CUT IT OUT! and NO, That's not a really bad toupee you see floating by -thats my dorsal fin- sheeesh! We, are at the beach, just out of reach of my screaming fans, NOT, as you presumed falsely, floating around the Chicago Art World...
The first thing for any artist here to realize is what a completely second class citizen he or she is in the grand scheme of things here....that is, being from Chicago is a huge detriment to a. being taken seriously as an artist (especially if you stay here and don't migrate to either coast) b. being collected here by either major institution and c. being collected by top tier collectors here. We, dear people are summarily dismissed with barely a flick of Mr Curators wrist. -His hand is free to do so as he employs (as all boy-on the-go smart/jet set art mavens do) the ubiquitous shoulder bag style satchel -I mean you really cannot leave the country without one! Understand, what this acrutement allows, is an implicit understanding that todays curator -far from being arts care taker -is more of an art star tourista...crisscrossing the globe in an endless, never ending vacation/'journey' to satiate the bottomless pit of need for culture that emanates from these creatures -supposedly outward...
What is key to getting where we as artists stand here is this: local collectors -in particular the most affluent influential ones are for the most part deeply concerned with appearing hip and up-to-date in their collecting -as seen from New York City. The last thing any of them want is to be seen as podunks from the midwest -which, if you think about it explains;
a. why art movements from here have been pretty much greeted with an embarrassed silence, (please note the local plutocracy attempting to separate themselves from the hoi polloi -by barely acknowledging they even knew Ed Paschke in Jeff Huebners really unfortunate remembrance of Ed in Chicago Magazine -it was, disgusting). Or Jim Nutt -not until Lynne Warren showed his portraits in a small side-room exhibition at the MCA and Robert Storr showing them at Site Santa Fe...did they get any of the attention they deserve -or, as Robert Storr noted when he came here -(I paraphrase-) 'where is the Nutt Portrait hanging at the Art Institute ? Its criminal there isn't one!'
b. most major collectors do it (collecting) elswhere -NYC and the the art fairs, and for here just surrender their judgment over to people like Judith Kirshner and Suzanne Ghez (what are the students doing this week?) -Judith who specializes in presenting a kind of watered and dumbed down version of what was hip in Chelsea several seasons ago- has really defined and consulted on several very influential collections of local work here. Also of interest, its no big secret people that mr. Curator is in Kirshner's back pocket -that they roam Art Basil Miami -and doubtless Art Basil as well, in a rented limo together -this is simply, a fact.
c. Rather than allow Chicago to be a place with its own vision -and allowing that vision to compete in the marketplace of ideas nationally and internationally, these people have created and supported here a vapid, even pathetic imitation of what is considered current and viable -in terms of its hipness factor out on the international circuit, emanating for the most part from NYC. Thus, condeming us to a collegiate version of last years trends passing itself off as an art scene. We should be better.
d. Artists need to understand when you see that crummy piece of conceptual work -or a large bland colorfield/ seen it a million times type academic painting - the reason why it is hanging where it is, has nothing to do with its actually being good -but, signifies that ms Kirshner and others have influenced one of several collectors (-who themselves are quite sure they are the qualified not only as purveyors of Napoleonic complexes and hideous toupees, but arbiters as well, of what art is important here) -to buy and support this work.
Which, leads me to the title of this particular commentary: if its not too much to ask then, aside from having money, what exactly are the qualifications these modern day de Medici's Chicago Style possess in the realm of esthetics?....well lets see, one of the more egregious examples is rumoured to have made a fortune selling what must have amounted to mountains of really crummy cookies, while ironically enough -in what could be seen as light at the end of the imitiation oreo tunnel, another well known couple's expertise derives from the making of shitters -as in, what else could it be, but toilets!
Now, The Shark readily admits to occaisonally frequenting the old haunts of John Sloan/The Ashcan School when in New York, ducking in to the Salmugundi Club on Fifth Avenue to partake in a nice hot piss into some of the finest latrines know to man or beast ( don't worry Tony T-I'm not lifting my fin on your turf -The Shark having been potty trained from a young age and having no desire to impress the Wilmette crowd with his pants piddling ability, unzips his trousers and tries to hit pisser)...nonetheless, as fine in form and stature as these ceramic beauties are, I doubt seriously if that qualifies their creator as an esthete- but then again perhaps in this post duchampian world we habitate, its merely a matter of context......
