{"id":2023,"date":"2024-01-02T13:18:18","date_gmt":"2024-01-02T05:18:18","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=2023"},"modified":"2024-01-02T13:18:18","modified_gmt":"2024-01-02T05:18:18","slug":"the-year-in-multi-hyphenates-museums-embraced-artists-who-wear-many-hats-in-2023","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-year-in-multi-hyphenates-museums-embraced-artists-who-wear-many-hats-in-2023\/","title":{"rendered":"The Year in Multi-Hyphenates: Museums Embraced Artists Who Wear Many Hats in 2023"},"content":{"rendered":"

Artists are commonly thought to toil away in their studios day and night, but that is typically not the reality. In truth, artists need money to fund studio space and materials. For many, making ends meet is not possible through selling art, and this means finding a job.<\/p>\n

There is an entire history of artists working at the Museum of Modern Art alone. In the 1960s, sculptor Sol Lewitt worked there as a receptionist, Minimalist Dan Flavin took a job as an elevator operator, and painter Robert Ryman manned the galleries as a security guard. The artist Howardena Pindell even worked as a curatorial assistant in the drawings department; she came up with the idea to use discarded paper punches in her abstract paintings from her time in that office.<\/p>\n

This fringe history of artists moonlighting as MoMA workers informed \u201cDay Jobs,\u201d one of the year\u2019s most memorable shows. Held at the Blanton Museum of Art<\/a> in Austin, Texas, the exhibition was \u201can attempt to dispel the stubborn myth of the lone genius, working in isolation in the studio creating masterpieces,\u201d as curator Veronica Roberts put it in an interview with\u00a0ARTnews<\/em>.<\/p>\n

She pointed to Tishan Hsu, an artist now known for painting and sculptures that combine the imagery of technology with the human body. \u201cHsu was a word processor in the 1980s, and was doing this with predominantly women at a corporate law firm\u2026 He began thinking about how screens were changing our relationships with our bodies, and that question has been the foundation to everything he has made since.\u201d A painting from 1982,\u00a0Portrait<\/em>, is on view in \u201cDay Jobs<\/a>\u201d; it depicts glitchy lips and eyes on a panel with rounded corners reminiscent of early IBM computing screens.<\/p>\n

\u201cDay Jobs,\u201d with its assertion that artists\u2019 art is not the only aspect of their life which defines them, and indeed that such circumstances impact what they make, was emblematic of a larger trend that could be seen in US museums in 2023. This year, many institutions began to focus on how constellations of artists form around shared lived experiences. Artists were being celebrated as multihyphenates who are influenced by their peers.<\/p>\n

This framing lends itself to explorations of artists\u2019 biographies, which have not always been celebrated in the field of curating. Roberts told\u00a0ARTnews<\/em>\u00a0that while coming up as a curator, mentioning an artist\u2019s biography was disparaged. \u201cThere was an endeavor to keep an artist\u2019s life totally separate from their work,\u201d she explained. Of course, there are dangers in overusing biography, which can result in flattened readings of complex works and practices, especially ones by artists from marginalized groups. Now, however, it feels like a misstep to not thoughtfully pay mind to the circumstances of art-making, and this is encouraged in shows that expand the very concept of what it means to be an artist.<\/p>\n

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Installation view of \u201cIndian Theater: Native Performance, Art, and Self-Determination since 1969,\u201d 2023, at Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York.<\/span>PHOTO OLYMPIA SHANNON, 2023<\/cite><\/figcaption><\/figure>\n<\/div>\n

One such show was \u201cIndian Theater: Native Performance, Art, and Self-Determination since 1969,\u201d which opened at the CCS Hessel Museum of Art in Annandale-on-Hudson, New York, in June. The exhibition considered Native North American artists who had incorporated theatre and performance into their work, and took its inspiration from the 1969 proposal\u00a0Indian Theatre: An Artistic Experiment in Process<\/em>, written by teachers at the Institute of American Indian Arts (IAIA) in Santa Fe. The document proposed that centuries-old forms of Native performance could be reinterpreted for a new age, while also noting that all this contemporary practice \u201ccannot be developed overnight.\u201d In the authors\u2019 words, \u201cit will come only as the result of an educational process in which Indian artists are created who can then make their own statements.\u201d<\/p>\n

\u201cThe document was a revelation to me as it felt like a missing piece of art history,\u201d curator Candice Hopkins said in an interview. \u201cHere were the dual origins of Native theatre and performance art, rooted in practices of experimentalism and cultural difference.\u201d<\/p>\n

By rooting her show in what could be labeled experimental theatre, Hopkins was arguing that the artists she included were inspired not just by art history but by the other arts, too. And she suggested that though they were bound by Indigeneity, these artists were also borne from varying experiences, interests, interpretations, and Native nation affiliations that impacted their art. The show included black-and-white videos of IAIA students performing in masks and regalia, but it also included paintings by Kay WalkingStick, a sculpture by Gabrielle L\u2019Hirondelle Hill, and newly commissioned choreography by Jeffrey Gibson. All of these artists were \u201cmaking their own statements,\u201d as the IAIA teachers might have put it.<\/p>\n

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Installation view of \u201cCopy Machine Manifestos: Artists Who Make Zines,\u201d 2023, at Brooklyn Museum, New York.<\/span>COURTESY BROOKLYN MUSEUM<\/cite><\/figcaption><\/figure>\n<\/div>\n

