Giant matchsticks flank the entrance of the Brett Whitely studio. It’s a former t-shirt factory in Surrey Hills, near downtown Sydney
The other day I got an invitation to answer a survey for globetrotters like me, . “Give us some of your hard-won advice by women, for women aged 18-30,” it said. This should have some good questions, I thought. Then I scanned them. Disappointing. They were written for someone a generation older than me. Someone who felt they didn’t have many choices.
For example, Which do you believe is true?
* Women can have it all
* Women can’t have it all at once
* Women can’t have it all
Germaine Greer has written about women artists a century ago who abandoned their careers:
“…these women were faced with a choice which does not necessarily face a male painter…. The choice was between art and life. A male painter can have both. First of all, he’s allowed by the tradition to invest his esthetic sense in an external person who will be the muse, his love, or whatever, and who will marry him and — apart from fueling his imagination — wash his socks. He can have children, he can live in a house, he can eat three meals a day, he can have friends, he can have escapades. Women have nothing like that…There wasn’t one of those girls from the Slade [art scholarships] who, when the chips were down, decided that art was more important than life.”
My experience has been quite different. I would never, ever consider for a second the thought of giving up my career to support my partner’s. Would never have stayed with a man who didn’t respect my choices, and I once left someone because he called me a “mediocre artist” (he’s full of sycophantic praises these days though). My family disapproved of my choice to study painting, so I paid for my own BFA degree.
But no one becomes successful without a lot of support. And for male artists, it’s most often been the women in their lives:
Van Gogh would’ve been just another pale Dutch painter, his chunky French landscapes littering the back rooms of antique shops after his death, if it weren’t for his sister-in-law Johanna.
An important influence on Rodin’s work was his mistress Camille Claudel.
Brett Whiteley’s wife was an artist who sacrificed her career for his, though she had more talent than he did. Without her critiques he wouldn’t have succeeded as he did. The travel scholarship that bears his name was 100% funded by his mother.
My supporters have often been male: most of my collectors, my publisher, and collaborators. But this is changing, with more contacts on social media like Twitter, and LinkedIn, and a wider range of my work to be available over the next year, ideal for different wall-sizes and budgets. Last night I sent out a special edition of my newsletter to collectors. Within minutes, one had written back from the Middle East: “You are an inspiration!” He’s sent my work to his university-aged daughter in the past; she’s interested in pursuing art and film. My work has been a bridge between his interests and hers.
I never listened to people who said I had to choose between my goals with my art and with my life, whether they were my teachers, would-be gallerists, or lovers. Though I’ve some hard decisions to make in coming years, the binary of Art vs. Life, “having it all” vs. “giving it up” is illusory. It’s a hell of a lot more complicated than that, complicated with possibilities, not dead-ends. And it’s up to each of us to create our lives rather than have choices dictated to us.
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I got the same questionnaire. As I filled it in I was wondering how someone younger than myself would complete it. I know my mother likes to think she didn’t have any choices, when I like to think that she did. I know I have choices. But I also know that my choices can limit me as much as they can reward me for making them. And underpinning every subsequent choice is the choice I made when I said ‘yes’ to motherhood so many years ago
Allow me to share this piece that I wrote…it’s where I share my thoughts about art and life… and the relationship of artists and art galleries in contrast to the real direction of the individual artist.
ARTIST AND ART GALLERY – A LASTING PARTNERSHIP?
http://joelferraris.blogspot.com/2007/06/artist-and-art-gallery-lasting.html
Other comments on this post via Facebook:
From: Jennifer Bowskill
Compare how much successful women artist make compare this to similar male artists., you might find a difference. My “x,” finial lost the plot when I was doing quite well in HK and people started calling him by my surname. Women can have male muses as well… I do..
I once asked “Doris Lessing,” did she write when she she had children… the answer was direct and forthcoming. “No.. not for along time.
Living in Australia, I am now faced with a new part in my life, when artist should be young and successful and not middle age.. or the new term,”Mid career.”
“Brett Whitely’s,” wife has created something wonderful for herself and her dead daughter. A garden, near the Sydney harbor, which she works on.
“Sid Viscious,” shot his girlfriend more than once.
Alice Liddle.. from “Alice in Wonderland,” might have been the muse, but she, I think knew,what she was doing. Infact inviting “Lewis Carroll,” to her, and her sister’s bedroom when their parents had gone out for the night.. to have stories told to them.
Tudor women, where in more control of the money and quite independent.
1790′s England, women where often the “Printmaker’s”.. etchings, and in control. The images being made, appearing in newspapers of the day.
