{"id":7422,"date":"2023-08-23T11:27:04","date_gmt":"2023-08-23T11:27:04","guid":{"rendered":"http:\/\/tahneyalexandramay.com\/?p=7422"},"modified":"2024-03-18T15:36:24","modified_gmt":"2024-03-18T13:36:24","slug":"sammi-gale","status":"publish","type":"post","link":"https:\/\/tahneyalexandramay.com\/index.php\/2023\/08\/23\/sammi-gale\/","title":{"rendered":"Sticky Teeth | Micro\u2013interview with Sammi Gale"},"content":{"rendered":"
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How can we work to overcome the systematic de-professionalisation of the arts and writing? I don\u2019t know. Perversely, or selfishly, maybe we accept it?\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n\u00a0<\/span>– Sammi Gale<\/i><\/blockquote>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sticky Teeth’s micro-interviews have less to chew off.\u00a0<\/i><\/b><\/span>Ft. words from creative professionals at the intersection of the arts and writing.\u00a0<\/span><\/p>\n

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Take a bite of Sammi Gale’s <\/a>thoughts on problems with\u00a0<\/span>collective action, and the essentials of empathy and meaning within creative endeavours to (somehow, in some way) mitigate pervading issues in the arts sector.\u00a0<\/span><\/p>\n

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xx Tahney<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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sammigale.com<\/a><\/b><\/div>
Pitch Sammi Gale at Plinth<\/a>: sammi@plinth.uk.com<\/a><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sammi Gale is a London-based writer and editor.<\/h2>
His poems and short stories have appeared in publications such as Datableed, Lighthouse and The Colorado Review. He\u2019s the editor and curator at Plinth and also edits Grimshaw Foundation. Bylines include GQ, the i newspaper and Little White Lies. He makes poetry slash music tracks as Fffirst Time with producer Jack Bartrop.<\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Tahney: <\/i>For you, what’s a major problem in the arts\/writing?<\/span><\/strong><\/h5>\n
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\n\nSammi Gale: <\/i>The first thing that comes to mind is it\u2019s hard not to agree with Tess\u2019 points around writers and pay. <\/a>But since the Tories would rather commit seppuku than allow anything like (as she sensibly suggests) universal basic income into these isles, I\u2019m afraid I\u2019m a little more cynical about how we might overcome it.\u00a0<\/span>\n

We are suffering from a collective action problem: never mind a strike in Hollywood<\/a>, all the writers, artists and creatives the world over would have to unionise. Trying to solve inequity by our own individual actions doesn\u2019t have much purchase on Big Capital and can feel pretty exhausting.\u00a0<\/span><\/p>\n

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That said, I\u2019ve been thinking about this recently and here\u2019s where I\u2019m at:<\/i><\/span><\/p>\nEmpathy and capitalism are strange bedfellows.\u00a0Perhaps it\u2019s no wonder that writing and the arts, more widely, have been booted off the top bunk in the past few decades.\u00a0<\/span>I hope I don\u2019t sound too telenovela by saying<\/span> there could be a correlation between wages in the arts plummeting <\/a>and reports of empathy erosion<\/a> <\/strong>over the past few decades.<\/span>\u00a0Anyway, it\u2019s pretty clear that if money is the metric, society really doesn\u2019t care about writing. Caring is pretty low on the market\u2019s list of priorities, too.\u00a0<\/span>\n\nOn the one hand, the capitalist can\u2019t very well grease the wheels of production with pesky feelings, can she?\u00a0<\/strong>On the other, it is precisely<\/span> empathetic skills<\/strong> \u2013 lateral thinking, hot takes, communication, persuasion, negotiation, reducing lots of information down to its essence, seeing in new ways, and a hunger for a larger internal life \u2013 <\/span>which<\/span> will be absolutely essential if we have any hope of innovating our way out of this increasingly desperate state<\/b><\/span> of planet-being-literally-on-fire.<\/span>\u00a0<\/span>\n

