At the risk of being ridiculed

I know some parties who read this will look upon my suggestion as an object fit for only ridicule, I am writing this piece and am asking for a BIG space in a gallery to show my work from the past 48 years. It is going to be a BIG exhibition as I have enough output to fill a gallery… (like First Site* in Colchester for example).

But my aim is not specific to First Site, no I want to be shown at BIG galleries in major cities too. I don’t mind smaller galleries and I have done about 25 solo exhibitions since 1977. I understand their (the ‘established’ places) problem, it also applies to commercial galleries like those in Cork St., you don’t get a look in unless you and your work tick some boxes, many boxes like; right college, saleability, reputation, articles about you, fame, and you know all the rest. I happen to not tick any boxes and have made it a mission to untick any that were ticked. I am an old fashioned player. Some trendys would say I am a Modernist and the same folk would say this is the Post-Modern era, well listen, it’s not, ask Wil Self who will tell you it’s too soon to change the name.wil an gabr wil an gabr2

And to place the word ‘post’ in front of anything is rather lame; Post Impressionist, Post Structuralism, Post Haste, Post Card, it doesn’t change anything, at least they were more imaginative early 20th century; Fauvism, pointillism, Cubism, Futurism, Vorticism but all of them are really part of Modernism as is post modernism and Modernism is the era that followed Classicism, the latter going on for thousands of years.

I believe an artist, with a brush, with a ball, with a voice, etc has to be individual, original and be saying things few if any have already said in ways that others would not imagine to say them in. Well, I tick all those boxes BUT, nobody except people with imagination and independent choosing can see the quality in my work, and there’s not many like that in the gallery world, is there?

Martha Graham, the woman who helped develop ‘modern’ ballet out of the old style ballet, said, “There is a vitality, a life force, an energy, a quickening, that is translated through you into action, and because there is only one of you in all time, this experience is unique. And if you block it, it will never exist through any other medium and will be lost”. I have been aware of that for many of my 64 years and maybe that’s why I have always carried the torch for ‘art’, or rather my particular version of the arts which I developed thru years of study, hard work, experiment, getting out there and showing it, putting it into my books and all. I am happy, like Blake (Wm., always William, only William is worthy of the name!), I know my work is unique, unicorn, one corn, corny, crazy like O’Dorkey. But I’m not your ‘normal’ artist, or anyting for that matta, (Matta is anudda great artis) I am ‘off the wall’ (well maybe that’s why they wouldnie hang you on the wall at all?) My arts never fitted no box no never not at all. even when at school learning my trade I zoomed thru taking on influences, devouring them; Van Gogh, Gauguin, Matisse, Soutine, D D Watkins Scarfe.

mags dots

 my fauve sister c. 1968

I had more than one ‘style’, I had the painterly bit after heroes like El Greco, Rembrandt, and Grunewald, then I had the comic pArt after Steve Ditko and e Jeffries e jeffreys toby twirl

Even when I went ‘full time’ artistbloke tween 1976 – 81 the arts council wallers couldn’t fathom where I wer coming frae nor going to, I even had writing in my locker and that wasn’t allowed in ‘art’. Yet early on my talent was recognised by David Wild, Quentin Bell, Ruskin Spear and the Principal of Birmingham College of art who on assessing my Bachelor’s stuff in June 1973 said I should consider applying there for an MA. AS I wer £80 overdrawn, a lot in those days, I took a job teaching and got drawn in to that gulf. I decided to follow my own canoe down the rapids of my life and never had time to court the galleries and forgot about the MA. Sadly I waited 40 years then chose to do it at a college with issues and without facilities and vision of how to treat ‘adults’. But I met David Jury there and also became acquainted with the world of artists books which in many ways leap frogs the ‘art world/gallery’ fields and as most of my ideas will go into books albeit some will have to be a bit big I can live with that.

I am an original and the trouble is if you are the first to do it ‘this’ or ‘that’ way, few will ‘get’ what you’re on about and most will call you a madman, or woman if you are the other gender. Which brings in the agenda, yes there is and always has been an agenda. The modern ‘art-world-market’ started in a gradual stunted way with a few proprietors trying it out with artists like Gauguin. A crop of gallerists opened in France (Ambroise Vollard , Daniel-Henry Kahnweiler Léopold Zborowski) and they sold works and this spread to other countries and it caught on. Some of the early artists didn’t tick the boxes but the world was young. Gradually some became ‘established’ and one of the boxes had to be you were ‘established’. BUMPH that cuts out the majority of us artists, don’t ya. (Actually, I am established but only in a small field, actually it’s not even a field, it’s a shelf tucked away on the end of Wigan Pier) And how do you get ‘established’? You have to be chosen. Of course this choosing goes further back, back past Josh Reynolds and further back to les Louis the Kings of France (they were all called Louis for a while til that one was topped, then it stopped. So Picasso was chosen by Gertrude Stein. Etcetera. Etcetera Etcetera

You can see a record of what I did (mostly my writing and shows, not my artworks), over the years at:

https://apulhed.wordpress.com/about/

 

*First Site is a much maligned landmark gallery with wonderful potential STILL which this county of Essex England needed for decades and now it has been opened the folk of the local area have taken a very poor opinion of it. This is mostly because of the fiasco over its build which should now just be a historical fact rather than a vendetta against the people who run it. I have spoken up about the gallery and the work it has already done. I even applied to be an associate artist but didn’t get selected. I wrote a small article which got published in a magazine about arts from Cambridge called Venue putting a very positive light on the gallery. Yet I know for sure they would never see me as an artist worthy of a major show, or any show for that matter. They have a view that only internationally recognised artists, even if totally obscure to the local population, are worthy of hanging on their walls. And that is very sad especially when there are several colleges within 25 miles with many people involved in art. I, who am steeped in art and who taught it to almost every age from 0-90, have learned a lot from the shows at First Site. They’ve had some great shows and some great talks, but not a lot of people attend them, partly cos many would feel threatened by the attitude that seems to prevail. There’s an aloofness, a separateness, a communication-less-ness. The space has rarely felt welcoming. They are revamping it right now, I hope the revamp leads to a better atmosphere and that it becomes a popular place, like Tate Modern did when it opened, a fact which was by no means guaranteed.

 

ps I don’t mind if I never get another venue to show at cos it’s quite hard work showing.

pps I forgot, that’s an age thing, no it’s not.

 

Poym of the week

 

I shud av gon far

Wid my repertoire

In my old car

(Twer a ford Pop-(u)-lar)

 

Burri got stuk in th’moat

In a ricketi boat

And am barely afloat

Tanks to a singer of note-s

Cos that’s wat he wrote

 

His name you can’t guess

The the ansa to thes

His name is not Jess

(This poym is a mess)

 

I’ll let him fini the res-t

The clue’s in the the

Why I say it in jes-t

Will u pass the test

 

 

Here’s a couple o dames who nearly gave up, listen in: https://www.youtube.com/watch?v=XJUk1UklklE

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