Studio Tours Shouldn’t Replicate The Gallery Experience

by:

Joe Patti

For two weekends this month, the local Creative District is operating their annual artist studio tours. There are other associated activities, but the artists’ opening their spaces for people to wander in and look around is the focus of the event. And if people are moved to buy something, so much the better.

One of the features of the tour the president of the Creative District has been pushing artists to do is not sanitize their work spaces. She feels that when artists clear their materials away into closets and throw sheets over bookcases, it removes many of the interesting elements that can lead to a conversation about process.

I tend to agree. I visited a number of studios this weekend with more on my list for next weekend. In some cases I was able to stand right in the studio was people worked. Most of the time I was in a living room with all the furniture cleared out and the work hung on the walls, arrayed on display racks, or shelving.

Because I have some familiarity and knowledge, I was able to ask some questions about process and materials used, but many curious visitors would basically have had the impression they wandered into a home gallery.

Part of my concern is that seeing a person painting in their immaculate living room with a small tarp under the easel essentially reinforces the idea that art is done by a special breed of people who create things immediately without error.

When in fact, their studios are paint and clay splattered, with swaths of material shoved in to nooks and crannies, and metal filings and sawdust swept into piles. All testaments to their efforts. Not to mention photos, sketches, and early iterations that comprised their study and preparation of the final product leaning against the walls.

Galleries are places in which artists can control the context and perspective in which the visitors encounter their work. Studios tours provide an opportunity to let visitors encounter and better understand their process. There is a missed opportunity when studio tours are essentially replicas of the gallery experience.

Post-Pandemic Cultural Habits Are About Set

by:

Joe Patti

About twice a month Colleen Dilenschneider and the folks at IMPACTS Experience release some interesting data they have compiled about trends they are seeing that may impact arts and cultural organizations. Recently they released an update on the recurring topic of what have audience preferences been since the start of the pandemic.

One aspect of this data I feel I have missed and not adequately emphasized in my previous posts on these articles is that they have been measuring the tendency of someone who regularly participated in an activity in 2019 to return to that behavior.

 It means that people whose normal behavior in 2019 was to go to movie theaters report being less likely to return to movie theaters now. It means that people whose normal behavior was to go to public parks are even more likely to visit them now than they were before the pandemic.

Among exhibit based organizations, visitors have trended away from science and children’s museums and toward outdoor spaces like zoos and gardens as well as larger museum spaces which were perceived to have more space to move around during the pandemic. These latter groups have returned to their 2019 attendance levels more rapidly than science and children’s museums.

Live performance organizations have also generally seen a slower return to 2019 levels, except for live theater which is just shy of attendance numbers of six years ago. In some cases, those audiences shifted their cultural participation to exhibit based entities.

Folks who were interested in the symphony went to the art museum instead, and many Americans habituated away from these performing arts experiences. The challenge is and has been to do our best to shake the masses and wake them back up to the magic of live theater, the power of chamber music, or the grace of the ballet.

Demand is slowly inching back to 2019 baseline, but it may be happening too slowly to meaningfully overcome negative substitution. 

The IMPACTS folks note that research has shown that on average habits are formed in about 66 days and it has been five years since the start of the pandemic. As a result there is a bit of inertia to contend with if you are trying to convince people to make you part of a new habit.

Are The Ordinary Bits Of Beauty Being Designed Out Of Our Lives?

by:

Joe Patti

Tyler Cowen of the Marginal Revolution blog posted a short video meant as a preview of a long movie project discussing how we have eliminated ordinary beauty from our lives in the name of efficiency.

Sheehan Quirke moves about London comparing ornate, though mass produced objects from the Victorian era like lamp posts, door fixtures, etc., arguing that design has moved toward simple functionality and abandoned offering beauty in every day objects.

Perhaps the most striking example he provides is at the 6:50 mark when he introduces a location as being in Parliament before revealing the ornate room is actually located in a sewage pumping station, stating

Well people worked here and why shouldn’t people who work in sewers also have a beautiful place of work?

I have to think there is more to the story than the room being a reflection of Victorian sensibilities. Not too earlier he notes a neighborhood he was walking through was likely an overcrowded tenement area with sewage openly rotting in the streets. Beauty was not a priority everywhere.

As a commenter on the Marginal Revolution post noted, there is likely a bit of survivorship bias in operation where the really ugly sewage stations have all been razed while the gorgeous one has been preserved as a tourist attraction.

His point still bears considering. He didn’t mention it directly but I did start to wonder if the reduction of every day beauty in small things around us has resulted in an reduction of appreciation of art and culture. Perhaps even impacting the perception that one has the capacity to be creative.

I am reminded of the manhole covers in Japanese cities which evoke aspects of particular pride for that locale.

In the interviews with the former NEA chairs I posted on Monday, one of the chairs, (Bill Ivey, I think) mentioned the NEA has a program that helps mayors solve design problems in their city. I had no idea. I expected the program had been dissolved since Ivey’s tenure but it indeed still exists.

So if a community wanted to start thinking about how to integrate small pieces of beauty into everyday life, that NEA program might be a place to start.

Kitchener-Waterloo Musicians Still Keeping Symphony Going Two Years After Bankruptcy

by:

Joe Patti

Over the last two years I have been monitoring the story of the Kitchener-Waterloo Symphony which abruptly declared bankruptcy taking the musicians who had just negotiated a raise completely by surprise. Over the last couple years the musicians have managed to revive the organization, negotiating with creditors, and mounting a series of concerts.

There was a recent story on the CBC site with interviews with musicians reflecting on the two years since the bankruptcy.

Things aren’t back to normal for the group. One of the musicians was already working another part time job and shifted toward full-time when the orchestra went bankrupt. Another musician spent his life savings to move across Canada only to find the job no longer existed and started doing handy man jobs having never played with the organization. Where the season was once 90 concerts, they are down closer to 19.

I am glad to see that news organizations are continuing to revisit the story from time to time just to keep the musicians and the travails they have faced closer to top of mind.

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