Work in Progress by Jonathan Trayner
Art Signs – an Artists Code

These signs are connected to the sub-cultural group generally referred to as ‘The Art-world’ and appear to be a direct grass-roots form of communication between producers of contemporary art. The symbols are designed to be chalked or pencilled discreetly on buildings etc. esoteric and largely unnoticed by non-users they will remain for some time until the elements or more zealous than usual cleaning take their toll. This enables users of the system to impart information regarding any Art-world structures they may encounter to other users. The advantage of this system for it’s users is that it bypasses all the usual power mechanisms, symbols are drawn on the location and become an anonymous posting, any initiate may post the sign and all other initiates can see it. It appears that different experiences of the location and varying symbols become a dialogue between initiates.

Although formally anonymous there appears to be graphology to the symbols and it maybe that certain initiates have a recognisable style (similar to that of graffiti tagging) that allows others to recognise the author of the posting to be identified. At this stage it is unclear as to whether this is the case and those artists interviewed have been understandably reticent about this. The origins of this communication system are unknown but it seems to be more prevalent in the UK, although signs have been noticed in other locations. The precise demographic of initiates is open to speculation as are the numbers involved, it could be that similar to other phenomena of this type the numbers are in fact quite small. There appears to be some regional variations in the use of these symbols but compared to similar historic systems (cf. Liungman’s discussion of hobo signs) it is small. The reason for this could be greater trans-regional communications that preclude the forming of dialects; variations could be explained by varying circumstances and priorities.

The motivation for the hermetic bypassing of existing structures implied by the use of these signs is likewise unclear. By all accounts The Art-world has a number of formal and informal structures of communication and dissemination, it could be that those artists using these signs are presenting, albeit passive and subtle, a critique of the existing mechanisms. They have in effect chosen to opt out of the system and effectively formed a sub-culture within a sub-culture.

The following meanings have been put forward as interpretations of some of the signs by the author based on observation and anonymous interviews:

· This gallery only shows new media
· This gallery accepts proposals
· This gallery does good events/talks
· This gallery asks you to pay to exhibit
· This is a commercial/selling gallery
· The staff in this gallery are friendly
· This gallery’s previews are boring
· This gallery always shows the same sort of work
· If you like this exhibition you will probably like the other shows here
· This isn’t usually a gallery
· This gallery has a good bookshop
· The permanent collection here is worth a look
· The permanent collection here is rubbish
· Don’t bother with this place
· Kids
· This is a voluntary artist run gallery that likes people to get involved
· This gallery is only open by appointment
· They show good paintings here
· This place has a good café
· Craft gallery
· Art-world hangout
· This gallery is always closed
· This is an artist led gallery with a particular agenda
· This gallery was set up to show the work of the artists involved
· They sometimes show art here
· The show(s) here is/are good
· The show(s) here is/are ok
· The show(s) here is/are awful
· Interesting art this way
· Warning! Bad public art ahead
· There is a gallery here (believe it or not)
· Good sound art/live art/screenings here

The symbolism of the signs is, as can be seen, abstract and esoteric but is highly complex as is expected from a creative and visually literate society. Further studies into the way in which the signs developed and the possible gestalt symbolism of the system are planned but at this point it would be useful to draw attention to similarities between this code and other similar historic systems. The use of these signs should be compared to the various forms of hobo or gypsy signs used throughout Europe and North America until the mid twentieth century when a combination of social and agricultural changes forced a large proportion of the migrant population to become settled. Parallels could also be draw with the earlier Germanic system of thief signs poetically called ‘The Rogue’s Code’ or other secret systems used by illiterate and/or persecuted groups as a way of maintaining solidarity. There are also similarities between the Art Signs described here and the codes and symbols of both the freemasons and hermetic alchemy, again sub-cultural groups that for various reasons valued their separateness and exclusivity.

The symbolism of Art Signs could be said to fall between the two types of aforementioned codes. It imparts information in a very similar direct manner to gypsy or hobo signs did but owing to the fact that its users are more literate and have access to a greater level of direct communication it also demonstrates more sophisticated goals. This could be that artists are while not fully integrated into mainstream culture are generally accepted by it as necessary or even valuable, even when they are not fully understood and often ridiculed because of their priorities or beliefs. This, along with persistent mythologising about the special role of the artist, means that there are similarities between The Art-World and alchemists who were also misunderstood and misrepresented by the mainstream culture of their time. Other similarities between these two subcultures can be seen in the real or metaphorical search for truth by the transmogrification of materials and the identification between external and human systems. The Art-World is in many ways a romantic and impractical place and has historically been much given to absorbing idealistic, narrative philosophies of the human condition. It is unsurprising therefore that a visual system such as this that feeds on ideas of separateness, uniqueness and belonging to an special elect would develop in this environment.

[Return]