Woolgather Art Prize 2011
31 Bond Street Leeds, May 6th
It’s not Avant Garde, it’s Avant Give
We all give to society; What do you want back?
Opportunities can exist within all of us and can be underpinned with one question ‘what if’? And the fun part: exploring that question. Thanks to everyone who made this possible.
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06 - Foreword
Contents
14 - Joe Frost
08 - Woolgather In Conversation
15 - Michael Burell
16 - Thomas George Durrans
22 - Geoff Latz
17 - Michael Burkitt
22 - Tony Burhouse
24 - Raychel Ark
15 -Bruce Davies
23 - Verity Hatfield
24 - Lucy Alexandra Howson
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25 - Elisa Grasso
26 - Alex Gilmour
29 - Nikki Hafter
32 - Fred Pepper
28 - Gillian Holding
30 - Jo Marsh
32 - Bess Martin
33 - Claire Selman
34 - Robert Sharples & Scott Towler
35 - Alex Sickling
36 - Liz West
37 - Aurora Fearnley & Jenni Wren
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How do we, and who are we to judge success in the art world? How do we award or recognise worth? How do we put a price on something that is essentially the manifestation of someone’s idea or thought process? Is it all a lottery of subjective decision making by people in the ‘position’ of a selector, funder, organiser etc.? And how do these decisions impact on the winner as well as - inevitably - the loser?
Foreword by East Street Arts
These are some of the questions that came to my mind when I first started talking to Leeds-based artist collective, Woolgather, about their current project ‘The Woolgather Art Prize’. The Woolgather Art Prize is an experimental showcase of contemporary artists based in West Yorkshire. Aiming to provide an accessible platform for artworks and hoping to celebrate the unresolved, the transitional, possibly the ridiculous. Ultimately championing the ‘what if…’. According to the democratic fountain of knowledge, Wikipedia: “A prize is an award to be given to a person or a group of people to recognise and reward actions or achievements. Prizes are also given to publicize noteworthy or exemplary behaviour, and to provide incentives for improved outcomes and competitive efforts.” What interested me about The Woolgather Art Prize was their approach in exploring what the offer of an art prize means, in terms of who the ‘winners’ really are, as well as giving artists an opportunity to be part of a valuable process. All short-listed artists are involved equally in the collective development of a publication, a public show and a website as outcomes of the project.
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“We want to celebrate not just the art product but the artistic lifestyle as well… all the artworks will be given away to members of the public who voted throughout the duration of the show. In doing all this we hope to encourage a continuing wider interest in the arts” {Woolgather interviewed by Culture Vulture} Woolgather in one sense are acting like a modern day Robin Hood capturing artworks that might just as easily have been situated in a white cube ivory tower but instead giving them away to people who have journeyed to view the work and vote. In a vigilante approach to widening engagement they are also making reference to another aspect of attaining a ‘prize’, perhaps wrestling it back from the psychological grip of capitalist ideology, insomuch that ‘the winner takes it all’. “Prize is a term used in admiralty law to refer to equipment, vehicles, vessels, and cargo captured during armed conflict. The most common use of prize in this sense is the capture of an enemy ship and its cargo as a prize of war.” {wikipedia} The exhibition, which I think is an exciting snapshot of contemporary art practice in West Yorkshire, is presented in a ‘meanwhile’ venue that fits with the collective’s wishes for an accessible central (non art) space. The public will vote on all the works and the winners will receive a monetary award as well as acclaim from the visitors. In an extra twist the works will be given away over the course of the exhibition negating price tags, commercial operations and in the spirit of captured loot, passing it on to people who really want it and value it other than what they are worth on the market.
8
The Woolgather art prize was born out of a frustration of our circumstance. It acts as a reaction to our thoughts and concerns, directly responsive of our environment, as artists. These are extracts from early conversations in the project highlighting ideals
Woolgather in Conversation
and questions we had and in most cases still have. JS - Are we going to reference anything
that the core of work is never profit
of where the idea came from?
driven, but a tool by which to explore our
CW - I think we can talk about
surroundings and relate to the world,
our positions.
and to share this with others, and to
AN - Right what is our position then?
prompt curiosity.
[Silence]
The application is open to any form of
CW - Errrrrrrrrrm us being recent
work, complete or in development, we
graduates, who can’t afford to make
want to expose work that is uncertain
work and can’t even show our work to
and diffident in a stage of development
the public really.
and not smooth and refined, raw works
JS - So to that extent are we going to
not marketable products.
speak negatively of . . . I guess we
-
could speak in a broad sense, because
AN - Like you were saying yesterday,
like I said, I don’t know if it is just Leeds
yes it is local, and it’s important that
or if this happens to young artists
it’s a local thing, but it could be
everywhere, but there is no integration
local anywhere.
into society for us right now and that’s
CW - It could be applied anywhere.
what we are trying to create.
