Eyes on the Prize: The Squeaky Wheel Gets the Oil
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.
Aaron Heideman in front of his van. Courtesy Pittsburgh Post-Gazette. Photo: Michael Henninger
Aaron Heideman is a regular commenter on this blog. His remarks are thoughtful, but he’s clearly disgruntled. I’ve been tempted to reply: Dude, why are you so angry? But instead, I went to see the artist and his project, The Man in a Van, yesterday afternoon.
Homeless man. Dodge van. Tyvek banner. Felt-tip markers. These are Heideman’s creative instruments. Since July, the artist has traveled the United States in a van, collecting stories from people affected by the recession on a paper scroll (and on the van itself). This document of our present moment — measuring almost the entire width of the standard NFL football field — is heavy with tales of loss and despair.
Aaron Heideman, "The Man in a Van" (detail). ArtPrize, Grand Rapids Community Foundation, 2009. Photo: N. Caruth
When I arrived at the Grand Rapids Community Foundation it appeared there was nothing to see — Heideman’s scroll was torn into three parts by yesterday’s high winds. I soon learned that the artist and his damaged piece were inside the building; we sat down amid the large fragments of paper for a brief chat. I expected to get an earful about all of the problems Heideman has with ArtPrize and its voters (and there would have been nothing wrong with that). Rather, I found him to be cool and composed and unusually connected to his project — he seems to carry the weight of it on his shoulders.
"The Man in a Van" (detail), 2009. Courtesy Artcar.blogspot.com
“Art has messages and cultural value that exceed having a good time,” he said. We agreed that the festival and, to some extent, the circus aspect of ArtPrize encourages pure fun. Heideman shared with me that locals have verbally acknowledged the importance of his message and recognize that it’s not reflected in votes, while others have said that it’s too depressing and walked away. The thousands of stories collected before ArtPrize, including tales from local cities such as Ann Abor, Lansing, and Saginaw are written in black. Grand Rapids stories (there are 300-400 of them to date) are written in red. I asked Heideman if there was anything about the immediate audience that stood out to him. Much to my disappointment, he told me that people had been “the least respectful” in Grand Rapids, sometimes writing racist comments and, in one instance, a swastika. He said, “It creates dialogue, but it’s unfortunate.”
"The Man in a Van" (detail), ArtPrize, Grand Rapids Community Foundation, 2009. Photo: N. Caruth
In response to the polls Heideman said, “The public is a lot smarter than what’s being displayed at ArtPrize [this year].” He believes that audiences will become more intelligent and critical over time. The artist has already come up with a few possible ways to solve what he finds problematic about the voting system. (You can read some of his thoughts in the comments area.) One of his suggestions is to open up voting to anyone, making ArtPrize a truly international competition. Others have proposed this on the blog, and as I told Heideman, I take issue with this idea. I’ll have to digress for a moment to explain: I recently went to see an exhibition in New York of work by a major contemporary artist whose work I have admired for years. I had never had the opportunity to see the work in person, though I had studied images online or via high-resolution reproductions. Upon seeing the real thing, I was unmoved, maybe even bored. It felt like I had seen it all before. Virtual reality seemed to have robbed me of the experience of art. And so, the fact that ArtPrize requires one to come to Grand Rapids and see artwork to vote is, to me, of enormous value. For everything that art has gained with the advent of the Web and social media, I think we are at the same time losing sight of the importance of seeing, touching, breathing, and feeling art on a real one-to-one.
"The Man in a Van" (detail). ArtPrize, Grand Rapids Community Foundation, 2009. Photo: N. Caruth
The Man in a Van Project is undeniably meaningful, especially right here and now. Not long after I arrived in Grand Rapids, I passed by a downtown realty office with lease ads for spaces once occupied by retail superpowers like JC Penney. Later in the week a resident told me that her friends have left this city, because they couldn’t find jobs. Though these signs of the recession are not unique to Grand Rapids, I understand that Michigan has been hit particularly hard. I imagine that ArtPrize has not only done a lot for art in this town, but also given the local economy a welcomed boost.
(I purposely ignored community projects like Heideman’s in my last post about collectives, because I wanted to give this topic more space. The Man with a Van Project is one more point of entry into a much larger conversation.)
I’ve playfully referred to Heideman as the “squeaky wheel” in my title. However, I didn’t seek out his project just because of his visibility on this blog. I went to see The Man in a Van Project because locals told me that I should; I was compelled by the emotional impact they described. It follows that I’m listening to and reading all of your comments. To some I have already responded, others I am still mulling over and hope to address in a later post. Keep talking to me (and to each other).