What are our options, then?<\/h5>\nHow can we work to overcome the systematic de-professionalisation of the arts and writing? I don\u2019t know. Perversely, or selfishly, maybe we accept it?\u00a0<\/b>\n\nI\u2019m not saying our next job should be in cyber \u00e0 la poor Fatima the ballerina<\/a>. Rather, instead of straining and striving for a proper wage and comparing number of Twitter followers and bristling at whose got the giggiest gig in the gig economy, it\u2019s easier on the soul to recognise that society\u2019s stories about production, wealth and value are used to promote private wealth at the expense of the public good. Not only does realising this make it a lot easier to write, it makes the act of writing more exciting and subversive \u2013 if not doing it in exchange for fair remuneration, what other kinds of value might you do it for anyway?\u00a0<\/b>\n\nIf we could all be alive to this question and aim to make little meaningful encounters (it doesn\u2019t have to be putting words into bettering patterns, there are plenty of activities that are creative, genuinely valuable and meaning-making), then that will have meant something, surely \u2013 perhaps only to you and a handful of others, but it sounds like a nice life\u2019s project.<\/b>\n
Some arts writing (and the like) you’re loving rn?\u00a0<\/span><\/h5>\n
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Recently, I loved\u00a0Emma Garland\u2019s Moth Club lecture on Lana Del Ray<\/a>\u00a0as a \u2018fun lovin\u2019 genius.’\u00a0Gary Zhexi Zhang\u2019s new book\u00a0Catastrophe Time<\/i><\/a>\u00a0is just as staggering as\u00a0Dead Cat Bounce<\/a>, his oratorio in collaboration with the also insanely brilliant\u00a0Waste Paper Opera<\/a>, which it followed. Both take on the links between catastrophe, finance and reality-making and blew my little mind. I\u2019ve got endless time for\u00a0Emily Watkins<\/a>\u00a0and\u00a0Eloise Hendy,<\/a>\u00a0art writers and journalists.\u00a0Philippa Snow\u2019s book on violence was sick\u00a0<\/a>\u2013 I could go on. Fine,\u00a0Emma Cline<\/a>,\u00a0Ben Lerner<\/a>,\u00a0Ottessa Moshfegh<\/a>\u00a0\u2013 I\u2019m only human.<\/div>\n
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A quote from one of these?<\/h5>\n
Gosh, too many.<\/div>\n
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How about this one instead I heard last night — isn\u2019t it lovely?<\/div>\n
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\u201cThere would be people walking in the garden \u2013 several pairs of people \u2013 their conversation their slow pacing \u2013 their glances as they pass one another \u2013 the pauses as flowers \u2018come in\u2019 as it were \u2013 as a bright dazzle, an exquisite haunting scent, a shape so formal and fine, so much a flower of the mind\u2026A kind of, musically speaking \u2013 conversation set to flowers.” \u2013 Katherine Mansfield to Lady Ottoline Morrell<\/a> (15 August 1917)<\/div>\n
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Give yourself a shout-out!\u00a0 What’s been a fav project? And your most recent?\u00a0<\/span><\/div>\n
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I really enjoyed working on this feature for GQ about weaponised incompetence<\/a>, it was so great working with the brilliant editor Sam Parker.<\/a> Collaborating with Jack Bartrop on fffirst time<\/a> keeps me out of (read: in) mischief. Recently, I guess this one on Surface and Depth in Barbenheimer<\/a> for Plinth<\/a>.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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More of Sammi Gale here<\/a>.<\/b><\/h3>

Interview by Tahney Fosdike<\/a>.\u00a0<\/b><\/h3>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\n\t\t\t\t\t\tHey! My name is Tahney. I design words that fill the space between you, your creative project, and your audience.\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
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For more on arts writing: <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\tAugust 21, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with David Willis<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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David Willis: “It is my personal mission as an art writer to strike a balance between critical rigour and concise readability.” <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tJune 30, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Carmela Vienna<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Carmela Vienna talks about the overreliance on AI in arts marketing and social media, and the need for more inspired, well-edited content, as well as treating arts marketing more seriously within arts orgs in general. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tMay 28, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tReview: Is the 2024 Venice Biennale too overwhelming?<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Too, with the Venice Biennale as a whole, in this unearthliness, the curatorial was a blur of impact and thought. I wasn\u2019t sure if it was possible to achieve anything cohesive. I\u2019m still not sure if it\u2019s possible to look at, en masse like this, the variety of mediums, ideas, and cultural contexts and get it and not just be overwhelmed, weary, and clueless.<\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tApril 25, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Haneen Mahmood Martin<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Haneen Mahmood Martin talks about shared accountability and diverse perspectives in the arts industry, matching words with actions\u2014i.e., more POC in leadership positions\u2014and the use of clear, accessible, but impactful language. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tMarch 18, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Liv Collins<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Liv Collins has an infectious energy rare in an industry of pretension. I’m really excited to feature her in this sticky teeth micro-interview for her truths about writing education at art school and some hot insider arts reading suggestions. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tFebruary 20, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Anna Kate Blair<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Anna Kate Blair speaks on the intersection of art, writing, and time. She explains her major concerns for lack of enough resources for the writing process itself, and also touches on history, capitalism and imagining alternative futures for creativity. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tJanuary 22, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Sarah Schug<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Brussels-based journalist Sarah Schug discusses the challenges of language in the art world, the need for accessibility, the diminishing value of art writing and her proud accomplishment\u2014a self-published book on Iceland’s contemporary art scene.<\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tDecember 17, 2023<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Erin McFayden<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Writer and editor Erin McFayden reflects on framing artistic activities as labour and advocating exploring the good it creates rather than its economic value \u2013 as well as her reccs for some artistic endeavours.<\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tNovember 14, 2023<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Yazmin Bradley<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Writer Yazmin Bradley touches on the pressure on authors under the commercialisation of Bookstagram \u2013 how can we reclaim the creative process from capitalism? She also explores working with her grandmother on her memoir and the possibilities of Substack for creativity. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

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\n\t\t\t\tOctober 16, 2023<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Suzanne Claridge<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
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Writer Suzanne Claridge talks about ephemeral approaches to working with language and their belief that good arts writing should not lose sight of its purpose: the reader and experiencing art. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\t\t<\/div>\n\n \n\t\t\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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