And last, a quick note for those to thick to figure it out or, those who promulgate a retarded one -dimensional understanding to The Shark's positions, and even the occaisonal painter -bamboozled and duped into parroting this species of specious koolaid in a garbage can: The Shark nether opposes nor promotes any one kind or type of art or way of thinking about art. The Shark has a problem with the institutionalized art world, and, with the political thuggery/academic aggression that has been inflicted upon a wide array of artists here in Chicago by a chosen few. Also, The Shark happens to believe and think -that most of this select group are more minions, 'pets' than they are very good artists -safe to take to dinner parties- as safe as it is to hang their mostly bland work (with much talk of great import hovering around never to be seen or anywhere in evidence in the work itself.....Northwestern for example: those of you old enough to have been around in the 80's doubtless remember the brilliant Gary Justis exhibition at The Cultural Center..a dazzling show of enormous potential and absolute indviduality..unlike anything in NYC -not like anything anywhere. Gary was teaching at Northwestern -for a moment...think about how much more interesting and challenging his work is than the homogenized -got one in every art dept in the country type stuff coming out of there now...how did that happen? Think about it- instead of some poor facsimilies of 'what was 'hot' 15 years ago, we threw away our own voice -or, it was thrown away for us.
( a footnote -how many of you recall the curatorial/ department head muscle flexing session at the Terra Museum back in the late nineties -when to qualify for inclusion in the exhibiton -you had to still be enrolled in an MFA program here......I will never forget walking down Chicago Avenue and running into Judith Geichman -she was one her way to the shows opening and asked me if I was going -"of course I'm not going Judith -not a rats chance in hell' -or somethingto that effect was my response -I then asked Judith -a very reasonable artist ,if she had ever been included in a museum exhibition here -she answered no -but she was going to this one as she had students in it....does anyone doubt this was all and only about art departments/dept heads, and deans? That it had nothing to do with actual art or, artists? Think; museum as art dept showcase and make no mistake about it -the poor students were mere fodder -instruments to illustrate ms Kirshner and company's ambitions. That, is the way it is here.)
A final note, the title of this piece is dedicated to the hefty girth and looming presence that is, 'The Whale Shark' aka Tony Fitzpatrick. This ones for you pal!
In addition to the machinations that the Shark mentions, there is another component to the continual degradation of the Chicago Art Scene, and that is the mindset that while art and creativity is good, money must be made. In order to maintain a middle class lifestyle, and artist must focus on getting and keeping a day job.
Wesley talks about the art 101 color field shit and crappy art being promoted by the tastemakers. A lot of this seems to be stuff created by artists in the few years beyond grad school. It’s art that hasn’t been perfected or is even at the point where it is ready for the public.
When I was in school (early 80s), the thought was that it took 10 years to find one’s vision and learn how to express it well on canvas or through whatever medium. Then, it takes probably another 10 years to actually promote it and get to the point where others can say, “yeah this artist has something to say and it’s valid.”
Unfortunately, the middle class lifestyle that most artists come from does not allow for this. It takes too long to reach this groove, so in the meantime, a lot of focus is placed on the “day job.” Gotta pay the bills, right?. Eventually, the budding artist gets married and over time puts more effort into the paying gig. Add children and the acquisition, maintenance and upgrading of property to the list of responsibilities and guess what happens to the art. Yes, it takes a back seat. Imagine if neurosurgeons needed to work a day job to support their interest in fixing the nervous system. They wouldn’t be at the top of their game. That is what happens to art. The stuff that is being promoted and displayed is not ready. The result is that, to some extent the art in Chicago is unfinished and leaves a lot to be desired.
Where are the artists that showed at World Tattoo, Randolph Street and the galleries that catered to the “emerging collectors” in the early ‘90s? My guess is that most of them are no longer artists.
What an awful sight!!!! To tell the truth, I wouldn't have stayed there on the beach!!! hehehe:) I'm verrrry afraid of sharks!!! I adore dolphins, they are soo sweet!!!:) Have you seen any in nature? I've done recently on Cyprus!!! You know they don't swim up to the beaches because of crowds of people!!! But my family and I've recently stayed at Cyprus villa and witnessed a pair of dolphins in the sea!!! What a sight! What a beauty! The fact is that the place we stayed in was almost empty and weren't afraid of people!!! It was unforgettable!!! :)
Bill, since the 80s, this thing called Google has sprung up. If you enter '"World Tattoo" gallery chicago' as your search terms, on the first page alone at least 6 artists come up who used to show at that gallery and who are all still working, apparently successfully. Unfortunatly, Google doesn't provide their tax returns, so I can't tell you if they're middle class or not...