-
AN - This isn’t just an art prize but
JS - We want works that belong to each
a project to establish a relationship
artist, stamped by individual pride in
between the artist and the public on a
that work, a piece that they represent
local level, to engage all in the process.
that they feel they must represent even.
Artists struggle to establish a lifestyle
We for this reason should maybe only
that allows them to make a living, this
accept one piece for each proposal . . .
is only going to become harder in the
that was one thing I thought of. Rather
times ahead, but we must never forget
than saying you can exhibit three I guess
9
maybe it shows a genuine integrity to
CW - It’s actually pretty, it could be one
an idea that you’ve only got one shot at
of the…
it. There’s too much of an idealisation
JS - Punch lines
of reaching the final goal immediately,
-
forgetting the strivings in the adventure,
AN - In some ways it’s a problem isn’t it,
we want the grass to always be greener,
artists are expected to give to the public,
and if it isn’t we will up the contrast
how do they, what do they get back from
on Photoshop.
it. We don’t do it because we expect to
AN - The comedian Bill Hicks, he got
get something back, but at the same
diagnosed with cancer, he didn’t tell
time, we do have to establish a way of
anyone, but after that his work became
living to be able to do all that. Ok so
like a necessity to get all this stuff out
maybe we’re not addressing that, we’re
and give it to the world before he left. It
not solving any problems, that artists
poured out of him, he felt he had to give
might have.
all this back before he went. You should
JS - But it’s about making artists feel
listen to his stuff.
good about themselves, it’s like any
CW - But what you said about the artists
hero in any story: they don’t get a direct
really wanting to just show one piece or
reward for going off and saving the world
this is it kind of thing, works with the idea
but feel an obligation, there’s a drive
of giving it away, and being so confident
in these people……..It’s not just about
in it that they will just give it away, just
the shortlisted artists who make it, there
to share.
will be lots of talent going in there, just
JS - It’s like the idea of art being your
the intention of entering knowing your
kid isn’t it, you want to release in into the
giving your work away alone is quite an
world and let it stand on its own legs.
admirable one.
-
CW - How do we reward everyone
JS - I’ve got a quote here……
I guess?
It’s not Avant-Garde,
JS - I know we can’t physically do it but
it’s Avant-Give
it would be nice at some point.
[Laughs]
AN - I know, it started as a monetary
AN - Who said that John it’s quite good
reward and has moved away from that,
[sarcastic]
the actual reward money is secondary
JS - Beautiful stuff
now to something else going on.
10
Woolgather in Conversation
In the end we’re just putting the work
AN - Yes ok that’s an educated
there and creating a show, we’re
assumption that they will go for big and
rewarding that lifestyle and putting an
brash, from things that we have read and
importance on it.
learnt but we don’t know, that’s what’s so
-
exciting about it, we just
JS - . . . heck knows it isn’t about money
don’t know.
anymore . . . we’re going at this without
JS - We don’t need to educate people in
really any money but we’re still going to
art, it’s in the heart. You can’t spell heart
do it anyway.
without art.
CW - (Sings) Money for nothing and
CW - You don’t need to learn about
your kicks for free
anything to realise if you like it or not.
-
-
AN - When I got home I thought about
AN - You know when you said who we’re
what we were talking about last night,
targeting, I picked up when you said
the possibility of the £100 curators
young artists, I’m just concerned, that’s
choice prize, and I started to think that
not just who were aiming this at, there
actually that really isn’t a good idea,
might be some old guy who at 40/50
because this has turned into something
CW - 40 – Old guy!?
else, I don’t think we need to do that
JS - A guy on the cusp of death!
anymore. That was when we wanted to
[Laughter]
put an emphasis on the experimentation
-
of work, but actually, us saying we
AN - I suppose I was obviously thinking
are going to give some money to our
about the idea of personality that’s come
favourite, we undermine and undo
out of Facebook of everyone knowing
everything we’ve just tried to outline.
so much about people that you might
JS - I fully agree with that because it will
not have even seen in years, a couple of
save us some cash
years ago that would have just seemed
AN - £100 to spend on booze instead eh
bizarre, but now that voyeuristic way of
Plus we don’t know that a tiny drawing
life has become quite normal, how do we
isn’t going to win, the public could really
draw upon that?
surprise us, you know, we have no idea.
CW - If we get all the artists to do
JS - That’s it; you know we are all working
a video but then we get a range of
in a domain, where we’ve never had the
responses, someone’s made an
public really interact with our work.
animation or a film and some else has
11
say; a stereotype but an old man who is
AN - By the time it comes to the opening
a painter and sits in front of the camera
of the exhibition we want them to feel
and talks to it, I think that variation that
really involved with something, not just
don’t naturally sit together in terms of
think, oh there’s my work.
approach, I think would be amazing.