I too was moved by his project. Thanks for covering one of the more thoughtful works in ArtPrize.
I have a work that is quieter, (at the Amway Grand Plaza gallery) and have felt frustrated by the whole circus atmosphere. And I was only there until Friday evening. Your blog has been a refreshing and thoughtful look at the work there. Thanks
I too think that the art should be seen first hand to fully appreciate, or not, and experience it. It is unfortunate that all the art can not be seen in the time allowed. I have not been to the Amway Grand Plaza, and I have made the effort to see as much as possible. I live 2 1/2 hours away and plan on coming one more time to see more. I don’t see how votes can be cast on art not seen, as mentioned in the article, seeing a work of art in person verses a picture is simpley not accurate. Maybe an extra week for the first phase of voting would be a good idea.
Excellant coverage of a worthwhile man with a purpose. I met him the other day and came away with the same feelings. Good work Nicole. You are a great New Yorker ( I am going back for awhile soon) Can’t wait. I need Katz’s bad.
Nicole,
This is a really interesting post, and I too love reading what Aaron has to say in his comments. But I think the question needs to be asked; Does what Aaron do qualify as “art”? Or is he a social activist? Whats the boundary between the two? Is there one? And should a project which attempts to project itself as meaningful, debase itself by putting itself up for a public vote? Couldn’t he just show up to Grand Rapids without entering the competition? A lot of the work I have seen at ArtPrize seems to make the “What is Art?” question among the most relevant. Keep up the good work. ArtPrize has really given me a lot think about.
Thank you for the kind comments, Nicole. I’m not necessarily opposed to the local vote, but I think incorporating an international vote is worthy of further debate. More than anything, I believe the first-round vote should be determined by a ratio of UP votes to viewership. If all voters are required to click a SEEN IT button prior to voting up or down, it would give a more accurate idea of which pieces are favorable to the crowds, based on percentage. Then the second round of voting could be determined by popular vote, since it would be much easier for the public to make an informed popular decision with only ten pieces to view. I also agree that the first round should be longer. There’s just too much to see (especially if you consider future years). Who’s to say that Artprize won’t have 10,000 artists next year. Would a popular vote in the first round really do justice to the art in the first round? Seems that a percentage-based vote would be more appropriate for the first round.
I have to say, I’m extremely surprised Aaron is not in the top 100. But, then again, a lot of my favorites are not. Also, I think the idea of the percentage of who has seen/voted for a piece is an excellent idea. It will be interesting to see the changes Artprize goes through for its second year.
Nicole,
I completely agree with you in that I think it is paramount that an individual be physically present with the artwork in order to make a decision and vote on it. I was a bit frustrated and disheartened to see that so many people voted for Rob Bliss’s entry, which was a performance piece, before it was even performed. I was present for the paper airplane performance with high hopes, but frankly I found it to be quite anti-climactic. Yesterday I was in the Old Federal Building and saw the video documenting the event. The short video loop was well edited and interesting to watch, but I also felt that it portrayed the experience in a deceiving or slanted way- that it was joyful and heartwarming and inspiring, when in reality many people became bored and went on there way after only a couple of minutes. Had the tossing of the airplanes simply been part of the process to create the video, I would feel differently about it’s merits in this competition.
Wow, sorry, that one got away from me.
The other note I’d like to make is that I would like to see the voting tally completely concealed next year-no one sees any numbers or any kind of ranking whether it’s percentages or groupings. Thoughts from others?
Sarah, I agree with you about Rob Bliss and the voting.
There is no reason to have any voting updates. It just gives extra publicty to the people in the top 100. And that gives them an advantage over everyone else.
Alan,
To your comment about “debasing” The Man in a Van Project: I hope Aaron will respond.
Peter Murray said to me in an interview: “I suppose we are always voting (with our feet).” That is, just by visiting exhibitions (or not) we are giving a thumbs up or down. You’ve raised a great point about how we assign value to art in different contexts.
Alex,
Thanks for you comments. I’ve really enjoyed my time in Grand Rapids. I’m even a little sad about going back to NY. I haven’t experienced that in a long time.
Beth,
Thanks you as well.
Besides requiring people to view the art in person, artists should not to be allowed to post images that ARE NOT part of their ArtPrize entry. I’m thinking of one fairly visible piece that is in the Top 25 but whose pages images (which IMHO are superior to the actual entry) are of other works. Very misleading if you ask me.
nc
have you been to the open source studio and gallery? it’s near the mission on division. there wasn’t shuttle service to this venue, but there are hidden gems within. check it out and tell all.
a firm handclasp,
cf
without beliefs _____ can not act.
