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Risky business: Self-supporting visual artists share survival skills

11/27/2021

 
​For the second year in a row, I've been leading artists' talks as part of the Eastside Culture Crawl.

One of the three Talking Art panels this year took on the wooly business of trying to live as a self-supporting artist, which in the city of Vancouver can border on masochism: today's costly studios in marginal, leaky, vermin-infested buildings are tomorrow's "luxury" residential investment units. Even before the global pandemic, exhibition spaces were scarce.

Vancouver might shimmer like a global city but it doesn't have the cultural pulse of Toronto or Montreal or Chicago or even nearby Seattle. It has more of its fair share of billionaire investment but for artists looking for exposure and opportunity, it's pretty small-town.

Yet every November over the last 25 years, the Eastside Culture Crawl gives a glimpse into this pretty/pricey city's vast — even overwhelming — community of self-identified artists and makers. And it's a little dumbfounding: How do all these folks survive, let alone thrive?

That was my question to three local artists.
Picture(As posted by Vancouver creative strategist Mark Busse)
Eastside Culture Crawl members Gill Benzion (above), Jeff Wilson and Arleigh Wood generously shared their explorations into ways to exist as self-supporting artists, with much trial and error, mixed results and plenty of humour. I brought these three together to share on this topic because I knew their honesty and practical information would be of interest to viewers, many of whom are artists and makers themselves. For extra inspiration I even referenced Canadian visionary designer Bruce Mau's Incomplete Manifesto for Growth.

Through my research into these three artists' practices and the lively online discussion I learned a thing or two myself:

• My art practice is an unviable business model (ie. there is no model).
• I have no interest in selling my creative energy for corporate profit (anymore).
• When I'm finally satisfied with an artwork I lose all interest in repeating the process.

• When people tell me what I should be doing I retreat into the artwork at hand.
• I do not plan any series of works but take things one stitch, one knot at a time.

• I do not have a signature style or lines of sellable artwork.
• Throwing open my studio doors to the public is like taking off my clothes in a crowd. 

Some of this could form my own incomplete manifesto; some of it is just fear and loathing of the business end of things. It all reminds me to take Mau's No. 14 point to heart (below).
I'm looking forward to continuing these kinds of conversations during First Saturday Open Studios, the brainchild of Valerie Arntzen, also a founding director of the Eastside Culture Crawl back in 1996. 

My studio joins others opening their doors Dec. 4, 12-5pm. Don't be cool; come by, say hi.

Picture
(As posted by Vancouver creative strategist Mark Busse)

VIDEO tour: 'Joyful Making in Perilous Times'

4/21/2021

 
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Click HERE for a 10-minute journey through the methods and motivations behind this MFA thesis. (Film made by Ana Valine, Rodeo Queen Pictures, August 2020)

The power of fiber seen in the corridors of power

3/20/2015

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PictureRania El-Alloul says she a Quebec judge told her to remove her headscarf. (cbc.ca photo)
When I see the debate raging around women wearing the hajib (head scarf) or niqab (cloth covering the face) in Canada, I think about the male gaze. 

The latest controversy surrounds the woman who was reportedly told to remove her hajib in a Quebec courtroom last month -- by a female judge, for the record -- but it's another example of denying women's personal boundaries.

The court order that she remove this square of fabric so connected to her identity and religion and expose herself in the public sphere reminds me of the long history of the male gaze evident throughout the corridors of the world's most prestigious art museums. It is there in the countless images of nude women created by white heterosexual male artist-geniuses, for the perspective of an implied white, heterosexual male audience. It is the why for the Guerrilla Girls protest movement that began with women donning gorilla masks in 1985 and taking on the Museum of Modern Art's status quo. 

When the male gaze is reversed -- when a woman can watch, unwatched -- it is at the very least disconcerting in this culture that values women for their appearance. Whether she is covered by a gorilla mask or a niqab, she induces a quiet horror for the status quo, sparking debate. Our society is hardly the voice of reason when it comes to female oppression; not when a woman in a niqab shopping at Whole Foods may incite more controversy than any number of women in the same aisle who've altered their bodies through toxin injections or the surgeon's scalpel. 

The issue, whether we're talking priceless portraits or shifting demographic landscapes, is freedom of choice. 

