January's 'Art book of the month' : Seven days in the art world by Sarah Thornton

Once again, it is time for the art book of the month! When selecting the book for this month I have picked a book that I actually read quite a few months ago but it is one I keep coming back and referring to. Well, that and the fact that the vast majority of art books I have read recently seem to focus on chimpanzees and ideas to do with evolution, so I figured that this might be more entertaining!

Ok, so this book presents a contemporary look at the 'art world' as we know it today and not so much in seven days (as the title would suggest) but in seven different aspects that make up the collective of the art world. These seven situations are; art auctions, group critique's in university art courses, art fairs, art prizes (specifically the Turner Prize), art magazines, art studios and biennials. Each chapter looks at each specific area of the arts in which Thornton uses her own observation and experiences whilst speaking to the artists/curators/journalists/students etc. who inhabit those places. I found this makes the book a lot more witty and fun to read as it is told from the author's perspective into her enquiry into different art institutions. My only criticism is that despite the depth Thornton does go into within these seven areas there are still many more aspects of the art world left un-explored in this book, such as: site specific art, art therapy, commercial/non commercial galleries(Is there such a thing as a non-commercial gallery?), art groups and more.

What I particularly liked, however, and why I mentioned I keep going back to it, is because the chapter all about 'group crits' has so much resonance with my own past and present circumstances, I can relate to it much more than the chapter about art auctions for example. Anyway, Thornton spends the day observing in on the group crits of a class of Fine Art degree students in California as they discuss and question each others work. The result of her observations is nothing revolutionary, but it is somewhat really heartening and useful to see how group crits are viewed from a point of view other than your own. For example:

"Group crits offer a unique - some say "Utopian" -situation in which everyone focuses on the student's work with a mandate to understand it as deeply as possible. Crits can also be painful rituals that resemble cross-examinations in which artists are forced to rationalize their work and defend themselves from a flurry of half-baked opinions that leave them feeling torn apart. Either way, crits offer a striking contrast to the five second glance and shallow dollar values ascribed to works at auctions and fairs."

A lot of emphasis is put on the benefits of a 'shared' art practice either through arts groups, crits or teaching which, again may be nothing new to someone reading this book from an art background, but is none the less refreshing and pleasing to read.

She continues,

"Crits are performances in which the students aren't so much acting as searching for the public face of a real artistic "me."

I don't think you need to be a student studying art to relate to the above quote and it makes me think of the opportunities of 'pecha kuchas' that have been happening recently and how they could be used in the same way a crit is.

I digress, but would recommend the book for a read even for the chapter on group crits alone. Whether you're coming at this book from an art or non-art background its an enjoyable read. Artists would like it because they can relate to its various circumstances and characters found within it and anyone curious about the art world would enjoy it because it challenges the value and 'usefulness' (for want of a better word) of art today, particularly in reference to art fairs and auctions where art is arguably more of a commodity. Thornton even questions the value of arts prizes like the Turner Prize in providing exposure for artists and engaging the public. There's lots to be said.

Still, I think you'd need a lot more than seven days to really understand the art world, and would you really want to? How does a lifetime sound?

See SAW next year!

September: "I declare this bridge, open!" (the mayor, not me) Bridge opening ceremony over to Long run Meadows in Taunton with wishing bridge and more...

What would New Year's eve, nay, Christmas even, be without a review of the year! So far the delights of Christmas TV have brought us a top 10 or top 100 of just about everything from music and toys to TV adverts and those 'embarrassing' celebrity moments. Now with pleasure and without further ado, I bring you the unofficial SAW review of the year 2010!!!

And what a year its been!

Ok, we started the year (on a personal note) with I suppose what was my first real introduction to working with SAW through a public art project, called 'Routes, river, rail' working with local artist, Sue Palmer. This was a really exciting project and allowed us as artists to collect ideas from the community around some of the plans involved in the re-development of Taunton. This is really just a review, but elements of this study we hope will carry on into 2011. Please see following link to my blog about the project for further information:

http://routesriverrail.typepad.com/blog/

Later in July we had Fiona Campbell working on the 'Making Matters' project at Carrymoor featuring wire sculptures in the natural environment. In fact more recently there has been the 'Making Matters' Great Crane Project working with schools and local artists in West Sedgemoor, elements of this project which I believe are continuing on into 2011.

http://greatcraneart.blogspot.com/2010_10_01_archive.html

In the summer of 2010 via a networking evening hosted by SAW a new group of artists 'emerged' on the scene. Thus SEAN, or Somerset emerging artists network was born. Starring all your favourite protagonists, the art group, SEAN, started as they hope to continue with an exhibition at the Auction House in Taunton, Somerset. Featuring pretty much a consensus of current or past Somerset College, Fine Art graduates (what can I say? I'm bias) as well as several emerging artists from the South West the show was a diverse collection of contemporary work and styles.

The summer time was certainly not a quiet one and the 'Safe routes' project with SPAEDA and SAW took place with lead artist Julie Roberts working with students at Taunton Academy.

