Editorial
In this issue of stock, launched to coincide with the 2008 Tasmanian Living Writers' Week, we focus on art and language, artists and writing. Adam Geczy reflects on the artist as writer and critic and speaks about his deep personal commitment to writing. Robert Stevenson asks “Is the anything particularly special about artistic creativity?” and whether its analogies and metaphors can contribute to our social and philosophical understanding to a world fuelled by economic rationalism and facing major environmental challenges. Bill Hart considers the relationship of image to symbol and the written word to image and Gay Hawkes’ meditations on everyday experiences throw light on the meanings behind her sculptures and furniture.
Art and language, artists and writing are central to stock’s purpose. Its initiators recognised the limited avenues for arts writing and for the open exchange of ideas for those engaged in the arts in Tasmania. Our original objective, to publish an annual arts ‘reader’, evolved into the more complex and experimental format of a six-weekly online journal. Nine months in, the challenges are ongoing; the assignment of attracting and maintaining contributors and readership is testing the small team of volunteer staff. Yet, from its launch in December 2007, stock continues to grow. We have published six editions, comprising 26 essays, reviews and opinion pieces, attracted a membership of 81 and readership records an average 118 hits per article.
One of ambitions of the editorial team, to stimulate vibrant and relevant discussion on a range of art-related topics, has proved to be much harder than we thought. Per capita of population, Tasmania has a significant number of artists, designers, writers and performers and hosts a large array of monthly exhibitions, performances, concerts and book launches, all inviting questions and offering space for conversation and debate. Yet as, one of our more frequent contributors asked, "Where ARE all the chatters (sic)?" In a small community, familiarity can breed hestitation and complacency about engaging with the work of peers. We turn up to exhibitions, attend performances and concerts, and we travel to ‘see’ art elsewhere, but rarely, do we undertake more studied appreciation of the significant and prolific artistic talent in our community. Tradition has it that as artists and performers we can’t, or shouldn’t write, we leave that job to critics, curators and arts commentators. Yet, the process of writing brings us into close connection with our work and that of others. It helps us to understand what it means to be making art in Tasmania, to understand more deeply the issues of practice and the complexities of meaning and the relevance of the arts to the broader community. Gezcy understands this, only too well, when he writes that just “as the process of making a work of art slowly divulges to the artist what he or she is doing, it is in the process writing that meanings well to the surface.”
We have gone back to the table with this one and are currently undertaking a series of workshops to assist us in better understanding of the new online environment. We want to find the format that suits and encourages participation by its users. It is a belief in the importance of lively discussion around the arts in Tasmania and beyond that keeps us committed. We do, however, recognise that the success of stock lies further than with the work of its editors, its community focus places ownership with the people it represents. We are keen to grow its place in Tasmania, are open to your ideas and value your role in its evolution. We hope you enjoy this edition and look forward to your ongoing involvement.
Mary Scott,
stock editor