Comments for GIA Guest Blog with Ute Zimmermann & Theaster Gates http://blogs.giarts.org/uteandtheaster A Grantmakers in the Arts Blog Fri, 06 Aug 2010 16:51:18 +0000 hourly 1 http://wordpress.org/?v=3.2.1 Comment on Our Guests Are Arriving by Bernard Williams http://blogs.giarts.org/uteandtheaster/2010/08/05/our-guests-are-arriving/#comment-8 Bernard Williams Fri, 06 Aug 2010 16:51:18 +0000 http://blogs.giarts.org/uteandtheaster/?p=35#comment-8 Yo T, where'r you staying in Brooklyn? You owe me an update phone call bro! Yo T,
where’r you staying in Brooklyn?
You owe me an update phone call bro!

]]> Comment on Our Guests Are Arriving by Bernard Williams http://blogs.giarts.org/uteandtheaster/2010/08/05/our-guests-are-arriving/#comment-7 Bernard Williams Fri, 06 Aug 2010 16:45:31 +0000 http://blogs.giarts.org/uteandtheaster/?p=35#comment-7 I'm feelin this conversation! Off to a good start. I'd like to start by acknowledging my great appreciation for the grant support I have received from numerous institutions during my journey as an artist. I most appreciate the "relationship" aspect of what Artadia has brought to their grantmaking. BW I’m feelin this conversation! Off to a good start.
I’d like to start by acknowledging my great appreciation for the grant support I have received from numerous institutions during my journey as an artist. I most appreciate the “relationship” aspect of what Artadia has brought to their grantmaking.
BW

]]> Comment on Our Guests Are Arriving by Jim Duignan http://blogs.giarts.org/uteandtheaster/2010/08/05/our-guests-are-arriving/#comment-6 Jim Duignan Fri, 06 Aug 2010 15:05:25 +0000 http://blogs.giarts.org/uteandtheaster/?p=35#comment-6 Thanks Theaster and Ute for bringing out the slippery relationship of the artist and the funder. I hope you do not mind if I think out loud as I ponder some of your ideas. I agree with you Theaster that we should as artists explore an expanded field of looking at how and why we solicit funding. How the relationship between artist and funder can both broaden and close in on the questions each have for one another. I feel that structurally, straight funding to artists in absence of any practical financial education is more than one question I hope is excavated through this public conversation. I am interested to hear what young artists think. I have a better sense of what mid career artist think and certainly money management with an arts practice is a process of self education and necessity. I imagine that the building of a reliable, reciprocal relationship in some capacity is an ideal route for the future of funder and artist. Not simply a patronage system of support but one that recognizes a partnership on innovation which makes risk less suspicious. The last two years have been difficult with the economy and for my practice has been another opportunity to focus on what are my basic needs to do my work. I am not sure I know what artists want from funders for the most part. I want to believe the young artists I engage with in Chicago wish to manage their fiscal needs over a steady reasonable pace that satisfies the financial management of their lives. This ability comes with time and having a secondary revenue stream and owning property, generally contributes to a good place to talk about funding stripped of urgency. I will return to the mix and read on. I think about this constantly and am happy you set up the conditions for a dialogue Ute and Theaster. Jim Duignan Thanks Theaster and Ute for bringing out the slippery relationship of the artist and the funder. I hope you do not mind if I think out loud as I ponder some of your ideas. I agree with you Theaster that we should as artists explore an expanded field of looking at how and why we solicit funding. How the relationship between artist and funder can both broaden and close in on the questions each have for one another. I feel that structurally, straight funding to artists in absence of any practical financial education is more than one question I hope is excavated through this public conversation. I am interested to hear what young artists think. I have a better sense of what mid career artist think and certainly money management with an arts practice is a process of self education and necessity.

I imagine that the building of a reliable, reciprocal relationship in some capacity is an ideal route for the future of funder and artist. Not simply a patronage system of support but one that recognizes a partnership on innovation which makes risk less suspicious. The last two years have been difficult with the economy and for my practice has been another opportunity to focus on what are my basic needs to do my work. I am not sure I know what artists want from funders for the most part. I want to believe the young artists I engage with in Chicago wish to manage their fiscal needs over a steady reasonable pace that satisfies the financial management of their lives. This ability comes with time and having a secondary revenue stream and owning property, generally contributes to a good place to talk about funding stripped of urgency. I will return to the mix and read on. I think about this constantly and am happy you set up the conditions for a dialogue Ute and Theaster.

Jim Duignan

]]> Comment on Our Guests Are Arriving by Dawoud Bey http://blogs.giarts.org/uteandtheaster/2010/08/05/our-guests-are-arriving/#comment-5 Dawoud Bey Fri, 06 Aug 2010 06:38:42 +0000 http://blogs.giarts.org/uteandtheaster/?p=35#comment-5 Well, this promises to be an interesting conversation indeed. I love what you say, Theaster, about artists needing to learn more about wealth building and financial savvy, rather than seeing these grants as simply buying short amounts of time before it's time to go in search of additional funds. This is imperative for all artists, but particularly those who--at this stage of their careers anyway--are not necessarily going to be able to monetize [i.e. sell] their work at a level that is sufficient enough t to sustain them for long periods of time. Looking forward to seeing what strategies and structures you uncover. We all know that this certainly isn't taught in any art school BFA or MFA program that I ever heard of! Well, this promises to be an interesting conversation indeed. I love what you say, Theaster, about artists needing to learn more about wealth building and financial savvy, rather than seeing these grants as simply buying short amounts of time before it’s time to go in search of additional funds. This is imperative for all artists, but particularly those who–at this stage of their careers anyway–are not necessarily going to be able to monetize [i.e. sell] their work at a level that is sufficient enough t to sustain them for long periods of time. Looking forward to seeing what strategies and structures you uncover. We all know that this certainly isn’t taught in any art school BFA or MFA program that I ever heard of!

]]> Comment on Invitation: Hello readers and hopefully active commentators! by Nathaniel http://blogs.giarts.org/uteandtheaster/2010/08/03/invitation-hello-readers-and-hopefully-active-commentators/#comment-4 Nathaniel Fri, 06 Aug 2010 00:36:06 +0000 http://blogs.giarts.org/uteandtheaster/?p=28#comment-4 This is cool. I'm looking forward to checking in. best This is cool. I’m looking forward to checking in.
best

]]> Comment on Cleaning the House by Hannah Barrett http://blogs.giarts.org/uteandtheaster/2010/08/03/cleaning-the-house/#comment-3 Hannah Barrett Thu, 05 Aug 2010 23:20:42 +0000 http://blogs.giarts.org/uteandtheaster/?p=33#comment-3 hey! That was beautiful. I love all the dinner table manners! : Talking politics with stubborn asses at dinner is really a buzz-kill, so best to proceed with caution. It's inspiring to know how much time you've put into the art community. But what about the people who became artists because they relate more to art than to people? What pithy advice do you have for them? hey! That was beautiful. I love all the dinner table manners! : Talking politics with stubborn asses at dinner is really a buzz-kill, so best to proceed with caution. It’s inspiring to know how much time you’ve put into the art community. But what about the people who became artists because they relate more to art than to people? What pithy advice do you have for them?

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