http://www.a-n.co.uk/artists_talking/projects/single/497389 Getting paid Thu, 18 Mar 2010 04:53:46 +0000 a-n rss generator a-n The Artists Information Company and contributors edit@a-n.co.uk technical@a-n.co.uk http://www.a-n.co.uk/img/logo.gif http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 This blog is not meant to be a rant, although I do apologise in advance if I get a little, well, passionate once in a while. It stems from that New Year tradition of deciding this is the year! The year of some measurable success, the year of earning some amount that may feed and house me and of making time for my work. Good intentions ahoy. But I have been here before, and although I had a great year last year, took part in some really interesting exhibitions and got more work done than any other year, I made less than £5,000. How could this be if I was working all hours and being incredibly proactive? I love that a-n publishes good practice guides and recommended daily rates for artists and all of those incredibly useful and inspiring documents, but I need to find a way that these can actually be put into practice. I have knowingly chosen an industry that is driven by people who work for free because of a need or love for/of art and is notoriously hard to make a living out of. But it is possible to be paid properly; as artists are increasingly slotted into new projects and policies to make them whole, funding is made available and there are organisations such as creative partnerships who pay recommended rates. But is it the case that I have to include children or communities in my practice to obtain these rewards? I will be looking into it...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 First of all, I suppose I should reflect a little and work out why there were so few financial rewards for all that work in 2008? My fault? the opportunities I said yes to? The general state of things?  The most pleasant experience had to be showing at the Bridewell Gallery. A three-person exhibition, There in Time, with a £300 fee attached and all expenses paid. Thank you very much Bridewell.  Generally, I didn't expect to get paid to take part in shows as this is pretty standard practice compensated by the fact that galleries pay for advertising, the space and all those drinks at the opening. Plus if I did make work that could be sold, exhibitions may be more lucrative.I am also very happy taking part in low-fi, alternative events and exhibitions without being paid. These are the projects that are often the most exciting and productive. What I did object to, however, was exhibitions where additional events held alongside the show were paid when the artists were not. There was also a real lack of transparency in these situations, which only compounded the bad feeling. My first experience of this was finding out some artists in a group show had been paid or given expenses, and others hadn't (me included). A storyteller involved in an evening event for a few hours was also paid for their time (around £180 I believe). Why was this? Quite simply because no other story-tellers would work for free, but there is a queue of artists who would. Next - a biennial show where artists worked site-specifically for a week installing/making work. No expenses here, and certainly no fee. The bands and other entertainment doing half-hour sets at the opening of the exhibition, did get paid. So why is the hard work of the artists valued so much less than the entertainment that announces the show? I don't really have answers yet and when I speak to my peers about these issues, the general response seems to be 'that's just the way it is'. Do we artists not bear some responsibility then for changing this situation? But how is this possible when there is so much competition...(long sigh). Personally, 2009 will have to be for looking after myself and making sure I can pay my rent. Thus far that involves taking work at the Tate whenever possible (Information Assistant) and only applying for things that pay in accordance with recommended daily rates, or almost at least. It also means (sadly), less hours towards favours for friends and random voluntary things.  An excellent article on the subject, written by fellow studio member Tracey Eastham can be read here: http://www.newartcriticism.co.uk/fundedartshows.ht... ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I borrowed £20 from my sister today, I wonder if she expects to get that back? I also wonder how long it will take for the Tate to send expenses from a day Wolstenholme Projects organised on the 10th...that would really help.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I didn't earn any money tonight, but we spent a long time discussing it in the pub.The general feeling seemed to be that we artists would be happy to do shows and projects for free that had equal benefit in terms of legacy i.e. a truly meaningful experience with long-term benefits (new work, great space or genuinely useful contacts) and CV entry rather than a show for the sake of being busy/appearing popular. It seems editing is king. The important point of relevance came up too. What is the point of applying for things that bear no relevance to your practice?; they may pay, but you stand little chance of success as other people's deep-rooted passions will shine through where your false claims look a little transparent. So I suppose the conclusion was: be true to your work,  think about what you actually want to happen, what will get you there and, well, get on with it. ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 All Together Now? Working Life and Culture in Liverpool.I have been to too many events in the last year where rather than issues being discussed, a biography or a potted history is presented instead. Thankfully this was not one of them!This was a conference organised by TUC at Novas centre in Liverpool. A chance for reflection on the capital of culture year and also a chance to ask how unions could support artists, all washed down with a massively red, socialist slant. Hurrah.  Firstly, I was interested in who turned up, aside from two of us from Wolstenholme Projects I only saw culturepool represented out of the grass-roots studios, groups and galleries in the city. The rest seemed to be a mix of old-school trade unionists, a couple from NMGM, outreach and community projects, theatre groups and film makers.  Although I may have got that wrong of course..For me, the first highlight was Frank Cottrell-Boyce, who spoke very eloquently of the importance of showing kids what can be done, giving them 'tools to dream' and bigger ideas for their futures. Not just ticking boxes in this case - many parts of Liverpool are incredibly poor and the future doesn't seem particularly bright when all around you is unemployment and empty buildings. This was followed by many facts and figures from King Phil (Redmond) to prove the success of 08. Although easy to criticize, he does, to be fair, seem to want the best for his beloved Liverpool.  Onto the workshops, firstly: WORKING IN THE ARTS. Extremely pertinent to this blog, me as an artist and all of you as well.  The panel introduced themselves and with an artist, freelance designer, economic geographer and rep from the Music Union, I felt like this may be productive. It was pointed out that amidst the doom and gloom, there is an advantage to the unreliable wages and work of an artist - the autonomy of casual working. I concur! I also would like to believe in Sam Meech's take on the whole thing being down to Karma; take part in some unpaid incredible project and maybe, just maybe, you will get overpaid for doing something awful and easy. to be continued...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 ...cont. from previous post - I managed to ask a question first, before I lost my nerve.. Most panelists had referenced voluntary work, something I feel very strongly about and that I should never discuss after a glass of wine. I wanted to know what the panelists thought about people working for free. I feel it damages the industry and feeds the idea that it is acceptable not to pay artists. I should point out here that  I have done voluntary work in the arts and indeed, I work a lot without getting paid. However, there is a difference in getting paid in kind or experience when others are doing the same, and in working for a company or organisation that is using you as free labour without much recompense. The internship model that is spreading - seemingly from the states - also depresses me. How can someone with limited means work for free? Isn't that just dividing class even more? I'm sure a lot of us have £6/hour jobs that fund our practice, meaning that time is limited. How can we volunteer too? I watched folornly while friends on my BA got great experience in galleries (some of who now work in galleries - and not as Information Assistants!) while I smiled at rude customers in bloody Pizza Hut. It was hard not to be envious.So in response, the panelists generally agreed. Ideas for stemming this unhealthy trend centered around creating a more supportive community, perhaps even creating a union! The closest we seem to have to a union at the moment seems to be a-n's nan. I am particularly thankful for the pay rates and liability insurance. Scotland have an artists' union thanks to Guyan Porter and friends, and the arts community there is currently fighting the privatisation of the arts into Creative Scotland (loans instead of grants - surely not!). So I feel like there is a model of how to proceed right infront of our noses, but there is definately more research required on my part in all of these areas. Artists who spoke up in the audience seemed to feel that they were on their own, and that artists were out for themselves, that they had to be out for themselves to stand a chance. One educator in the audience pointed out that art schools train students to think that way and to be competitive and jealous of their own success.  There was an element of this in my experience at Edinburgh, although my MA at Wimbledon did encourage strong networks and creating opportunites as groups (perhaps to stand a better chance of making an impact in London). No doubt I will have more to say once I have digested the day a little more and dechiphered my notes, but for now, some interesting reading around these issues:Art Schools and the way they teachScottish Artists UnionTUC Northwest ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 The other workshops I attended at the TUC Conference last Saturday were more about Liverpool's year as Capital of Culture, which is less relevant to artists as a whole. There were still some realy interesting trends though: Two standpoints emerged - those who were quite bitter about not receiving funding and those who (were not artists) felt artists should be going out there and doing it for themselves. I did state an opinion or ask a question at one point and was told (encouragingly and with well-meaning) to just get together with some friends, find a space and make something happen. I didn't want to sound defensive and say, actually I am in a space (Wolstenholme Projects) with some friends and we put on great things like Liverpool Artists' Book Fair, lots of really interesting exhibitions, exchanges with other artist-led groups and regular films screenings. To deflect this rather patronising response I just said I was thinking less about me personally and more about the industry in general. But that was one problem with this discussion, so many disciplines were represented there that often we were talking at cross-purposes, or too narrowly about our own disciplines, and some people clearly had no idea about the way in which artists operate. During the Capital of Culture, none of the artist-led studio groups were successful in getting support from the culture company. I think this is partly due to a decision to focus on bringing people in to the city (more extravaganzas, no money to much less visible causes), it may also have been because the proposals were no good. I don't know. But it does make me think that although I often hear talk about Graduate retention and how important it is to keep young artists in the city, there was little tangible support for this sector during 2008. Much discussion was had about community arts too and the fact that not enough money went to that. I didn't feel I could put the case for the young artists forward in a concise enough way to prevent saying it all wrong, making it very un-pc and getting attacked from all sides. How feeble of me. What I wanted to say though, was that we are a community in ourselves, and I hope that we will also be the future project leaders and arts innovators in Liverpool. For that reason, we also need to be valued and supported.