While our male-dominated courts and all levels of government wrestle with appropriate women's garments, three women tell it like it is from their point of view -- under the veil or in defiance of it -- on CBC Radio's The Current here.

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Defending the doily in 20 images, 20 seconds each

1/23/2015

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This just uploaded... Six and a half minutes devoted to that question I get a lot:
"What's up with the doilies?"

(Video courtesy of Terry Fox Theatre's PechaKucha program. More info on the entertaining, informative and globally-popular PechaKucha format here.)
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Oh the irony: freedom of expression in a corporate media world

1/9/2015

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I'm writing this as the radio airs a live report of gunfire. The French police have just killed the two brothers who hunted down particular editorial workers at the satirical Paris magazine two days ago, murdering 12.

A bloodbath over hand-drawn images is over (for now), while the global reaction is unfolding in drawings.
PictureFrench illustrator Lucille Clerc's image that she posted on Twitter went viral after it appeared on a fake Banksy Instagram account.
The call has been sent - and heard - far and wide: Defend free speech by publishing the triggering images of Mohammed, and by taking up the pen or pencil in a massive freedom of expression effort. (Some early responses by cartoonists can be seen here.)

As much as I am deeply offended by some of the cartoons printed in Charlie Hebdo (like this one of the naked young woman with her burqa up her ass, in line with the magazine's support of banning women's right to choose) I will defend all extremists' right to draw and publish extremist drawings. Respecting the right of all dissenting voices is part of a (still mythical) free and open society that nurtures rational thought and behaviour. The world witnessed the alternative on Wednesday morning.

Here in Vancouver, former Province editorial cartoonist Bob Krieger took to the drawing board hours after the news of the murders of his fellow cartoonists and others.

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But you won't find this one-panel in the local newspaper anymore; the last Province cartoonist was let go in 2013, the way cartoonists have been unloaded all over the country by their corporate media owners.

Surely it was simply a cost-saving measure, but the result is a pitiful amount of visual commentary, and a corporate curbing of free speech.

This week the Province (owned by Postmedia which also owns the only other paid daily newspaper in this town) ran a guest column on the topic of the need for cartoonists'  freedom of expression by Aislin (Terry Mosher) of the Montreal Gazette. That one voice ran in other Postmedia outlets including the Regina Leader-Post, Windsor Star and a whole whack of online news aggregators. And nothing against Aislin, but I miss our own, Vancouver-based critical drawings as we try to absorb the unfathomable. But as Krieger told The Tyee after he was shown the door, "corporate media is way too controlling and they don't want as much of a variety of opinion as newspapers should have." 

PictureYou can't keep good cartoonists down.
Yet suddenly Canada's corporate media can't get enough visual commentaries, and entire pages have been dedicated to the drawings, sometimes in full colour - a dream to many cartoonists. But look closer at the spread in yesterday's National Post  (also owned by Postmedia) and it's clear that less than half of the cartoonists are actually employed by newspapers. 

You can see the irony here. Freedom of expression: Yes! ... unless there's more money in clickbait that has no relevance to local readership.

Cartoonists are compelled to make art, to share their expression freely. The papers aren't paying like they used to but the people are clearly paying attention, via social media retweets, hits, and followers. There's a lot of value in that.

It's astounding that the penny has not yet dropped.



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Compelling art all part of the protest

11/28/2014

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The war in the woods is heating up again. Except it's not the people against forestry giants MacMillan-Bloedel or Fletcher Challenge; on this day it's Kinder Morgan. 
PictureYagis Eating an Oil Tanker by Ian Reid Nusi. (Photo by Christopher Glawe)
Oil-pipeline officials are doing their best to try to shape protestors at Burnaby Mountain these past weeks as a small group of environmentalist wackos. Meanwhile, the movement is growing. And so is the art.

Marshall McLuhan said, "Art at its most significant is a Distant Early Warning System that can always be relied on to tell the old culture what is beginning to happen to it." And that's what I think about when I see this work by Ian Reid Nusi. Yup, that would be an oil tanker in that sea monster's mouth, carved in response to the prospect of the Northern Gateway oil pipeline moving tar sands diluted bitumen to the coast and onto tankers. (Artist interview clip below)

Environmental protests have shaped this province, and some important artworks have been a part of that.
PictureWallace's CP IV, 1993-95, 178 x 300 cm (from Canadian Art magazine)
It's in Ian Wallace's large-scale photo collage murals (reconfirmed as important works five years later in Canadian Art magazine).

