Thursday, August 29, 2013

How to Lose a Show in 3 Easy Steps

Today I'm allowing myself a bit of bitterness...because I'm worth it.
Early on during my residency at the Workhouse Arts Center I approached the then Director of Visual Arts, Sarah Sheppard (there's been 3 different people in the position in less than 2 years, which I'm sure says absolutely about the working environment, but I digress...) and curator (a position no longer in existence) Amy Lust with my idea. Both were very excited at the possibilities that a show like it could present the Workhouse in an increasingly diverse community. They graciously presented me with the format in which my proposal would need to be submitted.

Some time passed and I was eventually informed that my proposal was accepted. The Workhouse would take on my show SueƱos Americanos and I would be involved in its development and execution. In spite of my reaching out to clarify my role in the show I found myself out of the loop in the show's evolution. The last bit of information expressed to me was that a juror, Laura Roulet, had been found. She is a fantastic and renowned independent curator and not one ounce of resentment is aimed at her. As a matter of fact, one of the things that saddens me most about being left out of this show is that I didn't get the opportunity to meet and work with her.

So without further ado, here's a bit of therapeutic bitchiness:


Anonymous said...

So you had the idea, you wrote it up, and... then you left the Workhouse before the show began. What are you whining about?

John Gascot said...

Dear Anonymous,
Thanks for your comment. Should there be any confusion to others I have replied to your comment here: Thanks for reading my blog.

Toni Bonitto Burwell said...

Either this "person" likes commenting on stuff w/o knowing all of the facts -- which is just stupid -- or she/he DOES know all the BS the Workhouse put you & other artists through, and is just a punk ass... afraid to use their real name or Google account 'cause they know they're wrong.