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 One of my lives involves a freelance contract working for Oxford University where I source and add research-quality visual art websites to http://www.intute.ac.uk - an online resource for research and higher education. The websites I catalogue each month tend to be very influenced by the research I am doing myself, so I have recently come across some very interesting essays online regarding artists pay and working practice (More to follow). I have also been trying to make some tough decisions about my studio: space and an amazing building versus six months where it is too cold to actually work. Also frustrations and bad communication versus a fresh start without the reputation and banana skins/tea bags all over. It's very difficult as I feel like I am betraying the group by leaving and it is also a big financial risk to start a new-artist led space in Liverpool as the rent will be higher and there are already empty studios languishing across the city. I also wonder what the benefits of a new artist-led project would be, there are several already and unless it is going to offer something new then I'm not sure it's worth while. I also don't just want a space for showing our own work! A meeting on Thursday should make some decisions about the direction it could take. I hope we can look at getting funding to create a space that will support other artists making/developing new work.This article by Gordon Dalton on alias sees him playing Devils advocate regarding artist-led spaces. He also explores the options open to graduates upon leaving University and looks at some more succesful ventures. http://www.aliasarts.org/GordonDalton.htm ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Just an observation - I looked at my Arts Jobs email tonight and I think something like 16 out of 38 jobs advertised were unpaid. Most worrying were the administrator and technician positions on there (unpaid) - that's not something I see very often.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Internships. I have just been reading Andrew Bryant's report about working with Tate media for three months. It sounds like great experience, and not something that could be replicated elsewehere.http://www.a-n.co.uk/jobs_and_opps/article/487913 I suppose this made me think that a good, or great, internship can offer something really valuable and when used wisely can provide great contacts and experience. Perhaps I should view it more like the decision to study; Andrew decided to take time off work to do this and had obviously given it a lot of thought beforehand.  The fact still remains though that many people could not afford to do this, particularly full time internships. Then again, how many artists make a living out of their work? Or any money at all infact. Perhaps an internship is a better investment for self-sufficiency in the long term! It seems to me that you should look for someone who pays some expenses, and advertises training opportunities. Do your research and choose carefully or you might end up never getting any training, making tea, and generally not getting much back for your time. Back to that Arts Jobs email then... ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I was asked by a-n to attend a meeting at the Arts Council in Manchester on Monday (just to clarify - time and travel paid for!). It was a really interesting trip, but I have had to leave it a few days before writing about it as there was just so much to digest.The meeting was part of a consultation process giving feedback to a draft of The Visual Arts Blueprint: Towards a workforce action plan. This is a joint venture between Arts Council England and Creative & Cultural Skills (The Skills Council for the creative industries). The draft (51 pages) has been developed in consultation with lots of people in the arts, including EmiliaTelese from a-n. It's difficult to know where to start as the document attempts to cover many things. I mean everything: artists, designers; freelancers; employers; job descriptions; addressing diversity in the arts; widening interest and knowledge of creative industries; creatives working in schools; schools, FE teaching and professional development on degree courses. I could go on. It is inevitable when something attempts to be so inclusive that it will fail on some counts, and the main problem that struck me (and others) about this document was that artists do not fit easily into any type of regulated guidelines, if at all. It did, however, address and provoke debate about some really important points such as internships as well as bridging the gap between contemporary artists and educators. As there was so much to think about, I shall approach the document and resulting discussion one section at a time...  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 cont. from previous post..Just for starters, here are some facts to make you think a little. I also want to add in this from the Scottish Artists Union website: "Statistically, visual artists remain at the bottom of the income ladder for all art forms. An estimated 5,000 artists are practicing in Scotland. The Scottish Arts Council Audit 2003 showed that 82% of visual artists in Scotland earn under £5,000 per annum and 28% are earning nothing at all from their arts practice while contributing an extrapolated £22 million to the Scottish economy primarily through purchase of materials." http://www.sau.org.uk/about/about.php  Now from the CCS/Arts Council document:Key Facts about the Visual Arts sector:The Visual Arts sector employs 37,480 people, 28,490 of whom are artists.  Of these individuals 46% are freelance•    The sector features 4,580 businesses, of which 75% employ fewer than 5 people•    The visual arts sector covers individual artists, publicly funded institutions large and small, commercial galleries, studios, trade associations, art fairs and a vast range of employees, consultants, freelancers, volunteers•    The visual arts sector’s overall contribution to the national economy (GVA) is £1.9 billion. This is in comparison to the performing arts sector (£4.5 billion), and the commercial music industry (£4.2 billion)•    Surprisingly, artists are not included within the current definition of the creative industries in the UK•    95% of people working in the visual arts sector are white, and 50% are female•    22% of the workforce is based in London, 1% in Northern Ireland, 7% in Scotland, and 7% in Wales•    Employees are often highly qualified (38% with first degrees and a further 19% with a postgraduate degree or diploma)  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 cont..and some issues to tackle: Lack of awareness of employment opportunities within the sector.Artists not trained for business.Insufficient entry routes for young people into the sector.Skills and experience do not match job vacancies.Qualifications do not prepare fine art graduates for work or fully participate in the sector.Lack of diversity among the workforce.Not enough opportunities to develop skills in post.Access to training for those outside formal employment.Specialist training needs not met.Staff retention in the sector poor.Poor employment conditions.Organisations lack people with business skills.Not enough emphasis on leadership.Insufficient auditing of skills needs.Not enough sharing of good practice across the sector.Insufficient partnerships between employers and higher education bodies.Although some strong membership and representative bodies exist there are some gaps e.g. commercial galleries.There is no professional union equivalent to Equity in the theatre sector.       ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I have been away for a few days due to a very poorly Grandpa, but am still thinking about the CCS meeting (see previous three posts) and the issues it brought up. I still need to send them some feedback so I don't want to forget anything!Adressing the conversation in order of relevance then, the most contentious issue and most pertinent for me, was that of the artist and their employment or working patterns.It was quite worrying that the document talked of jobs, employers and skill sets (even standardising an artist job description!) when this model bears little relevance to how most artists operate. Personally, I am of the 'portfolio career' persuasion. This translates as: Working in the studio and exhibiting: at the Tate; for Oxford University; some (teeny) book sales; and getting paid for the odd talk or activity. I have no pension, plenty of debt and certainy no savings. I feel foolish even saying that and still choosing to live my life as I do. Additionally, the document did not address the fact that artists are responsible for generating so much of their own work; they do things for free, apply for funding or look for partnerships. Does all this activity fall under the radar then? Again a-n came into its own as one of the few bodies/publications that truly understands how it all works. I am often spurred on by the fact that I see my peers in the magazine. It is a bridge between the  land of graduate to mid-career artist that is (I think) the most difficult.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Through ACME Liverpool (basically a section of the city council) I was lucky enough to get some free business advice with David Parrish last week. I was expecting similar to previous experiences: someone interested in how to make money and who didn't really understand how that may or may not be possible within the confines of an artists' world.Instead, I found I had a very generous two hours to talk over tea, very informally, with someone with a lot of experience in the arts. This makes a difference in terms of understanding how I am a non-expandable business (it's just me and although I have a twin sister, that doesn't count) and also, most importantly, that I have no desire to be expandable. I don't want to outsource work making random stuff to make money. I want to make my work and do it without compromise - well mostly without compromise.  I came out thinking quite differently about values (mine), marketing those values and looking in slightly different places for paid work without having to cross over to some other area. He also gave me a copy of his book: 'T-Shirts and Suits: A Guide to the Business of Creativity', which can also be viewed online for free from his website - go get it. http://www.davidparrish.com/ ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I may not live in Scotland anymore (I went to eca back in the day..) but I still care what happens!Arts Futures : Creative Scotland? Wednesday Night Open6 p.m. Wednesday 25th February 2009Glasgow School of ArtMackintosh Lecture Theatre167 Renfrew StGlasgow G3 6RQLeigh French and Guyan Porter will lead an artists' briefing & open discussion looking at recent events leading to the proposals for Creative Scotland.Some of the key areas for discussion:- history & contexts : how did we get here?