A B O U T T H E A R T I S T
Outside of the Mainstream . . . Is It Possible?
by Bonnie Anne Speed
The question, "Is it possible for an artist to exist, and exist successfully, outside of the mainstream art world?" was recently posed to me by Bruce Johnson. It is an issue that I have discussed at great length with a variety of art professionals over the past few years, and it seems to be an even hotter issue currently. For Bruce and me, the reasons for discussing such an issue are obvious . . . Bruce is an artist working in the wilds of the Californian coast . . . I am a curator working for a museum and sculpture park located in a very small community in southern Illinois. Bruce has worked hard to find audiences for his work outside of California. Cedarhurst has worked very diligently to expand its programming and exhibitions to include contemporary art from around the U.S.
Although I would not have said this ten years ago, my answer to Bruce's question is now a decidedly emphatic, YES! The world of contemporary art in America is migrating; the movement is tangible, has been for some time now, and it is very exciting. It is moving away from the traditional mainstream arenas such as urban centers, established mediums, even from degree-laden or 'blue-chip" named practitioners. New venues and markets that have developed in recent years have refocused the art world's attention to America's smaller cities and university communities, to the use of new technologies and alternative mediums, and to the integration of self-taught and folk artists into the general visual art scene. Museums and gallery spaces devoted to the collection and exhibition of contemporary art are now abundant and exist throughout the country. Innovative curators in art institutions traditionally associated with historical works are including contemporary art in their exhibition schedules and inviting contemporary artists to participate in their programming. And, an exciting factor is that the artists selected hail from everywhere, even from tucked-away corners of this country!
This shift has placed a premium on good artists . . . whether "a name" or "up-and-coming" or "from the region." Experiencing contemporary art and artists through the guidance of creative, out-of-the-box interpretation has enabled art institutions to offer audiences a greater level of understanding, and hopefully, appreciation of art. What is relevant to a meaningful art experience is not where an artist is from, the names on his/her exhibition record, or whether or not they have appeared in Art in America; rather, it is what the artist is producing, how it is presented, and how it is interpreted. It is a shift that has been long over due and so many museums/galleries are finally figuring this out and acting on it.
Has this shift lightened the challenges of being an artist living and working outside of the mainstream art world? No, not at all. What it does mean, however, is that being successful and finding recognition, wherever one lives, is definitely possible . . . but it is still going to be work.
How does this translate for contemporary artists working outside of traditional venues such as Bruce Johnson? The key is in getting one's self and the work out, finding venues that will allow- access to the work. Being an artist is hard work, whether you live in New York or in the mountains of Montana. The challenges of that "hard work" simply differ according to environment. An artist attempting to make it in New York faces the challenge of being noticed in a vast ocean of artists as well as the continued fickleness [albeit it is lessening] of a very self-referential art world. The artist in non-urban environments is faced with the challenge of exposure. Even though many artists hate to hear this, good marketing skills and a bit of business savvy are priceless. Venues such as interaction with other artists, word-of-mouth, the internet, good old fashion slide packets along with artist statements and phone calls/visits . . . work.
Ultimately, an artist has to be true to him/her self. The artwork will then have a unique voice, and an intelligent, confident curator/museum/gallery will take notice and act on it.
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Bonnie Anne Speed, Director of Visual Arts Mitchell Museum at Cedarhurst/ Cedarhurst Sculpture Park
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