Last Thursday,
Sarah Thornton, author of
Seven Days in the Art World, gave a lecture in Toronto at the Art Gallery of Ontario. As I've pointed out here last fall, I really enjoyed the book—so much so it even made
my top ten list for 2008. I tend to understand art objects, but not the structures and subcultures around them, and Thornton's book is all about those structures and subcultures. To boot, it's pretty well written.
But the fact is, I was wavering on going to the lecture. Part of the reason for my wavering was that the lecture was presented by the Canadian Art Foundation, which funds the
Canadian Art website, where I work part-time. So attending the lecture potentially had that feel of "is this work I'm doing here?", a feeling best avoided on sunny early-spring evenings. But in the end I recalled how much the book had excited me when I first read it, so I decided to go at the last minute.
The presentation itself was a bit lacklustre, albeit in ways I can empathize with—book-related/book-shilling talks often are unfocused in terms of whether they should be introducing the book or going into more depth about its themes, and Thornton opted for the former, providing a chapter recap that was a bit dull to me. Also, as with many writerly types, Thornton proves better with the printed word than with the spoken one. Finally, Thornton spent a good deal of time expounding on the importance of using an ethnographic approach rather than a journalistic one, a kind of academic topic that was sort of interesting to me as an arts journalist but potentially just confusing or dull to many others.
Question period, however, was when things really got a bit weird—although, granted, substantially more interesting.
The first question came from an older white-haired gent who tersely said "Do you know who
Charlie Pachter is?" After a moment, Thornton said "no". He said "thanks". I get the sense that the questioner was seeking to "expose" how little Thornton "really knows" about the art world she wrote about. Indeed, one of the main criticisms that can be made of Thornton's book is that she focuses exclusively on the most elite echelons of the art world—Murakami, not Michael Snow, Art Basel, not ARCO, etc. (But seeing as how Charles Pachter is really a figure only known to some Canadians—because, goldarnit, he almost exclusively works with Canadian imagery—I'm personally just fine with a London-based, even if Ontario-born, sociologist who studied the most elite echelons of the art world not knowing who Pachter is. Happy, even.)
Critical approaches got zingier when a woman, identifying herself as being from a group of
Albright-Knox curators, ripped into Thornton for her exclusivity, calling her book's approach to art "all about money," and nothing more than "social diary snapshot". She also took issues with positioning the book as an ethnographic study, saying she had experience in the field herself and that this was really mere "entertainment" at most. Thornton had a measured response, probably her most together part of the evening, saying she's aware her book is an ethnography of the elite, and also that the writing was meant to be entertaining rather than deadening—the latter being the reason she left academia. There were smatterings of applause for both the curator and the author.
In there somewhere a woman identifying herself as an economist took issue with Thornton's statement that the reason economists don't understand the art market is they don't understand the subcultures that create its value. This economist argued that the real reason economists don't understand the art world is "there's no mechanism for getting rid of excess inventory." She seemed quite pissed, repeating her point several times, though I had the feel this was part of a longer legacy of economist/sociologist smackdowns.
Also, during the question period, Thornton said that she emphatically didn't want the book to be about celebrity journalism--and then told a celebrity-riffic story she didn't include in the book: namely, that Damien Hirst insisted his interview be in his messy bedroom, but he didn't whip it out as is sometimes the case, but he did promptly fall off the wagon at lunch after 6 months of sobriety.
Best question and answer, really, came at the end, when an older woman asked Thornton whether she thought things were getting any more equal for women in the art world. Thornton basically said the situation was still pretty depressing.
Overall, the evening had a bit of a strange feel. People I spoke with afterwards found it by turns dull, confusing, annoying, and lacking passion for art itself. However, a lot of people did buy the book afterwards--which I can vouch, as a former book marketing gal, makes the evening a success as far as the publisher is concerned.
For my part, I enjoyed seeing the person behind the page, as is often the case at these things. The main sore point for me as a conflict-of-interest-wary journalist was Thornton's flip-flopping on her pro-ethnography campaign. On the one hand, she seems to want arts journalists to integrate more "participant-observation" into their reportage. Yet she also recognizes that now that she's engaged in that process, there's no way she could, say, review a show at
Blum & Poe, because she has a "relationship of trust" with them, and she'd feel pressured to give them a good review.
Conflict of interest principles exist for good reasons in the journalistic field; so do principles around the opportunity for sources to revise quotations. (The latter is apparently used extensively in ethnography.)
Basically, I'm totally cool with sociologists such as Thornton doing more ethnography and nonfiction--and as I've made clear, I'm more than interested in reading same--but please, don't tell me I should be doing it. I also wonder how she balances these conflicts of interest in her recent art-market freelance work for
the Economist and the Art Newspaper. She probably just doesn't cover the galleries she profiled/interviewed for the book?
Anyone else with thoughts/diatribes/nonsequiturs on the talk, please comment!
Image from canadianart.ca
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