts who resisted the re-emergence

of painting," that Sherri Irvin speaks of, in her article, Garry Neill Kennedy, No More

boring Art, from Canadian Art magazine July 30Th 2002, though I do very much appreciate the contribution Garry Kennedy made during his 23 years at NSCAD.

Here is an interesting segment from Sherri Irvin's article.

"Those who speak reverently, even lovingly, of the Kennedy era recall his tremendous capacity

for bringing people and circumstances together to let great things happen. But others remember

the Kennedy regime, run by a small cadre of conceptual-art enthusiasts who resisted the

re-emergence of painting and drove out dissenters. Kennedy seems perplexed by the latter

point of view. He was admittedly forced to make tough decisions after the faculty unionized in

1986. But flexibility was the linchpin of his administrative strategy. He has his views about teaching,

he says, but he had no desire to impose them; at most, he would "make sure…there was lots

of room" for his own approaches. As for the college’s artistic direction, he denies having attempted

a conceptual-art stranglehold. His ambitions for NSCAD were drawn from the ever-changing art

world, not from preconceptions about either art or education. "A lot of people think that schools

are about teaching, teachers and students," he says. "And I think they’re more than that."

The point was to support art in all its guises, especially by stimulating the new work of established

artists. He knew that if NSCAD was an exciting place, the benefit to students would follow. Since

1990 a professor at NSCAD rather than its president, he still believes that "you’ve got to keep

charging the place, pumping it up."

These artists are my first two out the list of five. I'll continue this tomorrow.

Two down three more to go.

Michael Snow

Michael Snow considered himself misunderstood by the public and his critics. He was considered provocative but some, choosing random subject matter, transforming art objects, regardless of what medium he used.

Many artists are misunderstood, nothing new, however some artists perhaps intentionally keep the public confused or don't feel the desire or obligation to inform their public audience. This is a personal choice, however if an artist does not make any effort to explain their art practice, I would conclude chances are, the audience will be confused and not comprehend what the art is about, or the artist's perspective.

I don't live in the artist mind, God knows, I have a hard time to live in my own mind. I do very much appreciate an artist making an effort to clarify the ideology and reasoning behind the art. When this does not occur, art and artist are misunderstood leaving the audience to fill in the blanks usually based purely on a subjective opinion alone.

Michael Snow was an artist of the 50s and 60s generation the decade that provided many artists a way to re-evaluate traditional ideaologies and discourse. The artist now had the opportunity to re-define and reconstruct their own art.

In his reading " A Lot of Near Mrs." he does little to clarify or dispel what he he considersed misconceptions regarding his work and his intention. It could be said, he was simply being provocative playing devil's advocate, regardless I don't think this was helpful to any one but Michael Snow.

I do appreciate and recognize Michael Snow's ideas and contribution to conceptual art and the art world generally, I just not one of his fans. I think he lived too much in his head had others do his work and most of his work leaves me cold.

Today's Blog - Art Seminar

I have chosen to examine artists Eric Fischl, whom I greatly admire and Damien Hirst, whom I find his art generally unappealing and will proceed to give an explanation of my position.

Choosing an artist I admire and respect is both enjoyable and simplified. Deciding on one that I dislike, is rather complex, in that there is usually something to discover, that is attractive in some way, without doing so within the context of political correctness, and to clarify, I am not interested in being, when it comes to artists, the making of art, and creativity.

Eric Fischl states he is,”trying to find a way of re-engaging the public", through figurative work. Eric Fischl says, “ You have to come up with something where the purpose of life, which is also one of its greatest pleasures is refining your consciousness. He sees figurative realism as being the most powerful tool in communicating with an audience, which he cares about this greatly. Eric I think is a kind of psychological story teller using his painting to examine the stuff of life and providing inner types of guide posts, reflecting and sharing his life experience. This approach engages the viewer in a way that provides depth of meaning and purpose within the framework and function of the painting process and subject matter.

Fischl comes out of the what he describes as being the decade were, “ painting was dead and figurative painting was really dead”, and art schools defined the art world. This premise unfortunately, I believe, is still generally being taught in many present day art schools and today the art world has been circumvented by the define the art market.

The art market is a reality, whether we agree with this or not. The difference between Eric Fischl and Damien Hirst I believe, is a matter of personal integrity, and they have appeared to be diametrically opposed to one another in philosophy and art practice.

Damien 's preoccupation with death and dead animals, appear to be about shock and sensationalism. It epitomizes the premise of most conceptual artists, that art only exists within our minds, and any thing is art.

Damien Hirst has in many ways become the “ it boy”, and a persona, perhaps even a victim of his own persona, that represents all that is superficial, shallow, capitalistic and self-absorbed and dishonest within the art market. In light of accusations and legal charges made against him, being accused several time of art plagiarism, including the public controversial comments he has made, leads one to seriously question his scruples and integrity. In many of his public statements his lack of integrity is evident, “ I can’t wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at it, consider it and then say ‘f off”. But after a while you can get away with things.” Julian Spalding, The New York Times 2008

I have to say, much of the behaviour and attitude exhibited by Damien Hirst was a result of abuse and use of substances and one needs to take this circumstance into consideration when judging his work and who he is as a person taking into account that he no longer is the same person as he was in earlier years. That said, the body of painting has produced more recently, I appreciate and I would conclude he has more to contribute as a painter.