- core scripts revealed- culture capture & creeping nationalism- cultural entitlement & spaces of contention- freedom of expression : legal frameworks- crises of capital & public sector cultural provision- national intimacy or cultural pluralism?- progressive international cultural policy models- how can artists & communities engage in policy development?- where would we like to go : how do we get there?Presenting Information Towards an Informed Debate...free event - all welcome!------------------------For further information, please contact: tara s Beall Cultural Engagement Events Manager The Glasgow School of Art Studio 55 / Mac Bldg / 167 Renfrew Street / Glasgow G3 6UT 44 (0)141 353 4567t.beall@gsa.ac.uk... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Internships, volunteering and the problems of free labour in the arts:Before I start, I have to acknowledge that there are many positives to volunteering, obviously! It can be an incredible contribution to society with numerous rewards for the individual. What I would like to talk about here is volunteering in the arts as a replacement for employment. During my BA I volunteered at a number of galleries and, with the exception of one, I found I was generally clicking people in, making tea and cleaning the kitchen. No points for valuable experience at all, although I should point out it was a while ago now! They never worked out very well either as I was doing a degree, working up to 30 hours a week in two part time jobs, and they wanted people to work every Saturday and who would be at each opening. Not really possible for me! Since then I have been quite suspicious of and annoyed by volunteers being used as staff, not to mention the fact that I have never been in a position (financially) to take advantage of such things. During the CCS meeting at Manchester I was very interested to hear what others had to say when it came to this point in the document. It confirmed my fears when the Curator from Manchester Art Gallery said she saw many problems in the system, but that their gallery would use free labour, beacause it could. She was quite sympathetic with the plight of people trying to find careers in the arts and said that they observed mainly middle-class white, female graduates volunteering - the people that (in Museums at least) end up forming the main part of the staff. She also said that because of the sheer number and quality of applicants for jobs at the gallery, people they employed for entry-level jobs were actually on their second or third job. This seems to suggest that there are not only too many artists, but perhaps also too many curators, administrators and managers for the work available. I am not questioning the quality of internships that already exist out there - I already commented on Andrew Bryant's very positive experience at Tate and I also remember being very taken by the programme at Collective when I was graduating - but I am saying that they are simply impossible for lots of people.  There also seems to be an unspoken tradition that it is difficult to get employment in institutions without putting in the free hours first. An alternative to volunteering? It will always exist, but how about properly organised, valuable and PAID internships that are similar to apprenticeships or CPD training. Perhaps museums and galleries could also agree to abide by certain terms? There has to be enough provision for people to live and not get into debt by taking part, and previous experience volunteering should not be a significant factor in choosing from applicants.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I have just had a read through the comments on this blog and it has given me a lot to think about. I also feel very glad not to be alone! One comment reminded me of something that used to anger me greatly when I had just graduated; Elizabeth Haider relating her experiences of schools expecting her to work for nothing/little. As a graduate I tried to be realistic when looking at opportunities, but even then I was absolutely incensed by the (mainly private) schools looking for artists in residence, to teach up to 12 ish hours a week, given a studio and accomodation granted, but often accompanied by some measly bursary such as £3-4,000 per academic year.  Shocking. What other industry would accept these conditions? Why do these schools even want someone in classes with their children (and wards) who is paid so little? Do they not value the staff they are placing into teaching positions? A friend from ECA added to my argument when she went into a residency at one school and had left by January, being very ill-equipped to cope with classes of children and given little support, not to mention having no time to do her own work and being incredibly stressed.I wrote to a few schools one year to tell them what I thought of their 'residencies', but I only ever received one reply. They, in their defense, seemed to believe they were giving an invaluable opportunity to an emerging artist. Plus, they felt they were only offering what everyone else was. If they hadn't had any applicants I suspect they would have thought again, but of course, they had plenty. Anyway, I try not to look at those adverts these days and to put my energy into more useful endeavors. I did have a good laugh at my younger, angrier self though. What this also make me realise is how important it is not to simply blame those offering the opportunities/the administrators etc (although they could be better educated about rates!) - but to look a bit deeper and try to address the problems where they begin, rather then where they are manifested. ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 As with all areas of my life, I have a lot to say (regarding this blog), but seem to be unable to articulate it how I would like. This comes partly, I suspect from having no authority in this area (I feel I should be supported by facts, figures at al) and also because the very last thing I want to do is moan. Above all, I want to take responsibility for my own situation rather than simply complaining about what makes it difficult. It seems a central resource (perhaps from an audit of artists) would provide a step from which to argue our case. If there were reliable statistics to hand it might be easier to speak eloquently and with conviction about payments and working conditions. Currently I find it is a cloudy area to say the least, where I find few people on the outside (of arts) who fully understand the breadth and quantity of contemporary artists' practice.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 A new article on knowledge bank - For those who would like to read more about volunteering to view up the pros/cons and who perhaps prefer a more objective point of view!http://www.a-n.co.uk/knowledge_bank/article/506400 ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 The Government have said that Arts Council need to cut admin costs by 15% by next year:http://www.guardian.co.uk/culture/2009/feb/26/arts...Might this be the start of a mini-revolution where artists begin to adapt, cut out the middle men and sort out their own affairs a la direct holidays and direct line car insurance? Well, perhaps not, but we could shed some brokers could we not? I have an image in my head of a cake in need of flour and plenty is being poured in to the mix, but as it goes through numerous sieves it is gradually siphoned off and clogged up until the cake is hardly left with enough to rise.  I'm not saying the flour doesn't need sieving - it does, but you can go overboard.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I just read in a-n with great sadness that the Gomperts Trust will not have enough income to award grants this year. I have received two grants from the trust and have found it such a supportive organisation. This is probably due in part, to the very personal and genuine reasons for the family setting up the trust - in memory of their duaghter and sister. It is also because of Natasha Gomperts, an artist herself, who takes a personal interest in the artists' work and allows a relatonship to develop. The last grant I received was also thanks to Greg Daville, an artist who sadly passed away last year. A previous recipient himself, he interviewed me with Natasha and I am grateful that for a short time before his death we were able to have conversations, swap reading lists and discover common ground via email.  The Juliet Gomperts Trust for me, is a model of how funding would be given in an ideal world: without preconceptions about what will be funded, what outcomes should occur and with a real down-to-earth bent that is not impressed by hollow words. Their recent residency at the Torriano meeting house seemed like a very forward thinking turn for the Trust, who also fund artists undertaking a residency in Italy. I sincerely hope they are able to improve their income in the future and carry on the good work. ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Interesting comments here about Mr Bourriard, his altermodern and the state of the art market of late. Does anyone think that Damien Hirst style production/ value markets will really collapse?http://www.guardian.co.uk/commentisfree/2009/mar/01/tate-britain-bourriaud-art-market... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I have just been having a conversation over email with another artist about paying to enter things.I my head I have a very clear rule about this: I don't do it. On reflection I thought that there are some things I would pay to enter, these being competitions on the level of BSR and the Jerwood prizes.We began by discussing Celeste, a fairly new prize that now has an online focus. It has various categories and costs 50 Euros to enter. Finalists are decided by selection commitee and finalists themselves decide how the prize money is awarded.  The website does, usefully,  have a pretty little pie chart showing how entry fees are spent: http://www.celesteprize.com/prize/25% - prizes, 10% website, 23% employment and 13% selectors fees and so on. So, to be simplistic about it - that means that as prizes total Eur40,000, therefore wages add up to Eur36,800 and the selectors will earn Eur20,800 between them with the website costing Eur16,000. That's a hell of a website!! Rather than a competition for cutting edge contemporary art, this seems more like a game show format to me, much like Saatchi's upcoming TV show, which is a game show - right? In this model, artists, especially those who are inexperienced and might not know any better, are being used as a source of funding. Want to put on a show/festival/residency? I know; just get £35 off each person entering and it will pay for itself, plus we can employ ourselves for the duration, genius!  People - this is your money!! If you're going to spend it anyway, wouldn't it be better spent elsewhere, perhaps on some food, or even getting people together and sorting our your own project? I'm not saying the prize has no value; for the winners it has incredible value, and also for the finalists I expect. The website may generate opportunities for people adding their work to the entries too. But for the majority, those who the competition depends on for funding, it won't do much at all. Spend the entry fee on a subscription to a-n and axis instead, where you will be aligned with a much more desirable (and credible) crowd. I also get fed-up trawling through res-artis, which a couple of years ago I used all the time. Now, although it is still an amazing resource for finding residencies, it also lists numerous places that seem like little more than posh bed and breakfasts around Europe, with studios attached. Not so much an application form as a booking form here. Much more time has to be spent weeding out opportunities that represent work rather than a nice hoiday.  