Culture Club : Can Contemporary Art Be Timeless? @ UTZON ROOM

 

CULTURECLUB- second

What makes the art of our time important and how can contemporary art become timeless?!

This was a most exciting panel discussion. It was interesting to observe that all four panel members were women.

It was chaired by Elizabeth Ann Macgregor, the current director of the Museum of Contemporary Art, who has transformed the MCA into a thriving public gallery. She is passionate about linking artists with audiences.

On the panel were Dr Jacqueline Miller who completed studies in law, political science and visual arts. She is an arts writer and academic specializing in the history and theory of contemporary art .She co-convenes the research cluster Contemporary Art and Feminism at the University of Sydney.

Stephanie Rosenthal is the Artistic Director of the 20th Biennale of Sydney 2016 which recently opened. Since 2007 she has been Chief Curator at the Hayward Gallery in London. A key focus of her curatorial practice is the relationship between visual art and performance.

Justene Williams is a Sydney based artist whose work includes video, photography and performance. She has exhibited widely throughout Australia and internationally and her work is held in numerous collections including the Museum of Contemporary Art, the National Gallery of Australia and the Art Gallery of NSW.

The discussion began with the three panelists being asked to describe an overwhelming encounter with art that they had experienced.

Ms Williams raved about and had been transfixed by Tracy Moffatt’s ‘Love’ at GOMA in Brisbane. She mentioned how it used and re worked cultural forces and gender stereotypes in an intensity of expression.

Ms Rosenthal chose Malevich’s The Black Square and talked about how art can sometimes lead you to do something you have not imagined before. She also suggested that curators when asked ,’ Well, what does it mean? ‘ should turn it around and ask – ‘well what do you make of it?’.

She also included a rave about a Yvonne Rainer performance work she had seen.
Dr Miller chose a Sarah Goodman work where tins of food etc were collected displayed and then eventually distributed to charity. She talked about Goodman’s use and transformation of space .She also mentioned a casual, raw exhibition she had seen in Singapore.

Rosenthal then said that it has always been her approach to try and enable as many as possible to experience an event , with no fixed time or barriers. She would love more funding available, says that at the moment it is concentrated on small fixed groups and needs to be expanded.

Dr Miller then added that once an installation of her work has opened , it then has to be further edited if necessary .It’s not pure documentation and is different from live performance. The costumes become more Objects.

Ms Williams then talked about how an art work triggers an emotional response , and it’s what you become aware of upon reflection , a particular kind of relentless dynamic. She also mentioned how we can interact with works and ‘physical video’ by Janet Cardiff and George Bures Miller where we relate to the video through our comprehension of time and memory and the five senses.

Ms Macgregor then asked if there is a crossover between art and performance art and are artist and work entwined ?
Ms Miller commented that video is more institutional , and talked about ‘runway art’ vs ‘ready to wear’. She said video is like a painting – I just make art and if people buy it great it is like a habit something I can’t stop doing.

Ms Williams remarked that she has always been a writer as well and her art allows her to express her experience.

This led to a comment about films being complex vehicles of expression not just pleasure machines. Art works create the ability for self reflection and analysis
Ms Macgregor then asked Ms Rosenthal about curating a Biennale , what she looks for and what is involved? Ms Rosenthal replied meditating on an artists ability to travel and that to own an art work is a great responsibility . This then led to a query about the use of specific places for artworks and exhibitions , and the audiences for a major event such as a Biennale. as well as the use of the internet.

Ms Williams then followed this by adding that art is questioning. she is trying to express what she wants to say.

The floor was then opened for questions. Comments were made about the ‘timelessness’ of various art works and their emotional power .Ms Rosenthal raised the issue of ‘timely ‘ as distinct from ‘timeless’ works – this then led to a discussion about how contemporary art questions the world we are living in, how art can shape our lives and be relevant. Samule Beckett and film were mentioned , as was how the art world is always changing.

Timeless art has a curious ambivalence it is of its time yet remains constantly relevant .
This then led to a discussion about how curators pride themselves on buying good work – but how do they know?
Another issue was raised with the introduction of the topic of the lack of encouragement for those who are uneducated in the arts ( but mention was made of the MCA and AGNSW education sections).

The session closed with Ms Rosenthal criticizing the fact that there is a demand to ‘dumb down’ things and demanding more opening up of the arts .

Running time -approximately 1 hour 15 minutes.

A Culture Club event, Can Contemporary Art Be Timeless? took place at the Sydney Opera House on Tuesday 29 March 2016.