I too appreciated Aarons contribution to Art Prize. As someone deeply affected by the recession it was cathartic to post and as I said afterword “I always know I’m not the only one with these difficultites but now I don’t feel like the only one.”
Thank you for that.
However, as art goes, I didn’t feel his social commentary comparted with the level of skill, talent and committment demonstrated in many of the other art projects I viewed. (I don’t mean committment to a project because that is obviously present, I’m talking committment to a craft.)
Thanks
Interesting, I never noticed his entry. I too feel the rankings should be concealed until the top ten announcements. I feel that because I frequented the website often, I was influenced by the top rankings announcements. It was hard to avoid the imagery on the front page, I believe that no matter how hard I tried to keep my mind open, it created a bias. I visited the venues/pieces that created controversy or top votes because I wanted to know what all the buzz was about. Because I was distracted by so many other entries, I ran out of time to see other venues. I guess that’s both a good thing and a bad thing. Overall, I am still very impressed with the first year! Can’t wait for next year!
Alan and Mary,
I have so much to clarify about the piece, and it’s “artfulness”. I want you to know I’ll respond to your questions, but my battery is going to die in about three seconds. Check back here tonight or tomorrow morning. Peace!
A lot of people comment on next year they should do this and that. Who says there will be an ArtPrize next year?
I am so thankful that ArtPrize has brought such diverse art to Grand Rapids, and made it available for everyone to see it for free. It’s been a joy to see so many different people brought together to look at such a variety of art. What a fun thing for our city! Regarding the voting and the awarding of the prize, it seems to me that the obvious vote-getters are all in high traffic areas. How about if next year there are prizes awarded by venue region to narrow it down to a top 15 that is more representative of the entire community of artists whose work is on display? For example, name the top 3 from the Center City area, the top 3 from the Heartside area, the top 3 from the Westside area, etc and then have the final voting determined from that top 15. It may be that we would need a bit more time to allow voters to get to all the regions and vote, but at least this way there would be a broader sampling of the entire ArtPrize event entries. And what a wonderful way to get people to truly explore all of the downtown area. This event has really transformed how downtown GR feels and I’ll be sad to see it end!
I haven’t read the entire thread but I have to agree with Aaron about a percentage somehow playing into the calculation. It would be interesting to see an overlay of the location of the top 10 over the map of all venues. How much is determined by location? I haven’t looked at the top 10 to see so I don’t really know if there is a correlation. Are there ones from UICA because they have the “expert” curatorial selection process or are there equally good works elsewhere and ones from UICA were selected because they get the traffic and the votes- likewise for the BOB or other pedestrian venues. As an exhibiting artist who installed the week prior and was unable to attend I really have a hard time grasping the dynamic. I can imagine networking schemes to “manipulate” the vote (in today’s artworld/artprize design absolutely acceptable) but maybe for those off the beaten path there should be some form of balance that gives you a chance.
There was a press announcement a few weeks ago for the dates of ArtPrize 2010. It will be back.
Okay, since I have a bit of a platform here, I’d like to clarify some things about the project. I’m specifically responding to Alan and Mary. If you have contrary thoughts, please share them.
Does The Man in a Van Project qualify as art? First of all, I don’t believe artists should be concerned with the art world. Artists should spend less time trying to create work to please judges, and more time creating works in relation to their personal values and perceptions. After all, art at its most elementary level is the ordering and beautification of life, and every genuine artist has a different perspective on what that means.
Concerning social activism, it goes without saying that some of the greatest works in art history have in one way or another been political in nature. With that said, I have remained politically neutral throughout my collection process in order to gather the broadest range of stories and personal experiences.
The message found in collective expression admittedly exceeds any design element in the organization of stories on my canvas, and the real beauty of the work is in the emotional response and connection that people feel to the work. After all, it is a self-portrait of America; how could people not feel connected unless out of stubborn choice or lack of understanding?
Alan, you asked if my project inadvertently debases itself by putting itself up for a public vote. But the project itself was created at least partially in response to Artprize itself. I was competing against (while also raising up) Artprize, more than any of its artists. To me, it’s more about the context of the conversation than the overall prize. In fact, I couldn’t have possibly accepted the money for myself if I would have won. That would have been wrong for so many reasons (and of course, the American media spun the story in that direction).
Also, you should know that I left Oregon on July 1st, long before securing a venue. I was planning to show up in Grand Rapids regardless of each venue’s curatorial outcome. Early on, I was invited to show at the B.O.B., but I didn’t respond because I felt it would be disgraceful to the project. I was rejected by nearly 30 venues before signing an agreement with the Grand Rapids Community Foundation. It was also suggested that I drive around town in my van to try and get votes, but again, it would have been disgraceful to the project and to all those who were affected by the recession. In the end, the Grand Rapids Community Foundation was a perfect match.