-
JS - It would be, but it’s very ideological
AN - If someone wants to put in a
to think that’s how people will react.
diamond encrusted fucking mash potato
CW - What’s worse case scenario?
plunger and someone else wants to put
JS - That we get 40 shit videos, I hardly
in a battery with a phone balanced on
ever watch good artist videos.
top of it.
CW - We’re not asking them to make an
JS - Go on show that happening
artist video like it’s an exhibition piece,
CW - You’re going to be there for like 6
we’re asking them to make an erm,
hours trying to do that.
maybe even if we said right we want you
AN - If someone believes in the idea
to make a video where you tell us about
enough and wants to give away a really
your erm, who you are or whatever and
expensive piece of work then that’s fine
what you think of an art prize.
as well.
JS - I think what we are touching on is
CW - At the end of the day they have to
the idea of dialogue.
give it away.
-
JS - [John impersonates his
AN - What else can we do that’s like
future self] Oh sorry you got shortlisted,
a dialogue between the artist and the
but we couldn’t exhibit, but we keep.
public, but draws upon that idea of
CW - But we keep, we just like.
knowing a bit too much about someone
JS - Oh sorry that got sold by mistake.
you don’t actually know?
CW - We exhibit the piece but we’ve
JS - Yeah something where you feel you
taken all the diamonds off it.
can connect with someone.
AN - Oh, oh, for the record I just
AN - Yeah, so they’re not talking about
balanced my phone on a battery, a AAA.
themselves and their art and become a
JS - That’s quite impressive actually.
character that anyone can relate to on
-
any level.
AN - But you know what, we’ve got all
JS - We might even see it getting born
these ideas and all these ideals but we
out of this gift idea, someone giving
might be shit at it, it might be really shit,
something of themselves.
hardly any public might turn up.
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Woolgather in Conversation
JS - But these ideals aren’t promises,
JS - I think we all have a shared belief in
they’re genuine ideals of why we’re
what this thing is about now, I think we
doing this...
always did.
AN - Ok so what if we have an
-
introductory paragraph that’s about our
JS - Stuff like this really adds to
beliefs, it doesn’t say what we’re going
the story. We’re professional tramps
to do, it just states we believe that this is
AN - I’m exhausted after all this talking
important, this is important and this
JS - It’s just standard for me really, I just
is important.
do it to the mirror, it’s the only way I can
JS - Yeah I think that is necessary
get intellectual debate.
-
AN - Oh God John
CW - . . . it’s like you do it through the
JS - If no one else believes in you, you
action not through saying you will do it.
have to believe in yourself.
JS - Bringing it back to good old Beck’s New Contemporaries [‘97 catalogue] they put all their intentions in there and heck knows the exhibition won’t have ever really achieved that, but they put all their hopes for re developing the art education and the world developing, so I don’t think there’s anything wrong with putting those giant ambitions that we have there. AN - We almost need to . . . maybe a piece of, maybe more what we need is a piece of writing that we’ve done that talks about our beliefs, but they’re not, but we’ve just got to be so careful were not going to claim were going to do anything. -
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Each artist was asked to produce a submission in response to the question:
Shortlisted Artists
We all give to society; what do you want back?
unifreakmad@hotmail.com
Joe Frost 14
15
Michael Burell
‘It’s a leading question, you know. I’m giving to society? I mean, how much do I really give to society? I don’t want to sound abusive, but in terms of making art for people I’m pretty lousy. I should get my stuff out there more to be seen, but it’s kinda tricky. Some people just aren’t interested in what I’m doing. It’s sort’ve a general apathy that people’ve got, they don’t care for much anything cultural, really. I guess me and those guys have to meet each other half-way: I’ll present more of my work to them and they’ve got to be more interest in it. Or, well, not just my stuff, but art in general y’know? I don’t really want to be rich and famous and make lots of
Bruce Davies
michaelrburrell@googlemail.com www.parataxidermy.org
dough or anything, seems kinda like a lousy life but I guess having people just being interested in what I’m doing would be pretty killer. I don’t exactly know what I mean by that, but I mean it,’ I said. I got up and started to go but suddenly remembered it was a goddam Sunday.