His plywood patterns interrupt the protest images from the summer of 1993, the height of the fight to save Clayoquot Sound, the largest unlogged temperate rainforest on Vancouver Island. About 800 protestors were arrested and carted away, while Wallace created a whole new way of seeing art, protest and the role and position of the visual artist.

Wallace's artworks endure, and also serve as a reminder to those who view them in galleries that what multinational corporation spin-doctors would like to refer to as a green-y lunatic fringe is actually a large and diverse population of British Columbians who are willing to inconvenience themselves for the sake of protecting the oceans or the last of the great rainforests.
PictureHeadwaters of the Stein, B.C., August 1988 (from tonionley.com)
Toni Onley has been in there too. As part of the large protest to protect the Stein Valley from logging, he organized a plan to fly in well-established artists to the vital watershed area to paint their impressions, with sales going to help the campaign to save it from a plan for the Mitsubishi company to log the old growth for disposable chopsticks. 

Onley, who died in 2004, recalled painting a watercolour in support of a Stein cultural centre while “Chief Perry Redon, the chairman of the Lilloet Tribal Council... beat his drum and sang to the four quarters. I was inspired and soon we had a watercolour for the Stein poster….”

PictureKen Wu photo by T.J. Watt (tjwatt.com)
Many paintings of the beauty of the protested areas of the Stein, the Carmanah Valley, Clayoquot Sound helped fund the continuing protest, and today form important collections and are captured in coffee table books like Carmanah: Artistic Visions of an Ancient Rainforest. 

But there's nothing like a compelling photograph to bring the stark reality of the protest home.

T.J. Watt's photo of Ken Wu, the Ancient Forest Alliance’s executive director, sits atop a massive red cedar stump in the Upper Walbran Valley on Vancouver Island. The photo earns its place as an important visual of the struggle to retain a small portion of the natural environment, but its place is also determined by this image that is forceful in its subject of scale and a unique moment in time.

PictureShawn Hunt's Untitled, 2013
The Kinder Morgan survey crew has to be out of Burnaby Mountain in a few days, but the protests against the transport of a dirty, risky diluted bitumen in lieu of real government investment in clean energy sources has just begun. 

It's there on the faces of the growing protestors, and in the art that's growing along with it. And sometimes, as in this surrealist portrait by Shawn Hunt, it's in the faces in the art.

This is the history of environmental struggle in this corner of the world, and part of the history of art, too.

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Is Instagram a godsend for artists, a social drug, or worse?

11/14/2014

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I've been giving Instagram a lot of thought. And I've concluded that I'm exhausted.
Picture(Photo by Carlyn Yandle)
I realize that Instagam can turn a small-town lady with a crafty idea into an international business success story, but that's quickly eclipsed by thoughts of more insidious, multinational business antics: top-level consumer marketers who court those Grammars' "Insta-fluence": Nike, Holiday Inn, Burberry. (More at this New York Times article.)

I think about how encouraging it is to have people following you in your creative endeavours, but then I think about the shared similarities among the top social-media savvy "micro-celebrities", our exploding narcissistic culture and the easy-pickins' exploitation for big-brand profit and almost-free fame.

I realize that Instagram can open a door for artists to the big wide sharing world and that by refusing to open that door runs the risk of a lifetime of professional obscurity. Indeed, "Instagram is custom made for the art world," says New York Observer opinion-writer/billionaire financier/art collector Adam Lindemann. But he then adds: "You get a quick flash of an image with virtually no text or explanation. There’s no need to read. It’s perfect for people with zero attention span, zero education and zero interest in learning about anything—perfect, in other words, for the art collectors of today. You could go so far as to say that the successful art of this current generation must be Instagramable to succeed, and if it doesn’t look good on Instagram, it ain’t working in this instant-gratification art world: goldfish have longer attention spans than ‘grammers."

Picture(Photo by Ariel Zambelich/WIRED)
I  realize that it's free and with the help of such apps as Latergram, it's possible to keep the phone-pecking at a daily minimum, but I can't help thinking about these guys: the Instagram and Facebook engineers who recently moved all Instagram photos to Facebook's data centre, without any users the wiser, as reported by Wired. 

