Eyes on the Prize: Spectacular vs. Spectacle
Nicole Caruth is a freelance writer and curator living in New York and frequent contributor to the Art21 blog. She’ll walk around ArtPrize, observe, listen and write about her experience here. Nicole’s thoughts and opinions are her own and in no way represent an endorsement or objection from ArtPrize toward an individual artist or venue.
Walking the streets, day or night, I’m amazed by the number of people outside with the common goal to look at art. This alone might prove to be the most important aspect of ArtPrize. What this event has achieved for the communities of Grand Rapids is something for many (if not all) cities to envy. Nevertheless, my role here is not to promote ArtPrize, but to observe, pose questions, and maybe even criticize.
How and where a work of art is situated in the urban environment plays a significant role in how it is seen, received and remembered. This is especially true for outdoor sculptures and installations. Perhaps I’m not understanding the process of securing one’s own venue, but I had hoped to see more site-specificity at ArtPrize — artwork that is sensitive to its setting, and created to exist in a particular place. Too often artworks seem arbitrarily placed; they could easily move from one storefront, restaurant, parking lot, sidewalk or bank to another. They could even live in another city. There is something to be said for understanding one’s site and medium, and I think that statement is made in Calder Plaza.
If you’ve been following me on Twitter, you already know that I was headed to Slide Wars on Thursday night but never made it. I got distracted by art along the way. One sculpture lead to another until I unexpectedly came upon the Grand Rapids claim to fame: Alexander Calder’s La Grande Vitesse. In three days I’ve seen hundreds of objects, but nothing nearly as breathtaking. La Grande Vitesse doesn’t simply rest in the landscape, it makes the landscape. (It’s no wonder this piece inspired the ArtPrize logo.) But I soon found myself even more enamored by the relationship between Calder’s sculpture and nearby works by Chakaia Booker.
Calder brought humor, play and abstraction to his mobiles and bold sheet steel sculptures. Booker addresses topics of race, class and labor through manipulated strips of rubber tire. Their biomorphic and creature-like forms, created 40-years apart, are quite different in appearance and content yet resonate with one another. A conversation between these objects sort of dances back and forth across the courtyard. Calder designed La Grande Vitesse to respond to the color, size, and shape of the location. Booker and, I presume, the Frey Foundation have given the same kind of thought to the plaza and Calder’s presence within it. Acuteness of judgment, or understanding place is key to what I believe is most successful about Booker’s installation: forms complement one another in the setting. Peter Murray, Executive Director of Yorkshire Sculpture Park, recently suggested that this is what art, especially when situated in the open air, is meant to do — transform space and create conversation.
My experience of Calder Plaza leads me back to the polls. I’m slightly disappointed and a tad surprised to see that Booker is not in the top 25, 50 or even 100. Are the objects on top the best in the competition or the most seen? Are voters only remembering the things that take up the most space or get in their way? Booker’s sculptures are quiet and contemplative, they exhibit an awareness of history and place, and this is not what seems to be popular. I have to wonder if the trend we are witnessing in the top 25, which weighs heavily on the side of grandiose three-dimensional objects (RedBall: Grand Rapids; Nessie on the Grand; and The Furniture City Sets the Table for the World of Art, for example), has more to do with spectacle than content.
Nicole,
I think there are two problems in this event:
1) MEDIA…Most of the media seems to be focusing on some of the bigger pieces of art. This has to play into people minds at least a little bit. Take the paper airplane event today. The Grand Rapids Press has had a lot of articles on this for the last week or two. I even heard an ad on the radio the other day for this.
2) LOCATION…I checked the top 25 a little while ago. 18 of them were in just 3 locations. I wonder if those 18 were on the outskirts, if they would still be in the top 25. It is too bad that location may help decide the whole thing.
Overall, I think the converation has been good for Grand Rapids, but I wonder what will happen in the future. Will artists want to come back in the same format, or will things have to be changed?
Disappointed eh?
Well now you know how all us Beatles fans felt when disco dominated the charts.
Some times the crowds get it, other times not. It’s hit or miss. Probably just karma.
Hi,
Over the weekend our ArtPrize piece was vandalized. Our installation contains a drawing and 5 booklets that list out the things in the drawing. 2 of these books were taken from the space. If anyone knows the whereabouts of the booklets we would like them returned to 45 Ottawa or me personally. I have removed the rest of the books for security.