At the age of nearly forty and after twenty three years of work the only thread that has run through my adult life is the desire to achieve something as an artist. What that something is I am not sure I can really define but I do understand that it is a life long work that may never reach any particular resolution; but isn’t that life anyway? In terms of benefitting from such endeavours I can honestly say that my desire for any kind of return ends with individual projects. I would like to think that, in some small way, my various projects and artworks could contribute to a much needed change in people’s attitudes towards and perception of art. Commerce and art have become confused in people’s minds and art is only really
bruce@henry-moore.org www.museumofdailylife.wordpress.com
considered if it is a consumable that can be added to their walls or shelves at home, yet more objet de merde with which to fill lives and empty pockets. The real beauty in art comes not in having expensive wallpaper but in the engagement with an idea that makes you see the world in a different way
Page 16 hello@thomasdurrans.co.uk www.thomasdurrans.co.uk 07894243237
Thomas George Durrans 16
17
Michael Burkitt
As you read the text you are invited to:
responded to a rather generous invitation. I offer my work as a gift, like a gift it can
-- Empty your pockets or bag and place the contents up on a nearby surface. -- Remove your shoes and place them on the same surface.
be gratefully accepted or declined. You can eat the Banana and read these words or not. According to artist Doug Fishbone accepting or declining an invitation is
-- Take and peel a banana
exactly what occurs when encountering
-- Eat the banana while you read, taking
his work. In Trafalgar Square Fishbone
small bites, chewing sufficiently
kindly dumped 30,000 bananas for
before swallowing.
passers by to help themselves to, When
-- Throw the banana on the floor.
discussing the 8ft high yellow pile Curator
www.michaelburkitt.com
Tom Motson said: “That’s what the work Now the banana is a bit phallic, tasty and
is all about, about the generosity of that
high in vitamin B6, C and potassium;
gesture and about the relationships
but let’s imagine perhaps innuendo and
fostered through giving away the fruit, as
dietary fulfilment are not the reason
well as the fact that this is a truly beautiful
I have invited you to chomp your
sculpture.” The duration of this piece was
way through this fruitful experience.
around 11 hours whilst people helped
By consuming the Banana you have
themselves. It should not take you as
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long to finish your treat while I inform
handing over this banana in person I
you that I initiate actions, events and
am aware at some point, someone may
interruptions interfering with institutional
enjoy one as a result of my generosity.
conditions propositioning audiences
In similar territory Derrida transfers these
to encounter ephemeral events that
relations to hospitality. In order to host
respond to the specific contexts in which
you must first have the power in which
they are situated. Or to quote Roselee
to host. This requires the host to position
Goldberg I seek to create an audience
the guest within a set of conditions and
that are ‘not passive recipients of the
boundaries. For example when visiting
material of culture, but activists – kinetic
someone’s house that has a treasured
collaborators in the construction of idea’.
carpet, you may be instructed to take off
Michael Burkitt
your shoes before entering. Authentic With a mouth full of banana I find this
‘Hospitality requires a non mastery, an
more digestible, as the way you hear
abandoning of all claims of property, or
what you are reading differs from how
ownership’ and it is precisely this altruistic
it would having not taken a bite. We
aporia that questions the nature of the
have developed a bond here in the
decisions we make and how they create
bananas exchange. If you are eating the
our identity, accentuating our ritualised
banana you have begun to consume the
activities and the images we create. I
gift, which is good. Gifts are intended
interrogate these aesthetics of presence
to ‘recognize, establish and maintain
and power in my work in order to ‘play out
community’.
and challenge the orthodoxies, the rules and separations through which and in
However generous this, or indeed
which we live.’
Fishbone’s giving appears Derrida believed that ‘true’ giving was an
I host my work like I host this text. You
impossibility as gratitude annuls the
are my guest here and have an input,
act of giving as the giver also receives
to a certain extent in each and every
something in the exchange. I give you
word; you may interpret language
a Banana and you enjoy it, I can now
differently to me, but I have a control
feel happy I did this for you. Derrida felt
over the parameters within which you
that ‘a genuine gift must reside outside
can interpret. You are included in the
of the oppositional demands of giving
reading of each and every word, but in
and taking.’ And even though I am not
the decision to credit this essay as my
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work there is a reminder that you are also
dialogue begins in a position where you
removed from it. As Roland Barthes puts
can activate this work rather than merely
it, when discussing famous literature ’If
read its repeated intentions.
