I was amazed to see that on my computer I have over 10,000 contacts in the Visual Arts.
So when changing over to a new contact managing software, how do I decide whom to keep, and whom to delete?
The WA Grant recipient list is an interesting social and cultural map.
It might provide some indicator of artists who are very "serious about their art".
Anyone who has gone through the hours of writing an application and the report afterwards will know what I mean.
You have to be serious to both do the paper work, and to be given the grant. The grant system is a competitive system, officially based upon the quality of the images and art, plus the documentation you provide must indicate a commitment to art and originality of ideas.
So, who are they, these serious people?
Guy Ben-Ary Cecile Williams Clare Davies David Turley Jillian Kempson Jurek Wybraniec Lynnette Voevodin Maria Madeira Nalda Searles Pamela Gaunt Patrizia Tonello Penelope Forlano Ryan Caitlin Thomas Edward Heidt Trevor Richards T…
Aalto-Annala Marja-Liisa - Finland
Abessinova Elena - Norway
Agial Hanan - Libia
Ahmmed Ronni - Bangladesh
Aksit Zafer - Turkey
Alagirisamy, Geetha - Switzerland/Singapore , Sculptor and Ceramicist: Identity
Ali Celine - Romania
All Asya - Russia
Allori Laura (Lallycula) - Italy
Alves de Souza Costa Elisiana - Brazil
Andrade Elizabeth Almendra - Brazil
Antonelli Paola - Italy
Arakkal, Shibu India Photographer
Araujo Tati - Italy
Arianpour Sara - Iran
Ascencio Villanueva Victor Manuel (Vito) - Me…
Great stuff Mr Kelly! (See https://dailyreview.com.au/the-2015-venice-biennale-and-the-myopia-of-australias-arts-leaders/23465)
As the 2017 Biennale draws to a close, it is delightful reading this article, and the resulting debate below the article, and then realising how the recommendations there became fact.
It seems the small decision making clique were very thin skinned to the criticism and quickly appointed the recommended artist, for all the reasons given.
The October 2017 decision by the Australia Council to move to greater transparency (and not consult Simon Mordant and others), may be due to criticism outlined here by Kelly et al., or to follow the international trend towards more transparency ( https://www.a-n.co.uk/news/venice-biennale-a-selective-process), or simply because the Venice Biennale itself asked them to do it (Matthew Westwood, Doors of Pavilion opened to all, The Weekend Australian newspaper, October 28-29 2017, The Nation 3).
But the problem is not uniqu…