"at least 6 artists come up who used to show at that gallery and who are all still working, apparently successfully. Unfortunatly, Google doesn't provide their tax returns, so I can't tell you if they're middle class or not..."
I was speaking in broad terms. I didn’t mean that everyone that was showing 13 years ago has given up. My point is that pressures to be successful and have a stable existance, put a serious strain on trying to become an artist. In many ways, art takes a backseat to everything else in life.
It takes a long time to become a really good artist; one that has something to say and say it well. So the art that gets shown is not fully developed. Therefore it appears academic.
I have to say I do agree as a newcomer, that I am faced with the dilemma of what to paint and feel like if I just ripped off something out of Art Forum or something I've just seen overseas or in NY I feel I might get a local gallery to take me seriously as opposed to trying to create something of my own....whether good or bad. Granted, I'm new, I don't go to gallery openings and just pop my head in every few months or so to see what they have hanging on the walls, so when I'm ready I have a good idea who to approach, but I just keep seeing derivative stuff. I just chalked it up to making sales. The Chicago galleries want to sell stuff and they are going with the sure thing. As an emerging artist, I almost feel like going with a known formula seems better than having your own voice here in Chicago. Again, no offense to anyone, I know there are many fantastic original artists out here, I am just speaking on general terms from my limited perspective of what I've observed. I would think this will eventually change with globalization?
Plus, even if a young artist isn't ready for the public, the idea that you have to start showing asap is drilled into your head, so that when your art is at a good point, you already have a nicely padded resume.....so what are you supposed to do? I feel like if I don't get something in a show right away, even if it's crap, I'm not keeping up and I see many who ARE showing crap, just to have a show. So what are we supposed to do?
And most art forms, here in Chicago, have day jobs....of all the theaters we have here, only a handful pay enough to live off of, if even, and many dancers I know either live like paupers or have a second job. It goes deeper than Chicago, it's your national perspective on art. However, if you were born in Russia at one time you might have had a dance company that took care of you, your entire life, but what if you weren't picked for that dance company at six years old? Would you ever have the opportunity to dance or join another company?
And stay away from those dolphins! Haven't you heard about those marauding gangs of young males that rape? They also gang up on adolescent, smaller species and will "play" with one until they kill it. Not so sweet and Walt Disney after all!
Bill--
As one of the former owners of World Tattoo, I can tell you that a lot of the artists we exhibited went on to really wonderful careers, including Nina Levy, Diane Christiansen, Tim Anderson, and many others-- World Tattoo was a place for artists to start their careers and I think we launched a number of significant careers-- Did some of our artists quit-- I imagine so -- the truth is , most of them do-- this is a very tough way to go -- there are no guarantees and no steady paycheck-- you have to hustle -- thats the good part --it's hard-- it's supposed to be hard, it's good that it is hard -- if it was easy , it would be worth nothing.
My one regret about World Tattoo is that I wish I'd been a better businessman back then-- I think of World Tattoo as having been a little ahead of its time as far as it having been a good place to help build a community-- I wish that it would have lasted longer.
Hey Tony,
I’m glad to hear that artists that have shown at World Tattoo have become successful! It was a great gallery and I miss it. I think you’re right about it being ahead of its time. Imagine what it would be like today combined with all of the online discussions going on.
I agree with everything you said. It’s extremely difficult, but worth it if you can do it. I’m just saying that the demands of everyday life can take a toll on an artist and the work she or he produces. It’s like having 3 full-time jobs. Something has to give. Either the work suffers (lack of time and energy to perfect the work), the art career suffers (do to lack of time and energy to hustle) or everything else (day job, relationships, etc.) suffers. Or, really any combination of the three.
BTW -- I wish World Tattoo would have lasted longer for my own sake. Jonathan had promised me a show, but it closed before that could happen. Of course this is an example of not focusing on the career on my part. Too busy making ads for Walgreens and painting at night to make it down there in time to show my slides.