As if we need proof of how sexy the contemporary arts are to brand managers these days, Vauxhall Motors is the latest company to glue-gun their shiny badge onto an art project – this time a bundle of six commissions worth a total of £120,000. The cross-disciplinary prize will be awarded by a ‘Style Council’ of around 35 representatives from the fields of craft, design, film, art, fashion, photography and theatre, including our very own Tom Morton.
These ventures are so complicated from the point of view of the art press. Their variable quality aside, there is the looming suspicion that even writing this, however sceptical I might be, I’m simply helping to build the brand’s profile. After all, all press is good press. And the frequently cloying verbal styling of such projects (the six winners of this prize supposedly will form ‘The Vauxhall Collective’) can tread all over the developing presentations of young artists.
Companies either seem to be becoming bolder in their demands for visibility in their supposed philanthropic gestures, or the world of contemporary culture is becoming more comfortable working in the shade of such obvious branding. GSK Contemporary, a project space sponsored by Glaxo Smith Kline at London’s Royal Academy next November, seemed to be a new low in terms of brash and incongruous brand alliance, until Chanel’s Mobile Art pavilion emerged this summer. An improbable tryst between fashion, big business, architecture and art, an exhibition (including figures such as Daniel Buren, Sophie Calle and Nobuoshi Araki) was staged in New York’s Central Park inside a pavilion based on a Chanel handbag and designed by Zaha Hadid. A year ago this would have sounded like crass satire. This year it’s part of a pattern that also includes Hermès’ H-Box video suite at Tate Modern.
This is not a phenomenon solely afflicting contemporary art. In this blog I had planned to vent my disbelief at the level of commercial compromise evident in formerly hard-hitting director Shane Meadows’ new film Somers Town, paid for by (and effectively a puff piece for) Eurostar. The I discovered that the good people at Creative Review had done my job for me.
It’s not that as a member of ‘the creative industries’ (though I shudder at the phrase) I’m ungrateful for this patronage. After all, young artists can benefit hugely from opportunities such as Vauxhall’s prize. I’d just ask the brand managers and advertising execs to handle them sensitively (and not make fools of their clients), and artists to be wary of gifts that can seem too good to refuse.
Congratulations to Bruce Haines, of Camden Arts Centre and Ancient & Modern Gallery in London, on his appointment as curator of the next Venice Biennale’s Welsh Pavilion.
First it’s a Brit (Liam Gillick) asked to represent Germany, now it’s the director of a commercial gallery curating a national pavilion. Is this a precedent? Probably not, although I can’t remember a previous example. In 2011 can we expect to see Yvon Lambert curating the Australian Pavilion or Gavin Brown putting together a show for Romania? Stranger things continue to happen.
As an expat living in Berlin, I get my news from home from two main sources: my subscription to the New Yorker (which arrives two weeks late, like clockwork) and the indispensable 104.1, National Public Radio broadcast in Berlin. Sadly though, both outlets are lacking when it comes to coverage of the visual arts. In the UK, one can pick up any one of the broadsheets and find at least some coverage of contemporary art. But you’re lucky if the New Yorker has a profile of an artist or a contemporary exhibition more than once a month – and even then, it’s most likely a mid-career male artist. But NPR’s arts coverage is even more seldom, and often veers completely off the mark. A recent segment about a Jeff Koons exhibition began, ‘Naked ladies, rabbits, and some basketballs are on display at Chicago’s Museum of Contemporary Art’, closely followed up by the hefty price tag for his latest sale at auction. The elderly-sounding reporter then attempted to describe, in a slightly horrified voice, the paintings of Koons and his former wife ‘making whoopee, or making babies, or however you want to call it’ before asking the curator, ‘Is this art?’
Rather than illuminating the work or provoking curiosity about the exhibition, this kind of prudish, naive coverage treats the work of the US’s most famous contemporary artist as if it needs to be picked up with a protective tissue and held far from one’s nose.
Curated by the critic and art historian Richard Cork, ‘A Life of Their Own’ at The Castle Arts, Lismore, comprises works by nine emerging British sculptors
The British artist's theatrical show at Chisenhale Gallery, London, is a rich investigation of sculptural forms and an exploration of the sensuous body
