Art & Development, Meta-Practice

Points of Reference: Finding the right partners means not working with the wrong ones

Being an artist and applying to competitions means dealing with rejection.

Rejected, a compilation of rejection letters, by Tattfoo Tan. // Source:

Rejected, a compilation of rejection letters, by Tattfoo Tan. // Source:

See also: Tattfoo Tan’s

But dealing often with rejection doesn’t mean accepting everything that comes your way. Artists aren’t powerless. We have agency. When an “opportunity” presents itself, an appropriate reaction is to evaluate benefits and costs.

From “Standard Questions for Artists” from Standard Deviation by Helena Keefe (via

Given an opportunity…
Do I believe in what this institution does/stands for? Is it the ideal venue for this project/my work? Does my work feel alive in this context?…
Does this opportunity help me meet or get to know people I may want to work with in the future? Will it enable conversation with people I want to be in conversation with? Is this opportunity helping me reach the audience I want to reach?…
Is there enough freedom in this opportunity? Would saying no to this opportunity be saying yes to something else I care more about? Is this the best artworld for my work? Is it the most effective use of my time/money/energy?

[I’d even ponder, “Is this what I want to do with my life?”]

…Am I being instrumentalized? Am I okay with that?
Am I happier making my living separate from making my art?

Artists, too, can be selective, and reject things that aren’t good fits for us. Indeed, taking a pass on an opportunity can be a generative, productive action.

From Non-Participation: Call for Submissions by Lauren van Haaften-Schick:

The project, Non-Participation, will be a collection of letters by artists, curators, and other cultural producers, written to decline their participation in events, or with organizations and institutions which they either find suspect or whose actions run counter to their stated missions. These statements are in effect protests against common hypocrisies among cultural organizations, and pose a positive alternative to an equally ubiquitous pressure to perform. At the heart of the project is the notion that what we say “no” to is perhaps more important than what we agree to.

Historic instances and examples include: Adrian Piper’s letter announcing her withdrawal from the show Reconsidering the Object of Art: 1965-1975 at LA MoCA, stating her opposition to Phillip Morris’ funding of the museum and requesting that her criticizing statement be publicly shown; A letter from Jo Baer to a Whitney Museum curator canceling an upcoming exhibition on the grounds that her work was not being taken seriously because she is a woman artist; Marcel Broodthaers open letter to Joseph Beuys questioning the relationship between artists and exhibiting institutions; and, just recently, critic Dave Hickey‘s public announcement of his “quitting” the art world.

This tactic is oppositional to always saying yes; to the (non-)strategy of waiting for more powerful or influential dealers/curators/critics to “save” artists from obscurity and precarity; and to making art only for external validation. You will risk upsetting people and possibly being seen as “difficult.” But to do otherwise is to run the risk of adopting values—self-interest, opportunism, careerism—not your own, which are harmful to your practice and your fellow artists.

See also: Art Practical’s current issue, Value/Labor.

Addendum, added 4/10/2014:

Sarrita Hunn, “How to…Make an (Alternative) Institution” // Source:

Sarrita Hunn, “How to…Make an (Alternative) Institution” // Source:

See also: Sarrita Hunn’s “How to… Make an (Alternative) Institution,” a freely downloadable PDF ‘activity sheet’/visual essay for Make Things (Happen). In the third of three steps, Hunn describes “Noncooperation/Radical Non-Participation.” Also online at Temporary Art Review.

Art Competition Odds

art competition odds: Catskill Film and Video Festival

The Greene County Council on the Arts’ Catskill Film and Video Festival program received over 100 applications for 32 selections.


or about 1:3, or 32%.

Sources: Tattfoo Tan‘s and

See all Art Competition Odds.


Tattfoo Tan: Artist funding Artists

Following Mark Bradford’s exceptional generosity, and continuing the theme of artists funding artists, NYC artist/master composter Tattfoo Tan has initiated a grant program, open to applications from non-New York City artists.

S.O.S. Guilds
Using art as a tool for social change on sustainability and ecology.

Open to all artists worldwide [except NYC residents] | Deadline: April 1, 2011

S.O.S. Guilds is an art and sustainable entity that creates social changes by applying the power of artistic imagination to inform, inspire, engage, animate and motivate in various communities around the world, by giving grants to artist to execute art project that high light the sustainable issue. As an artist, we are so used to be funded and in this economic landscape, we should seek to give and fund others artistic project that based on social activism and civic engagement. Artist that are funded by S.O.S. Guilds are encourage to pay it forward by funding others or give back to the S.O.S. Guilds pool of resources.

By offering a small grant of USD500, in two parts payment to guarantee the success and execution of the proposed project. As the founder of S.O.S. Guilds, I’m here to provide supports, marketing, and conceptual thinking to help in planning and trouble shoot in any stages of the project. Project must be completed in a season (3 months) duration and be documented from start to finish on a blog to be shared with the wider online audience. Anyone can apply except resident of New York City due to conflict of interest. Grantees must credit S.O.S. Guilds on all promotional materials.

By gathering like minded artists that are interested in deploying arts as a tools to awakes social consciousness, we as a collective whole around the world can make change one art project at a time.

This & That Mail Art Swap

Welcome to This & That


I’m pleased to announce a new curatorial project, This & That, an invitational mail art swap among international artists. Initiated in July 2009, This & That is a grassroots exchange by artists for artists.

32 artists/collaboratives are from 7 countries are participating:

Poklong Anading (Manila)
Chris Bell (Austrailia/San Francisco)
Simon Blackmore (Manchester)
Simon & Tom Bloor (Birmingham/London)
Jon Brumit (Chicago)
Michelle Carollo (NYC)
Mike Chavez-Dawson (Manchester)
Susan Chen (San Francisco)
Joshua Churchill (San Francisco)
Nick Crowe & Ian Rawlinson (Berlin/Manchester)
N. Sean Glover (Pittsburg, Penn., USA)
Mary Griffiths (Manchester)
Antony Hall (Manchester)
Taro Hattori (Oakland, Calif., USA)
Eric Hongisto (San Francisco)
Sarah Kabot (Ohio, USA)
Scot Kaplan (Ohio, USA)
Verity-Jane Keefe (London)
Yuen Fong Ling (Manchester)
Ivy Ma (Hong Kong)
David Moises (Vienna)
Ali Naschke-Messing (San Francisco)
Scott Oliver (Oakland, Calif., USA)
Susan O’Malley (San Francisco)
Laurence Payot (Liverpool)
Pest (Rebecca Chesney, Robina Llewellyn & Elaine Speight) (Preston, Lancs, UK)
Anthony Ryan (San Francisco)
David Sherry (Glasgow)
Daniel Staincliffe (Manchester)
Tattfoo Tan (NYC)
Jenifer K. Wofford (Oakland/Prague)
MM Yu (Manila)

Submissions will be exhibited in “Socially, Involved,” an exhibition at curated by Michelle Blade, at Triple Base Gallery, San Francisco, California, USA from August 7–September 6, 2009.

See the entries at exhibition, or at the opening reception — Friday, August 7, 7-10 pm — or check