We all know there is not enough funding out there and that other ways are needed to make art more self-sufficient, but to my mind, entry fees and dumbing down on quality to appeal to and use the masses are not it.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I am mainly surrounded by piles of paper as I put together book after book after book in preparation for BABE (Bristol Artists' Book Event) on the first weekend in April. After the last 'paying to enter' things entry, I had to think about this as a table at an artists' book fair costs money. BABE is £80 for the weekend and then of course, you need to add in petrol and sleeping. My answer to these costs is to take my husband with me and try and make it into a nice weekend away. The really hard bit is not buying too much of other people's work! I have been really struggling to make the books I want to as I just can't pay for materials/production. Instead of beautifully made, gleaming, letterpressed editions, I end up with pamphlet stitched books done on my printer and with a little screenprinting. I long to be back at Women's Studio Workshop in NY, where I did a book residency last year. Never before have I appreciated time and facilities to make work so very much. I was like a machine! They are another organisation that have had funding cuts this year. I wish I could do something to help. If I ever won pots of money, that would be one of the first donations!I organised Liverpool Artists' Book Fair last year and really struggled with table charges as I know how difficult it is to do these events. As it was tables were charged at £25/weeekend and £15 for one day. This just paid for advertising and paying cafe workers. For hours of work over four months, I didn't pay myself a bean. But, I loved doing it, it was the first one and Bristol and others offer so much more in terms of audience and establishment. This year, to avoid killing myself with all that unpaid work again, the book fair has had to go. It has a good home and will be at A Foundation this year, but it was so very difficult to give all my work away in exchange for goodwill. I suppose BABE has to be thought of as a trade fair and therefore, an investment. It is a financial risk, but I have my fingers crossed that I can at least break even........ http://artistsbookfairliverpool.blogspot.com/ http://www.arnolfini.org.uk/whatson/exhibitions/de...http://wsworkshop.org/ ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Top of my list to do today is send feedback for the CCS consultation: http://www.ccskills.org.uk/visualartsThe process is an open one so please go to the website, read throught the document and send your thoughts on it! It could be a really influential document so it's important to have your say... It's kind of a week from hell this week, teaching/talking in Lancaster tomorrow, big big interview on Wednesday, long drive to Bishop Auckland to talk about work for Art Land on Thursday and my beloved Grandad's funeral on Friday, followed by a presentation at A foundation on Friday evening and a workshop with teenagers for Respect week in Everton on Saturday. Phew.It's good as well as terrifying and stressful. I need all of this stuff to keep my momentum going through the funeral and all the way to the workshop. I can, after all, collapse (a little bit) on Sunday. My life does seem to go the way of the bus analogy and it can make me a very determined, but  fractious and impatient person to live with. Either that or I am plagued with guilt and self-doubt!  Oh joy. It has make me think though, when do I ever actually have a whole day off? Not very often at all. The last time was probably my honeymoon, so I hope I can remember to make more time for that this year! Leaving internet and phone behind may be the first step..    ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I am exhausted. Having spent the week heading up and down the country and stressing (hadn't realised just how much until I stopped!) I am ready for bed at 19.40 on a Saturday night. Lancaster on Tuesday was great, a very warm welcome from Suzy at Storey Gallery. Gave tutorials at the uni, had a very nice dinner and then gave a talk about me/Wolstenholme Projects/the state of money and arts at the Duke's Theatre there. I hope I didn't rant too much, but a lot of issues from the blog came up, especially as it was a chance for me to see what artists elsewhere thought. The talk resulted in a fair bit of discussion, which is good, I think. I was asked a lot of questions I couldn't really answer, but people seemed to agree about rates of pay and not working for free!! Wednesday was an interview for a bursary at Yorkshire Sculpture Park - which I got!! Success and 100 days of gainful employment over 09/10. I am having to think of it as a kind of apprenticeship really as it pays, but only £100 per day and I will also have to pay for my own travel/accomodation out of the bursary. It will still be a fantastic thing to do, but not as glossy as it seems. I am very excited though and looking forward to the first meeting in June.  Thursday I went up to Bishop Auckland to meet James Lowther, one of the organisers of Art Land, a site-specific art festival taking place in April. A lovely chap and an amazing sunny day looking round and gathering information and scraps of inspiration for the bookwork I have been commissioned to make. He also offered to pay my expenses to come up for the opening to do a reading from the work (when I have made it!!). I'm very glad as the other work going into the festival looks really interesting and it would be a shame to not see it!http://artlandne.com/programme/ Friday was a funeral and Saturday was being shattered.  Now I have to try hard not to spend my future money before it has been earned, but I would so like some resin... ahem.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Well, it's been three weeks since my last post. That pretty much sums up my life: massive spurts of activity only to be distracted by something else I want to try and swapping for a while. Again, the picture of the octopus artist crops up again as I imagine lots of us are trying to negotiate many tangled paths.. Last weekend was BABE (Bristol Artists' Book Event) at the Arnolfini. The first time I have had a table at a book fair, and I was really quite concerned about the outlay - not just making the books, but the table cost, journey, accomodation. It adds up! I did sell books though, most of them actually, and broke even. But I can't even think about the fact that even though I covered costs, at the end of the day it was like giving all of those books away for nothing! The next book fair I will be doing is Liverpool, so none of those costs involved.. I did, however, sell a book to the Tate collection, so that compensates a little for a lack of money. I think BABE also raised my profile somewhat as my website got so many hits over the weekend it nearly fell over! http://emilyspeed.co.uk/ On Thursday I am going up to Bishop Auckland for the opening of Art Land,http://artlandne.com/programme/ and although I am dreading the drive, I am really looking forward to the whole thing. It is always great to get a chance to make work somewhere else and most importantly, escape the things that distract me (washing, cooking, making a mess of the flat and depairing at it). When I go elsewhere I am free of these things and that has always meant very productive times for me. ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Good old arts jobs. I saw this and laughed out loud. Someone else (surely please) understands the sad state of things! Thanks to Rose Smith for reminding me to post this. All over-qualified CVs to Keith as quick as you can:Job: Cleaner, nottsnewartspaceEast Midlands Unpaid (Voluntary) Full timeArtform: dance, interdisciplinary arts, theatre, visual artsContact keith Hetherington pnewartspace@hotmail.comDescription:Gallery Assistant required for cleaning duties at the 'New Art Space' in notts, sneinton. Duties require unblocking gully and vacuum drain daily. Dusting and sweeping exhibition space after pre construction. Would suit recent graduate wishing to gain experience within facilities management.Please send c.v to Keith Hetherington at ewartspace@hotmail.com ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 This month has been one for talking it seems. I have been asked to do talks on several of the things I am involved with; me (!), Wolstenholme Projects and the book fair mostly. On Saturday night I was at IMT gallery in London (a beautiful space) for a panel discussion about artists' books and their distribution. It was very interesting, but the slant on the questioning from the chair was so focused on distribution I was left (about 5 minutes in) wondering what I could contribute. As the other panelists were a publisher and a book-shop owner (and book artist) I felt quite low-fi in comparison. The huge disparity in our outlooks/ agendas meant that rather than having a broad ranging debate, it was difficult to discuss fludily as there was just no need for us to agree or disagree on many of the points.  This just demonstrates the massive range of work that is going on in the field. It may have also been because we were in London, in a gallery, where selling things matters. I cringed inside at one point where I had to pipe up and point out that discussion was getting very London-centric and esoteric. I felt alien to the discussion yet I think I am a good example of someone who makes artists' books, where it is not the whole of my practice, but just the best medium for some ideas and also something I make without considering its distribution and audience beforehand. Books Fairs, which were hardly discussed in comparison to publishers, represent for me the first point of sale for most book artists. They have their own problems but do offer a fantastic opportunity to meet other artists, see work, touch work and maybe buy work too. I am quite unconcerned about getting my books into Waterstones, and as shops such as Tate and ICA also require distributors, I would be much more inclined to look elsewhere like the Book Art Book Shop or the Permanent Gallery to stock my work. Additionally, talking about Ed Rucha et al and their books is interesting and relevant in terms of the history of artists' books, but he and others who were published represent the very few. I suppose the problem for me ended up being that if there were any book artists' in the audience hoping for some insight into outlets for their work, they would have been disappointed.  Tonight is the AIR open dialogue event at Castlefield Gallery in Manchester.  This is artists talking about their practice and how they approach it/manage life, the universe and everything. I am certainly looking forward to a more practical bent. ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 It was the AIR Open Dialogue event last night at Castlefield Gallery. Very nice to finally meet Susan Jones after much emailing, and also great to discuss the very basics of practice with loads of new faces. I thought about blogging last night when I got in, but partly I was tired and I also wanted to digest it a bit. The things that stayed with me are unexpected. I found myself sharing things that I hadn't expected to, some parts of my life/work that I probably have never vocalised before. One of these was finishing off my spiel by saying that I wanted to get my head down and work, and that I wanted rid of the organising. This was backed up at dinner afterwards when Susan was talking about the fact that people seem to have forgotten that good work and careers take time. There is an expectation of talent and genius to negate the need for long hard graft, whereas musicians and others (quoted, I believe from the article below or similar) need about 10,000 hours practice on average to become a professional.   