Saturday, July 12, 2008
Painting: Thick and Thin Post Number Four(Continued)
The conversation around Painting: Thick and Thin continues.
Another response, this time by Kyle Beal, to the same questions asked in the first half of this post.
I've included the intro I originally sent with the questions
Wil Murray: My questions about place and me and you seem a little safe tonight. So...for the next can of worms, I'd like to crack open the "regional style" variety. Now, in every interview I've been adamant about this show not being a regional style show, and this has always felt a bit dodgy on my part. Mostly because I dread the association with a group, or a style, but also because I have tried to defer my won responsibility for the show, and thus any accolades for doing so, by making it clear that i could just as easily be an artist in the exhibition as the curator. That said, I'm leery to have an art team, or at least one that has been identified by an outside source. So I'm curious about a few things, and would like anyone willing to speak on this be heard.
How do you feel about the implications of a regional style that this exhibition carries with it?
Kyle Beal:I don't really, a 'regional style' might be better in terms of marketing to some, but I think that the sample is too thin to really make any serious claims to any Calgary school.
WM: Does the naming of a community(or art team) serve anyone beyond the person who named it?
KB: Hard to say, though there is certainly a whiff of careerism with naming. In other cases for other times and other cities the high of such team recognition might be somewhat use full as something to push against, on the other hand who wants to be constantly in opposition?
It makes me think of an old Groucho Marx quip...
WM: How do you feel about my position as outsider to the city I am speaking about?
KB: Well your like and insider on the outside sort of. Which is handy to some degree in that you have a more intimate knowledge compared to a total outsider, along with what might be the advantage of distance. I think that there is value in your having a gap of time and space, it seems difficult to think or reflect a bit when your in the midst of participating.
WM: Who benefits from an exhibition like this tracking a geographic community or style? How do the viewers benefit? The community beyond the artists and curator?
KB: It is just good to look up once in while. I'd compare it to a block party, because you don't always know whats happening or who's living in your neighborhood.
WM: I've been gone for eight years and don't know if the fascination with what is happening in the city goes on past this exhibition. As you might read clearly in these words, I'm struggling a bit with my position in this. I'm not fortune-teller and sometimes don't trust what my hands do while I sleep.