Hopkins\u2019s rediscovery of the 1969 manifesto and archives is a testament to how the IAIA students were creating works not meant for art institutions. The contents of \u201cCopy Machine Manifestos: Artists Who Make Zines<\/a>,\u201d a show at the Brooklyn Museum through March 2024, function in a similar way. The exhibition highlights zines (short for fanzines), made in the advent of accessible photocopy machines, from the 1970s to present day.<\/p>\n

More than 1,000 objects are packed into the galleries, which present how zines aided in the formation of networks of avant-garde musicians and visual artists, many of whom were queer. \u00a0And many wear multiple hats. Vaginal Davis, for example, appears in this show as an artist, a model, and a musician. She was credited in over a dozen wall labels, for her self-published\u00a0Fertile<\/em>\u00a0La Toyah Jackson Magazine\u00a0<\/em>(1987\u201391), for being a subject in Rick Castro\u2019s photographs, and for her collaboration with Lawrence Elbert on the music video\u00a0The White to be Angry<\/em>\u00a0(1999), produced to accompany a song by her punk band Petro, Mureil and Esther (PME). Davis even tracked the interconnectedness of the North American punk scene in the \u201cHistory of Punk Timeline\u201d (n.d.)\u2014a foldout made for the Toronto-based\u00a0J.D.s<\/em>\u00a0magazine (1985\u201391).<\/p>\n

Branden W. Joseph, an art historian who curated the show with Drew Sawyer, said of the exhibition, \u201cThese relationships were not only on the basis of actual lived experience, but also, in many cases, fostered by relationships and situations that artists imagined and then brought into existence for themselves.\u201d The zine, which can be printed matter in addition to video and audio cassettes, was an extension of mail art and artist books, and came into being to meet these community-building desires. And while the exhibition tracks the zine\u2019s genesis in a pre-internet era, it also argues for its enduring popularity with a space devoted to contemporary practitioners.<\/p>\n

In a much different way, this year\u2019s edition of the Made in L.A. biennial, titled \u201cActs of Living\u201d and now on view at the Hammer, mirrors the curatorial thrust of \u201cCopy Machine Manifesto\u201d with stated ambitions to \u201csituate art as an expanded field of culture that is entangled with everyday life,\u201d according to its description. The show includes an exhibition-within-an-exhibition by the Los Angeles Contemporary Archive (LACA), which has installed a break room (including a Bunn coffee maker, microwave, and soft Muzak) to house a selection from its collections. Food, drink, and casual browsing is unheard of in archives, and LACA wanted to create an alternative space for this.<\/p>\n

\u201cIt\u2019s very much a conversation on preciousness and preservation\u201d LACA\u2019s director and archivist Hailey Loman told\u00a0ARTnews<\/em>. \u201cWe emphasize that we want you to work in this space, we want you to hang out here \u2026 We are not interested in preserving materials \u2018forever.\u2019 We care about how looking at a document can make changes to our lives right now.\u201d<\/p>\n

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The Los Angeles Contemporary Archive\u2019s installation in Made in L.A.<\/span>PHOTO JOSHUA WHITE<\/cite><\/figcaption><\/figure>\n<\/div>\n

The collections include paper trails from the practices of Patricia Fern\u00e1ndez, Barbara Kruger, and others. And while Loman described that archives often prioritize press releases and documentation of exhibitions or performances, those that pertain to the nitty-gritty of process receive a subsidiary focus. In LACA\u2019s collections, there are gas bills, studio leases, even paintings that were deemed subpar by the artists and then tossed out. \u201cThese are things that help us to learn how art is getting made and how people are living and surviving,\u201d Loman said.<\/p>\n

This greater acknowledgement of the labor involved in the arts coincides with a burgeoning workers\u2019 movement in museums. Across the country, staff at institutions ranging from the Philadelphia Museum of Art to the Buffalo AKG Art Museum have led unionization campaigns. Meanwhile, artists are agitating for fair compensation. In 2018, the W.A.G.E. organization released their often-cited fee calculator, which determines project-based payment by both an artist\u2019s participation (i.e. solo or group show) and a nonprofit\u2019s annual operating expenses (i.e., from Apexart to the Met). Institutions can advertise their W.A.G.E certification status if they comply with these rates; the most notable ones to do so have been Artists Space and the Museum of Contemporary Art Cleveland.<\/p>\n

Roberts, the \u201cDay Jobs<\/a>\u201d curator, said that her show is connected to both developments. At the Cantor Arts Center at Stanford University, where she is the new director and where the exhibition travels in the spring, \u201cDay Jobs\u201d will become the first group show held at the institution where participants will be paid a fee. Roberts said this not only has to do with the agency that comes with her directorial position, but also the labor and financial precarity that her show makes clear: \u201cThat discussion connects to the exhibition itself, and the consideration of artists\u2019 lived experiences and the conditions of making.\u201d<\/p>\n

To put it another way, there are many forces outside the studio that affect what happens within. In 2023, reconciling the two became the job not just of artists, but the institutions that exhibit their work, too. That trend looks to continue as \u201cDay Jobs\u201d travels in 2024.<\/p>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Artists are commonly thought to toil away in their studios day and night, but that is typically not the reality. In truth, artists need money to fund studio space and materials. For many, making ends meet is not possible through selling art, and this means finding a job. 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