I realize that this is a wee worried whisper in the hell-yeah storm of 200 million mostly female, mostly under-35 Instagrammers.  And I realize that I may be overthinking the whole thing. I could be expanding my visual horizons, connecting with artists around the world, but instead I'm fixated on what becomes of the millions of bits of personal information being sucked into that data centre in Forest City, North Carolina (as suggested in the Wired article) every day, and how that data has been used and how it will be, soon enough.

PictureA slideshow still from How the NSA Almost Killed the Internet (wired.com)
Last year the FBI and the National Security Agency were handed over the ability to suck up people's photos, videos, emails and documents, after the largest businesses online allowed the agencies access to their servers. According to a ground-shaking Washington Post article last year, "The National Security Agency is harvesting hundreds of millions of contact lists from personal e-mail and instant messaging accounts around the world, many of them belonging to Americans, according to senior intelligence officials and top-secret documents provided by former NSA contractor Edward Snowden."

I think about Instagram and I think about what's monitored, what's censored (no pubes!), what's the next app to eclipse Instagram's success (Snapchat or Bolt?).  I think about how all these social media apps contribute to the time-sucking attention to that little gadget that is now as much a part of the restaurant table as the cutlery and that has turned a busload of riders into something resembling group prayer. I think about how Rogers is a dealer, getting rich on its users' increasing dependency on data, more data.

Am I overthinking Instagram and the rest of the global social re-wiring? Yes, but I might not be thinking about it enough either.

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flying that doily flag at upcoming PechaKucha

11/7/2014

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In the next month you're likely going to end up stuck at some fatuous seasonal gathering, wondering how soon you can bolt without appearing rude so you can go home and change into your antisocial cozy pants.

This is why I like PechaKuchas, lectures delivered in 20 slides that each flash by in 20 seconds. (Next!)
PictureData map by Attila Bujdoso, past organizer of a Pecha Kucha night in Budapest. (bujatt.com)
They're fast-paced, a little risky, guaranteed to vibrate the ol' grey matter and bring on some laughs (vital during these dank days).  You don't feel like a knob if you go by yourself or arrive in your day uniform — whatever that is. In short, except for the alcohol and snacks, PechaKuchas are basically the opposite of most social events.

The participatory part isn't for everyone, but when I saw the call to artists to participate at the Terry Fox Theatre in Port Coquitlam on Nov. 21, I decided to take up the challenge.

Picture
I'm bent on facing my fears these days and besides, I had a topic in mind that might answer one frequently asked question I get about my work: What's the deal with the doilies? (Or the more polite: Are you still working with doilies?)

This isn't my first PechaKucha — the onomatopoetic name for Japanese chit-chat — but I'm a serious neophyte, and that's okay.

The beauty of PKNs (PechaKucha nights) is that it's all okay, which likely explains why they've taken off around the world, in coffee houses and auditoriums, plazas and living rooms, with wide-ranging topics from biology to political movements, delivered by everyone from little kids to known political dissidents. 

My little drop in the PKN bucket addresses a crafty little topic with some tangles but it forces me to do a little more than just shrug and mumble something apologetic. 

It could be of particular interest to no one else but me, but my approach is: fly this freak flag; it will all be over in six and a half minutes.

PictureScreen shot of the browse window at pechakucha.org
   

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I was under the assumption I would mostly be making

9/12/2014

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Picture
People say talking about one's work gets easier with practice. I don't know any of those people. (Glen Andersen photos)
I did not sign up for this.

Well, actually I did, in my exhibiting-artist contract with the Richmond Art Gallery for the current City as Site public-art survey show, but that's not my point. I believed that steering away from my career as a manager and devoting my working hours to the independent business of building a visual art practice would be chiefly about making stuff — not so much with the talking and the writing about the making. But if that maker wants to actually be a part of what they call in art school "the discourse", she must talk about the work. In front of people. Sometimes a lot of people, many of whom are not here to listen to me. I mean her.

Engaging an audience is not my forte. I usually start with a pre-emptive apology of some sort because I know how this  is going to go down. I tend towards the tangential when I'm nervous, often resorting to wild hand gestures to make my point. My pace quickens as I go until I'm hyperventilating at which point I cut it short, usually with an unprofessional, "That's it" or, for variety, "That's pretty much it" (arms raised in resignation for emphasis).

