High Winds on James Peak. From Sugarloaf Mountain, Colorado, 2015 (A totally uncontroversial–therefore boring?–image NOT likely to be censured anywhere.)
Those artists who have been around more blocks than I will surely recognize this story. I am sure it is quite common down here at the local level where we are currently swimming, and that is unfortunate. This was a first time for us, so it sort of woke us up from our innocent slumber. If it hasn’t yet happened to you or an artist friend, it probably will–assuming, of course, you or the artist in question is trying to press the envelope and doesn’t just shoot/paint flowers and landscapes.
Here we go…I’ll change the names and places to protect the guilty.
A friend of mine, call her Marianne Carpenter, was excited. For the first time, she had been asked to prepare a solo exhibit of her photography in an out-of-state venue called Digital Art Creations (DAC). DAC was not a gallery, it was–and is–a business. (They offer classes in all facets of digital design as well as lease office space and conference rooms.) Still, the venue sounded like a place where her art would be appreciated by fellow artists and other, creative, open-minded, people. Finally, she would be able to present a large, cohesive, cross section of her sometimes slightly edgy work.
Dave, the volunteer curator duly deputized by DAC’s often out-of-town owner, was supportive of Marianne’s desire to show off her unique style. Dave was there on the day we started hanging the photographs.
As we brought in the pictures, things began to get interesting. Carole, the woman working the desk on this particular day was, at first, very happy to see us and quite helpful. She (along with Dave) showed us where the pictures were to go, she brought out a box of hardware, nails, etc., and she expressed her satisfaction that, finally, something was going up on the bare walls. (A previous exhibit had been taken down a few days prior.)
As Marianne began bringing in and unwrapping more of her photographs, Carole’s mood began to change. At one point, I noticed she was taking pictures of some of the works on her cell phone–perhaps sending them to someone, maybe her supervisor? She finally commented on a few of Marianne’s photos saying somewhat nervously, “I don’t really think we can hang this.” By the time all was unpacked, there were several images that fell into this category of “Hmmm…I don’t think we should hang these…”.
Dave, at this point, stepped in and basically told Christine to not worry about it, he was the curator for the exhibit–appointed by DAC’s owner–and all the photographs were to go up. This obviously distressed Carole tremendously (to mild tears, at one point) and I began to sense that she might perhaps be feeling caught in the middle muddle of her responsibility, as the on-site supervisor for the day, to make sure DAC standards were maintained, while at the same time supporting the artistic self-expression of Marianne.
In the end, all 35 images went up and, IMHO, the exhibit looked really nice. The official opening was scheduled for later the next month.
Then, a few days later…Marianne dropped by with a friend to preview the exhibit only to find that several of her photographs were missing. She asked the desk supervisor, Brett, but he said he knew nothing about it and that Marianne should email the DAC supervisor, Suzanne.
Another detail of the visit: On one of the open desks in the public entry area, out in the open where other office workers and students could easily see, Marianne noticed a note in large print and red ink that said, “If the artist shows up and asks about the photographs, have her email Suzanne. This woman might have issues and could be trouble.” Obviously, this–combined with the missing photographs–upset Marianne tremendously.
After a brief search, Marianne found her photographs in a storage closet. She packed them in to the trunk of her car and took them home, leaving four blanks spaces on the wall.
After some back and forth emails to Dave and to the DAC owner, it was resolved that…Marianne could hang the four offending images for the two hours of the opening, but she would then have to take them down. As frustrated as Marianne was about this, she decided to go ahead with the exhibit.
To summarize, this was the situation…
–In one corner: A business owner who must take into account the needs and desires of the clients–in this case, the students who meet for classes at DAC as well as those who lease office space at DAC and have clients visit them at those same office spaces.
–In the other corner: An artist who is hoping to show a large, cohesive, body of work. An artist who is passionate about freedom of artistic expression. An artist who has made herself vulnerable through the public display of her very personal artwork.
If you are a small business owner, then, and wish to have artists exhibit their work at your store, café, business, office, consider doing this:
1) Write down your very specific guidelines for what artwork is acceptable. State your vision as to your art exhibit goals. Explain how to apply to hang work in your business. Also include details about number of images, sizes, how to hang, where to hang, where not to hang, what materials to use, your policy on sale of images, how to schedule an opening, how to plan/organize an opening, your specific support or non-support of the opening, points of contact, dates, deadlines, etc.
2) Make sure both your designated curator and the artist have a copy of these guidelines.
3) If not already done during the initial application process, at least have the artist submit a portfolio of images to the curator and owner prior to hanging the artwork. Confirm which images are acceptable and which are not.
4) To the business owner: instruct your workers and subordinates to direct any concerns about the exhibit to the curator–who will have a direct line to you, the owner.
5) Once an exhibit is on the wall, the decision to make any changes should be done by the business owner or the owner through the curator (not workplace subordinates), who can then inform the artist. Make no changes to an exhibit until the artist can be informed. Ideally, the artist him/herself should make the required changes to an exhibit–not office workers, or even office supervisors.
My opinion? Well, as was said, this venue is a business. The business owner has every right to make sure his or her building is a place that is attractive to clients and to potential clients. I understand that and accept that. In the future, artists like Marianne will simply have to work to get in to a true art gallery that does not censor what goes on the walls–well, at least, doesn’t censor things quite as much.
There is a Part II to this story as well: Why was anyone offended by any of Marianne’s images in the first place? Especially in a venue that one supposes caters to creative, artistic people?
This gets to the heart of the matter–our Puritan/fundamentalist heritage mixed with a severe lack of art appreciation and art education that eventually leads to confusion between ART and what is merely base, vulgar, and offensive. (Yes, I know there is a grey zone in the middle. But, believe me, none of Marianne’s pictures even came close.)
So, standby for Part II tomorrow!
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