Responses to "OVERDRAWN," a group show held at Seattle's Vital 5 Productions in January 2002. Works were donated by local artists to be "sold" to financially challenged art lovers. The only way to purchase work was with bounced checks or proof of negative balance in 2001. These responses were collected by Casey Kelbaugh in preparation for a forthcoming article. I reprint them here in anticipation of his permission and because I believe ideas should be free. ------------- Overdrawn is just the latest in Vital 5's conceptually-driven art "exhibitions." Lundgren has a long history of presenting shows that question the commodification of art, the transmission of it, and the audience role in creating the end-product by its TRULY active participation. Over the years, Lundgren has consistently perverted the art/audience paradigm---by randomly giving money away to people who may or may not be making art (his Arbitrary Art Grants), producing shows that can't "sell" (which is a risk other galleries can't and won't take) and challenging the established norms of how one is supposed to act in a gallery (the Christmas store with a naughty Santa and even naughtier elves). In brief, I HEART Greg Lundgren and his unending dedication to fucking up the Seattle art world. -Katie Kurtz ----------------- Only that, from an artist's point of view, to know that my painting of a fat woman watching TV has been freed of its neglected prison under my bed and is now giving some sort of energy to a guy named Roy Wonder- that makes me smile. Just knowing that it's "out there" instead of "under there" (hypothetical point to bed) is more gratification than being paid. Then again, I'm young. Also, the energy was like some sort of raffle, with the PA system and the suspense. It gave folks something to follow, other than the beer line or the stares of lusty hipsters- there was anticipation, jealousy, risk, and the high moments when a new number is called, screams of exhilleration as another "anti-buyer" ran to pull a canvas from the wall. And then the OOH's and AAAH's when a new piece was hung in its place. The response was huge- almost more than the art allowed for- at the end of the night, lots if numbers still yet to be called, the pace picked up to a ridiculous level, art was being carried out of the back room by the fistful- lots didn't even make it on the walls- it went straight into the hands of the crowd- like Mama bird- it was this bizaare spree kind of thing. Not a glass of wine or cheese cube in the place. Yes, that's about it. Jed ------------------- yes, you can quote me: "People at Vital 5 shows often don't realize the extent to which they become part of the art installation. The way people react to specific items in these shows is as interesting as the work itself and perhaps even more important. You can actually see art happening in the space between work and audience, and I think that's because Vital 5 shows get you to think about your approach to art, your boundaries, misconceptions, sense of humor, and how myopic your mind may or may not be. Art is supposed to have the power to challenge and change your thinking, but that has become tragically rare." good enough? Heike -------------- Hi, I participated in Vital 5's "Overdrawn" both as a contributor and as a consumer. When Greg called me up and asked about handing over some art "scraps" for a show that would cater to the down-n-out I immediately knew that I had to say yes. I thought, "What an innovative and brave approach to using a beautiful and popular art space!" This year has been a particularly hard one for me and I figure that art is more about sharing an idea than personal financial gain, not to mention that most of my peers create art, thus are usually not in the market for a new piece of artwork by other artists. Most creators I know partially live off of their work, any profits thay make go towards their next project being prepared for the public. "Overdrawn" really acted as a system of support for those of us who are currently strapped. As a consumer I was thrilled to see that the art which had been supplied by Seattle's hottest folks, wasn't crap. I walked out with a Susan Robb photograph that, perhaps was taking up space in her studio, but was still a strong art piece by her - it carried all the Susan Robb signature traits which have made her work stand out so well. -What are your thoughts, observations, insights, or impressions of the show itself and the concepts behind it? The show was superb. It brought into the limelight why we artists create in the first place as well as offering a lively, relaxed and fun atmosphere. I mean people were everywhere laughing out loud, proudly showing off their hard earned pieces. "Overdrawn" really brought a community together and said, "HEY, YOU'RE NOT ALONE!". Anyone feeling financial shame, quickly realized almost everyone of all backgrounds has been in a similar boat at sometime. Those art pieces were flying off the walls! Not only the subject was unique that night, but the