You've got to stop apologizing, a friend said in a phone call the day after my five-excruciating-minute Artist Talk last Friday. It shows a lack of confidence. (Guess who just read The Confidence Code?) 
Haven't you heard of self-deprecating humour?, I said.
It's not if you're not being funny, she said. 
She had a point.

Then there is the dreaded video interview (at bottom).  I believe the only reason that the artist interview is listed as a condition of the contract is that otherwise most artists would high-tail it in the opposite direction.  The single-shot monologue creates the perfect condition for sudden eye twitches and facial tics. I spend so much time, um, trying, um, not to, um, say 'um' that my train of thought often jumps the rails and I end up serving up such pearls of wisdom as, "I also do re-upholstery."
PictureClockwise from left: Me, Nancy Chew, Jacqueline Metz, Glen Andersen, Nicole Dextras.
Even just being at one's own opening is akin to feeling naked on the street. After all, a lot of this making stuff originates in the privacy of the studio, involving private ideas. Sorry for making you all look at my privates.

But the smiles in this picture don't lie. Tough as it is, the talking is the audio part of the sharing that sheds more light on the subject, in this case, the behind-the-scenes look at Richmond's Public Art collection.

***
City as Site continues at Richmond Art Gallery (five minutes' walk from Canada Line's Brighouse Station) to Oct. 26. Artist workshop: How to Apply for Public Art Calls, Sept. 13, 1-4 pm with Elisa Yon, public art project coordinator with the City of Richmond. Public Art Bus Tour: Sept. 27, 1:15-3:30 pm, with public art specialist Dr. Cameron Cartiere and special guest artist Andrea Sirois. RSVP required: ktycholis@richmond.ca or 604-247-8313. 

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Fleeting acts of self-expression hold special power

8/1/2014

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PictureZen Garden, Buddhist Temple, Japan
The first time I saw a "dry landscape" Zen garden in one of the hundreds of temples in Kyoto, my brain sort of short-circuited.

This was the mid-'80s, and here was a Zen Buddhist priest meticulously raking the gravel against a lurid neon backdrop of sudden affluence and an alarming amount of consumer waste, often un-used and in its original packaging.

Now, of course, we get it. We have been seduced by the easy acquisition of stuff, then oppressed by all our stuff as the economy contracted (and nearly collapsed in the U.S.) We realized the two-car-garage life was not for us and now we spend a lot of time and angst trying to figure out how to part with our stuff.  We have been hoodwinked by marketers who prey on and play up our inadequacies, even inventing a highly lucrative shopping 'holiday', Cyber-Monday.

PictureLeah Biggs photo
There's an entire genre of art that reflects our dis-ease with all the stuff (see 10 visuals here) and painters have had to re-think their practice (of eking out a living) now that 'original' oil paintings sell at Winner's for $39.99, straight from Dafen Village, China.

What is emerging is a conversation about what really matters, which inevitably concludes with 'experiences.' It would be nice to think this shared revelation is rooted in our own free will, but really, the marketers have shot themselves in the collective foot. A rampant, speculative real estate

PictureBeck's fleeting design at a French ski resort uses snowshoes and clotheslines.
market has forced mortgage-choked folks into smaller quarters where there is just no room for more stuff. Car-ownership is being increasingly seen as a hangover from another marketing era and self-expression is no longer synonymous with the home-decor category.  Expression is becoming a participatory practice, enhanced by that one burgeoning consumption category — the ubiquitous personal screen and all its accompanying non-object data packages, games and apps. Mobility-marketing promotes an era of impermanence. Photos are as fleeting as the gravel-raking or the daily rice-flower Kolam drawings of South Indian women (see video, at bottom) or the snowshoe-patterns created by Englishman Simon Beck (left).

PictureCarlyn Yandle photo
Retail therapy is slowly being replaced by escape therapy. We balance rocks and create Calder-esque mobiles of driftwood. We take pictures, we post them on our blogs. We have amassed nothing but memories of that mindful, meditative moment of exploring the surface and mass of natural objects. We share them and are inspired by others' sharing.

Priceless.







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