resonance-archive.bsky.social
Sculptor, printmaker, sound artist. Art/design educator.
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Underneath that is a sheet of paper silkscreen printed with a pattern inspired by maram grass, which grows on the dunes of Lake Michigan. I worry that I’ve made it feel too precious & people feel uncomfortable taking them but they are for taking!
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Most of the works I’ve put in this show are best experienced through touch.
ID: a video pans across two sheets of rough, pale blue paper. The top sheet has embossed shapes that resemble stones or shards of glass. As the camera moves, the shapes reveal themselves in the light and disappear again.
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Edit: *than*
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We will not be able to quantify all of this labor into 1:1 perfectly transactional relationships
where currency is exchanged. So how else will we ensure that labor is distributed equitably and that we are honoring each other's contributions?
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Conversely, what do you need from other artists?
Extend these questions beyond your circle of artistes and into other dimensions of your
communities.
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This is a bigger problem then
"where else do we look for funding?"
Ask yourself what kind of labor you can and
are
willing to do for and with other artists to 1.) meet your basic neeeds & 2.)
continue making artwork
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New nonsense targeting arts funding & demanding censorship keeps dropping every day so am just continuing this thread so all of these thoughts are in one place. Today’s dispair re:
The NEA (described in alt-text):
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And to be clear, there have always been artists systemically locked out of these credentialing mechanisms, even as certain programs/opportunities attempted to be (or appear) more inclusive. So, as we see rollbacks, remember those who still have never had their first shot at support & recognition
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And I genuinely hope this is a time that compels the U.S. art ecosystem become more porous in its social networks and resource allocation. I also hope we can reconsider who our most important / valuable audiences and “collectors” are. I hope to make things that can travel where they are needed.
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I hope to see a proliferation of artist’s run spaces, collectives, co-ops, tool exchanges, second hand supply free-stores, alternative schools, basement and apartment gallery shows, zines and small publications, artist-built websites that get us off the socials for a second.
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Already established artists have a responsibility to help reimagine ways emerging artists enter the field and gain recognition. And all of us, regardless of our career stage, have a responsibility to understand what resources we have access to and how we can share those with artists who need them.
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And I want artists to be prepared to support other artists in finding ways to continue making work, to share material resources, space and time with each other. I want there to be a wide-scale recognition across the art world and academia of the disruption of the opportunity landscape.
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And I say this to highlight that there may be an entire generation or multiple generations locked out of these particular kinds of credentialing norms for many years. The prestigious MFA programs, the competitive grants and residencies etc. may not be financially available in the same way.
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The same way that academics have to have continuous, up to date publishing records, we have to have exhibition records. Being qualified for jobs in arts academia, for example, is more dependent on these track records that demonstrate a “consistent practice” than our teaching qualifications/desires
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And I think people outside of the arts may not fully understand how artists, a relatively recently professionalized category of workers, are asked to endlessly credential ourselves through amassing exhibition records, winning grants, attending prestigious residencies, or selling to certain buyers.
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I had a really great conversation with another artist today about this kind of possibility. Many people are thinking and feeling the same thing I think!
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I would like to offer that artists may also have a role in immediate, urgent needs for emotional and spiritual support within our communities. And that we have tools other than spoken or textual language with which do do that. That possibility brings me a lot of hope and a very clear directive.
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I think there is a misconception that the only useful thing artists can do in a crisis is document or communicate or represent the crisis and/or the events leading to it. Sometimes we are even called to envision speculative futures—still, mostly through means of representation.
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Art making, processing complexity through material, taught me new strategies for holding grief, in myself and communally—something that seems increasingly harder to do in an individualistic, secular society that also distances most people from natural, material cycles of life and death.
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I also began thinking about the function of my resultant art objects and my role as an artist in society differently. I became much more interested in making things that also provided people with sensory input, tactile grounding, sonic input (audible or vibrational), slowing or disruption of time.
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And I think this really only clicked as my physical body became harder to manage, harder to literally move into the spaces of action I wanted to be in, when I understood how limited and precious energy could be. Restorative activities became critical to keeping me in tact enough to show up.
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I love a Casual Steven joining us in the Sky. I think this is a great place for little process peeks 👀
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Artists in my life have been some of the fiercest organizers, most generous caregivers, sharpest observers, & bravest risk takers in times of crisis. So I feel very strongly that when I am supporting my artistic communities, those efforts ripple out into all kinds of collective survival work.
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I don’t want us to be worried about losing track of each other in the sea of digital debris, or to be trapped in scarcity mindsets around employment and opportunities and visibility and prestige. I want us to be working—creatively but also in bigger, structural, systemic, & visionary ways.
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I have been spending a lot of time in the last few days focused (perhaps fixated) on the problem of communication among artists on a hostile internet—not because this is the most urgent problem I feel called to address, but because it’s one I think I can immediately & meaningfully address.
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But here, where text is the main course, the way we talk to eachother or about each other’s work carries more weight and more potential. There are, of course different degrees of familiarity and boundaries to navigate, but I hope this virtual reshuffling might loosen some of the guardedness.
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I think the culture of certain image-based platforms actually discouraged dialogue about artworks and art-making. While the functionality & even algorithmic incentive to comment existed, the mood was off. It often felt transactional or flatly complimentary, rarely curious.
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In the old days, Twitter was a great place to eavesdrop on various academic disciplines—my introduction to disability studies & scholars came from time reading thoughts bouncing around those circles. And I found what else to read and research more deeply. Maybe poke around Academic Sky?
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Do you also have a writing practice that feeds your artwork or supports a specific project? Do you make zines, pamphlets, exhibition catalogues, or web projects that lend themselves well to being excerpted and shared here? Do you wish you wrote more as part of an art practice? Maybe start here?
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What does artistic research look like for you? What are you reading and looking at? What great new archive did you find? What meandering walk presented something new to you? Where did you start & where did you end? What internet rabbit hole did you go down? Can you hyperlink us a breadcrumb trail?
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It was amazing to see the multiple bylines below headlines about the impact of the fires on artists and the art community in LA from the NYTimes and Hyperallergic. It also highlighted the difference in resources compared to ARTnews.