In September all the planning and preparation had finally paid off and Somerset Art Weeks 2010 was launched! This year being an open studios event and was choc full of artistic talent! We had pottery, jewellery, art books, installation, painting, textiles, photography and more! The recession certainly hadn't dampened the enthusiasm and verve of work on offer this year, in fact it meant artists could utilise their studio spaces inviting new dialogue with their visitors and in some cases find unusual venues that were free, like the Tithe barn in Cotley that myself and three other artists were given to use this year. There were loads of special events that took place making this year's art weeks very busy and exciting and probably cannot be done justice in so few words. One particular event of note however was that Art weeks also saw 2010 Reveal award winner, Kitty Hillier have her show of new work at Black Swan arts in Frome. Stay tuned for info of the next year's upcoming art weeks...

When we had time to rest on our laurel's the SEAN artists decided it would be fun to take part in the 'Bridge Opening Ceremony' at Longrun Meadows in Taunton. The ceremony was organised by local musician, Tim Hill and saw The Albion Horns, a troll and many more characters gather at the new bridge to open it in style!

We 'found our way' in October with an artist networking and pecha kucha session at Barrington Court and then by the end of October and November we were protesting against the cuts to arts funding in Somerset.

Phew! And that really isn't probably the half of it! There are plenty of projects taken up by individuals and groups of artists within SAW that took place in 2010. Musgrove Park Hospital, The Octagon, SPAEDA, Take art, Air Gallery, Ilminster Arts centre and honestly so many many more groups and places in which fantastic art projects were made possible in 2010! Then, just when everyone thought they could relax the work for 2011 and art weeks had began!

Thank you very much for reading, I wish you all an arty and prosperous New Year! I have no doubt that there will be plenty more adventures so please as always, keep me posted!

September: Somerset Art weeks Open Studios

November: Save the arts demonstration

July: Somerset emerging artists network exhibition at the Auction House, Taunton


January-March: SAW funded 'Routes, river, rail' project for Taunton Deane

July-September: Making matters project at Carrymoor with artist Fiona Campbell

September: Reveal artist, Kitty Hillier exhibits new work at Black Swan arts

Lest we forget the Turner Prize.

Monday December the 6th saw Susan Philipsz become the 2010 Turner Prize winner. The fourth female artist to win the Prize (but, alas, not where this debate is going today) and also the first sound artist to win the prize.

The annual art prize hosted by the Tate is now in its 26th year and still attracts a lot of attention from visitors and media alike, often promoting debate and in past years causing controversy (like the now infamous year Tracey Emin's 'Bed' was on show in 1999). In the past it seemed that the prize was an annual event in which the 'Is this art?' debate would once again brought into the public arena via the media. However in recent years the controversy, it seems, has died down, at least in terms of the way the prize is covered in the press. I wonder if the 'Is it art debate?' is truly old old now and if perhaps the question isn't so much about accepting if something can be art, but instead is about asking, why and how the art was made?

Speaking from an art background myself, I don't think I've ever found the Turner Prize to be more 'controversial' or spark any more debate than any other contemporary art I may have seen around the same time. I'd always thought that that in a way questioning and challenging the viewer to think was the whole point of art in the first place? Although, this opinion aside, in terms of how the Prize is portrayed in the media it seems like either one of two things is happening; either we as a Nation viewing art have become more 'used to' or accepting of contemporary art. Are we more adjusted to the potential of walking into an art gallery with the expectation that we could see a sawed in half cow, or piano suspending from the ceiling, or a room full of seeds? Or, is, like some people have written, it that the Turner Prize just not as exciting as in past years? And if so, why? In terms of contemporary art there are definitely plenty of exciting, fresh and poignant artists working, if you want proof take a look at the artists mentioned in my Liverpool Biennial blog and even in the not as media centred world of Somerset I have had the pleasure of seeing work by artists who are certainly working with exciting mediums and ideas in their practices.

Back to the point though, I think maybe the real problem the Turner Prize faces is expectation itself. If we always expect it to be controversial, contemporary, political, funny, outrageous, weird, moving or any number of things it has been in the past, we can only be left disappointed. The prize offers only a chunk of what the bigger art picture has to offer. What its legacy as a prize has left however, has given us some artists like Grayson Perry, Chris Ofili, Anya Gallaccio and so many more. Perhaps without the prize we'd have ended up finding these artists anyway through other awards or exhibitions, but the Turner Prize above all others does have a catalyst-like affect in making artists rise to fame more quickly.

It may be true that audiences are becoming increasingly more difficult to surprise or shock (if those things matter in your practice) but it also means that people are more accepting and willing to understand and read into art. All of this hypothetical type of speculation makes me interested to see how the Turner Prize will evolve in the way its chooses the four artists up for nomination each year? And, perhaps more interestingly in what ways will artists continue to invent and re-invent new art works that continue the debate ever onwards? Too much, to talk about on here, but definitely one reason why, personally myself, am always interested in the Turner Prize, because like all good art, whether 'technically/conceptually' good or not, it always makes you think.

(above) Susan Philipsz original location in Glasgow for the sound installation 'Lowlands' This year's winner of the Turner Prize