I'm Not Stuck

I was very happy to get back to school today. Got my student loan in the bank, the hatch back window put back into the car, oil delivered to my tank, picked up some groceries...no fur underwear , and no dust sandwiches for a while. This is the life of an art student.


Our Art Seminar class was a good one. We had a lively discussion about the Art World, the Art Market and the myths that are perceived about artists and what it means to be one.


In my Canadian Art History class today, we covered Garry Kennedy and Gerry Ferguson from the Nova Scotia College of Art & Design. I don't have anything I want to write about that, suffice to say, I couldn't wait to get out of that lecture. Being a NSCAD student all through the 70's I was exposed a lot of conceptual art, however many students were very involved in painting and drawing, in a traditional way, either inspite of the conceptual art ideology or perhaps because of it.

In my painting class I am preparing a presentation on Eric Fischl, who was at NSCAD when I was a student. It was a great revelation to me to find out after all these years that I was conflicted about conceptual art and figurative/representational art in much the same way Eric Fischl was. It was very re-affirming and comforting to me find this out.


In my Art Seminar I am doing a presention choosing two artists, one we like and the other not so much. Needless to say I am reading and learning all I can about Eric Fischl. It is so much easier to study an artist you love. The one I don't care for is Damien Hirst. I have read some material online about him much of it negative from a particular group of artists that call themselves Stuckists. My impression of this group is, it is somewhat tongue in cheek, but as with so much humour and satire comes, the critic ,which I believe is a necessary person to maintain a balanced perspective. I have included the link below and you can see for yourself the opinions they have regarding Stuckism, Conceptual Art and Damien Hirst and decide for yourself.
Charles Thomson the Founder of the Stuckism Movement concludes that Damien Hirst himself is a Stuckist.
DAMIEN HIRST
THE STUCKIST

Damien Hirst's rejection of conceptual art and his advocacy of figurative painting is yet another vindication of the ideas promoted for the future of art in the manifesto issued by the Stuckists ten years ago. He is not a formal member of the movement, but in art historical terms, Damien Hirst is a Stuckist.

1999 It was a revolution waiting to happen. The latest daring group of artists ... says that painting is the best thing ... calling themselves the Stuckist movement
Dalya Alberge, The Times, 26.8.99. 2009 I always thought painting was the best thing to do.
Damien Hirst, Financial Times, 16.10.09
(quoted from No Love Lost book, p. 63)
2000 artists who want a return to tradition ... The Stuckists"
The Times, 4.3.00 2009 what now counts as radical is a return to tradition. Hirst has been painting.
Rachel Campbell-Johnston, The Times, 14.10.09.

1999 The manifesto of the Stuckists ...
says that they want "to advance the cause of painting"
Dalya Alberge, The Times, 26.8.99. 2009 I think painting’s back
Damien Hirst, Bloomberg, 14.10.09

1999 The Stuckist is not a career artist but rather an amateur ... who takes risks
The Stuckists manifesto, 3.8.99. 2009 it's not really about ability, it's about guts
Damien Hirst, The Daily Telegraph, 13.10.09.

2000 art is ... about addressing the shadow and making friends with wild dogs
Stuckists Remodernism manifesto, 1.3.00 2009 I find painting cathartic
Damien Hirst, The Independent, 14.10.09

1999 So what is Stuckism? The group's manifesto proclaims it "bitterly opposed to ... conceptual art, minimal art"
Rose Aidin, The Sunday Times, 1.8.99. 2009 Conceptual or minimal art seems a bit dead
Damien Hirst, Time Out, 13.10.09
2002 the Stuckists ... on Thursday, they will proclaim the death of conceptual art by staging a funeral procession in which they will carry a coffin to the White Cube
Dalya Alberge, The Times, 20.7.02.

1999 The Stuckists ... pillory "any art which features dead animals or tents" ... which has "shown itself to be lost in
a cul-de-sac of idiocy"
Dalya Alberge, The Times, 26.8.99. 2009 Conceptual art, abstraction, they're total dead ends.
Damien Hirst, The Observer, 6.9.09
2000 the Modernist school ... declined into formalism and abstraction
Stuckists Handy Hints manifesto 11.4.00

1999 So what is Stuckism? The group's manifesto proclaims it "bitterly opposed to Brit Shit"
Rose Aidin, The Sunday Times, 1.8.99. 2009 You start thinking ... why are you making more of this shit
Damien Hirst, The Observer, 6.9.09

1999 Against ... hedonism and the cult of
the ego-artist.
The Stuckists manifesto, 3.8.99 2009 I definitely believed I was going to live forever ... you've got to get off the table and stop shouting "yeahhh".
Damien Hirst, The Guardian, 13.10.09.

1999 The Stuckist is opposed to the sterility of the white wall gallery system
The Stuckists manifesto, 3.8.99. 2009 You get a bit bored of putting art in contemporary art galleries, it's just a big white space isn't it?
Damien Hirst, Daily Mail, 13.10.09.

2002 I'm mainly talking to people who
aren't yet born with my work
Billy Childish (Stuckist co-founder), The Observer, 24.3.02 2005 in a way you make art for people who haven't been born yet
Damien Hirst, The Independent, 16.10.05
2006 you’re working for people not yet born
Damien Hirst, Time Out, 20.11.06

2000 The painting of pictures has endured since the Lascaux caves
The Stuckists, An Open Letter to Sir Nicholas Serota, 26.2.00. 2009 there's an unbroken line all the way back to the cavemen
Damien Hirst, The Daily Telegraph, 13.10.09.




http://www.stuckism.com/info.html