Fatoş Üstek’S Book Under Review
The Art Institution of Tomorrow; Revinventing the Model is the most recent of Lund Humphries’ Hot Topics in the Art World series, and is a rallying cry to art institutions of all shapes and sizes across the globe to break free from their current ‘stagnation’. Üstek proposes an artist centric model, with equal attention given to the people who work in institutions: this model will reinvigorate the entire sector, producing learning organisations that are sites of cultural and art production, without resorting to crassly populistic programming.
Üstek’s proposes a two pronged strategy. The first is to truly centre artists in all institutions do, from commissioning all the way through to structuring budgets that properly understand and nourish the artistic process. She also proposes a widening of artists being approached, not only for the sake of the art, but to naturally diversify the networks involved in the institutions themselves. Centring a more diverse roster of artists necessarily requires embedding better digital know how and technology use within institutions to reflect the movement of making in the virtual space – in turn this will attract engagement from across the globe, further widening participation in the work of the institution.
The second prong is radical decentralisation and structural overhaul of institutional operations. Institutions can centre artists and intellectually rigorous and exciting programming by removing existing institutional hierarchies, and instead focusing on the skills of cross disciplinary teams. This decentralised approach gives staff members a sense of commitment and engagement, simultaneously providing a workplace where they feel safe and valued – and so able to produce creatively superior work.
Üstek’s new model is a compelling ideal, rather than necessarily practical at this stage (which she acknowledges for certain institutions). Insufficient attention is given to why institutions do not, or cannot currently adhere to such a model, and instead must adhere to external social and financial demands. Üstek offers her own experience curating fig-2 at the ICA as proof her model works: her accomplishments there are undeniable, but tellingly there was no requirement to produce those same results the next year, or the year after, which is the demand placed on permanent institutional staff. Most of Üstek’s suggestions are not in place already due to (often external) conditional financial and operational constraints, rather than lack of willingness to centre artists, or a desire to treat budgets as minimal suggested starting points.
Üstek’s uncompromising insistence that radical change requires proper thought and due care to the people who actually work in institutions is admirable. Operational and structural centrality is the most progressive and welcome aspect of Üstek’s new model; she posits that by focusing on artists and art professionals, and supporting their work, new life can be breathed into institutions, so they can avoid simply pandering to populist trends. While there are questions to be asked about how the decentralised, committed teams can be brought into being, as a goal and method of reinvention Üstek’s model is an indisputable ideal to aim for.
The Art Institution of Tomorrow: Reinventing the Model by Fatoş Üstek is available for sale starting Friday, April 26th as part of their Hot Topics in the Art World Series on the Lund Humphries’ website.
Stay tuned for our upcoming episode announcement of the ArtTactic Podcast where Adam Green will be joined by Fatoş Üstek, author of the new book The Art Institution of Tomorrow: Reinventing the Model.
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