style of exhibition was unique too. Greg had hung lines which the works were hung from using cloths pins. There was no heirarchy to the order, or any other discrimination used to show the pieces. It was simple. When one went down, another from the pile went up. Simple, no competition. That also said alot for the show. Brilliant! -Did you like it? Do you think it succeeded in doing what it set out to do? Personally I loved the show and in my opinion it looked like all who attended enjoyed it equally as much. The gallery was on fire with a light friendly buzz of excitement from early on in the evening til' late at night/early morning hours. Even crowds flowed out onto the stairs and sidewalk out from. It was definately as success! c. taylor ---------------------- Of course, any show that sets up a deliberately anti-cash-exchange system is revolutionary in some basic way, and the idea really should be explored more thoroughly, more often, and by more people. overdrawn was particularly exciting, since you really did need to prove, in some ways, your "street cred". there are lots of ideas that could be expounded upon in there too; can the number of NSF statements be turned into some anti-cash system on a regular basis? at the same time, overdrawn worked within the very same economic system it temporarily upended. while a useful tool, little could probably be done to turn the ideas at work here into long-term, permanent options for alternatives to a cash economy. i mean, the arts has always worked -- and artists have always worked, in and through and by setting up an underground economy. you borrow canvas from your studio neighbor, who borrows some gesso in return. trade original comics for birthdays, share more expensive sculpting tools and work-space, freely share extra arts materials, resources, spaces. and when the general economy starts to look bad, we need to start looking (as we always do anyway) to the arts for models. overdrawn gave us one way to start doing just that. Aem ------------------------- >-Did you participate in the show (either as a contributor or a consumer)? I was invited to contribute. What caught my eye was the bit about dusting off languishing artworks. I have boxes and boxes of old snapshots which weren't going anywhere, so I took 'em out and started drawing on them, thinking they'd make good postcards--a free giveaway with every work "sold." Greg thought they'd make a good book and was kind enough to bind the stack with some rope. I think the non-monetary nature of the program was liberating and relieved creative process of commodity pressures and all the hang-ups attendant on the art industry. >-What are your thoughts, observations, insights, or impressions of the show >itself and the concepts behind it? This was the best art show I've ever seen. What made it great was how it morphed over the course of the night as works were "purchased," taken down, and replaced. Most openings you drift through and depart after "getting it," but this one compelled people to stay. As much a performance as an exhibition, not to mention the great opportunity for impecunious artists to meet and exchange work. >-Did you like it? Do you think it succeeded in doing what it set out to do? Lefty and Righty give it two thumbs up. >-Anything else. Anecdotes from the evening. Alternative economies such as Overdrawn and Burning Man help artists be less miserly. Creative expression which has true human value should be made available to as many as possible for free. For art to enhance culture and nourish communities, it needs to disentangle itself from the consumer/commodity model which permeates most areas of civilized society. DEATH TO INTELLECTUAL PROPERTY. Artists should get day jobs if that's what it takes to free their art from warping financial pressures. Anyway, it *is* possible to make a living from a work and still make it available for free. For example, the writings of Hakim Bey may be purchased in nicely bound form from a number of publishers, but readers are invited to "pirate" the material for maximum dissemination. Buckminster Fuller, genius architect of the 20th century, hit his stride only after deciding to remove livelihood considerations from his choice of what work to do. Instead, he focused on those projects which would best benefit humanity, confident that Universe would provide his material needs so long as he used his gifts purposefully. Time proved him correct. I don't think artists "create"--they're merely sensitive people who manifest memes, the psychic emanations of the global human superorganism, the universal ideas which determine social behavior a la DNA. Fuck lawyers, trademarks, and copyright, all of which are barricades to free expression and block the path to mystic enlightenment and growth of spirit. Thanks for asking, Rob ---------------- If you want to meet with me to talk about it, that would be fine. Writing answers to your questions is too much like writing an article. . . sorry, but it's what I do all day long. love emily