This happened …

Late in 2019, the Australian prime minister (marketing guru and shitty-pants Scott Morrison, ‘Sco-Mo’ to you) and his theatre assistants removed the federal administration’s arts appendix. One moment the word ‘Arts’ appeared somewhere in the names of government departments, and the next it had gone. Snip! And he chucked it in the bin. 

Well, not exactly… ‘Arts’ was removed from a department’s name. To compensate, the yarts (as they are called in Australia) got an office. The Office of the Arts: <https://www.arts.gov.au/>. Never have the arts and government been so closely aligned than in this uniform resource locator.  

There were articles in newspapers, outrage on the arts websites, and a long rash of angry emojis at the end of comments on Facebook.  

The conservative government in Australia, returned at the May 2019 election by a slender margin, had decided a feature of the victory after-party would be to show the country’s angry, artistic child the door. “Your mother and I are tired of you! Always with your hand out, and never a word of thanks! Get a job!” And then, the ‘clap’ of the fly-screen door and a barely audible ‘clack’ of its tiny snib that seemed to say, “And don’t come back.”  

Making art is a patient, lonely business. Making any progress seems to require years of practice and a bit of luck. Guidebooks and internet articles about being an artist, full of advice and clichés, pile up very quickly. Be yourself. Tell your truth. Talent is important, endurance essential. In the age of Instagram, sexy drawings and a bubble-butt are handy, but not essential (or so they say). Governments are not needed, but academic sinecures, supervising doctorates in novel-writing or discussions of queer theory, good if you can get them. When universities are financially sous vide, as they will be emerging from the 2020–forever pandemic, place bets at long odds that the arts will be favored for rehabilitation.  

Governments, truth be told, don’t want to help. The governing classes are too busy ‘governing,’ which might as well mean lying, or fudging, or crying crocodile tears, or making a killing on the stock market, or taking a holiday in Hawai’i. To be the governor is to be the winner, the one who calls the shots, to be ‘the decider.’ From their high station in life these decider-governors have a role in narrating our social experience. They have a role we give them in legislating to tell us what is and is not important. (Have you noticed how very often our prime minister tells us what is important, and how very important is the very thing he is now saying?) It’s been a long time since governors of any stripe have shown us how the arts and sciences are important. Business, the economy, the stock market, and jobs are important. Wages growth, arts, and science, women, not so much.  

UNFURL, my arts publishing project, was a reaction to artists’ reactions to government biases against the arts. Who needs government money anyway? I thought. It turns out, lots of people working in the arts need audiences, and it’s not easy to find and maintain audiences without government assistance. And, even within my narrow range of interests—writing and visual arts—the connections between arts activity and funding are deep. Poetry is not the malnourished tenant of the attic it was in Australia in the mid-1980s. The long lists of books for review and the number of official insignia on web pages are two possible measures of this.  

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At the same time, long-established literary magazines have had their funding cut. There is money for the arts, so long as it is going to places where the expenditure can be seen to be spent. Government wants the internet to sing “Hey, big spender!” while it cuts funding to Meanjin and others. It may be partly Meanjin’s fault: it has had nearly thirty years to figure out how to get its great store of content online for prospective subscribers to access, while the failure to do so begins to look like obstinacy.  

UNFURL asked writers and artists to promote their own work to their own social media contacts while doing the same for other artists and writers: it’s a tool for artists to find new audiences and readers. UNFURL /1 started with a couple of writers I knew, Davide Angelo and James Walton, and a writer whom Angelo recommended, Anne CaseySusan Wald, also published in the first UNFURL, was a painter whose work I liked and who had an exhibition planned for early 2020. I wanted to establish a process that could lead to unexpected choices. I would try not to make selections. I wanted artists to select or recommend other artists; and I wanted those artists to choose for themselves what they wanted to show with as little mediation as possible, encouraging people to show and to publish work they liked, and that might not have been selected (or grouped together) by an editor or curator.  

Government wants the internet to sing “Hey, big spender!” while it cuts funding to Meanjin and others. It may be partly Meanjin’s fault: it has had nearly thirty years to figure out how to get its great store of content online for prospective subscribers to access, while the failure to do so begins to look like obstinacy.

