A Blagger’s Guide to the Art Collective
The art collective–counterculture’s response to the mainstream, an alternative model that has stood the test of time and is now surfacing again as an attractive alternative for the young and struggling artist.
From their very conception art collectives have been as diverse in motives as they are in form, each one addressing a particular set of concerns. They come in various sizes and formats, from pairs to small groups, to large tribes and cyber space communities. For some they act as political protest, for others a simple extension of the artist studio and for whatever reason they form all are subject to the possibility of collapse.
Entered into for different reasons, collectives are more often than not a result of a specific economic, political and cultural climate. Whether they appeal due to a lack of exhibition opportunity or simply for the good old saying that it’s always better in numbers, collectives have been an attractive alternative throughout history.
Art collectives of the past have not always assumed the label ‘collective’. Groups of artists such as the Dadaists functioned primarily under collective principles however the label ‘collective’ was never officially applied to their practice. The term became more actively claimed by later groups such as Critical Art Ensemble and the Guerilla Girls, a feminist artist led collective of the 80s.
If we turn our heads to current and local activity, some of the most interesting and ambitious art events in South London are stubbornly being produced by artist led groups. Take the South London collective Off Modern who run a club night at Corsica Studios, a multitasking mix of painting, sculpture, digital art, zine production, live music and DJ sets. Along with them and other such artist-led groups alike the term ‘collective’ is relevant once more.
Running on a principal of joint production on an equal standing, the underlying theory of collectives is that by working in collaboration you are able to breach creative boundaries in a capacity that allows you to spread your vision far and thus accomplish more than if you were to venture out solo. The result of entering into a collective is a practice that defies specialization and therefore is free of any identity crushing compliance. In short, everything about how collectives present and produce their work is dictated solely by those involved, allowing integrity to be maintained. Compelled into formation by external factors, collectives have come to occupy the liminal space between the artist as singular and the larger commercial galleries.
A final point is that there are a multiplicity of intentions and formats to the art collective and it is important to remember that just because some are taking an alternative route or mildly going against convention it does by no means guarantee their radicalism. However, in whatever form the collective takes, its basic functioning as a social unit serves as a reminder that creative potentials can still be investigated on common ground and that even in its most fragmented state a communal approach to both art and life still works.
Blaggers take note–the Art Collective is back!
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