Billy Childish at the ICA: On His Own Terms

// February 22nd, 2010 // b-scene // b-uncut

Man on a Snowy Street, 2009

Walking into the ICA on the evening of the 16th of February I was abruptly confronted by a dense crowd.  Though I guess I shouldn’t have been surprised, as the very simple statement in the press release that got me there undoubtedly intrigued others as well. The exhibition was the “the first time a public institution has brought together a major solo exhibition to encompass Billy Childish’s extraordinary career.” 40 years as a not unknown artist with an international cult following and no show in a public institution means one of three things; he sucks, he’s pissed people off, or he chooses to avoid public institutions.  As an anti-institutional extremist, I would venture that the reason lies in the later two possibilities.  I would also say that these reasons are certainly a recipe for interest, if not controversy, being “the first time” and all.  And honestly, who is going to miss the opening of potential controversy?

While I would not say that Childish’s artwork sucks, I doubt the herd gathered purely to view the simple, impressionistic, incredibly accessible visual renderings displayed in the lower gallery.  However, though Childish’s technique, aesthetic, and talent level can be easily scrutinized, rejection by the contemporary art world is largely the artist’s point.  Firmly establishing himself as an outsider through his rebellious music and autobiographical poetry, Childish clearly places his visual work in the same position – outside of the structured, judgemental bureaucratic art world.  But on Tuesday, he (and I) were very much surrounded by it.

As I pushed my way through the crowded lower gallery, I rambled on and on to my companion about the significant role Billy Childish occupies as an anti-hero whose opposition to the status quo rests in his intense spiritual belief in creative integrity.  But, after my friend commented that it was the largest crowd he’s ever seen at an ICA opening and I realized all my insights about Childish were provided by some kind of institution, I couldn’t help but wonder… is Childish’s “outsider” image any different than Damien Hirst’s “bad boy” image?  Though occupying opposite ends of the spectrum, both mess with the institutional and commercial structural integrity of the art world by producing and distributing their work on their own terms.  While Hirst may take advantage of the system, Childish tries to achieve a purity of art by avoiding it, consequently causing his unconventional character to generate his popularity and success at the ICA, enticing the question; can you ever truly escape the system?

Billy Childish: Unknowable but Certain @ the ICA, The Mall, London, SW1Y 5 AH, from 17 February til 18 April

  • ica

    10 Feb 2010 ... By JJ Charlesworth Amidst a general acceptance of the cash crisis afflicting the ICA as an accident of the recession.....
    ica

  • Read my ICA gig review of last night, what fun it was too

    W * * F

  • brucebjefferson

    It's a cold game with a cold campaign - the art market climate has always been that way. Choose - either you be 'dinner' or be 'diner'. To not be a part of it, one should take the mentality of pimp or be pimped / pimp or die - just make it happen, be reckless without discern - don't think. Make a stash of cash, gather your money - fast and furious. Use the money to promote yourself. Don't be afraid to spend heavily on yourself for promotion. One stutter step of fear in doing this, and you are fucked. Your client base will find you and promote you. Today, the internet will 'pimp slap' and 'pistol whip' down, to the ground, any art gallery or auction house if you use its strength properly. And, that is my answer to you, my new friend. Promote yourself by any means necessary - fuck 'em all - like Burger King, you can have it your way. Promote yourself - your audience will find you. While you're thinking over what I just said, pour yourself a glass of Chateau Lynch/Bages Grand Cru Classe' Pauillac - Year 2000. That'll make your nerves settle down so that you can do this mission that you are embarked upon.

    Sincerely, your new friend,

    World Famous Artist - Bruce B. Jefferson
    youtube.com/brucebjefferson

  • adarma

    Looking at his work it is nice, not special, never seen before or breaking with any tradition.. But it is honest allright. Actually, I like what I see. It's Good. It could be a work from the time of Munch ..recognisable in it's classic approach, but to really see it, one should go there and attend the show. It is also interesting that this work seems to give the impulse for discussion..
    Being a profesional artist, living my art, I know the importance of first making from a free point of view. As little as posible people alowed in the workplace and make what has to be made from mind, heart, spirit and hands. Follow the fascinations and go as deep as you can.
    No consessions. It means times of no income sometimes and days of grumble in the search. Also days of joy when working and the results come out good.
    Once made comes part two.
    The work must go out of the workplace and into the venues in order to make space for the next works. Out with them!..
    Who is interested, has a place where they come out good and are treated a bit respectfull ánd gives me a good feel can have it for a show.
    I deside there. Then it goes to people who have their own asociative connection with the work. It can be that those are not mine, but the work is not mine anymore too, once made they will have to find their match.. It's the projection of the viewer that finishes the work. The "Artmarket" is very relative. It is people's work and I think that not allways the best comes drifting up. 'Artmarket' has partly to do with those artists who play that game from the Artist's side like Damien Hirst now indeed and Warhol, Buys, Picasso, Dali etc. did before. They became iconic. See it as part of their work, a choice. A nice one, because their interpretations becomes part of communication.
    It matches with their caracter. Sometimes the works of unknown artists becomes valueable after their death.. Strange mechanism. But.. in a life it can also deliver-up an unwanted stress to become known without wanting to become a 'public figure'.
    Prices are of no meaning, they are only about the money, not about the Art.
    The more people want the work an the less works there are, prices go up.
    I personally rather see the work go to everybody who wants to have one. Not an investment but the enrichment of the personal life. To let that happen the prices must remain low enough.
    Better to duck a bit and forget the shining appreciations and when they dó happen, step past them as soon as posible. New works must be made. It is our responsabillity to surprice ourselves and others, go for the next and then the next till the point where we drop.
    When the prices of the works of Childish's Artworks are low, then we know that he is doing as he says. Or am I wrong there? Best regards, Ad

  • karaca

    But you can enjoy yourself trying. Powhida seems to have a good time in NY with his latest project #class in Brooklyn and of course there is the "pretend outsider" Mr. Brainwash with his show in Chelsea.

  • amykassen

    It almost seems as if Billy Childish is using the system to his advantage by dismissing it, to create that "outsider" artist persona. Artists like Damien Hirst also use the system to create their personas; Hirst even goes beyond that to use the auction houses to become a "commercial" artist and a bad boy, much like Warhol did (though I'm not sure if Warhol actually attempted to do so!) It seems that galleries LIKE the artists who exploit the gallery, museum and auction house systems as these artists become the most interesting, sought after, etc...and the artist benefits from this as well, no?

  • auntmadje

    My dear niece - you are moving on up!! Congrats on your first blog.

  • billy

    no, you cant.

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