It is more efficient to work on all one’s secret agendas simultaneously, so I should also admit my concern that belle-lettrist aesthetics (including the idea that poetry is language’s semantics incubator) and faux-modernist experimentation have combined to make poetry mostly irrelevant and a branch of marketing. —One only has to look at the writing being selected by the selectors to see that something is wrong with the practice of selection. As much as possible, I think, best to leave artists to make their own choices; and if there are mistakes, then, we’ll know who to blame. 

And then, in March 2020 … then was the actual end of the world-as-we-knew-it. Those crazy ‘preppers’ I’ve made fun of started to look like visionaries. “Where the fuck is my bolthole, goddammit!?” and “How big is your bolthole, my friend!?” could have been common questions in some circles. People who could afford it, and had somewhere to go, did leave town. Gen-Xers lost their hospitality jobs, decided that they couldn’t afford their share house rent, and moved back ‘home.’ Artistes no longer had audiences. Artiste-enablers, stagehands, administrators and carpenters, were also out of work.  COVID-19 put the arts and sciences back in the news. 

The intersectional tragedy of pandemic and conservative political hostility to the lefty arts seemed to many like another opportunity to turn indifference into punishment. It was hard to disagree with pundits who have been cataloging this punishment.   

UNFURL, possibly because of all this, has done quite well. By the time UNFURL /5 was released, writers and artists could expect to reach about two thousand readers within a couple of weeks of publication. (Each new UNFURL number provided a little boost to the previous issues, so that all the issues now clock up numbers in the thousands.) Eighty per cent of readers were in Australia, and most of the rest in the USA, Canada, UK and Ireland. The male:female ratio of readers was almost 50:50. The largest age group of readers was 18–35 years. (Though if everyone is ten years younger on the internet, maybe that’s 28–45.)  

It’s difficult to read poetry on small-screen devices, so I did not expect UNFURL to be read on phones. The visual arts component of UNFURL is quite effective on phones and tablets, however. It seems likely that readers interested in the writing in UNFURL resorted to their desktops and printers. Sixty to seventy percent of downloads of UNFURL were to mobile and tablet devices.  

I learned that women writers (poets) had a ‘stronger’ following among women readers than men had among readers of any kind. It was very apparent, with Gina Mercer, for example, that a very significant number of readers returned more often, subscribed more often, and were women.  

I learned that women writers (poets) had a ‘stronger’ following among women readers than men had among readers of any kind. It was very apparent, with Gina Mercer, for example, that a very significant number of readers returned more often, subscribed more often, and were women.  

I learned that social media isn’t the be-all and end-all of connecting with an audience. Old-fashioned email also works really well. Some artists and writers had no significant social media presence but used email effectively to communicate with friends and contacts.  

I also learned that visual artists were, generally speaking, more enthusiastic and positive about using social media, and even better at basic stuff like answering messages. Visual artists be like Molly Bloom; writers be like Prince of Denmark.  

I found that both writers and artists did things in UNFURL other publications might not permit (requiring, as they mostly do, first publication rights). Philip Salom published groupings of new and old poems. Alex Skovron published poems, prose, paintings, and drawings. Steven Warburton published a series of pictures about how one canvas evolved over several years. Robyn Rowland published poems and their translations into Turkish for her readers in Turkey. Ron Miller published a brief survey of his life’s work in space art.  

All that and more to come.  


Published first on the website of Stephen J Williams.

Datsun Tran

Datsun Tran is an Australian multidisciplinary artist, his work primarily features the natural world, though it is about us, the human story. His work has explored themes of conflict and utopia, filtered through the lens of what we have in common, rather than what separates us.

Tran has exhibited extensively in Australia, as well as North America, Asia and Europe. He has had over twenty-five solo and group shows, exhibited in over thirty art fairs, and has been a finalist in over thirty-five art prizes.

Datsun Tran’s website

Gloria Stern

Gloria Stern is a visual artist currently living and working in Melbourne, Australia. She grew up in Melbourne and originally trained in Graphic Design. After working in the design industry for several years both in England and Australia, she then switched across to full time painting. Since 1996, she has had 12 solo exhibitions and has been included in numerous group shows.

Gloria’s paintings have been acquired for private collections in Australia, UK, USA, and New Zealand. Her works are also featured in the collections of Cowan Design, Melbourne, and the City of Boroondara Collection, Melbourne.

