The art of gallery lingo, or what you can call jargon exists
and the mango person, or in other words the common man is far often baffled
with the intricacies that this dialect offers. What would normally seem sorted,
seems unfathomable and too obtuse to connect with. What then, is the purpose of
these handouts, write ups and this exalted conversation that the gallery guide
subjects you to. Whatever happened to simple and easy to understand lingo you
ask! Is simple understandable language deemed unworthy in this realm of
creative beings?
In my pursuit to unravel this mystery lets discuss this
further to get a perspective if not an answer to the mind’s query, in what is
now recognised as International Art English (IAE) thus coined by David Levine
and his friend Alex Rule, critic and sociology PhD student at Columbia
university in New York.
Being an artist and often guilty of being caught up in this
verbal maze of interpretation where an “apple” will not be referred to as a “red
fruit” but “a red fruit of temptation which became the subsequent downfall of
Adam and his kind, and yet has the power to mould the future...”.
Let us probe further into finding a reason for this rather
digressive means of reference to the subject. Maybe a certain tone of textual seriousness
is conveyed through the exalted usage of the language. It is probably to convey
to the viewer, buyer or even browser, that they must drop their ordinary gaze
and bring in their most prized glance, to fathom the depth of the presented art
or their wallet, whichever be the case. Hence creating a psychological acceptance
of the price list.
IAE, could also spring from the entire avant-garde movement which was
heralded by the French and which was a non conformist movement to previously
established rules in art and art movements. This new form of art needed new
language to describe it. Hence an even complex task, when translated from
French to English. Perhaps this also explains the rather French behaviour and
mannerisms of today’s gallery assistants and certain curators too. You will now
argue that if it is rooted in a cultural understanding of art why is it prevalent
all over the globe. Good point, but then most art norms are generally set by
the European art market. It is only recently that Asia has suddenly started having
its say.
One can create an amusing past time of collecting literature,
from various shows and exhibitions and doing a study of the language. This can
well be used in lessons aimed at teaching editing by de-jargonising. However
once simplified try using these as hand outs and I can tell you the entire
exercise of creating an aura of a collection and mystery to the artists thought
process is completely lost. Hence I would like to affirm there is definitely a
certain beauty, and therein a purpose to mystifying the subject in hand. This
is important when you are trying to re –interpret what has already been done by
the artist. Hence despite all these exalted notes “the artists perspective” is
often sought. The simplified language of the simple artist can sometimes even
leave the buyer de-mystified or slightly disappointed. Here is when the curator
jumps in and speaks for the artist and once again is very successful in re-webbing
that aura of extravagance embedded in visual jargon. I have seen that happen one
too many times, and sometimes even on panel discussions. Am I stepping on toes
here....but anybody who knows anything about me, knows that I live and get my
inspiration from these very tip toe moments.
Coming back to the matter at hand this jargon namely IAE and
the need for it is something that even the new bee or hobby artist acknowledges.
Some of these hobby artists, aspiring to call themselves as full time artists
even take lessons with a “master” or someone of recognisable talent to be able
to learn and de-code some of this jargon. At times these are even expelled from
the system verbatim and can create an amusing evening and mind you I am a tea
taller; so it’s not the wine that makes me smile and feel light headed. I do
enjoy the food in these events as these often turn out to be well catered. And
events they surely are!!
Hence it would seem there is a well established need for IAE
in the world of art and art collectors and the art fakers too. It’s just that
even within the realms of IAE some have totally mastered it while others are
still trying to grope the very basics of it. As an artist, I do get curated for
shows and as these are group shows I respect the curator’s skill in tying the
entire exhibit and there after presenting each of the artists. I do self
present myself in various shows and as an artist who does regular proposals for
different bodies, I definitely understand the need to convey a concept. However
when I do, I prefer to keep it simple and yet dreamy, painting with words,
trying not to take away from what they will see, feel and ultimately take home
with themselves, mainly memories and various impressions. Hopefully the next
time you do come across an exalted piece of gallery literature you will give it
that prestige it deserves and read it. Remember, those are hours and hours of
work you will be shoving in your evening clutch. Personally I don’t waste money
printing it...it’s up there on the wall; if you have the time to read it you will
find it :)