http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/books/article4969415.eceI know that I have my first ever solo show, infact two of them, coming up in 2010, and obviously I want them to be great. This means starting now, no more agreeing to shows and flinging out the work. I want and need something different for my work to see a change and development. 10,000 hours is after all, well over a year, and that's without sleeping or doing anything else. Perhaps five years of full time work represents that statistic a little more meaningfully.   Giving some feedback about this blog to Andrew Bryant this morning also made me consider what a fantastic tool it has been in sharpening everything. Being determined to practice what I preach, I have suddenly become much better at valuing my work and time more highly, saying no and generally looking after my long-term self a bit more. In turn, I hope this is also looking after the industry by not getting involved in projects that rely on artists working for free or without in-kind support/trade. I hope I can keep it up... I also realised I am still fairly terrible at negotiating and that must be the next area for improvement, especially when YSP starts....  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 This also came up last night: Empty shops as art venues.. http://www.guardian.co.uk/artanddesign/2009/apr/23... ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Today is the first of my self-timetabled admin days. I cannot believe I haven't made time for this before. I did plan some in last month, but I ignored them and carried on in my usual path of misaligned priorities and bizarre feeling of duty to useless things and unhelpful people. I have always known I should do it, but something has snapped to make me actually act. I have also recognised how useful blogging has been and that, accordingly, it should be timetabled in. Just an hour a week or so, but same goes for updating profiles, emailing and the other things that make me feel guilt.  Bec Garland mentioned making time for your practice a few times at the AIR  event on Monday night. I don't do it enough. I have hardly been to the studio in the last few weeks, except to sign cheques, meet people and show people round. I have been working from home, probably on an entirely unsuitable scale. I am beginning to resent this very much and recognise the need for a shift in my working habits. It may not be as simple as saying, monday for this, tuesday for that, as unexpected things do occur, but any kind of structure would improve things. This also points towards problems with my studio, and the fact that I have taken on too much responsibility for the place. I adore the building, but it seems it does not love me back. So, admin down, studio to go.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 In addition to adding admin days into my life, I have been thinking that a plan might be a good idea. This was also something that came out of the AIR event: Susan Jones said that in her mentoring she sometimes asks artists to make a plan of what they want to do and where they want to be in the future. The rule (and difficult part) is then not to do things that are not on the plan. This should prevent finding yourself saying yes to all manner of things.Hmm, so, the only thing I did plan for myself last year was not to show in Liverpool for a while. Then I found myself putting in a proposal for the new Arena space and this month putting some work into DRAWN IN at the Lost Soul and Stranger Service Station. Whoops. I am very happy about DRAWN IN though, as it came up just when I am starting new drawings and seems serendipitous to say the least.  It is one thing to have a shifting, woolly idea of what might be good in your head, and something else entirely to actually write/draw a plan, akin to a business model I suppose, that you can refer back to and that will prove how far off track you have gone! David Parrish pops into my head here too, reminding me to say NO!! NO, thank you very much, but I can't. No I'm afraid not, no really, it's not possible. Oh, didn't you hear me? I said NO. Also that I am my product, and to forget the archaic notion that it is acceptable to work for free when doing something because you love it. Why can't you can love it and still get paid?  So, I'm excited today - it is onwards to clear the dining table, get a big sheet of paper and perhaps some felt tips/stickers to make the plan a little more joyous...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I thought I would feel terrible: I have just sent an email to my studio group telling them I am leaving to go to the Royal Standard (another space in Liverpool), however, I am mainly relieved. I will have a space, with a contract, wireless, working woodwork tools, other people working in it (actually, the newest members to Wolstenholme have been incredibly hard working - it is the old-school contingent I am referring to). It is good and I am very content.  Did I mention the parking spaces?I am sad and I will miss that place and a lot of the people, but it had become pretty toxic for my practice and I was turning into an arts administrator. Moving in on Monday, so until then I shall be mentally arranging my new space.It is more expensive, but then (I think) also better value.  I do want to get paid, but I am also aware that it is not always about the money and that this is an investment for the long term.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Ayn Rand and things. I have had an email from a student at a local (ish) university asking me about my blog over the weekend.  They were quite concerned that I was giving away a lot of my knowledge/strategies away for free. Wasn't I worried that other people would use my thoughts to further their own careers? There is so much advice and career development out there, I hardly feel like my blog is going to be the thing that shows people the way to a glittering career. I also believe that people can read all they liked, but it will only make a difference if they act upon it. In the Simpsons last night (it was a bank holiday people!) Maggie went to the Ayn Rand Nursery, laden with slogans such as 'Helping is futile!'. Two of my favourite books, Atlas Shrugged and The Fountainhead by Ayn Rand purport her philosophy, which is a particularly selfish brand of capitalism. Although the stories are gripping in both books, the characters are bizarre (especially the female protagonists, presumably her) and they have dubious moral values to say the least. It has beens shown that Ayn Rand's philosohpy, Objectivism, as well as her institute all receive more attention and followers during a recession. Often celebrities are fans, with Angelina Jolie starring in the remake of Atlas Shrugged soon I believe. The rich want to stay rich, but more importantly, believe that they are entitled to be and to be jealous of all they have. I always think artists can be a little bit like this in their behaviour. Okay, so it's a harsh comparison, but you know what I mean; looking after number one. Something I do keep wittering on about is the fact that artists do not help each other enough, (I don't mean painting pictures for people, or calling galleries on their behalf, just a little generosity with time or advice). A lot of this industry is extremely personal and artists need to find their own way of doing things and learn from experience. But telling someone not to bother hiring a gallery, or offering advice about a residency that would be perfect for their work takes no effort and doesn't hurt you. Helping is not futile: it strengthens networks and you may find that links you make come back to reward you. Take care of yourself, and each other - right?  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I am not always this serious by the way.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 So very tired this morning. Workshop in a youth centre in Everton for Tate last night. A very challenging workshop in Everton last night.. a few glimpses of making progress, but mostly it fell flat.. partly down to me overestimating their confidence and rushing in to the task in hand, but also because there was no one there who knew the kids: the youth workers were just needed elsewhere. You can't just pop into these places and create masterpieces, relationships take so much time and insight (and training!!!). I always spend hours getting these things ready and it's disheartening when it doesn't go to plan. If I plan sculpture I will need paint. Hoping to get blokes more involved last night with wire and pliars, I could've actually done with loads of jewellery making things as it was full of girls. Working at the Tate sidesteps these problems as there is a treasure trove of stuff round the corner, but going out somewhere, I will always have a slight fail. They are coming down to the Tate on Saturday so I hope that changes the dynamic somewhat. This is how a lot of artists I know help fund themselves (not that being paid for one job should fund another - that still doesn't constitute getting paid) and it's an important role. Schools/youth clubs really need more connection with the arts, especially with professional artists who have their own practice and that can bring the conceptual and problem solving skills, not to mention confidence building. It's another way of showing what's possible, and to help find routes to prosperity. The youth club I was at last night has seen two teenagers fatally stabbed in the last six months; one was there for the first time and was only 15.  It's just so sad, and seems quite helpless when you're stood brandishing a pencil and a bit of garden wire at a bunch of people who are pelting each other with anything to hand. I was quite surprised at how much of a dent in my own confidence it made too - I came back and had a moan at my husband about the fact that I had a total fail. He was, as always, a real pragmatist and very supportive and encouraging. In my head I was going through my usual fraud complex and then started thinking that my own work wasn't any good etc etc. I did manage to give myself a good talking to, write an action list and I went to bed with no brain left. In terms of money, it is well paid work (although there is almost always extra time put in), but there is a reason for that: it's bloody hard work! Perhaps a job in a coffee shop is a better option if you want any brain space left? There is another session tonight at another youth centre down the road however, so I'd better suck it up and have a good think....... ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 What a thin and brittle thing this balance between practice and living is. I feel like last night made a big crack that will take some time to be repaired. I'm not talking about a plastering over, I mean properly filled in and sanded over and everything. Sorry to carry on in building metaphors, but I feel like instead of painting and adding decorative touches round the sides, I really need to go back to the structure and make it more solid. I'm leaving the house now, (physically and metaphorically!).  