I can read these authors, I also know I cannot re-write them’. By accepting the
This agreement or pact with the
invitation to eat the banana you have
audience is my desired negotiation of
begun to engage with qualia. Qualia is
the terms of art/audience, where the
the quality of subjective experience, for
inclusion of an audience through the
example you may enjoy this banana more qualia and emotional response in the than another. You have begun to have a
creative process, orchestrates meaning
personal experience in your relationship
in a ‘system of presentations’ not an
with the reading of this text. I know how I
assessment of a works history. In this
like bananas to taste, feel and look. You
system and continuation of presentation
will have different banana requirements. If the potential for interruptions remains, you have declined the invitation to graze,
whereby even the disruption of a mobile
the banana remains my property, as the
phone ringing [from a credit company
items that remain in your pockets or bag
hassling for money] can be included,
remain yours, rather than the beginnings
where it may not have been before.
of a kind of hospitable commerce like say if you were to have removed your shoes
My logocentrism requires a series of
from your person and offered them in
presentations to be circulated or ‘carried’
order to receive these words.
by all those who have experienced it to create meaning. For this reason it
Gift economies are marked by a sense
is quite volatile. Writing allows for the
of obligation in that they are bound by
transmission of meaning in the absence
the need to reciprocate. In North America
of the receiver and does not require
the indigenous people of the Pacific
you to be here. In the transcription of
North West Coast celebrate Potlatch, a
meaning in a writing system I displace
festival where your status or reputation
the importance of the community
is advanced by the act of giving and
established by the oral tradition, that
grounded by accepting gifts. This giving
I favour, by creating an ‘original’, a
or hospitality can be seen as a lust for
referent, I have made the experience
power as “The gift not yet repaid debases
sustainable on these pages but this
the man who accepts it” and so our
allows for it to be taken out of the context
20
of its communication. Not having the
ideas becomes loosened by the laxative
immediacy of speech is what makes
effect of monetary gain, the progression
these words inauthentic and their
of the research is halted. The resulting
survivability incapable of the ‘guarantee
cash can be digested outside of the
of the purity of its intentions’. As I must
community and no longer serves it.
go back and rectify the forms I have
Therefore the community established in
created in the last few paragraphs so
the exchange of gifts lose their contributor
that they can communicate, in the form
and become unattached. There is a loss
of a document efficiently. Allowing you
of immediacy of creation, which nourishes
to engage with them at a later stage. I
the community.
Michael Burkitt
have to consider the innocence that will become lost in this duration and the purity
To talk about art as commodities is
of my intentions. Accommodating the
almost itself a commodity. Many words
institutional restraints I have to glance at
have been written with the concern that
my end point, if I am to make sense of my the exchange value of a work of art beginning. With room to cite, quote and
has become more important than the
qualify. I have to re-consider.
work itself, and the throwing around of ‘his name’ makes me switch off onto
There then becomes a breakdown
autopilot. So I will try not to fall into that
in the community established. When
same, underprivileged cesspit, where
ideas are fixed within a reproducible
the culprits would like to see all artists
medium such as these words on the
residing. But the importance of the
page, all discussion must be hosted by
resistance to make work that can reside
the mechanisms of that market despite
in the crusades of commodity collection
my desire for them to be received as
is paramount in sustaining a community,
a gift. The community cannot carry
rather then removing one from it. Now
the ideas as they lie here, they are
by ‘community’ I mean an audience, an
held in their reification. In science,
audience who enjoy encountering art. As
research discoveries are contributed
these very words and images have the
to the scientific community and result
potential to become commodities I have
in the recognition within the scientific
not included any of my works to date.
community for that addition in the
Instead, I will write of the concerns the
continuing unfolding of progress.
work attempts to address and in doing
However until the retentive clench on
so hopefully demand a commitment from
21
the future owner of these ideas. Artist Sol Le Witt was bothered by the commodity collection and attempted to tackle it in the production of his work, he said, “one of the ideas was the relation to art as a commodity. I thought by doing drawings on the wall, they would be non-transportable, therefore a commitment by the owner would be implied, and they could not be bought or sold easily.” I also have made work the addresses the commodity symptom, by creating some ephemeral works that exist in the ‘later on stages’ as stories, I have attempted to vaccinate my work with the gift exchange. If you receive these written words as a gift perhaps your obligation could be to commit to finding my work spoken in the future.
