Criptic Critic Conscience and Known for it

Saturday, November 17, 2012

Part 3: Conversation with Artist/Lecturer at Canterbury University, Roger Boyce

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  • Roger Boyce Practicing artists who participate in the art market - and who are embedded in the increasingly corporate university - pay a price (the specie being time, energy and institutional angst) for their fortnightly pay packet.

    A great deal of energy is spent (some may say wasted) fighting administrative initiatives that are antithetical to good orderly direction and pragmatic curriculum contribution to positive student outcomes.

    Faculty resistance to relentless, successive waves of administrative policy that bows to the bottom-line costs of everything and the value of nothing is an unrecognized area of public service. Service dedicated to maintaining some connection to qualitative (rather than quantitative) outcomes.

    Speaking as an unabashed market participating practitioner, of longstanding, who also teaches I'd like to report that the amount of time I spend serving as a human bulwark against echt-corporate policies has (conservatively) trebled. Which has had the effect of perniciously eroding the sanctuary of studio, the physical and mental robustness required to 'dance' with the the market and do right by what remains of my so-called personal life.

    I would suggest that most folk's outside view (including enfant terrible Tao) is a rude caricature of what participation in the contemporary academy costs practicing artists who - from expedience or love - choose to make a career of training nascent artists for the kamikaze occupation of visual artist.

    Be well.

    Roger Boyce
  • Wells Tao yawn, Roger in your defense your defensiveness and typical ad hominium attack on me, fails to acknowledge the actual argument I am making. This is typical, so you are nothing special Roger. Next time when you have an exhibition that your salary benefits from, how bout letting us the public know you are doing your job.
  • Roger Boyce Enfant terrible - "One whose startlingly unconventional behavior, work, or thought embarrasses or disturbs others" is hardly, in the world I'm from, an ad hominem attack. Yawna I'm used to inducing - it is the young's perogative to be bored by the honks of old dinosaurs as they lumber toward the tar pits. Neither do I think I'm special - in the US art academics are seen, in most cases, as failed artists. I was surprised by a very different perception of art academics here in the antipodes. How could I be accurately viewed, in my remarks, as defensive of my profession and my dependence on it for livelyhood. Have spent a greater portion of my life in various prcincts of the demimonde I find my late in life affiliation with the academy mildly humiliating. When one is old one becomes inured to daily, temporally wrought, humiliations. Association with the academy is just one among many. The description of what I chronically do at the Uni was an accurate (albeit subjective) account. "Roger. Next time when you have an exhibition that your salary benefits from, how bout letting us the public know you are doing your job." I'm not quite sure what you mean by that challenge - unless your referring to the PBRF crediting of 'peer reviewed' research outputs. Since I've never had the slightest interest in applying for academic promotions (the salary increases are too small when weighed against the humiliation of having the eminently unqualified weigh in on one's qualifications) so only the institution benefits from my PBRF. At least I think that's the case. Again, I don't take a great interest in the fine print of my employers. Teaching was a fallback, an expedience...and then, unexpectedly, I fell in love with it. At least the teaching aspect of what I do at the Uni.
  • Wells Tao In the context of my argument, my behavior is far from unconventional or disturbing, it is rather pedestrian. I get that you are embarrassed, art teachers are only to happy to confess their embarrassment about having to work for the man, this has always been the scene painted by I think other Art teachers afraid of their students wanting their salary. As a member of the public I could care less about how an art teacher feels, I'd like to see where my money goes, and that means when an art teacher has an exhibition that I help pay for.. Id like the courtesy of knowing that that is indeed what is going on. And before you go down the I just don't get it angle, I was also an art teacher at a university, for 5 years. It bothered me then, it still bothers me now. And I am also not saying that all your creative output should have to be promoted as work on behalf of the institution, only that which the institution counts as the particular parts of your job.
  • Wells Tao I appreciate your good generous reply though Roger, I have run out of steam for the time being on this particular issue, I have done what I can to raise the idea, that's the best I can do. But it leaves me agitated as for the life of me I don't see what the big mystery is... Obviously this doesn't happen, Obviously we know why it doesn't happen, Obviously Tao is bringing up another dead end scenario for some much needed air.... Obviously that is not what art is about today, here in NZ.... For if the idea makes sense then I would have to make sense, and as you cherishingly put it, I am enfant terrible... not invited to the table, let alone bang a loud fucking drum.
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