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Really enjoyed reading this:Trade off: Markets for art in the UK By: Emilia Telese Emilia Telese’s opening essay offers analysis of the markets for art in the UK highlighting the ‘contradictions and idiosyncrasies’ of the relationship between artists and money.http://www.a-n.co.uk/nan/article/377807/377156  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 A slightly better turn to the week with two much more successful workshops under my belt. I also have been incredibly heartened by the four (yes four!) emails and a very encouraging comment below after I posted my woes on the blog. Can I just retract eveything I said about artists not supporting each other? That was such a boost, as was going to see good stuff last night. Karen McLeod was performing at the Greenroom in Manchester as part of their Seed Fund programme - really fantastic stuff and followed by the Cholmondeley's and the Featherstonehaughs, a contemporary dance group with many laughs. I though Karen's performance really stood up against the main act too and was the most poised I have seen her yet. Those things always inspire don't they? I have also been to see the space for DRAWN IN and have a chat with Bernadette O'Toole, who is putting the show together. We seem to have quite a similar outlook and interest in drawing so it was great to dredge up a lot of my research from the MA at Wimbledon and even better to have a place/time for a new drawing. Did a book exchange too, with Gordon Shrigley from Marmalade press (we met at the IMT Gallery event) so have a very timely book (Spatula, How Drawing Changed the World) to read in exchange for my 'Lost at Sea'. Swapping is for winners.    http://www.filmarmalade.co.uk/ http://www.karenmcleod.co.uk/http://www.thecholmondeleys.org/ ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Just in the Tate for a few hours today so while I am in the cloakroom I am reading the online research journal. The latest issue is all about gallery education, especially relevant to me this week! This article takes a look at artist as educator:The Artist as Educator: Examining Relationships between Art Practice and Pedagogy in the Gallery ContextEmily Pringle http://www.tate.org.uk/research/tateresearch/tatepapers/09spring/emily-pringle.shtm ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Issue 2 out now, particularly enjoyed Rachel Marsden's piece...http://www.newartcriticism.co.uk/ Josie Faure Walker's piece 'Skip to the End' also made me chuckle, especially the advert in the bottom right: 'HELP. we're a sucessful commercial gallery that needs an intern to do all of the shit jobs for free. We are an equal opportunities employer, prioritizing minority groups that have a wad of cash behind them for the next 6 months.' ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I have been doing a bit of reading round for a blog entry I am writing for www.intute.ac.uk on earning a living as an artist. (These blog entries are paid and are slightly more formal than a-n!). As well as compiling websites in the UK that offer info and advice for artists - a full list to be posted soon - I started looking at what other countries offer their artists. Something I didn't know, is that in Ireland, sales of artists' works are tax-exempt and have been since 1969: http://www.visualartists.ie/alr_ate.htmlGermany are looking at shortening the time before which artists can register for unemployment benefits. German artists also have the "Kün-stlersozialkasse" (KSK), an insurance scheme for self-employed artists and in 1981 the Artists’ Social Security Act made more links between the KSK and the social security system, although without speaking German, I found it difficult to find out what this means exactly!In Canada, Netherlands and Denmark there are special pension schemes for artists and the Netherlands also has other benefit/support schemes, such as WAZ, but again my languages let me down. France has system in place to protect on use/reproduction of original work: 'droit de suite' but this naturally has its limits. Spain decided to follow France's example in 2008 and introduce resale rights for artists, not sure if this ever went through though... The UK has had resale rights since 2006 (starting on works with a minimum resale of 1000 euros), an IPO (Intellectual Property Office) report on the impact of those here:http://www.ipo.gov.uk/about/press/press-release/pr... Interestingly, all of the European countries I looked at (France, Italy, Spain, Germany, Netherlands, Denmark, Ireland, UK etc etc) offer tax exemption to companies on corporate sponsorship of the arts and in most cases there are also tax breaks for purchasing works or giving works to public collections. Lastly, an interesting website from Brooklyn looking at the relationship between art and law, a US focus naturally, but it is international in its outlook: http://www.clancco.com/ It does seem that artists' lives could be made easier in the UK through tax breaks, help with pensions or special schemes that recognise the unique and random nature of employment/earning as well as massively fluctuating and unpredicatable income. We do have a new deal for musicians, but not visual artists.  Trouble is, I am only just figuring out what I may earn and how I may earn it, nevermind what schemes/help would benefit me in the long term. Image is by Susan Diab, who kindly agreed to let me reproduce this with the Intute blog entry, hopefully she won't mind it here too! What does it say?   Work for a living or is it Work or a living... the ambiguity sums it all up nicely don't you think?http://www.susandiab.com  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 What have I been doing for the last year, really? I moved into my new studio on Monday and it is already a heady love affair. I long for my studio's company and just want to spend all my time with it. This time I am sure it loves me back, no empty promises or emotional blackmail; this is a straightforward studio that will not play on my emotions, I feel sure of it.  Somehow it just clicked and I started work immediately and if I didn't have to work today, tomorrow and Sunday, I would still be doing that. Roll on Tuesday....A valuable lesson, much needed by me, that cheap is not best and that not being involved in everything all of the time will not kill me or make me a less interesting person. Infact, it may even make me a more interesting artist. Value is to do with all kinds of things and clean air is one of them!  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Oh how I wish I could go to this, a tour of the new Storey Gallery also appeals (and because it is chock full of lovely and interesting staff): http://www.storeygallery.org.uk/downloads/flyeric_..."Artists have commercially valuable skills which are often not recognised, either by themselves or others.This symposium will explore some examples of artists who are doing that, and some routes for development. Speakers include artist and cultural icon Linder Sterling, artist and architect team Sans façon, and artist Olivia Plender. Each speaker will talk about their experience of working within the commercial creative industries and making the most of these opportunities."This seems sensible; to acknowledge the fact that artists do not often make a living from selling work and look at how it can be done in real life...  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Just been reading this article on a-n:http://www.a-n.co.uk/knowledge_bank/article/224182Excellent stuff and when it came to the checklist of possible costs to your practice from doing more than you are being paid for - I checked every one. Oh crap. This includes doing things such as using materials from your studio, using your own camera to document etc.. Some way to go on getting paid properly then.  I particularly liked the section on 'How to eat an elephant' - one bite at a time of course. Bit like my favourite joke from when I was a kid that my mum used to tell all the time: How many elephants can you fit in a mini? two in the front and two in the back. Why did this make me so hysterical? Hmm, not sure now.. Anyway, this money thing is particularly pertinent as I am doing a series of sculpture workshops for Find Your Talent/Tate next week and have already found myself doing more more more than I should. Pah. At least I have the support of another artist on these though so the pressure is less than normal, sort of.  Oh, and I went to Yorkshire Sculpture Park for a meeting this week, way before the contract has started (Sep 1st).. plus there is another meeting/artists' talk/workshop in two weeks.. I guess these have to be counted as two, or one and a half days out of the 20 planning included in the payment. She is learning...slowly.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 It's been a very hard week, workshops every day at the Tate and I have a very sore throat and closing eyelids. However, tomorrow is a day for getting all my cataloguing hours done before the end of the month (as usual!!). Also, I should say, a very well paid and satisfying week - the kind that doesn't come around too often.. Hoorah, no workshop Saturday so I will go to the symposium, with a travel bursary too, which is great as I hardly got paid anything in this months pay cheques. http://www.storeygallery.org.uk/programme.php?brow...Really looking forward to hearing how other artists make a living from their skills. Other good news; an email from David Parish telling me I can have more free business advice seen as I have become a member of the Royal Standard - yes please! Lastly, I am working on publicity and organisation in general for Dumb Objects, a show I am putting together at Wolstenholme Projects - facebook people look here: http://www.facebook.com/home.php#/event.php?eid=84... Last thing I'm organising for ages - honest!! Now, a peppermint tea, bath and bed with a totally non-art-related-escapist book. Ah, who am I kidding, I just picked up invisible cities and that is so very emily-art-related. Two out of three=good.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 DRIFTHow could I forget? On Wednesday night I went over to Victoria Baths in Manchester to try a spot in Amy Sharrock's piece, Drift, there. This involved spending 20 minutes in a boat with the artist drifting around the pool in a daydream for two. The building is incredible anyway, so it was a win-win situation already. Anyone who knows me will know I love to swim, and I did have trouble staying in the boat and not plunging into the pale blue icy pool. So great to see the pool full of water and I was only disappointed that I had missed the underwater opera earlier in the week! Anyway, how is this related to getting paid? Well, the discussion we had in the boat centred around making time to drift and how we are all so focused, driven and target oriented these days we can easily forget to do so. Amy was advocating a step away from living in technology and getting back into water, outdoors etc. I immediately said I was guilty of being a tecchie and she told me off for using the word guilty. It made me think about what I spend my time doing and how much guilt can be attached to that. I can't stop tecching and I love the connections and information that comes from being internet-immersed. I do think, however, that I could be more efficient.. i.e. work for five days and then spend a weekend in north Wales with my husband and going swimming rather than mooching around the flat half-heartedly trying to do bits of work between cleaning. While having my cup of tea in the cafe afterwards I got out my diary and wrote at least one OFF in each week for the next month or two.  I shall work up to two OFFs in the near future.. http://www.victoriabaths.org.uk  http://www.guardian.co.uk/artanddesign/2009/may/23... http://www.iwanttoswim.co.uk/ ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 ARTS JOBS SUMMARY - MAYAn experiment in seeing how useful Arts Jobs actually is.. and what is actually being advertised out there. DesignPaid - 17Unpaid -  36Technical (stage/lighting/carpentry etc) Paid - 38Unpaid -  42Music Paid - 8Unpaid - 21Writers/PoetsPaid - 8Unpaid - 20Actors/Performance/Dance Paid - 61Unpaid - 72Admin/Managerial/CuratingPaid - 205Unpaid -  116ArtistsPaid - 36Unpaid - 87Overall for practitioners (admin section not counted)Paid -  168Unpaid -  278Obviously a count riddled with flaws, and a product of random Emily categories, but hopefully an interesting load of numbers nonetheless. Internships were included in admin and pretty much constitute all unpaid numbers. Lots of performance and art related jobs that were paid tended to be workshop leading rather then work for artists.  