You can contact me at ryan@youandistudio.com
Thank you,
Ryan Greaves
youandistudio.com
Here is a picture of the drawing: http://img132.imageshack.us/i/youandislide1e.jpg/
Here is a picture of the booklet: http://img18.imageshack.us/i/youandislide2e.jpg/
Hi Jason,
1) I haven’t been following your local media. I have made it a point to talk to residents and artists instead. I’ll take your word for it that the media is highligting the bigger pieces…but that’s what the media does. They go after the big stories. Sensationalism sells. (We’ve certainly seen this in contemporary art in recent years.) I missed the paper airplane event, but I’ve heard about it and the attention that it has received. I asked people what it was about and no one can answer…
2) I totally hear you about location. It’s a big factor and I think most people recognize the advantages of one spot over another. I’m not sure if this is something ArtPrize needs to or can fix, or if artists need to get more creative next year. I’ve talked to several artists and residents about this over the past few days and the general sense is that, in the end, it’s not important. People seem far more interested in, as you suggest, the conversations that come out of ArtPrize. I think those will matter most in the end.
3) In another post, perhaps in my goodbye letter to Grand Rapids, I will share some thoughts about the future of ArtPrize.
I too feel that perhaps this whole event is more about the large and spectacular, most definitely outdoor sculpture, and all pretty much in the same vicinity. As a participating artist, I had some time to consider venues as I entered at the very beginning. As a humble realist painter, I could not consider the big sponsors like UICA or the Federal Building, as they stated they were seeking the unconventional and experimental, nor could I put my piece in a warehouse like BOB, it would have looked terrible, and stupid. In the end I chose a church, and I am happy it is hanging there; though now seeing the tendency of the crowds I wonder if enough will be able to appreciate it while dodging paper airplanes or trying to catch a glimpse of the river monster. If just the playful and large pieces take command, I am pretty sure any artist with a vision to put forth something serious to contemplate would not consider participating next year.
You as an outsider, Nicole, have indeed observed what to some was intuitively obvious. Spectacle indeed is a winner anytime with people, The biggest, loudest, craziest, extreme that can be made is what most people react to, whether positive or negative it is what they react and vote for. The rule in politics is the more you throw your name in front of the voter they will remember it at the polls. One way is to make it big. and advertise it. Why it was necessary to call this everything else other than what it really is ? Spectacle, entertainment and fun. But please don’t call it an art show. It is great for GR, great for business, great for people, great for fun and the children. IT is a fantastic idea- God bless them all, but it is not an art show. I would not have entered what I did if the truth were told, I could have done something very cool and big, but I opted for a technical achievement that is very difficult to create. I should have printed a huge 20 foot by 30 foot print of the GR skyline showing the curvature of the earth instead. Very easy to make. I hope that Rick realizes this for the future. Arts and Crafts Show is a perfect description.
Hi Nicole,
I had a few thoughts:
About the site-specificity, I think for many artists, there just wasn’t the time needed to produce pieces that were made to fit! Perhaps next year the “hooking up” of venue and artist will happen earlier in the process, and we will see more of that.
Chakaia Booker’s pieces are exquisite. They quietly sit without fanfare, among all this hoopla. Few people around here have heard her name. (And, as far as I could see, she isn’t holding court.) One of the great things that I’m enjoying this week, is meeting the artists, and talking with them about their work.
It’s heartbreaking, but not at all surprising to see works like the table and chairs get the most votes. I still think the idea of putting a vote in everyone’s hand is good. But, next year, I would love to see a few things change; maybe one prize that would be given to voters who have proven to have visited at least ten (or all) of the outlying venues. I’d also love to see a children’s choice award.
My fear is, that the outcome of this huge purse of ArtPrize, that did it’s job this year, drawing in many fine artists, will make many, like me, wonder if it is worth the huge expense and work to get here next year.
This is a great opportunity for the “Powers that Be” to start figuring out how to keep the excitement of the crowds, while still attracting the best artist in the world.
Some tweaking is in order. Or the whole thing will be come just a spectacle.
I also feel that the top rankings have more to do with location than quality of work. If it’s at a registration point, if it’s loud, or in the way, it gets noticed. I’m taking my time trying to comb through venues, and hunt down certain artists, but with the masses of people, limited time and venues that I am unfamiliar with, it’s hard to take in all that I want to. I feel that I will miss out on some of the finer work, even though I’m trying to be methodical about my observations. I too got distracted, not necessarily by quality work. I am also guilty of seeing the top rankings page and following links to those artists, it’s hard to avoid.
AP “matching” is a bit of a misnomer. Technically no artist simply selected where they wanted to show. They may have attempted to match themsleves to where they wanted to be but the final decision was a juried decision by the venue itself. Some venues employed professional people who might have been able to select work that they felt would fit well with the site or venue. Most venues I fear were just property owners picking what they liked.
