Why art thrives at Burning Man | Nora Atkinson

115,440 views ・ 2018-08-28

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It's like a dream.
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Imagine, in the empty desert,
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you come upon a huge wheel ringed in skeletons,
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and someone invites you to come pull a series of heavy ropes at its base,
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so you walk to one side, where a team is waiting,
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and you all throw your backs into it,
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and you pull in turn,
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and eventually, the wheel roars to life,
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lights begin to flicker, and the audience cheers,
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and you've just activated Peter Hudson's "Charon,"
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one of the world's largest zoetropes.
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This is the farthest thing from marketable art.
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(Laughter)
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It's huge, it's dangerous,
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it takes a dozen people to run, and it doesn't go with the sofa.
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(Laughter)
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It's beautifully crafted and completely useless,
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and it's wonderful.
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You're unlikely to see works like "Charon" in the art-world headlines.
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These days, the buying and selling of artwork
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often gets more attention than the works themselves.
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In the last year, a Jean-Michel Basquiat sold for 110 million dollars,
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the highest price ever achieved for the work of an American artist,
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and a painting by Leonardo da Vinci sold for 450 million,
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setting a new auction record.
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Still, these are big, important artists,
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but still, when you look at these works and you look at the headlines,
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you have to ask yourself,
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"Do I care about these because they move me,
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or do I care about them because they're expensive
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and I think they're supposed to?"
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In our contemporary world, it can be hard to separate those two things.
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But what if we tried?
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What if we redefined art's value --
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not by its price tag,
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but by the emotional connection it creates between the artist and the audience,
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or the benefits it gives our society,
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or the fulfillment it gives the artists themselves?
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This is Nevada's Black Rock Desert,
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about as far as you can get from the galleries of New York
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and London and Hong Kong.
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And here, for just about 30 years, at Burning Man,
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a movement has been forming that does exactly that.
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Since its early anarchist years, Burning Man has grown up.
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Today, it's more of an experiment in collective dreaming.
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It's a year-round community, and every August, for a single week,
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70,000 people power down their technology and pilgrimage out into the desert
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to build an anti-consumerist society
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outside the bounds of their everyday lives.
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The conditions are brutal.
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Strangers will hug you,
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and every year, you will swear it was better the last,
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but it's still ridiculous and freeing and alive,
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and the art is one thing that thrives here.
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So this is me on the desert playa last year
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with my brother, obviously hard at work.
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(Laughter)
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I'd been studying the art of Burning Man for several years,
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for an exhibition I curated at the Smithsonian's Renwick Gallery,
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and what fascinates me the most isn't the quality of the work here,
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which is actually rather high,
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it's why people come out here into the desert again and again
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to get their hands dirty and make in our increasingly digital age.
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Because it seems like this gets to something that's essentially human.
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Really, the entire encampment of Burning Man
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could be thought of as one giant interactive art installation
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driven by the participation of everyone in it.
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One thing that sets this work aside from the commercial art world
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is that anyone who makes work can show it.
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These days, around 300 art installations and countless artistic gestures
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go to the playa.
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None of them are sold there.
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At the end of the week, if the works aren't burned,
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artists have to cart them back out and store them.
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It's a tremendous labor of love.
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Though there is certainly a Burning Man aesthetic,
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pioneered by artists like Kate Raudenbush and Michael Christian,
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much of the distinctive character of the work here
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comes from the desert itself.
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For a work to succeed,
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it has to be portable enough to make the journey,
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rugged enough to withstand the wind and weather and participants,
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stimulating in daylight and darkness,
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and engaging without interpretation.
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Encounters with monumental and intimate works here feel surreal.
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Scale has a tendency to fool the eyes.
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What looked enormous in an artist's studio could get lost on the playa,
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but there are virtually no spatial limits,
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so artists can dream as big as they can build.
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Some pieces bowl you over by their grace
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and others by the sheer audacity it took to bring them here.
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Burning Man's irreverent humor comes out in pieces
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like Rebekah Waites' "Church Trap,"
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a tiny country chapel set precariously on a wooden beam, like a mousetrap,
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that lured participants in to find religion --
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it was built and burned in 2013 ...
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while other works, like Christopher Schardt's "Firmament,"
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aim for the sublime.
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Here, under a canopy of dancing lights set to classical music,
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participants could escape the thumping rave beats
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and chaos all around.
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At night, the city swarms with mutant vehicles,
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the only cars allowed to roam the playa.
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And if necessity is the mother of invention,
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here, absurdity is its father.
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(Laughter)
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They zigzag from artwork to artwork
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like some bizarre, random public transportation system,
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pulsing with light and sound.
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When artists stop worrying about critics and collectors
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and start making work for themselves,
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these are the kinds of marvelous toys they create.
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And what's amazing is that, by and large, when people first come to Burning Man,
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they don't know how to make this stuff.
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It's the active collaborative maker community there
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that makes this possible.
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Collectives like Five Ton Crane come together to share skills
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and take on complex projects a single artist would never even attempt,
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from a Gothic rocket ship that appears ready to take off at any moment
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to a fairytale home inside a giant boot
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complete with shelves full of artist-made books,
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a blackbird pie in the oven
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and a climbable beanstalk.
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Skilled or unskilled, all are welcome.
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In fact, part of the charm and the innovation of the work here
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is that so many makers aren't artists at all,
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but scientists or engineers
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or welders or garbage collectors,
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and their works cross disciplinary boundaries,
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from a grove of origami mushrooms
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that developed out of the design for a yurt
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to a tree that responds to the voices and biorhythms
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of all those around it
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through 175,000 LEDs embedded in its leaves.
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In museums, a typical visitor spends less than 30 seconds with a work of art,
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and I often watch people wander from label to label,
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searching for information,
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as though the entire story of a work of art
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could be contained in that one 80-word text.
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But in the desert, there are no gatekeepers
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and no placards explaining the art, just natural curiosity.
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You see a work on the horizon, and you ride towards it.
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When you arrive, you walk all around it,
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you touch it, you test it.
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Is it sturdy enough to climb on? Will I be impaled by it?
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(Laughter)
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Art becomes a place for extended interaction,
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and although the display might be short-lived,
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the experience stays with you.
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Nowhere is that truer at Burning Man than at the Temple.
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In 2000, David Best and Jack Haye built the first Temple,
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and after a member of their team was killed tragically in an accident
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shortly before the event,
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the building became a makeshift memorial.
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By itself, it's a magnificent piece of architecture,
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but the structure is only a shell until it disappears
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under a thick blanket of messages.
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"I miss you."
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"Please forgive me."
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"Even a broken crayon still colors."
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Intimate testaments to the most universal of human experiences,
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the experience of loss.
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The collective emotion in this place is overpowering and indescribable,
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before it's set afire on the last night of the event.
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Every year, something compels people from all different walks of life,
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from all over the world,
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to go out into the desert and make art
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when there is no money in it.
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The work's not always refined,
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it's not always viable,
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it's not even always good,
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but it's authentic and optimistic in a way we rarely see anywhere else.
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In these cynical times,
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it's comforting to know that we're still capable of great feats of imagination,
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and that when we search for connection,
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we come together and build cathedrals in the dust.
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Forget the price tags.
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Forget the big names.
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What is art for in our contemporary world if not this?
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Thank you.
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(Applause)
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