Design has so many unpaid opps as artists seem to advertise for help with their websites and photography in a barter style exchange on here. Generally though it seems that artists, musicians and writers are the worst off with less than a third of the jobs featured on the Arts Council list being paid. Also, music and writing have the fewest opportunities, which is hopefully just because people advertise elsewhere?This list also doesn't tell you which opportunities will actually cost money. Ah a sorry-looking list indeed, but then again, I'm sure most of us are aware how random Art Jobs can be!  Tomorrow - a summary of the Storey Gallery/Fly Eric seminar on Saturday. No figures in that one I promise. ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Bleurgh. Still feeling the effects of a kidney infection from last week and being very fidgety. Very uncomfortable/ verging on pain and can't sit still long enough to write up notes from the seminar yet. Had three evaluations to do for Tate yesterday which took up my sitting and typing quota.. Not doing too well at resting either as the flat is like a greenhouse - may have to retire to lawn in front of the building and risk being joined by the addicts from the heroin project behind. They're very nice actually, they mainly just fight a lot between themselves.Tomorrow... ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 PART ONE:This is a report on Fly Eric #2 at Storey Gallery, Lancaster, which I attended with a travel bursary courtesy of LAN (Lancashire Artists Network). http://www.lanarts.com/ Fly Eric is a developmental network of artist focused organisations in the North West of England, led by Art Gene, Castlefield Gallery and Storey Gallery. Its mission is to support visual artists to infiltrate, inhabit and contribute to society. Fly Eric Symposia series - Changing perceptions of what artists can doNO. 2: Expanding possibilities for artists’ professional practice and opportunities for artists in the creative industries. Chair: Mitra Memarzia,           Speakers: Linder Sterling, Sans Facon and Olivia PlenderThe event last Saturday opened with an introduction to Storey Gallery by the director John Angus, he was one of the artists who set the Storey up and his love for the place was evident. I also appreciated seeing the little things like the new hidden door to let the big artworks in. It seems that small things like the way the door opened on its hinges could spark whole projects for me.   The event was chaired by Mitra Memarzia, an artist and generally multi-skilled individual (also an AIR advisor and on the board of directors for a-n). She seemed pretty formidable and I had to wonder how she had squeezed it all in! She made for an insightful and relaxed chair, wrapping things up before they went stagnant and asking some interesting questions. I enjoyed her presentation on her own work too, in fact, that might have been one of the most relevant parts of the day (in relation to the title of the symposium) as it was evident that she worked within different spheres, with many organisations and that there were many different avenues her work explored. I did mean to try and have a quick chat at some point, but my feeble state coupled with the fact that she was constantly occupied meant that didn’t happen. http://www.memarzia.org/mitra/  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 PART TWO:.. Anyway, after a quick flit round the newly-refurbished building we had some spiel from Neil, who is the creative industries coordinator (not sure if that title is spot on) at the Storey Institute. I hope the mix of business and art works here – I don’t know if I was very convinced by him, I heard a lot of ambition and lofty aspirations without him actually saying how anything would happen. But, in two minutes that may be a harsh judgement.I was in the midst of a kidney infection and really struggled to sit still in my seat for the whole time to be honest. There was one point in the afternoon when I felt like I was going to have to leave/cry/plonk myself on the floor, but somehow I managed to get through to tea break. I also knew when in my discussion group that once I had tried to speak once, I shouldn’t try it again! Some garbled sentences came out – everyone politely nodded but I’m not sure it actually made much sense. I really wanted to tell Sans Facon what I thought about their practice, so it was frustrating, but never mind, it’s great to just listen and think sometimes!More after work later on the individual speakers and the general usefulness of the event - this may be an epic post!    ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 PART THREE: So, onto the speakers, first up - Linder Sterling. http://en.wikipedia.org/wiki/Linder_SterlingA really interesting talk and lots of great imagery. Her talk was a retrospective look at her career, considering how she has developed. Extremely briefly (and not doing the talk justice, it went something like this: Art school, Manchester, late 60’s, friends in bands, Factory Records, Buzzcocks, Morrissey Hers seems like a very specific trajectory that could not be replicated in another place or time, or indeed by anyone else at all. One thing she did say was that it was particularly difficult to get work out there when she was at/left college, including not being able to photocopy her work (deemed pornographic by the shop owner with the one photocopier in the area). I suppose the same problem of getting work seen still exists now but due to the sheer amount and ease of dissemination via the internet and self-publishing. Linder seemed very grounded and recognised the uniqueness of her situation. She stressed the importance of ‘allowing history its anxiety’, which I really liked. She was talking about the fact that it becomes seamless and problem free when you talk retrospectively, and that to the listener it can appear like there were no gaps; no hardship. She stressed a few times the poverty of the North at the time and the struggle of making ends meet while working/living in her bedroom.I thought of all the times I have felt a bit deflated after an impossibly smooth artists' talk, it's good to know it isn't really like that! Linder also said that it has been her collaborations with the music and fashion industry that have created the biggest opportunities. Lastly I’ll just mention Linder’s theory about all the little worlds that co-exist, knowing about each other but actually being insular at the same time: the art world, fashion world, music world, of which she thought art was the most conservative.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 PART FOUR:Sans Facon: http://www.sansfacon.co.uk/Firstly it struck me what an incredibly strong combination an artist and architect is, especially in terms of large-scale ambitious public art. But it became clear during their talk that they weren’t just trading on that strength, they actually had a very measured and considered approach to everything they do.Firstly, they mentioned applying for things like a pair of crazies when they first set out (I think about 10 application a month were mentioned). Their approach is to try and find ways to ensure their practice: looking for opportunities that will serve as ways to fund/realise/initiate work. There were many words used such as squeezing, stretching used in the context of squeezing your practice into all avenues.I think this is an approach that I (and many other I’m sure) can learn from. Instead of dismissing opportunities and not applying because of the overwhelming restrictions/demands, try to see how the opportunity can be used /altered/improved to fit your approach. I suppose for some things this is similar to taking a brief and re-writing it for an artist. This is shifting the commission to fit your practice rather than trying to fit in with the brief (I personally think this is quite transparent and can be a waste for everyone involved).They had been fortunate to work on projects in places before regeneration rather than as cake icing. They also stressed their disagreement with this: artists being used as decoration; being brought in at the end of a project to tick a box or add frills. Another important thing I took from their talk was NEGOTIATION!! Don’t take everything as read, be straightforward about what you would like and try to be involved in projects from the start. They said this made projects more difficult to achieve/carry but ultimately made them richer. In one project Sans Facon actually got to pick their own team to work with – a rare event I’m guessing, but, see, it is possible…They also mentioned that once they had done one project that involved a professionally printed publication at the end, it was much easier to inspire confidence and secure other projects/commissions in the future.So in summary, work very hard, persevere, be creative and question your working conditions and find ways to ensure your practice.     ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 PART FIVE:Olivia Plender: http://www.guardian.co.uk/artanddesign/2008/oct/29... Olivia Plender’s talk was difficult. I really liked a lot of what she was saying, (and I really like her work), but she seemed to speak at the audience rather than to them, plus she sat and was so completely obscured by plinth. No break between either so I was bad-tempered and my kidneys were complaining loudly.Her talk mentioned Becks Futures, for which she was nominated in 2006. She talked of the difficult situation it put her in due to the skewed power balance between artist and museum. This was something she returned to a few times and it was interesting to think about how stuck we are in this ‘asymmetric’ (Olivia’s description) system and at the mercy of the big galleries. The often used satire in her work was very evident in the work at Becks (she showed us a page) with a very funny look at the business executives discussing how art would make them appear super liberal.She also spoke very eloquently of the changing business model and the fact that museums are still trying to fit into this shift from 'archaic notions to knowledge arenas', oh except that artists are still not getting paid within that system. As well as her work (including watching a bit of Monitor-Private View -great stuff), Olivia also talked about working conditions, pay and art in general. The following is a quote - “ How can artists collaborate to argue for better pay, look after our needs and not end up individualised with no power or say in this industry we work in?” As is clear by the title of this blog, I am totally onboard with Olivia! But I really wanted her to say more about ways this could be done or hear how she did this. It really made me think though – am I just asking questions too? Am I actually doing anything helpful? I suppose asking questions is the first step – recognising that we all have a problem if you will! To have an artist of significant reputation saying these things is potentially a powerful thing though. It does seem that in addition to numbers, a well-known name behind a campaign could help? tbc..    ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 PART SIX:So, Olivia described her thoughts on how artists work, and what our work may involve - Mobility: to be available to go wherever, whenever according to opportunities. Work as knowledge/immaterial rather than stuff. An unregulated sphere, which is inhabited by freelancers, most of whom are solitary.  She also said that events like this seminar were great, but that there might need to be something more. Again, I felt like I was left a bit hanging - like what? describe me your ideal event..  