Nobody has it all. Everyone has to work in life, no matter if you have children or not.. partner or not. You still have to feed yourself.. wash your clothes… when Brett was starting out.. taking drugs..swinging with the famous, was like being the first Australian Pop star, and he did win one award after another.
Yes, all artist need PR and Elizabeth, you seem to work hard at it. Certainly, I would not be writing this, if I had not met you on FB. However, IF, I was still working in HK, like I did, till it nearly killed me, I would never had my own time to write on FB. Again, that was a different time.
How lucky, you are indeed to have grown up with computers and so many mod cons that have changed the world so quickly, more than any other Century. To be able to travel quickly form country to another in a flash and health care, is possible something you might not understand.
Brett and his wife, came back to Australia on a boat..like most people had to in those days. Yes, he might have had support, but artist often did and still do.
October 31 at 12:15am
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Joel E. Ferraris
True…so true. But in all these there’ll come a time when one will pause and ask “what are these all about? What for?”…especially in a world where right and wrong and the line dividing them seems so obscure now. I continue to do art …but still continue to ask questions…what for?
October 31 at 4:29am
Further comments via Facebook:
Elizabeth Briel
@Jennifer thanks for your comments, very insightful as always. Every media industry, from publishing to photography to music to art, has been turned upside-down thanks to the current possibilities and democratic spirit of the internet. It offers more venues for exposure than ever before. It also offers a lot of crap too!
But the big change is that there are fewer middlemen. Galleries have lost their appeal for some artists who are confident in their communication skills, as have record labels for musicians who have the chutzpah to go it alone. I’d say 50% of my work involves admin (social media/discussions with galleries/collectors/interviews/blogs/website updates etc) and 50% hands-on art/project writing. That’s pretty typical of most self-employed creatives I know. You’ve gotta hustle for what you get, and you know that this project could always be your last if you don’t keep it up. Affordable travel is an incredible plus, too, as is general int’l communication. [When my sister was born in the mid-70s, my parents sent telegrams to their friends all over the world!]
Online exposure is how I have gotten every single art/writing gig over the past 6 years – query letters have gotten me nowhere (not that I sent that many). Focusing on my online presence suits my formerly-introverted personality; I was never much good at art openings or chatting people up in person. But talking to people about their work, and sending them links to mine? Enjoyable. Easy. I’ve done it thousands of times. Once in awhile the right person clicks through, or they hear about me through someone else. A large portion of my website hits are via links from FB and Twitter. I don’t know how people find me, but they do, and I seek out other interesting people. It’s been a real pleasure to meet people virtually, and occasionally run into them in person.
Y’know I never heard about Brett Whiteley ’till I moved here. But he seems to loom large in the Australian imagination. Perhaps because he was one of the first painters here to really make it big beyond these shores.
Sun at 12:25am
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Jennifer Bowskill
As for Brett, nope your wrong… on that point… We have a history too.
Start reading up about our history… include the arts..
As, for any of the artists here in Melb, if you are to make big money, you must be connect to a good gallery.
My photography in Hk was mainly fashion and others stuff to make money. I networked.
However, I was a printmaker.
Good for you using FB and Twitter. However, artists often don’t like writing.
Mon at 5:44pm
Facebook comments part 3
Elizabeth Briel
I hear from Melbourne artists that galleries are frigid and exclusive there, but they’ve usually not made it within that system, which is why they’ve got a chip on their shoulder about it. Shortly after moving to Oz I realized that with such a small population the art market here was small and relatively conservative, and I was better off focusing elsewhere unless we planned to stay here for a long time. [There's some refreshingly experimental work here that's publicly funded and shown in art spaces.]
Hazel Dooney here in Sydney is quite articulate, has assembled a good team of assistants, and has steady support from collectors. http://www.hazeldooney.com She has sold her work exclusively to collectors via her website for some time now. Doesn’t want anything to do with galleries. In fact has made it her mission to expose some of their more ridiculous practices and show artists there are other ways to make a living besides galleries.
The difference is one of perspective. For most artists today, we cannot rely on collectors in a single city. Art and culture are a global phenomenon in the 21st century; regional differences are blurring with globalization.
Writing skills are an essential part of any endeavor where communication is the goal. This is particularly true of visual work. If artists cannot write (I’ve seen tragic writing from artists who’ve graduated from focused visual art programs, some are functionally illiterate), or don’t like to write, then it’s outsourced to the gallerists and curators who do it for them. To the tune of 50% of the price of the work, and perhaps in words the artist might not have chosen.
1:19am
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Joel E. Ferraris
The one thing I hate about others writing about my art is that they sort of “put words into my mouth” and interpret what I do in their own way…or worst, change the title of my art piece. I did lots of figurative art in the past where there’s no need to write something profound about them. But there are art forms I did that only I understand and have the right to write about.