AP advertises the event as “open to any artist who can find a space” which is a half truth.
The result is a exhibition, let’s just set the competition problems aside for the moment, where you have a hodge podge of really good and really bad.
How this could be good for Art and for Artists and people from West Michigan who do want to see interesting Art is yet to be determined. But I can’t think of a single system or model of exhibition or even social interaction where throwing a bunch of bad in with the good ever had a benefit.
Nancy, I love your idea of a children’s choice award!
It still bothers me that out of the top 25, only 9 out of 159 venues are listed. That leaves 150 venues with either horrible art (which I doubt) or people are not visiting them as much. I am not sure how this would be fixed for next year. Maybe they could have all of the 2D pieces in the Devos Place.
Also, what about having different categories. Everthing shouldn’t be lumped in together. This would probably mean less prize money for each winner, but I think it would work.
I have said before that I think the conversation about art is there. But if you are only talking about 5 or 10% of the entries, is that a success?
This is the answer: Have the UP vote, have the DOWN vote, but also have the SEEN IT vote. If you’ve seen a piece, you click the button. Then you’re able to vote either up or down. Instead of a popular vote, it would be percentage-based. If 10,000 people see your work and 5,000 vote up, you get 50%. if 100,000 people see your work and you get 30,000 UP votes, you’re still only at 30% and the lesser-seen work would get the higher score. This seems like a much more accurate way of determining what the public likes.
I like your idea Aaron. I do think in theory it is more accurate, but, as always, there will be people who have not actually seen work and will say they have in order to drive percentages up for some and down for others. If the winner is not determined by percentage, it would still be interesting to have the “seen it” numbers, though.
I am one of the artists in an indoor venue that isn’t seeing much activity. I had already begun to work on my oil painting for next years artprize but I realize I don’t have a chance given the attention to the large sculptures. Instead of giving myself a pitty party, I am still going to do my original painting for my home but I am also going to creat a gigantic one for ArtPrize. If you can’t beat them join them:)
By the way I think it is terrible that some of the artists are actually standing by there work and “attacking” every viewer. A viewer should come up with their own interpretation of the art.
Jordana, I think those artists are interested in the “dialogue” aspect that ArtPrize wants to “reboot.” I don’t believe it is necessarily that they want to explain the whole piece to their viewers, but have a discussion about it. AP says this is about education, after all. And many times viewers are curious too; as I set up my outdoor piece (masks) many people asked what they were made out of, how I weatherproofed them, what my inspiration was, etc. I was glad to be able to answer with more than what I could simply put on a page for my artist statement. And I hope that makes it a more personal experience for the viewer as well because a conversation with the artist is more engaging.
Nicole, I am also surprised that Chakaia Booker is not in the top 100. While I was reading through profiles before voting started, I thought her piece was so interesting and that people would really connect with the work. Of the outdoor pieces, it does seem to be that those with spectacle attached are more recognized. I would have preferred the local media to have covered something like Booker’s piece rather than some that they have.
Gabriela Amaya-Baron, I certainly appreciate your comment and I understand in your case where the dialogue works. I was referring more to my venue where all 60 paintings are hung very close to eachother. Some artists are standing right by their work and “selling” their painting to the viewer. I had one person tell my husband they went to view my painting but they couldn’t get past all of the artists working them over. He bacame so overwhelmed he had to leave.
ArtPrize is essentially a numbers game. There are incentives in place for the artwork (and/or artist) to be loud. My artwork is not loud, and neither am I. As a resident of Grand Rapids, I was excited and intrigued when ArtPrize was first announced back in April. As an artist, I felt it was almost my duty to be a part of it. But, after submitting my proposed work, paying the registration fee, and contacting many venues, I ended up one of the unmatched artists (remember us?). The feelings of desperation and frustration as the matching days were winding down were an unpleasant surprise, quite at odds with my expected experience. I decided to carry on and complete the artwork I had proposed anyway. The opportunity then arose to exhibit the work with ArtPeers in the Uptown/Wealthy St. area. Considering what ArtPrize is shaking out to be, I am very happy with the way things have turned out (well, except for the $50 I lost in the process). The folks and community of ArtPeers have been great. While I harbor no ill will towards ArtPrize, I doubt that in its current state it could have been an effective vehicle for my work. Incidentally, my artwork will be on display at Wealthy Theatre for a few more weeks. You can’t vote on it, and I really have nothing to gain by your seeing it. I probably won’t even know if you do or not. But if you’re curious….take a look. As for ArtPrize 2010, I will most likely focus my energy elsewhere unless the tone of the event significantly changes.
