Joe Bunting

Role of the artist?

Steve Rubel recently posted an insightful article about the need for curators in our digital age. It really gets to the heart of both the blessings and the obstacles we face today. In an environment inundated with information, opinions, art, music, advice, etc., there must be people who decide what’s good and what’s bad, people who fill a space with a certain tone or mood. We are dependent on these curators who tell us what we will like, what we should like, and what isn’t worth our time.

What we need are curators.

As a musician, as an artist, I wonder what role I play in this process.

In a few weeks I’m playing a show at my alma matter, Westmont College. It’s billed to be the “sleepiest show Westmont has ever seen.” We’re going to carefully select the most mellow, relaxing songs from the portfolios of the most mellow, relaxing artists around, as well as some from our own. Think hot chocolate, Damien Rice, sleeping bags, and some Joe Bunting originals to boot. What more can you ask for to bring you into peaceful relaxation.

And to me, this seems exactly like what a museum or gallery curator does when organizing an exhibit around a certain theme or medium. You choose certain peices that capture the mood. You place them next to each other in a way that is pleasing and harmonious. Then, you invite the public in to enjoy.

However, is this overstepping the bounds of artistry? Isn’t being an artist about creating? Not choosing?

I graduated with a degree in English Lit. which means I was required to read dozens of poems written hundreds of years ago. Actually, required is kind of a loose term. Almost as loose as my study habits. I think I read an average of 50% of the required material. I don’t know what they were thinking in giving me my diploma.

When I did do all the reading though, I always noticed how much the most famous poets would reference their heroes and contemporaries. Sometimes reference is a nice way of putting it. Stealing might be more accurate. They served their purposes though. People who were reading William Blake would see Milton and Homer in his writing. His biggest fans might go out and get a copy of The Iliad just to dig a little deeper.

Is this what Steve is talking about? Is this being an artist and a curator at the same time?

To me it comes back to, who is my audience? Who is my “tribe,” as Seth Godin puts it? On Feb. 26th, when we have our “sleepiest show,” what will this group of potential dreamers need or want? What will be best for them? And if I love them enough, will they love me back?

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