Bob & Roberta Smith Stick It To The Man

Bob & Roberta Smith (Patrick Brill) Speaks Out...

In a recent post I alluded to it being part of an Artists’ role to bear witness and respond creatively to events without necessarily hoping to change them.  In that case I was discussing the weather, in which context it’s probably only realistic to admit to a degree of helpless fatalism, (although it might be an idea to stop fuelling the fire, at least).  Sometimes, however, in the field of human affairs, it becomes insufficient to merely observe and record.

Bob & Roberta Smith, 'Make Art Not War', Commercial Paint On Plywood,  1997 

For many years, I consciously tried to avoid engaging with politics.  My general position would have included the notion that “REALITY’ is so much bigger and more engaging than the self-serving, factional disputes of various narrow interest groups.  Perhaps the cappuccino fuelled vacuity of Blairite Britain afforded the anaesthetic luxury of such detachment but it’s a position that is becoming increasingly difficult to justify.  The recent palaver over Madam Thatcher and her funeral reminded me of how revved up I used to get about the stunts she and her gang pulled in the 80s and early 90s.  I guess it’s no coincidence that many of the same feelings have returned.

Bob & Roberta Smith, 'Join The Art Party', Commercial Paint On Panel, 2012

Everyone must find their own breaking point and degree of engagement but it seems too lame for the injustices and moral/cultural bankruptcy being inflicted on us under the cover of the current crisis in Capitalism, to go overlooked or unprotested.  Thus, I find myself drawn again to the work of Bob & Roberta Smith, (actually the British artist Patrick Brill).  It is, I think, one example of how to accept the task of social engagement with humour and goodwill but retain artistic integrity.

Mark Tichner, 'We Want Responsibility To Be Shared By All',
Ink Jet Print On Aluminium, 2004

I first noticed Smith & Smiths’ work, (I’ll maintain the fiction for the purposes of this post), a few years ago when I started to research various artists who had used text and typography within visual art.  Like the work of his contemporary, Mark Tichner, it draws upon identifiable popular stylistic tropes in pursuit of a conceptual, philosophical or political project.  Like many figures from the turn of the century YBA moment in British art, he achieves this in a more visually entertaining, less theoretical way than much of the ‘hard’, Conceptualism of the 60s and 70s.  Indeed, this may actually be the most useful legacy of ‘BritArt’ in general.  At the remove of a few years it feels easier to assess much of the work produced during that period and to separate the more interesting or insightful examples from the mere shock tactics and savvy marketing usually associated with it.  As ever, it’s more revealing to view an artist’s output over the long haul than merely in terms of any introductory splash they might make.

Just Going To Need To Watch The Spelling Though B & R

In Smith & Smith’s case, the appropriation of a slightly wonky, naïve folk style, somewhere between traditional signwriting and the homemade political placard now seems less ironically Post Modern and more directly appropriate to the times we find ourselves in.  Since he first emerged we’ve witnessed global economic meltdown, a vocal Anti-Capitalist movement, the rise of blind religious hatreds and plenty of geopolitical upheaval.  Here, the biggest issues revolve around the pernicious attempts by our current government to dismantle much of what makes Britain tolerable, nominally to repay the massive public/private debts of a mismanaged economy, but also to maintain the fiction that only a privatised marketplace can provide a sustainable, fulfilling future for everyone.  Protest placards, street-level ‘situations’ and underground or community action once more feel like the currency of our times rather than mere cultural references.

Bob & Roberta Smith, Public Art Event, Details Unknown 

There have always been plenty of High Art in-jokes in Smith/Smith’s work and a certain element of philosophical content behind the humourous facade.  If this marks him out as a poseur or left wing Art Luvvie to some, it is to ignore that, for many practitioners, the very act of producing art is an intrinsically political and/or philosophical pursuit.  Smith & Smith simply puts those elements at the front end of his art.  He has also demonstrated a willingness to bring his practice to ‘the street’ via numerous public art events and campaigns of an essentially democratic, inclusive nature.  Perhaps it is his refusal to leave specialist knowledge and an engagement with ideas marginalized within galleries for the delectation of an elite that actually annoys some.

Bob & Roberta Smith, 'Letter To Michael Gove', Commercial Paint On Board, 2012

This willingness to allow the worlds of ‘serious’ Art, philosophy and street politics to run into each other seems particularly vital if the Government-promoted philistinisation of Britain and attempted down-grading of creativity and critical thinking within education is to be resisted.  As many people have already twigged, this looks like an attempt to reshape the intellectual landscape and hijack the future for ideological ends, (having already claimed the past and wrecked the present).  Education Secretary, Michael Gove’s appalling vision of the future appears to be one in which, having been denied a financial stake in society, large sectors of the population are also to be denied the chance to even imagine an alternative to bleak utilitarianism or find artistic expression within themselves.  I also note, with a shrug, Culture Secretary Maria Miller’s recent assertion that the only Art activities worth funding are those of direct benefit to the floundering economy.  Most of us involved with this stuff know it’s actually a bit more important than that, regardless of whether you do or don't make a living from it.

Bob & Roberta Smith, 'Art Party Messages', Commercial Paint On Plywood, 2012

R&B Smith’s open letter to Gove of 2011 has been rendered technically obsolete in its specifics by the abandonment of the proposed EBacc qualification. However it is absolutely on the money in general terms, still very relevant, and funny into the bargain.  I’d urge you to read it in full.  I also note the central role played by the artist in promoting The Art Party, a lobby group that appears to be both philosophical and artistic as well as politically campaigning in nature.  It’s membership criteria require simply that one be a creative individual on some level, highlighting an intent that is communal and far wider than the merely factional.  It also reflects the status of arts as a fundamental strand of human experience, rather than an irrelevant, minority specialisation as Gove and his ilk appear to claim, (and I’m ready to lose it big style with anyone using the word ‘Hobby’)

Bob & Roberta Smith, 'Art Party Conference Poster', 2013

It’s all too easy to become despondent about the state of things and so, encouraging having artists like Bob & Roberta Smith around just now.  The charming seaside jollity of his poster for the upcoming Art Party conference in November proves it’s possible to become actively engaged, produce valid art in opposition and remain cheerfully positive in the process.

...To Maintain High Visibility For The Arts