Posts tagged with: GQ Magazine

Mako Fujimura, one of the artists hosted by the Acton Institute for ArtPrize 2014

Mako Fujimura, one of the artists hosted by the Acton Institute for ArtPrize 2014

Here in Grand Rapids, we are awaiting the beginning of ArtPrize (Sept. 24-Oct. 12.) For those of us who live or work in the city, we are seeing signs of it: posters hung in coffee shop windows, artists installing pieces, restaurants adding waitstaff, and venues getting spit-shined. It’s a big deal: in 2013, ArtPrize brought in 400,000+ visitors to this city, an estimated $22 million in net growth and hundreds of jobs. Not too shabby for an event that didn’t even exist a few short years ago.

The genesis of ArtPrize was the mind of Rick DeVos, a man focused on entrepreneurship and starting conversations. DeVos started ArtPrize not as a way to bring money to his hometown (“a happy accident“), but because:

…his forays into tech startups had made him love the democracy of the Internet and the possibilities afforded by crowdsourcing. Why not a contest with an open call for artists and an open vote? “I was always intrigued with the X-Prize model,” he said, referring to the $10 million prize offered for private-sector space flight. “This whole idea of putting a big prize out there and then putting as few rules around it as possible, not trying to dictate what the outcome should look like.” The idea expanded from there, and in 2009, five months after he first announced it, ArtPrize opened to the public.

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In his magnificent reflection on the nature of art, Real Presences, polymath George Steiner invites us to make a thought experiment: What if we lived in a city where all talk about art, mere talk about art, was prohibited? In other words, what would follow if we did away with artistic criticism qua criticism, an activity derivative by nature and one Steiner calls “high gossip”? In this posited city, what Steiner calls the Answerable City, the only permitted response to a work of art would be another work of art. Thus participation in the “art scene” could never launch itself from the risk-free loft of criticism, but it must be real participation, a participation that demands that the viewer invest something of his own imaginative capacities. In this city, the word “interpretation” denotes not something exegetical, but something performative; an activity not of professional academics or theater critics, but of actors and directors — as in an actor “interprets a role.” Here, art means incarnation, not judgment.

But such a city is only a thought experiment, and since judgment requires the participant to invest less of himself, it will always be easier to be a critic than to be an artist. And therefore the artist will always be tempted first to pass judgment rather than to respond with his own creativity.

After a decade of trying to walk the slippery ridge between “he who does” and “he who discusses” art, I have tried to avoid criticism these last couple of years to focus only on doing. But I feel the need to again jump into the critical ring, thanks to a recent article in GQ Magazine (it was sent to me by a friend), an article on my own town, Grand Rapids, and its increasingly famous festival, ArtPrize. (more…)

At the Mackinac Center blog, I look at a really shabby piece of reportage in GQ Magazine on ArtPrize, the annual public art competition in Grand Rapids, Mich. Grand Rapids is also where the Acton Institute is based and it’s a terrific Midwestern city doing a lot of things right. But when East Coast writer Matthew Power visited GR he saw only “flyover country,” a “provincial” mindset, “G.R.-usalem” (lots of churches) and “ordinary” local inhabitants.

You know where this is going. I say:

Ultimately, Power gets to his main point, which readers could easily anticipate as leveling a charge of what is perceived as the only sin known to Western Civilization by East Coast writers of a particular persuasion: hypocrisy. For it seems Rick DeVos’ parents fund free-market (including the Mackinac Center) and conservative Christian causes, and young Rick’s motivations are judged negatively by Power’s perceived “sins” of DeVos’ mere et pere and the causes they fund.

“To some of the [DeVos] family’s detractors, the millions in soft money and the funding of conservative Christian organizations suggest more ambitious goals: an end to nearly all government control and regulation, media, education … and the arts,” Power cavils. “Whatever their motives, it seemed odd that a family with such an agenda would let its heir apparent throw open the gates to its city in an open call to any and all artists, not matter how starving or unwashed.”

Power notes that the Acton Institute, a beneficiary of DeVos monies, “has advocated for the abolition of public funding for contemporary art” when, in fact, Acton has no official position whatsoever on the matter. True, some Acton articles and blog posts (several written by your author) take issue with public funding for art, arguing along with Jacques Barzun that the practice results in a “surfeit of fine art” (and I would argue strenuously against DeVos applying for and accepting a $100,00 National Endowment for the Arts grant for ArtPrize, as the businesses benefitting most from the competition could easily pony up the relatively insignificant amount) but, again, my opinions and for that matter the free-market ideology of Mr. DeVos’ parents hardly are germane to a story that merely aims to discredit ArtPrize by any means necessary.

Power winds up his Grand Rapids’ hit piece with interviews with the losers, apparently cheesed off that the public judging was insufficient to their superior aesthetic concepts and artistic execution. But, of course, that’s to be expected.

Read “GQ Hit Piece on GR ArtPrize” at the Mackinac Center.