I have always been interested in exploring both figuration and abstraction in my painting, however, over the last couple of years, I made a conscious effort to remove the figurative element from my work in order to explore spatial relationships, colour and atmosphere within abstraction more deeply. This body of work led up to my last solo exhibition “Altered Space” in 2019. Since then, my interest in the figure is returning, but I think, in a less literal way than before. I am currently exploring ways of using figurative elements as more integrated abstract shapes, that allow for a freer interpretation of meaning.

Gloria Stern

Website: ‹www.gloriasternart.com

Instagram: ‹www.instagram.com/gloriasternart

Facebook: ‹www.facebook.com/gloria.stern.18

Steven Warburton

Steven Warburton is currently working (in Emerald) and exhibiting in Melbourne, Australia. Since completing a Fine Arts degree at Monash University, Steve has exhibited widely, in group and solo exhibitions. His paintings and drawings are held in collections Australia-wide and internationally.

As an artist’s work is a reflection of his or her emotions, ideals, thoughts and influences, it is necessary to understand the importance the work plays in the artist’s life.

My work is the direct result of things that I have borne witness to, overheard in conversations, observed in the media or dreamt. It reflects my right to express my thoughts, in a way I hope will be accessible to the viewer, both aesthetically and literally.

As the world around us changes, the environment, the politics, our society, thus my imagery changes too.

Steven Warburton

www.stevenwarburton.net

Sebastian Steensen

Sebastian Steensen is a Melbourne-based artist who has worked for over 20 years in the areas of painting, drawing and, occasionally, printmaking and photography.  

After tertiary studies in Fine Arts, and a stint as an art teacher in China, I’ve staged a few one-person exhibitions, and been included in group exhibitions. 

My work is strongly figurative, and it follows the tradition of western narrative painting. I believe it is informed by my drawing ability. But, technically, I always wish to combine this with painterly aspects, by which I hope to move the imagery beyond illustrational ‘recording,’ into more robust psychological territory.  

Sebastian Steensen

Lee James Shott

Lee James Shott was born in Aberdare in the Cynon Valley area of Rhondda Cynon Taf, Wales (UK), and holds an M.A. in Fine Art.

Shott’s paintings subjectively capture the contemporary culture of communities throughout South Wales. The work focuses on human interactions and the idiosyncrasies of his daily life, observations of people and their interactions, night-time walks, and commuting by public transport.

Shott paints both landscapes and portraits that are at once psychological and voyeuristic, implying that the viewer is surveying and surveilling his environments and subjects.

The work, seen as a whole, includes portraits with blurred and fragmented features along with figurative images of workers and young people. His landscape paintings often show machinery in the green valleys of South Wales. Each painting is a precise, and precisely ambiguous, moment of life.


Steve Cox

Steve Cox is an artist and writer. He has a forty-year exhibition history and his work is held in major public and private collections throughout Australia and internationally. As an arts writer, since 2000, he has contributed articles and reviews, and has conducted interviews with artists, for numerous newspapers, journals and magazines, including The GuardianVAULTAustralasian Art & CultureGay Times, UK; FilmInk.com, amongst others. Cox writes on a range of subjects, including contemporary and historical art; LGBTQI issues; social issues; cinema; contemporary music.

Between 2013–2014, he was the London Arts Editor of NakedButSafe magazine. In 2019 he was on the judging panel for the Young Arts Journalist Award (YAJA). Also in 2019, he was the inaugural Writer in Residence for Brunswick Street Village, an innovative building complex, which espouses green values and arts in the community as a primary concern. During the residency, he produced a collection of fifty poems, on a range of subjects.

Susan Wald

My language is paint. I speak through the medium of paint and ink, pencil and pastel. This is a language I am always learning, a language of challenge and a language of love, where I try to express my thoughts and responses to the world around me, bear witness to the actions of mankind and the wonder and beauty of the land.

This land speaks to me, speaks of its ancient presence, of the justice and injustice it has witnessed, the rich oasis that was ours to nurture. We ravaged it, murdered and displaced its indigenous peoples, poisoned it with chemicals, tore down the trees and made extinct so many of its animals, plants and insects. The land gave to us so that we would take what we need, not more. Now we face our own extinction.

Painting is a passion and a refuge. My hope is that I have something to say and something to give, that I can be heard and can communicate through the language of my paint.

Susan Wald, January 2020