Nicole Page-Smith, 2014
Tuesday, 22 July 2014
I am the kind of loser that heard from the Tate...
Several years ago after bungled attempts to show my work in the small rural town regional gallery did not happen, I sent a show proposal application through to the Tate in London. Three in all small town exhibitions were nominated by my current address but constant shelving of the projects and staff changeovers saw this idea leave the agenda permanently. So, I just thought I would try further afield, where most of their bloodlines come from, the UK, all be it Birmingham brickwork factories that were closed by the rotten, given the wrong tea leaves to probably get rid of them from office despite the social pain it caused the lower classes. Maybe a precursor for the war but these people started flooding London streets and it was not a good look so they thought they would round them up and dump them in the South Pacific. Other bloodlines have moved in since, similar to London to make a helping difference but unfortunately most of the farming women, attracted to the Mayor's council for publicity, are from Birmingham and Welsh bloodline. Like they were doing on the streets of London to have them sent here, they make a flaming nuisance of themselves and nobody likes them anywhere. Another kind of brickworks for their strange bloodline but not the kind of brickworks factory they would be welcome news in should have been built for work engagement. London is cruel to these simpleton women who just need another factory to be useful here or for the old ones to be reopened again. Happening along came an artist previously shown throughout Australia with New York artists and local Australians to some other kind of brickwork factory bloodlines. Excuse me if I still cannot work them out but any kind of publicity in the press just has them complaining you are not welcome when logically you are, so, with a response from the Tate anybody would think even the most rural class of human would beat the kettledrum in your favour not say you are never welcome to show your face in the local regional gallery again. This kind of emotional backlash come psycho trauma to the point of emotional blackmail was not welcome by Tate staff. They did try to push the show through by coming through New Zealand but were told they were only welcome for school teacher duties or to judge a prize the nominated artist was not welcome to participate in, neither were the Tate staff of highly elevated opinion welcome to the council of Auckland. None of the current staff then knew what London would represent to Auckland and have an opinion that it is a back farm in Wales. Most have never travelled there to London and cannot comprehend that New Zealand is not London. Even those who do travel stay out the back somewhere with relatives or friends and do not realize London is any bigger than a suburb they frequent. London should be a progressive next step from either Australia nor New Zealand artists but nowhere do they kindly recommend an artist in either country, lacking in the bloodline to do so. So, all the artists, writers and people generated by the arts who made the grade in both countries have been left behind mainly dying in the knowing and dying without having got to Gods destined place. Like most communities rich or poor, one person every ten years are nominated by God or the heavens to perform and keep the economy going, paving the way for the next generations singled out human. Maybe not in Wales.
Saturday, 28 June 2014
First experiences with Nicole Page-Smith saw her exhibit with New York artists in a Melbourne gallery with such names as Philip Guston, Harvey Quaytman and Jake Berthot. This led to another Melbourne gallery now based in Los Angeles. Society exhibitions were placed in a sculpture park reminiscent of an American sculpture park in Upstate New York, John and Sunday Reed left their society gardens to the council and had a long history with Melbourne artists of their own generation. Heide MoMA now exhibit contemporary art of their generation and historic shows from Australia and America mainly. Further development of Nicole Page-Smith's art career came in the guise of dealership exhibition experience in Sydney. Worthy exhibitions in Australia came from America, one of note was an exhibition of Louise Bourgeois this was setup by her assistant Jerry Gorovoy and the lighting was a really special experience to view. A lecture was on offer at the closest university to the National Gallery there and well worth participating with. Careerist artists were made to feel as unwelcome as any monologue they would engage in of a selfie nature. Then a move across to New Zealand brought a wind of change. Exhibitions came in the form of another society gardens exhibition and her own gallery shows. Travel experience through European centres has broadened Nicole Page-Smith's viewing experience of book learning view to a heightened view of understanding. Several reviews in society magazines were made available to the public and catalogues were contributed to by art writers available for recognition. Nicole Page-Smith continues to travel throughout Europe when big touring class old master exhibitions are advertised in the bookshops, it is good to get the catalogue before the show. This is a welcome break of routine from full time practice as a contemporary artist.