It's A FAKE
The digital disruption of the arts currently underway has a couple of unanticipated consequences, that I am just starting to tease out.
In discussions with Mark: from Harvison Gallery, and Dirk: a GIS expert, it has become clear that institutional changes in the arts will mean we, as artists may need to change how we do some things.
A decade or so ago when the WA state government art gallery acquired one of my works, I was required to provide information on both the work and myself.
This information was stored in the gallery's library, which in turn was used by curators, writers, collectors and the public to research works and artists.
A few years later, as a cost saving measure, the library was moved 200 metres across to the State Library of WA (SLWA), which also contains the J S Battye Library of West Australian History.
Now there plans afoot to reduce services at SLWA, as a cost cutting measure.
Not before too long I expect that this small library will quietly fade away (a few years ago I cut up a Who's who in the arts book that I bought from the Library's second hand bookshop).
Mark lamented the disappearance of the dozen top commercial art galleries in Perth, and their meticulus records, and so the essential breadcrumb trail that provides provenance of artworks.
I suppose now it will be up to artists to collect these sort of records and when they die, have make sure their estate has access to everything (an online example).
Given this digital revolution, many artists like myself are now recording the production of our artworks, not just the final work. Instagram has become the platform of choice for many potters and artists. Mine? instagram.com/grahamhayart
Now if I could just find someone willing to edit all my video into short movies - hint hint dear reader.