Abstract

A “CLOSE BUT NO CIGAR” research project started as a proposal to the ICA to launch the project “By Appointment”, inviting unknown artists to suggest ideas for an exhibition at the ICA. The aim was to bypass the “invitation only” approach to exhibition programming and to raise questions regarding the value and kudos contemporary institutions offer artists.
For this project, I made "Remasculation: putting the dick back into art", a 150-word proposal for a solo exhibition, at the ICA. As text based art, it contributed to the field of conceptual art, referencing artists like Barbara Kruger, Jenny Holzer, or, more explicitly, the humour in Martin Creed’s work or Richard Prince’s monochrome joke paintings. Of course, the use of humour in my work, to highlight the childishness of artists chasing recognition, fortune and fame, differs greatly to Princes’ satirical ‘one-liners’. The humour in my text is more oblique, and might not be recognised at all. Even if this is the case, I feel the self-indulgence of the artist comes through.
The proposal was exhibited as part of a group exhibition (of proposals) called “By Appointment/Propositions curated by Close But No Cigar – a research project in itself.
Taking inspiration from projects by Free Class Frankfurt, which draw attention to “the humiliating competition for a place among those 5 per cent, who at least temporarily survive from their income as artists” I wanted to question why artists continue to make competitive applications (Propositions if you like) when the process can indeed be considered humiliating, hierarchical (the artist submits to the judgement of a panel), stressful, and, of course, unpaid.
I was interested by Close But No Cigar’s use of the work Kudos and instead of attacking the institution, or art system, I decided to turn my attention to the artists reconsidering them as potentially attention-seeking and self indulgent. At the same time I wanted to explore the macho culture associated with the career of the Fine Artist – who has to constantly take rejection on the chin and keep pressing on, sure of their artistic worth drawing on misguided, but romantic, notions of the suffering artist.