A local writer and scholar, Thomas P. Holland addresses issues that I know very clearly first-hand: Managing a nonprofit in this decade is a huge endeavor involving adept planning, organization, community, funding, and skill. I review this text when I need support, guidance, and a pat on the back or a kick in the ass. It was given to me by ATHICA’s previous director, and has enlightened my understanding of the enormous job I have.
First, I will read anything Nato Thompson writes. He is clever, insightful, and often ahead of the curve in his cultural critique and discussions around art making. This book, for me, functions as an index of sorts, organizing projects by some of the most influential makers in the world. An inspiration in terms of seeing art beyond gallery walls that asks questions, serve needs, and disrupt models of art propagated by Capitalism. Public art has shifted into action, and this (in a very small way) begins documenting this huge change. Now, how to support and nurture it…?
This guy remembers everything! It’s as though I’ve encountered his archive and he’s somehow piecing it all together. No one can connect our past and present like Davenport. He talks about poetry, art, food, cave painting, manners, coffee, the countryside, modernism, anything! I feel sorry for anyone he ever spent time with because he even remembers what you wore! Laugh out loud funny, this is a book that I can open to any section and remember why it’s okay to be alive. And I have to read aloud parts to my boyfriend regularly. It’s a good one to share.
Here, a lot of makers share their best or favorite art assignments. Gorgeously designed and simple, with essays, drawings, and ideas, it reminds me of taking Larry Anderson’s Advanced Drawing class at Atlanta College of Art and learning my way around the direct. He once gave us an assignment to make a drawing without paper or a drawing instrument…and it changed my life.
This is hilarious. Many honest accounts of encountering the professional art world. Also some junk, but it’s funny junk. (Like, how to dress if you’re a fat artist vs. a skinny artist.) I remember when I interned at the Contemporary with Helena Reckitt and we would get tons of unsolicited packets. She directed me to call the senders who clearly would not be a good fit (think traditional pottery, non-ironic still lives of oranges) and remind them that it would be good to have a look at the space and the mission prior to sending an envelope and spending money. Worth it for Paddy Johnson’s accounts of internet etiquette (and her clear failures). A must-have for any teachers of professional practice or artist in the art scene. My favorite rule? Leave the studio! There’s a world out there!
Oh, and be polite. (Again, props to Larry Anderson)
HOPE HILTON was born in Atlanta, Georgia. A cum laude graduate of the Atlanta College of Art (2003) and a magna cum laude graduate of The City University of New York, Hunter College (2008), she currently presides over ATHICA: Athens Institute for Contemporary Art as the gallery manager as well as curates, writes, designs, publishes, and exhibits.
House rules for commenting:
1. Please use a full first name. We do not support hiding behind anonymity.
2. All comments on BURNAWAY are moderated. Please be patient—we’ll do our best to keep up, but sometimes it may take us a bit to get to all of them.
3. BURNAWAY reserves the right to refuse or reject comments.
4. We support critically engaged arguments (both positive and negative), but please don’t be a jerk, ok? Comments should never be personally offensive in nature.