4:13am
Jennifer Bowskill
Interesting Elizabeth.. though most of the artists that you mentioned are from Melb. You seem to have fallen into the Sydney vis Melb trap. Good galleries do promote your work world wide and of course take their cut. You wouldn’t know anything about the arts fair in HK during the 90′s, and we have them here too. Are you meaning to say that we have no public funded spaces here in Melb?
Action houses are one way of selling, yes that does not mean that they ever keep the price up over the years. Speak with Brair Williams from “JOELS.” Which is the same company of auction houses that you mentioned.
If you say, you have done a fine arts course, then you would know that artist work on different side of the brain from others, thus, not all can write.
Aust galleries and melb ones do promote you overseas. You could contact my dear friend”Jon Cattapan,” from the V.C.A. to confirm that.
By the way, no artist that I know, when signed with a gallery has not been represented overseas, nor not promoted by the gallery.
Shame you have chosen to leave Melb out of your travel plans. I wonder what you think of the artist and writers of Tasmania… “Robert Dessaix,” might be interest in your views.
Melbourne, has always been the city for the “ARTS.”
Not sure, how you are trying to pen your self.. writer or artist… I was interested in you as your where writing about paper making (being an old printmaker from a life time ago) and I am a photographer.
Blog away, hey, maybe you might be the next “Julia and Julie.”
I will still read you…. that’s because I have time…. Illness from Asia…
9:57am
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Elizabeth Briel
@Jennifer – I will respond to your most recent comments but will request that further lengthy correspondence be done by email rather than fill my FB Walls.
Had you looked more closely at my site you would have noticed it was called “Travel-Artist” and I state in the description that I am an artist who writes. My online CV also mentions my BFA in Painting from the University of Minnesota. There are also painting & photo
portfolios in my online gallery which indicate that I do more than write. I have written for a number of publications in print an online, so am not just a blogger. I have recently been given a 5-figure (US) advance for travel and research expenses, based on my publisher’s belief in my writing, photography, and illustration skills. These aptitudes are not mutually exclusive.
I have refused to be pigeon-holed into a single category, and have pursued my interests regardless of inevitable naysayers who feel specialization is key. Personally, I find over-specialization gives a narrow perspective. As I wrote recently, artists are often treated like idiot-savants who are unable to function without the help of a kindly gallerist or dealer. Some artists and I believe otherwise.
Re. right side of the brain thinking, I work hard to hone both my analytical as well as visual and intuitive skills.
When speaking of “here” I refer to Australia, not just to Sydney. Last year I visited Melbourne and very much enjoyed it and what I’ve seen of the art there. We are based in this country for a couple of years, but it is not my home, so I remain focused on my current projects which make up my days. They’re based in various parts of Asia and Sicily.
Tasmania is a fascinating place and I hope to get there before we leave.
I don’t recall mentioning a specific auction house.
Glad to hear you’ve only met artists who have had good experiences with their galleries; other artists and I have had rather less fulfilling encounters, generally not worth half the price of our work. We are actively creating alternatives to the status quo. Our approaches are not for everyone though; as you have mentioned, some people don’t enjoy writing press releases. Neither do I, actually.
The paper book will come out late next year. Just the other day I was writing the introduction: how my year-long stint working with 2000 kinds of paper from around the world while a uni student was excellent training for printmaking courses, and eventually this journey. My favorite university professor was a printmaker, and I nearly majored in that rather than painting. I’d be interested in seeing your printmaking work sometime.
I have only now begun to feel that I have resolved the tension between making a living and making art. For me the contradiction is inherent in the sense that art sales are not predictable and don’t happen on a schedule, whereas living expenses are predictable and happen on a schedule. So while I certainly see selling artwork as a possibility, it’s not something I feel I can safely rely on, and so for me a second, steady source of income is a must.
I’ve spent my twenties and early thirties flailing wildly between a glamourous, demanding day job lifestyle and a starving artist lifestyle, and I am only now starting to find a balance between the two, looking to downsize and be less ambitious regarding day jobs, but also knowing where my limits are and which needs are crucial and which can be sacrificed.
Bottom line, I think if you don’t have a partner or family wealth willing to support you, you are going to have to fight for your artmaking, regardless of whether you are a man or a woman. And in that sense, every choice you make will entail some degree of sacrifice, and you will have to invent your own markets and means to access them.
I definitely feel that motherhood for me is out unless the author of the children is willing to support me as a full-time mom/artist. There is no way I would have children as an addition to the already exhausting day job/studio job dichotomy.