Choices: Creation and Presentation

Choice as an operative aspect of making and presenting art has come up a few times in the last couple of weeks from somewhat different directions.

First, an arts professional recommended an artist leave out certain work that fit chronologically but distracted conceptually from a catalogue; this I view as pure and necessary critical presentation editing.

Second, an artist faced criticism for creating confusion by choosing to hang works differing in compositional approach (formality, tightness/looseness) and media in a setting that was somewhere in between the studio and exhibition space, granted a studio visit is different in kind from working in the studio; this I view as a misunderstanding as to the setting.

Third, an art maker/curator recommended artists not waste limited time available in which to create and focus narrowly and drill down deep, as choices must be made on directions to pursue; this I view as problematic. There are so many things one tries out -- to get them out of the system, to see what happens, to momentarily distract as the mind works through a problem. While this diversion can use up limited time one has to make work, sometimes work can’t get made unless one follows these rabbits down their holes. One making work may have entry points -- visually, aurally, conceptually, emotionally, kinesthetically -- to creating the work that ultimately differ, sometimes in marked ways, from the entry points viewers are given to the work one chooses to exhibit. Yet, the sentiment of inevitable and necessary choice is factually so: time is limited and choices must be made in what one pursues as well as what one presents.

I am very much at risk of being overly diverted, unfortunately.