I've been thinking I probably want to think a bit seriously about a few things at some point.
One is whether exhibitions by, books on, or cooperatives/awards for "women artists" (or writers or musicians) is relevant any more. This was triggered by a radio interview a couple of weeks ago. The interviewee practiced art and coordinated exhibitions for women artists between the two wars, I think, so it was definitely relevant in her times and I don't want to take anything away from the work she put in. But I'm not sure if it is important today.
I remembered how in the 70's I was aware of who among my grown-up female friends subscribed to Ms magazine, and who not, and how many struggled to get descent/equal treatment at work, in social situations, and particularly pertaining to personal finances. I even knew a group of women who stayed single and adopted children from this one agency, and they fought hard and I admired them so much, but by the time I grew up, I think we were the Me generation, and I was in a comfortable DINKs setup. And New Zealand this century is most definitely the most emancipated place/time I've ever lived in, so I'm not seeing the point of emphasizing the fact that I'm a woman. What do you think?
The second issue is originality in art making. It seems I managed to create a wee group of art practitioners/educators/historian/curators/museum staff who will be meeting fairly regularly to discuss such things as art vs craft, what is concept, etc. I personally want to find out how far I'm willing to compromise my weaving to get into fiber/textile art exhibitions, (because I want to remain a weaver and I want to weave, and not create mixed media stuff using fiber/textile, but exhibitions where the non-weavers come is important for me, and I think, for the craft,) but others have purely academic, curatorial, or the perspective of other crafts' interests, and these differences energize the discussion. All the rest, and there are five of them, went to art school in New Zealand, Australia or England, so it's an amazing free tuition for me.
One member said she never worries what curators look for but only makes what she wants to make, and I wanted to instantly emulate her, but part of me worry too mcuh about how much "art" to put into my "craft". Then I started to wonder how research ties in with originality. Another member said I could get a PhD in something or rather and never get all the answers I'm looking for, and I know this, but without asking I won't even find an operable, albeit impermanent, mode.
The last item is a happy one; how to spruce up my packaging when I send off commission pieces. Of course it depends on the nature, color and size of the piece, and the client, but after seeing Pam's post here, I've been thinking I could liven things up a little bit...