by Talia Dixon, February 29, 2024 Artist and choreographer Tanya Lukin Linklater was the Arts Research Center’s Fall 2023 Artist-in-Residence. You can read more about her work, her time at ARC, and her exhibition at BAMPFA here. Alutiiq artist and scholar Tanya Lukin Linklater’s 2023 residency with the Arts Research Center was a gift. Tanya […]
I participated in two workshops. The first: Collective Actions, Moving Thought lead by Sara Wookey and the second: The Exchange Archive led by Caroline Woolard. When I first walked into the registration area I was excited to see a real mix of people, and I later found out that they artists from different disciplines, established artists, new artists, curators, and scholars, but mostly a diverse array of visual artists. I was impressed by the interest and drive of these artists to take on the deep problems of artwork value and compensation.
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As a cross-sector dance maker and scholar who writes about dance makers and institutional dependency, I appreciate how Helena and Lauren’s slippery “Grey Matter” quiz resists tidy “yes-no” answers. The very structure of a quiz mandates self-reflection. By hailing artists who attempt to fashion careers through the nomadic practice of “gig dependency”, the Grey Matter quiz should constantly be retaken.
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Dance has been traditionally perceived as a time based form. The conventional wisdom is that a dance should have a beginning, a middle, and an end. Merce Cunningham disrupted this to some great degree by corrupting the linearity of sequence in his dances. Chance processes allowed shards of the dance to appear and disappear at different times. He also went a great distance to getting dance out of the proscenium box and into spaces that were more level with the viewer (museums, warehouses, studios).
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The past five years have witnessed the explosion of dance in an art context. Major exhibitions exploring the relationship of dance and the visual arts have been mounted at the Museum of Modern Art (2010), Institute of Contemporary Art Boston (2011), Hayward Gallery (2011), and the Centre Pompidou (2012), while choreographers have been the subject of solo shows as well as articles and monographs in visual art publications.
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I joined the Hayward Gallery’s exhibition department in 1991, becoming one of a staff of around 70 in the visual arts arm of London’s multi-disciplinary South Bank Center (SBC). At the time there was a very clear-cut distinction between our remit and that of the SBC’s other cultural, mainly music, programs. This distinction was based not solely on different media, but on the assumption that art audiences would never equal concert goers in their numbers, or paying power, and that the Hayward Gallery’s role consequently might not be as vital or valuable.
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