[NetBehaviour] Galleries and digital work

Randall Packer rpacker at zakros.com
Fri Dec 4 15:18:16 CET 2015


John well said. It seems that the academic role for artists is one of the only ways to get paid for your time, research, and work as an artist. And of course there is a heavy price to be paid as an academic depending on the specific environment and how it lends itself to forms and processes that may, like the gallery or museum, not fit within acceptable, “relevant" modes of art practice. It is so ironic that the very originality and degree of experimentation that is required to break new ground as an artist, can also be one’s demise in the establishment worlds of art and academia. 




On 12/3/15, 11:50 PM, "John Hopkins" <netbehaviour-bounces at netbehaviour.org on behalf of chazhop at gmail.com> wrote:

>On 03/Dec/15 08:34, dave miller wrote:
>> "What if an artist’s work doesn’t fit - architecturally, conceptually,
>> traditionally - within a gallery’s programme? Increasing numbers of artists
>
>If you are walking in the 'stellar spaces' of certain kinds of individual 
>creativity, you are generally alone. That's what I've discovered. Like Randall 
>says, behind or ahead of the dominant times. No way to really determine which 
>when the impact of work cannot be measured easily in the social system.
>
>For example, I have a network of a couple hundred people who are interested in 
>what I do, and on occasion, they show that support by purchasing certain forms 
>of work (mostly photographic prints). Much of my 'work' though is totally not 
>about product, but either process, or, ultimately 'praxis' -- the holistic way 
>of going that includes all expenditures of life energy. People who don't know me 
>have no interest in the products, while those who know my praxis realze that the 
>products and their fiscal support allows me to continue my creative praxis. 
>Problem is, though, when one's work is seemingly completely irrelevant to the 
>surrounding social system, it can be very difficult to rationalize ones life, 
>and to find the force to continue forward.
>
>Then there is the time/money issue -- if you can get paid for doing something 
>that furthers your praxis, wow, what a luxury. Most of the time, the work 
>required to get paid to survive in the social system requires that one pay with 
>time away from ones praxis. I go by the route of *not* getting paid for 
>furthering my praxis. It doesn't help with fiscal security, but at least I get 
>some small satisfaction that I am getting something done that I believe needs 
>doing in the very biggest picture!
>
>Ah, it's always a conundrum. I think a Buddhist approach is that anything and 
>everything one does is leaning in the direction of that creative praxis, but 
>it's hard to maintain such thinking in the face of a ruthlessly materialist 
>society. I have many friends from my engineering school days, some working in 
>Big Oil, Wall Street, and such -- and to see the difference in social rewards 
>for them, versus folks working in the 'cultural industry' sector can also be 
>disheartening... But some of these same friends support my work both fiscally 
>and psychically through their friendship.
>
>In the end, I value my human network over everything else like jobs, cash, 
>status, and gallery shows...
>
>So it goes!
>
>JH
>
>
>PS -- one of my personal mottos is "Fuck Art, Let's Dance!"
>-- 
>++++++++++++++++++++++++++++++++++++++++++++++++++
>Dr. John Hopkins, BSc, MFA, PhD
>grounded on a granite batholith
>twitter: @neoscenes
>http://tech-no-mad.net/blog/
>++++++++++++++++++++++++++++++++++++++++++++++++++
>
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