Unfortunately, the outcome of this ArtPrize will likely determine the shape of the next one. Although there will be some artists like myself, who will continue to follow their various muses and create works that don’t stand a chance of winning, many artists will take a cue from the top vote-getters and create works that meet the demands of the voters. Sad, but true.
Dear Art Friends,
It seems we all have some of the same concerns regarding the dynamics of Artprize. Despite all this I am happy to exhibit my installation at Purple East where there is room to experience all six artists’ works without the congestion of some other venues. We also had a great space on the second floor for construction. The owner, Kelly and her staff have been great accommodating all our needs and throwing a first-rate reception, in fact one of the best I have attended outside a major art museum. So, the experience has been very positive, despite less traffic to our venue. Like Booker’s work, the work in our venue is more contemplative without showmanship, but well presented. I believe Caleb Brennon’s sculpture at Purple East is not only striking and moving but thought provoking. He is a well seasoned sculptor who knows how to place and install his work. I am at Artprize not only to share my work but to see as much work as possible as my schedule allows (teaching full-time). Upon my return for de-install I am hoping to catch more first-rate work on the fringes. Artprize certainly illustrates the many fine artists working in the region. Although I have not been able to attend any of the lectures at Kendall, I am bookmarking and will share with my students in PA. Nice job Grand Rapids!
Milt Friedly
I think the ratio game proposed by the Man in the Van is right on!
I was having this discussion today with a friend and we proposed an identical system. In fact, if I’d read it here first, I would have just quoted it.
By having the ratio determine the winner (with some minimum number of views to qualify) you’d have a scenario where some of the great works at fringe venues would stand a chance.
I went to see Tanglefoot yesterday, Brassworks, Riverview and Furniture Campus today. There were people wandering through all three venues, but I’m sure the numbers there are much lower than what The BOB is getting.
That said, there are some fantastic works there. I’d be wholly in favor of Aaron’s proposal next year. It would be great!
So much art to be seen, so little time to see it all!
Suydam, I just left Brassworks and indeed there are a few good pieces on view. I’m looking forward to seeing the work at Tangelfoot.
Dawnice, I hear you. I’ve covered a lot of ground, but have finally given up on the dream of seeing everything. I feel a little guilty about it.
I would just like to say that I love all this discussion of art or so called art. (Has anyone really been able to define what “real art” is?) I think the energy that has been released over the past weeks here in Grand Rapids has been amazing. A true shot in the arm for some otherwise dreary times in the state of the world right now. I just want to say I’m really pleased with the B.O.B. in the placement of my husbands work, as he required a darkened environment to show his piece. He got his wish! The darkest, remotest, corner of the big old building. It doesn’t really matter if the throngs didn’t perhaps reach that far away from the madding crowds to see it. The satisfaction of seeing one’s work looking as if it is home is totally worth not being in the top anything. It’s all about heart and soul. Thanks B.O.B.!
I love the “seen it” idea involved in voting – working a percentages game. The BOB and some others are easy to get to and popular, but I agree that many of the pieces there have no place in the top 25. Maybe have fewer entries and contain them all to downtown? Artprize is an amazing thing for GR, but I think it could be tweeked to make it more “fair.”
Nicole,
Have you made it to the Open Concept Gallery? I’d love to hear your thoughts on the accessibility of the gallery. You have to ride a service elevator that requires you to pull apart steel doors and remove a chain link fence and ride it up to the 6th floor in order to see the paintings. I have heard that others have had a hard time finding where to go.
Thank you Nicole for this piece of critical discourse. I think it’s what’s missing from the mix. The raw, wild and unfiltered nature of this event is for me a strength because it is a kind of initiation. It’s promise is that it will develop into a more mature but hopefully no less wild ride. I don’t see a thing wrong with giving the public a voice and a stake in the process of discerning what “art” may be, nor am I surprised at their lack of sophistication. Publishing critical commentary that educates is an important component in building an audience that actually comes to value the experience of art and is willing to make sacrifices to support it.
Regarding what Jordana mentioned about the accessibility of the Open Concept Gallery…I was certainly a bit intimidated when I went there alone for the first time. I didn’t realize how the elevator worked, so I just waited until other people came and went with them. Seems like with a venue like that there maybe could’ve been an elevator guy there running that thing. It’s a cool venue overall, but I was sure happy to have other people to help with the elevator. (even though the banging of the doors rung in my ears for hours!)