Motson, T. 2004. Story from BBC NEWS [online]. http://news.bbc.co.uk/go/pr/fr/-/1/hi/england/ london/3717650.stm [Accessed 16/07/09] R.Goldberg. Performance - Live art since the 60’s. (London: Thames & Hudson, 2004) L. Hyde. The Gift: Creativity and the Artist in the Modern World. (New York: Random House inc. 1983) p101 J. Raynolds. 2006. The Internet Encyclopedia of Philosophy: Jaques Derrida (1930 – 2004). [online]. http://www.iep.utm.edu/d/derrida.htm [Accessed 21/07/09] T. Etchells. Valuable Spaces: New Performance in The 1990’s. In. A Split Second of Paradise: Live Art, Installation, Performance. Ed.Childs, N and Jeni Walwyn, (London: Rivers Oram Press, 1998) p31 R. Barthes. Image Music Text. Translated from the French by S.Heath. (London: FontanaPress, 1977) p163 L. Hyde The Gift: Creativity and the Artist in the Modern World. (New York: Random House inc. 1983) p89 P. Dews P. Logics of Disintegration. Post-Structuralist Thought and The Claims of Critical Theory. (London: Verso, 2007) p24 L. MacRitchie. The Sincerity of Events In. A Split Second of Paradise: Live Art, Installation, Performance. Ed.Childs, N and Jeni Walwyn, (London: Rivers Oram Press, 1998) p28 S. LeWitt. 2003. Sol LeWitt. BOMB Magazine. [online]. http://www.bombsite.com/issues/85/articles/2583 [Accessed 25/07/09]
disorientatethedemons.blogspot.com ajburhouse@hotmail.com
Tony Burhouse geofflatz@gmail.com
Geoff Latz
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It is difficult to justify your worth to
art work probably sits somewhere in
society and then to ask for something
the middle of this scale. These things
in return when I barely feel as though I
may not seem like they hold equal worth
have even begun to contribute to it. In
to society but they all in some way
many ways I have actually been well
contribute to a better understanding of
looked after, in the current international
existence.
Verity Hatfield
climate of recession and financial turmoil and it seems presumptuous to be asking
The ability to think creatively, to question
for something in return. Even justifying
and to challenge your world are skills
the worth of spending 3 years dedicated
that few subjects in education can teach
to what is essentially a self indulgent
you. Being involved in art education
pursuit seems difficult when so many
gives you the time and infinite freedom
people are finding themselves jobless.
to explore all aspects of our existence that many initially overlook or ignore. Art,
It’s easy to become complacent.
for me, is about recording experience,
Sometimes it is hard to remember that
picking apart the complexities in our
we as individuals and as a species are
lives and attempting to understand them,
only inhabiting this planet for a relatively
an essential part of being human.
small period of time, what, if anything, is a worthwhile contribution to our society?
It’s going to be rare that I get the
The brilliance of our species is the desire opportunity to devote my time in this way we have to learn.
again. I am very lucky to have that now. In a world that moves so fast there is no
We have always constantly strived to
space available to stop and consider. If
better our understanding of ourselves
I felt like I could ask anything of society
and the world that surrounds us. This
it would be to work to encourage and
is the reason we have accomplished
promote this questioning and pursuit of
so much and advanced so far. This
understanding as a priority.
verityhatfield@gmail.com www.galaxiesrotate.tumblr.com
can be achieved through something monumental like scientific exploration, the large hadron collider is a perfect example of our commitment and investment in the pursuit of knowledge, or something more understated. Making
Raychel Ark www.lucyalexandrahowson.tumblr.com 07794457969
Lucy Howson
www.raychelark.com r@raychelark.com
Nothing. No, seriously, society owes me nothing; art owes me nothing. That’s not why I’m in it.
I’d like more smiles off bus drivers please.
elisagrasso@hotmail.co.uk
Elisa Grasso 25
26
Short thought answer.
before I even took a drink, as he said
“Thank you” would be nice.
creativity was at its best when driven
Alexander Gilmour
by “virtuous” motives, that creating for Long thought out answer.
its own sake was probably a decent
It’s probably a good time to ask what
way to go. He went further to dump on
an artist wants from society, especially
the previous hollow motives by saying
when so much is taken away. I am
that creativity is actually at its worst
speaking of course about public funding
when driven by money or the need
being removed from the arts at present.
to gain social standing. That in any
The question also carries the weight
creative process which holds a hollow
of what someone wants for his or her
motive at heart the results would pale
birthday. What could society provide
in comparison to others where the work
for someone who can both doss and
was driven by more virtuous motivation.
work at the same time? To an extent it
But I didn’t get a drink from him.
could be suggested that nothing is owed to a self-driven artist, but on the other
The drive to create is as important pretty
hand there is nothing to suggest that
much should be the paramount motive
being self-driven isn’t also being selfish.
in art. This makes it difficult to quantify
Additionally I wonder if the question can
what possible reward or support would
be about simple motivation.
be sufficient as a return for any service to society you achieve whilst doing your
A recent conversation in a pub provided
personal work. Anything given back to
a decent explanation for why some
the artist ought to probably be measured
people create or invent. There to listen
against the impact of your work,
to the Irish music, a chemist/former
extremely difficult as that is.
alexander-gilmour@hotmail.com
inventor and myself agreed that peer approval could be a natural valid drive.
