Fish are not central to social practice art but perhaps they should be because they are the canaries in the mines of water and food. Without fish, we may not have either soon enuf. It seems fish and artists are being de-corporealized into cans and service silos, the better, perhaps, to consume us to the very last bite.
Every year, Creative Time (CT) hosts a conference on social practice in the arts. It is a "place" in art discourse. It is also a bit of a discursive hothouse, this year without any opportunity for formal back & forth between audience & presenters. So at lunch, yesterday, I took a bit of a walk in Washington Square Park and saw some art with a little less baggage.
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| The air and the music (Debussy) cleared my mind and I walked away humming. |
This year, the CT theme was place-making and gentrification. As last year, there were some controversial aspects to the event. One for many, was the shutting down of a talk by Lucy Lippard to hold to time constraints and another, for me- in contrast- was the long rant that was not cut off by Invincible. More controversial, to me, was the relative absence, except for Lippard's talk, of thoughtful address to the anthropocentric paradigms that seemed to be dominating the discourse. What much of the controversy has been about on Facebook, has been whether artists, like fish are being commodified to the brink of survival and to what extent, Creative Time may be complicit in that process. The reason for that suspicion was that the very valorization of large-scale social practice works, such as a recent ambitious event by Suzanne Lacy, can corporatize the art process while making the suffering and struggles of disadvantaged peoples both high art fashion and that marginalizes and excludes more modest practitioners. Ironically, historically, when money rules, there has always been a "high" art that appeals to the prevailing 1%. In this case, the 1% are those who are the best-educated, gentrified art world. Except this time, instead of casting in bronze, we are casting for the poor.
And how does any of this change essential systems that generate poverty? Not so clear. What I am very sure of, is that when we marginalize the environment in order to place humans at the center of the world, all life suffers, including and especially, poor humans. There was a great deal of discussion about displacing the poor for artists and then making room for the 1% but very little, except for Lucy's talk, about displacing the natural world with built human infrastructure. extrapolating from the displacement of nature and Lucy, we are displacing our water and food sources, which is why I always come back to fish.
There was no opportunity for Q&A in the CT format therefore these questions could not be asked publically. There were various formats for informal gatherings, however, including, after the aftermath, on Facebook.
In response to the shutting down of Lucy Lippard on Martha
Schwendener's page and a format without Q&A I wrote:
I was there and just on the
point of shutting Lucy down and formatting: I also found it shocking that she
was shut down, esp given audience response. What made it even more distasteful
was how the last presenter was allowed to ramble on forever in a long rant with
a lot of incoherent rage. Nato Thompson had said in the beginning, that he wanted us all
to consider framing our listening in terms of intent, content, context, production, distribution, and documentation (which seemed
very corporate) but at the end, there was no wrap up except an invite to
socialize at Judson. When I went there, the noise, crowd and drinking was
too much for me and I went home. Today I'm trying to decide what I think and
finding it difficult. It's informative to read the threads from you, Martha Schwendener and Mira Schor who
weren't there. The experience of being there, I'm sure was very diff than
watching but the lack of opportunity for audience participation, even on the
level allowed last year, felt deadening and made it harder to have a clear take
away. There were many good moments, inc Joshua Decter (sorry
I didn't say something yesterday). The Palestinian question esp seemed very
heavy handled to me and ethically questionable at the beginning and the end.
It's often hard for me to distinguish between exhaustion & depression (over my impression that plus ca change, plus ca reste la meme) and
yesterday I felt both. But when I think about the most moving presentation,
Laura Jo & her collaborators, I now question the whole set up, which put
the three people of color on display, as they cried and the audience silently
witnessed. I noticed that afterwards, they walked thru the lobby and no one
approached them nor did they seem to want to be approached. That was of a piece
for me with watching an elderly black woman trying to walk home with her
groceries before the opening of Suzanne Lacy's piece last
week & being turned away by (an also black policeman under orders and
clearly upset by having to follow those orders). Last night, I wondered if I should
have thanked Tallant, Hourani & Forte at that point but they seemed very
self-protective and it felt wrong. My biggest take away was from my
conversation with Mierle Mierle Laderman
Ukeles to the effect, as I wrote on my own page, that we were
watching a gentrification of social practice, in which yes, Suzanne seems to be
quite active and about which, as Mierle said, "it's scary." It has
apparently become another BIG industry except most artists going into or
accessing social practice will not make any more money than all the artists who
are not represented by Gagosian Gallery.
Another comparison, ironically, is to the very gentrification artists pioneer
with real estate, from which neighborhoods are displaced. It's painful to
consider the implications of this kind of commodification of ethics and
disadvantaged communities at the hands of art entrepreneurs.
On my own
page I wrote:
Fascinating
day 1 of 2 with old friends & new @ Creative Time today-
some terrific work in Zimbabwe & Caracas, Venez. Will post more later. My
only caveat so far is that ecological art is still being treated like, at best,
the vegetable garnish on social practice art instead of being recognized for
its indispensable interdependence. Made notes that will inform my diss and
Kitty is pleased I'm home for the night.
The second
day of Creative Time had some amazing highlights and some deep lows. Yesterday
the most moving presentation was about the courageous defense of Giza Park in
Istanbul to "save a couple trees." Today, besides brilliant
presentations by Rebecca Solnit and Lucy Lippard, the Annenberg Prize was given
to Laurie Jo Reynolds with prison activists Sally Tallant, Khaled Hourani and
John Forte, the last three of whom stood silently for many minutes with the
audience standing as well, to bear witness to the numbers of years 2 of them
and a son had spent in horrendous conditions.
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| Sally Tallant, Khaled Hourani and John Forte bearing witness to their own pain and loss before the standing CT audience. |
Some lows: conversation
with Mierle Ukeles to the effect that social practice is being gentrified; no
Q&A except in informal, segregated social venues and some painful
conflation of ahistoricity and deskilling at the end. I wrote a much longer
comment on my responses on Martha Schwendener's page
(which makes me wonder if I should separate my professional & personal pages)
but my take away this AM (Sunday) is that the entire experience felt virtually
disembodied because except for Mel Chin's brief comments
about green making him go red with anger and presentations, like Rick Lowe's on
urban farming, there was little mention of ecological issues. I don't recall
the term global warming being used even once for example. Lucy's
format-truncated talk was the closest we came to an in depth analysis of the
relationship between environmental issues and place-art-making. The term
biodiversity was mentioned a couple times but fairly abstractly. There was a
lot of friendly networking in the lobby but in the end, that seemed a means
towards self-promotion rather than the kind of forum for cutting edge ideas I
might have hoped for and left me feeling a bit hungry for depth. The food we
were served seemed to have the same affliction: elegant without much substance.
I don't mean to sound down because there were many wonderful presenters who can
be accessed at their site. However, at a time when the earth as we know it is
crying for help, what I heard was some tremendously anthropocentric thinking.