In response to Mary’s comment, I certainly value craftsmanship. I also respect those whose livelihood depends on their art. I also stand behind my work, and I’m quite satisfied with the level of craft I was able to achieve. When you saw my work, you may have approached it without knowing what went into it. After all, anyone can put a piece of paper on a wall and hand out markers. But how many artists can resist the temptation to create their own work? How many artists can acquire the level of emotional authenticity that was achieved in the project? How many artists are able to capture the spirit of an entire nation? I don’t say this to lift myself up, but only to illustrate to you that the work is valid, credible, and important. It might not look like a typical painting or sculpture, but then again, I didn’t create it to your definition of art.
As I’ve traveled the country, participants have been incredibly respectful of my work, as if the banner of stories is somehow sacred and worthy of preservation. When I got to Grand Rapids, the level of appreciation significantly dropped, and the amount of mindless graffiti increased exponentially during the hype and hoopla of Artprize.
It’s okay that the project didn’t win the hearts of the Grand Rapids masses. What it tells me is that the recession isn’t over. I was trying to create a symbol to end the recession by creating a memorial, and I realize it was wrong for me to try and control this outcome when the country is clearly not ready. I was hoping people would bring flowers, or memorabilia to lie down at the wall. Instead, Grand Rapids has spent two weeks escaping from its troubles, eating good food, going to the circus, drinking spirits, and voting on art that makes them happy.
In a few weeks, Grand Rapids will go back to having empty retail spaces and quiet, contemplative streets. Without the competition of Artprize, Grand Rapids would have been more appreciative of the work, and they would have opened up more honestly. In a sense, The Man in a Van Project has illuminated the nature of Artprize as much as it has illustrated the collective mindset of America. For these reasons, it has fully succeeded and I couldn’t be more satisfied.
Bravo
Aaron,
My husband and I liked your project. It was a brilliant idea. I am an artist in the competition too. Wouldn’t you like to know how many votes you did get? I sure would. I e-mailed Kevin Buist but he did not give me a direct answer. I think it should at least be known to the artists how many votes we recieved.
I think it would be nice too, Jordana, but they have a lot going on. I’m hoping they provide that info sometime in October.
Awesome piece, Nicole. I had not heard about nor seen, so thank you for that.
Even prior to reading this, I’ve heard alot of conversation as well as grumbling about what qualifies as art, which is disheartening. Something else I haven’t been able to figure out is why most of the “controversial” pieces have been voted as such. I don’t really wish to elaborate on my opinions on either issue. I’d rather share that what this event has brought to me cannot be replaced. I have spoken to so many different people from all walks of life. Artprize has given me the gifts of knowledge, emotion, inspiration, culture, new relationships, old friendships renewed, really good art, and so much more. I don’t care about the competition or the prize, and I don’t care who wins. What I care about is that even a fraction of the vibrancy, warmth and diversity that Artprize has brought to the city will become a permanent fixture.
Aaron, my hat goes off to you. You have alot of heart, a true individual. Keep creating, keep drawing out human emotion. We’re just not there quite yet, but when the world IS ready to place the flowers along the wall, you will have won your prize.
Aaron has to have been the most brave artists to enter this convoluted competition. My hats off to him and his piece.
Aaron: I have seen your work, at Home Depot and at GRCF. Your comments and thoughts are right on. I couldn’t agree with you more. GR is still hurting and didn’t know how to responed to your open wound. Thank you for your thoughts and your social responsibility.
Aaron: Your efforts are more than just note-worthy; they are to be commended. With respect to the lack of respect that found its way into your work, I venture to say that human nature itself wrestles with how to deal with its own pains. Some choose to lash out, yet hurt deeply within, both as a result of their own actions and as part of their personal past and present pain. Others cannot bear the emotional anguish that a situation, sound, or sight triggers and have to leave the presence of whatever triggered their emotional response with great haste – a coping mechanism and means of survival. Many probably didn’t even visit your work due to a subconscious fear of emotional reactivity or a convincing of self that the art could not truly be art – a fear of opening oneself up to the true essence of art without bias and preconceived notions. Grand Rapids has been hurting at core level for basically a decade while other cities and states have only started to feel the recessionary agony in the last few years. As Grand Rapids emerges from its traumatic time at some point in the future, it will no doubt look back and find a resting place for its sorrows in your piece and perhaps a home for your memorial as well.