It difficult to ask what as an artist I’d like
A pat on the head or decent female
back from society. I suppose at first for
attention can be enough to keep you
me, as a student, it would be appropriate
churning out quality material. Though
to think about where I can apply myself
during a recent lecture I went to on
more to society and that would tell
the Motivation for Creativity, Professor
me what I could receive in return. The
of Philosophy and the arts at Leeds
reduction of arts funding to me seems to
University Matthew Kieran countered,
indicate of a loss of public interest in the
27
arts. At least up to the point at which the
home media like television I’d suggest
same someone who might enjoy a free
that an artist try to find decent space on
trip to a gallery also supports the populist television. Seeking to involve people is a move to stop that. The government itself
difficult problem, I see the best approach
may be alienated from some but the Art
to be making or attempting humour, if an
world too has as ever the problem of
artist truly wants to approach it’s desired
alienating a large audience sometimes
audience.
with its oblique work sometimes a reliance on in-jokes. If it was about
But from all this what would I like back
building bridges with society at large
from society? Conceivably I could ask
I might think about adding humour to
for many things. As someone who is
my work. Right now online there is
just starting out though and trying to
another community developing with
figure my own practice it doesn’t seem
an understanding of its own in-jokes.,
wholly fair to ask for anything other
showing that wit and keen insight are to
than support with my education. If my
be found globally. On some websites the
work were to in anyway benefit society
creation of small amusing images is a
the proper reward for that would be
way of communicating ideas and jokes
incalculable to measure. Moreover I’m
in a more simple accessible way than
still not done trying to understand what
actually talking. In some cases it could
work I can make. It could be that even
be said the incentive here is to receive
trying humour is frankly a waste. That I
a growth in your own social standing,
should seek to imitate my piece I display
albeit in an extremely socially awkward
at Woolgather and try to explore trauma
way but for me these sorts of pictures
or other emotional aspects to humanity.
and animated media online is for me
Personally I don’t believe I’ve given
art of another kind. It can be highly
enough quite yet to ask for something
entertaining and intelligent at the same
back but if I can request a response from
time. If there is a need to approach the
my work at all then if it’s pleased you a
public then I’d be inclined to try making
thank you would be nice. And a drink,
your art amusing (easier said than
too please.
done) perhaps to create or join in with a shared joke that would reach both sides. If there remains the age old accusation that the general public is too focused on
28
Gillian Holding
In life, there can be no expectation of
Without notice or appreciation, art loses
receiving in the absence of giving.
its place within society.
In this era of spending cuts and uninformed dismissal of the value of art,
The Woolgather Prize provides
nothing is more important than artists
a channel for meaningful public
actively and publicly demonstrating in
demonstration by artists of the
a meaningful way the contribution they
importance of giving. It provides
make to society.
me as an artist with the chance to
contact@gillianholding.com www.gillianholding.com www.gilliansblog.wordpress.com Twitter: @gillianholding
unconditionally give, with no expectation Without public demonstration, much of
of material reward, but with the hope
the wonderful, thoughtful and thought-
that this gesture, just one of many, will
provoking art freely accessible to all may
facilitate ever greater recognition and
slip by unnoticed; worse, unappreciated.
appreciation of the visual arts both in Leeds and further afield.
Without public demonstration, other, louder, less appreciative voices may prevail.
nhafter@googlemail.com
Nikki Hafter 29
30
In the most literal sense, through my
In reference to the contents of lost
project ‘with love from the artist’, I am
property offices, artist Christian
giving items of clothing to anonymous
Boltanski says:
strangers, and asking in return that they email me a photograph. The labels I
“all these objects are waiting for love,
attach to my items of clothing read
waiting for somebody who’ll say ‘I know
as follows:
you, you can come with me’.”
Jo Marsh
If you have found this item, and you
By abandoning things out in the world, I
want it, then it is a gift for you. All I
am willingly rendering them lost property.
ask in return is that you please please
They are strangers on the landscapes
please take a photograph of it, in its
where they are left, and ultimately I
new home with you, and email it to
am asking somebody to recognise
me at:
them, adopt them as their own, and transform them from strangers into
withlovefromtheartist@gmail.com
belongings. The photographs I receive mark a fantastic endpoint to and bear
I look forward to hearing from you,
testament to that process, turning it into a more tangible, visible, documented
With Love From The Artist
reality. We can see where the thing was
x
abandoned, and where it has ended
-
up, and we can imagine the moment of
Seems straight forward enough, as
recognition between item and finder.
jo.marsh.art@gmail.com www.artjomarsh.blogspot.com www.withlovefromtheartist.blogspot.com
the sub-heading of my blog states: I want to exchange an item for an
However, in beginning the project I
image. In reality though, my request
wasn’t naive enough to believe I would
is a bit more complicated than that,
receive feedback from everything
because I am asking that somebody
I distributed, and experience has
both find the garment, as well as read
proven that the response rate is in fact
and take seriously the note attached
generally rather low. For many of the
to it. Additionally, and perhaps most
items I distribute I will have no further
importantly, I want that person to want
knowledge of where they end up or who
the garment.