Nicole,
I would like to hear your thoughts and suggestions on any changes that might be made to the Artprize contest, i.e., timeline, voting, prizes, etc.
Also, I agree with the idea of more site-specific works, but as stated by another contestant, there was simply not enough time for most of us to consider this approach especially if you are from out of town.
I did receive some press from the GR Press and I am very grateful – at first a bit surprised, but felt the press was being very democratic and open minded. They seemed sincerely interested in my work and promoting my venue.
I am very familiar with Booker’s work, (Storm King) and other exhibitions, and I am also surprised she was not in the final running. When I first learned she was showing, I wondered why, but concluded why not she raises the bar for everyone participating at Artprize.
In the end the people will decide, but the local curators certainly had a voice in shaping the process and setting some standards, which I think established a some semblance of Fine Art.
Have you seen Andy Yoder’s show at Winkleman?
Appreciate your comments and insight – thanks to the organizers of Artprize for having you. Hope to see you in NYC.
Milt
Hi Milt,
I am drafting my final post, which is turning into a list of thoughts, ideas, hopes, etc for ArtPrize in the future.
I’m pretty sure I stopped by Winkleman, but I’m having a hard time keeping track of every artists name. I just checked out Yoder’s website though — I’m glad you brought him to my attention!
ArtPrize has been a great experience. I’m thankful to the organizers for having me too.
Many interesting point made here.
I must disagree with you, Jason and Nicole, about the role the (so-called) media has played in some aspects of ArtPrize. Much of the early coverage of large, outdoor pieces being installed was due to the fact that they were happening in full view in the public eye. If 5,000 motorists, for instance, are going past a piece of sculpture being installed on a particular corner, our task is to explain what it is happening and why because it’s something out of the ordinary happening in an otherwise ordinary environment. Much as a dentist looks for that one cavity in an otherwise healthy mouth, it’s the job at its elemental level.
Jason, your point that this has to play in people’s minds “a little bit” is probably accurate, so long as the emphasis is on those three words. I agree with you that location and transportation were prime drivers of where people went or didn’t go during ArtPrize.
Nicole, if sensationalism did sell, reporters and editors certainly would do their jobs differently. (And I for one would leave the profession in a New York minute). It’s simply not true.
Rob Bliss’ project got a lot of attention in the media because we perceived in advance that a large number of people would turn out for the event. It happens we were correct in that assumption, but we weren’t the cause.
Now, you might be tempted to ask, doesn’t an abundance of media coverage affect people’s actions? Perhaps, but I’ll return to Jason’s most accurate pronouncement, “a little bit.” Ask yourself: Have you ever done or not done something solely because of something you read in a paper or saw on TV? I expect an honest answer is: Perhaps, but hardly ever. Which is what most people also would say. Yet most of those fail to take the next step and consider that if almost everyone has a similar response, then obviously the premise can’t be true. If you connect the dots, you must then conclude the media hardly can make anyone do anything. Really, all we can do is inform you of a situation or an opportunity and let you make your own decision from that point on.
I’ve seen much wonderful art in ArtPrize, and I’m disappointed some of it didn’t do better in the voting. Disappointed, yes, but not surprised. A popularity contest is just that — a popularity contest.
Chakia Booker’s pieces raise interesting questions. The Grand Rapids Press and Mlive.com did give her works an extra measure of coverage. They were placed on Calder Plaza, which is the center of downtown. They are wonderful pieces. That they didn’t make the Top 100 can’t be attributed to media coverage, to location or to quality. For the answers to that, we have to dig deeper.
Art Prize has been a ray of sun shine on Grand Rapids. Having people out looking at Art is something that GR can be proud of, and hopefully open peoples minds to the beautiful works that can and have been created throughout time. Some might have been a shock, and caused questioning thought, but that is its pupose, and that is good. It is a not a surprise that the bigger the better voting trend has taken place, GR is a big venue. Would a day at the DIA do it justice? We spent one day, and with talking to artists, and looking in smaller venues, came away wishing we had more time and could not objectively vote for the best work.
Jeffrey,
Whatever you covered and for whatever reason, is your prerogative. But even if the local media covered a piece that was more spectacle than anything else, I wasn’t saying “the media is wrong for covering that.” I was saying that I’m not surprised. I stand by my point about sensationalism, but I was too quick to generalize “the media.” I never suggested that Booker’s works did not make the Top 100 BECAUSE of local media coverage.
Jordana,
I’m sorry to say that I never made it to Open Concept Gallery. Can I find images of the installation online to get an idea?