{"id":8268,"date":"2023-12-17T12:04:14","date_gmt":"2023-12-17T10:04:14","guid":{"rendered":"https:\/\/tahneyalexandramay.com\/?p=8268"},"modified":"2024-03-18T15:26:04","modified_gmt":"2024-03-18T13:26:04","slug":"erin-mcfayden","status":"publish","type":"post","link":"https:\/\/tahneyalexandramay.com\/index.php\/2023\/12\/17\/erin-mcfayden\/","title":{"rendered":"Sticky Teeth | Micro\u2013interview with Erin McFayden"},"content":{"rendered":"
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Sometimes, I worry that my enthusiasm borders on a kind of uncriticalness. I try to remind myself that delight can also be a great foundation for critical positions.<\/p>\n

\n\u00a0–\u00a0<\/i><\/span><\/span>\u00a0<\/i>Erin McFayden<\/i><\/p>\n<\/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<\/a> micro-interviews f<\/i><\/b><\/span>t. words on the intersection of arts and writing.\u00a0<\/i><\/b><\/span><\/p>\n

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In this edition, writer and editor Erin McFayden<\/span><\/span> calls for looking at artistic activities as labour through a prism of the often unseen goods they create rather than purely for their economic value.\u00a0\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

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erinmcfadyen.net<\/a><\/b><\/span><\/h4><\/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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Erin McFayden is a writer and editor from Awabakal and Worimi land (Newcastle).<\/i><\/span><\/h2>\n
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She is Deputy Editor at The Suburban Review<\/a>, and from 2020 to 2023 was Deputy Editor at Artist Profile. She lives and works in the UK, where she is also a board member at Art4Space<\/a>, a community arts organisation in Lambeth.<\/span><\/h6>\n<\/div>\n<\/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: What are some issues in our approach<\/span>\u00a0to arts writing (and the like)?<\/h2>\n
Erin McFayden:\u00a0<\/i>My non-serious answer to this question is ‘-ality’.\u00a0<\/span><\/div>\n
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More seriously, I think we still have some figuring out to do when it comes to our model of \u2018artistic\u2019 activities (like arts writing) as labour. There is a lot to like<\/a> about the new Cultural Policy\u2019s emphasis<\/a> on the idea of art as work\u2014primarily the idea that artists deserve to be able to go about their vital work while also receiving enough money to live and that this would be of benefit not just for artists but for their communities.\u00a0<\/span><\/div>\n
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However, I\u2019m suspicious of arguments about art\u2019s value which emphasise its economic value: the way it makes us happier and more motivated workers, the way it generates tourism, the way it serves our idea of ourselves \u2018as a nation\u2019 (Art Guide published a great essay <\/a>by Lauren Carroll Harris on this last point in August).\u00a0<\/span><\/div>\n
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We should remain interested in how art creates \u2018goods’ (as in goodnesses) that we don\u2019t already think of as good, or even know about at all. Maybe this is the start of an argument for universal basic income\u2014I know other sticky teeth interviewees<\/a> have written about this. I also feel it\u2019s important to consider how arts organisations, and the people doing administrative and logistical work who sustain them, are themselves sustained.\u00a0<\/span><\/div>\n
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What writers have you been turning to?\u00a0<\/span><\/h2>\n
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Simryn Gill’s Clearing<\/i><\/a>, with caption text by Tom Melick and an essay by Catherine de Zegher, will always stay with me\u2014and, no doubt, will keep throwing up new things for me to digest for years to come.<\/div>\n
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I\u2019d recommend sticky teeth readers check out Stolon Press <\/a>(who produced this publication) if they haven’t already. I like their practice because it takes a tender approach to publishing as a material, social, archival, and imaginative activity.<\/div>\n
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I\u2019d also like to include Angela Goh\u2019s work<\/a> with movement annotation under the category of \u2018working with writing.\u2019 I\u2019m thinking especially about the work Gloss<\/i>, which I was lucky to see as part of Primavera at the MCA in 2022. I like its use of written record-keeping as a generative, not a delimiting, counterpart to a performance work.<\/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\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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Your own work, lately\u2013 some highlights?<\/h2>\n
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This is a tough question because I can become obsessed with any (good-hearted) artist or artwork I spend enough time thinking about. Sometimes, I worry that my enthusiasm borders on a kind of uncriticalness. I try to remind myself that delight can also be a great foundation for critical positions.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

On the editing side, I loved working as a member of the copyediting team on the book accompanying The National 4: Australian Art Now<\/a>, alongside my colleagues Melissa Pe\u0161a and Kon Gouriotis. This was a huge project involving many different writers and artists, as well as four major arts institutions across Gadigal and Dharawal lands in Sydney. We got to read a lot of short, sharp, and scholarly work. Kon, Melissa, and I also worked on a book about Khaled Sabsabi<\/a> through the dark days of the pandemic. I can\u2019t overstate Khaled’s generosity as an artist and as a person.\u00a0<\/span><\/p>\n

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On the writing side, I just like writing about artists. My favourite things to work on recently have been essays on Renee So, Jacqueline Rose, and Lucy Guerin.<\/span><\/p>\n

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The next thing I\u2019ll have published is an essay on Jaclyn Wright in Foam Magazine\u2014her work is clever, tuned in to the capacities of its medium, and thoroughly (and variously) researched.\u00a0<\/span><\/p>\n

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Any other writing you’d like to point us to?\u00a0<\/span><\/span><\/h2>\n

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Not really a straight-down-the-line answer here, but I recently read Jessica Au’s Cold<\/i> Enough for Snow<\/i><\/a> <\/i>(a bit late to the party, I know…), which has some moving, understated museum scenes. Read it if you haven\u2019t!<\/span><\/p>\n\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>\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 on Erin McFayden\u00a0here<\/a>.\u00a0<\/h2>
Interview by Tahney Fosdike.\u00a0<\/a><\/i><\/h6>
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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
\n\t\t\t\t\t\n\t\t\t\t\t\tGet in touch \t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\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\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\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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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","protected":false},"author":1,"featured_media":8272,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_vp_format_video_url":"","_vp_image_focal_point":[],"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[537,523,359],"tags":[],"class_list":["post-8268","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-micro-interview","category-sticky-teeth","category-writing"],"acf":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/tahneyalexandramay.com\/wp-content\/uploads\/2023\/12\/WhatsApp-Image-2023-12-05-at-7.18.31-PM-Erin-McFadyen.jpeg?fit=1600%2C1200&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9Pso7-29m","jetpack_likes_enabled":false,"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts\/8268","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/comments?post=8268"}],"version-history":[{"count":50,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts\/8268\/revisions"}],"predecessor-version":[{"id":8666,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts\/8268\/revisions\/8666"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/media\/8272"}],"wp:attachment":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/media?parent=8268"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/categories?post=8268"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/tags?post=8268"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}