found them, only my own documentation of where I last saw them. But still these
31
instances are not failures, because the
want in return is for said people to
nature of the project is that I relinquish
engage with my work, to be part of it
all control over what will happen after I
on various levels, in order that I may
have walked away. So what I am asking
have opportunities to keep on making
of the individuals who cross paths with
it, to keep on involving them in my
my items, is to make a decision. Given
explorations. In the end this is necessary
that I’m not present to enforce any kind
if I am to sustain my work both financially
of outcome, what’s left to the finders is to and creatively. read my request and then take their own course of action; choosing not to reply is as valid as choosing to reply. In her essay ‘Reciprocal Generosity’, Mary Jane Jacob says: “in the social contract that is the art experience, the audience member, or viewer, is a recipient of what the artist makes: the artist gives, the audience receives.” If we take this to be true then my action of distributing clothes reflects my practice as a whole, and what all artists do in the larger sense. We put things out into the world and invite other people to receive them. Through ‘with love from the artist’, I’m inviting the broader audience to enter the imagined space containing these items and ideas, hoping they will come with me. I want to keep working. I need other people, individuals, ‘society’ to be a part of that. So ultimately, what I
Christian Boltanski, Tate Podcasts 2009, ‘Talking Art’. Mary Jane Jacob, ‘What we want is free, Generosity and Exchange in Recent Art’,
Fred Pepper
I’m not asking for anything and, because my art is essentially a form of self-indulgence, I don’t expect anything. Not yet, anyway.
geofflatz@gmail.com
Bess Martin
geofflatz@gmail.com
Thank you for your attention and enjoy the rest of your day.
www.claireselmanjournal.blogspot.com
Claire Selman 33
34
The significance of the Woolgather Prize is ‘Giving’, which is inherent in the values and morality of Gift Culture. A culture or market compliant on humane collisions, reciprocation and exchanges, given from a good heart, favour or at equal value usually outside a monetary
robert.a.sharples@hotmail.co.uk
Robert Sharples & Scott Towler
system. Of course, to its discredit, the ideals of giving are never entirely altruistic and often for self interest. However, in directing the gesture of ‘giving’ collectively, adds a sense of shared distribution stripped of hierarchy. Hence, the human instinct to create towards a collective goal. By nature of the Woolgather Prize, what we want back is something we have already gained. Firstly in act of initial gift, and in the opportunity to be conductive to a platform allowed to go to vote, the sense of public inclusivity testing the democracy of the Arts.
alexsickling@hotmail.co.uk www.asickling.tumblr.com 07849166743
Alex Sickling 35
36
Happy adj. –pier, -piest. 1. Feeling or expressing joy; pleased. 2. Causing joy or gladness. 3. Fortunate: the happy position of not having to work. 4. Aptly expressed; appropriate a happy turn of phrase. 5. (Postpositive) Inf. Slightly intoxicated. –‘happily adv. –‘happiness n. Vicarious adj. 1. Undergone at second hand through sympathetic participation in another’s experiences. Acceptance n.
Liz West
1. The act of accepting or the state of being accepted or acceptable. 2. Favorable reception. 3. (often foll. by of) belief (in) or assent (to). Recognition n. 1. The act of recognising or fact of being recognised. 2. Acceptance or acknowledgement of a claim, duty, etc. 3. A token of thanks.
robert.a.sharples@hotmail.co.uk
Collins Concise Dictionary (Revised Third Edition), 1998. Published by Harper Collins.
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Aurora Fearnley & Jenni Wren www.littlenorthernlight.com aurora@littlenorternlight.com www.slanjayvahdanza.com wren@slanjayvahdanza.com
We don’t want anything back, we want society to give. Part of the reason that we create art and showcase it is to inspire and influence others, whether that is through conversation, communication, visuals or duplication. We believe it is an organic process that grows through perception and can challenge or inform a single mind or groups opinion. We like to hope that art can change the world.
38
We all give to society; what do you want back?
Design by Workshop www.thisisworkshop.co.uk Printed by Smallprint ISBN - 0-943396-04-2
The Woolgather Art Prize is an experimental showcase of contemporary artists based in West Yorkshire. Aiming to provide an accessible platform for artworks and hoping to celebrate the unresolved, the transitional, possibly the ridiculous. Ultimately championing the ‘what if’?’ 22 shortlisted artists’ work will be presented in Dyson Chambers, Leeds from 6th May 2011. Throughout the exhibition the viewing public is invited to vote for their favourite, leading to prizes of £500, £250 and £150 being awarded to the chosen artists. The money is a gesture to assist towards the ongoing endeavors of a creative lifestyle.
www.woolgatherartprize.com