Here, we finished for break as I am just getting stuck into all these really relevant and problematic issues.... sigh. But after tea comes short discussion groups. During the discussion groups in the afternoon I was torn, wanting to be in Sans Facon’s group but also feeling like Olivia’s group would be more useful to me (and the money issues). In the end I left it to luck and got Sans Facon. As I said earlier, I  tried to tell them that I liked their work and the reasons why, but I was so full of a cold and absolutely addled from a kidney infection the week before that I wasn’t sure I’d made any sense so I just shut up and listened. During the final feedback Olivia’s group had (inevitably) discussed the current state of the arts and getting paid. One thing that I found really interesting was when Kwong from Castlefield mentioned that they all thought artists didn’t share enough information. They wanted to know who got paid, for what, how much. It had also been discussed that certain institutions didn’t pay artists well, or at all although names were kept quiet! It then clicked a little bit, instead of worrying about all these questions and whether they are useful, I think the important thing is to identify all the problems and address them in little chunks. Example: developing networks between artists.. Artist: this gallery want to show my work Artist's artist friend: Hmm, watch them, they're well stingy.  Artist: wow, thanks for the advice, I shall see if they'll pay for a catalogue or something else instead then.  and so on in ever-increasingly sophisticated ways. If you are interested in the first event, there is a bit of information here: http://www.artgene.co.uk/page.php?i=140 with a good bit of writing from Elaine Speight.Next one at Castlefield Gallery, Manchester on 20th and 21st June.    ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 PART SEVEN: Conclusion! Finally!!Did the symposium do this: NO. 2: Expanding possibilities for artists’ professional practice and opportunities for artists in the creative industries. Not in a very direct way. Inevitably the artists speaking had followed very specific and personal trajectories that can't be replicated. Some qualities the artists had that could possibly help towards expanding your own possibilities in professional practice:All showed tenacity and from Sans Facon in particular I will bear in mind negotiating, questioning and squeezing things. From Linder - looking for opportunities to collaborate outside the arts. From Olivia - to find some answers for myself to the questions I ask about the arts. Also not to be afraid of institutions or take things gratefully in outstretched palms. Lastly she confirmed my love for the democratic nature of the artists' book.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Good letter in the Guardian from Susan Jones about artists in these lean times:http://www.guardian.co.uk/artanddesign/2009/jun/04... ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 A silver lining to the recession? Me thinks he is coming from a slightly different point of view.. just doing my evening trawl through the paper (and getting some previews of Venice before I go!) and found this quote:"The good thing about the recession is that we will now be able to concentrate on art, on what matters. The bullshit we had to deal with before is over."Francois Pinault http://www.guardian.co.uk/artanddesign/2009/jun/03... ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Thursday will see the opening of the exhibition I have put together with Susan Massey at Wolstenholme Projects in Liverpool. We have done it all on a shoestring (kindly provided by WP) but it's looking good and I'm excited to see it up. http://www.a-n.co.uk/interface/whatson/single/531986/1 The exhibition text has been kindly written by Jo Moore, a Liverpool-based artist, writer and curator who also runs peachtree, peartree press."We place our trust in objects, which quietly receive us.  The chairs onto which we fling our tired bodies.  The doors that glide open as we approach, permitting us to never break our stride.  The bookshelves, which quietly bear their loads: the plant-pot and the flower. Returning from the outside world, I take off my shoes, I hang up my bag.  I survey my living-room: the chair, the chair, the little red table; the dining-table, the window, the waste-paper basket; the horrible curtains, and, beyond them, the houses across the street, which look like dolls’ houses, quaint and somnolent.  Nothing has changed.  These objects, which I trusted to be still and to behave, and not transform, or dance around, or float towards the ceiling, have not betrayed me."continued..  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 exhibition text continued..."We live a companionable life; myself, the chair, the chair, the little red table; the dining-table, the window, the waste-paper basket; the horrible curtains and the houses across the street.  We conduct no conversation, but our silence is amicable.  And this is how it is with the things that surround us.  We look at them, but we no longer see them.  They do not speak, and we do not hear them.  They are dumb objects – their forms, which are their souls and very voices, obscured by function, worn away by familiarity.And sometimes they grow old and tired and frail, and we forget that we had loved them and cast them away, for a new one can always be bought. And sometimes we lose them, or perhaps they leave us, slipping mute and invisible away; and we seek for a while and we pine for a while – but a new one can always be bought. But what becomes of our old things?  What are the after-lives of objects?  They, scattered seedlike, take root in a state between being and not-being; a strange, penumbral space.  We understand that a broken mirror is not a mirror.  The naming of objects is truly the naming of uses, which glare upon the surface, so that we cannot reach nor even see the solid thing beneath the name.  When a mirror is no longer a mirror, what is it? We might call it useless. The exhibition Dumb Objects unpicks the relationship between use and identity.  In liberating broken and commonplace things from their usual contexts, the artists permit them to speak in new voices, to take on new forms; to fledge, to emerge, like butterflies or birds. A reminder that all things are mutable, all things are possible; that even the most solid or broken of things may shift its shape; may live again: an act of ordinary magic."Jo Moore2009Thanks Jo! ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Struggling to reach deadlines at the moment. Life feels thinly stretched and time to apply for other things has been squeezed out.. Hopefully I may manage the two that close next week... Exhibition (Dumb Objects), up. Opening, fantastic. Lots of people showed up, including creative director of Tate Liverpool, Art head at the Uni, loads of artists whose work I really like... oh, it was nice to feel rewarded after all the hard work. Visitors have also been coming after the opening too, which doesn't normally happen to be honest... Yesterday I zoomed to YSP for a presentation and realised that although receptive, some of the teachers I will work with do not trust artists (read - me) to deliver workshops. They were a bit baffled by the talk on my work and its conceptual content I think. Regardless of that fact, I'm sure they will leave me alone with the kids while they go and get on with other things. Hmm, is that very cynical of me? Met a few really great people though, who had tons of enthusiam about working with me, looking forward to those parts of the project at least!! Today, a workshop with Everton group at Tate. Not the most successful we've had, but still progress and it makes clear how much support from Youth Workers can transform these things. Tonight: a night out! Can you imagine? I have nothing to do tomorrow (apart from aforementioned proposals) and I will be off on the same day as my wonderful husband. Plus it may even be sunny!! It seems to good to be true, so no doubt we will get over excited, end up with horrible hangovers and spend the day crying or similar. Tuesday I am off to Venice to see the bienniale and to drink over-priced wine with my mum. Really looking forward to not taking much, including my diary (I didn't want to pay Ryanair for a hold bag!), turning my phone OFF and just wandering in sunshine. Needless to say I will be practising my Italian on anyone who gets too close :) Can't wait!! Paying for everything this month on my credit card as no payment for work will be through till the end of June or July. The waiting kills me. Ciao Bella + Sto andando a Venezia...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 This is interesting: http://mashable.com/2009/06/15/google-artists-work... Should illustrators give Google their work for free? They will regardless I think. Interesting that Stan Schroeder who wrote the article says, "There’s a reason, however, why they aren’t offering monetary compensation for skinning Chrome. Google didn’t set the price for such work at (nearly) zero; the community did."  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 June seems to mainly involve waiting to get paid from various jobs done long ago, trying to catch up with my life and also holding back from making any plans whatsoever as other people make (very last-minute) decisions about where I will spend the summer.... I am also putting together a hefty list of resources for careers advice and ways to make money/improve career/be more efficient etc. This will be an entry on the http://www.intute.ac.uk/artsandhumanities/ blog at some point this month. Will let you know as hopefully there should be something of use to most people.. Also in June - Merseyside ACME/Liverpool Vision are organising a stepclever networking event at Royal Standard on the 30th. http://www.stepclever.co.uk/ Should be a good chance to meet some more people working in Liverpool, perhaps in other areas to visual arts. As it is also in my studio building it is extra easy, bonus. The event is hosted or facilitated by David Parrish, who I have had some good advice from in the past. It seems living/studio-ing in L3 is a good thing as I am now entitled to futher free business advice from David, and will be gladly taking him up on it soon! http://www.davidparrish.com/  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I am wondering this morning, whether Liverpool has the most volunteers per exhibition/event for any city in the UK? It seems that way.. especially as the Biennial depend so heavily on them. The Bluecoat also have plenty of them and even have them wearing t-shirts with 'volunteer' on instead of staff, which always seems a bit sad to me. I'm glad institutions make room for people to get experience, but they also have a responsibility to recognise when to stop don't they? The biennial generally gets new volunteers every time, who work intensively for a short time, but for the really valuable experience within the organisation they look for full-time volunteers for six months and seem to be able to pick and choose from plenty of candidates. I saw an advert this week for the new section of the new museum, which is looking for volunteers (aged 16 - 25) for invigilation. It seems this 'excellent opportunity to gain valuable experience' is intended as an alternative to paid staff; pretty bad for all the new graduates etc when you take into account that National Museums Liverpool (NML) already pay the least of any cultural institution in the city. Talking to a couple of colleauges in the Tate yesterday made me more frustrated - but you have to volunteer to stand a chance of getting a real job -they said. Perhaps that is true, but isn't volunteering in the arts to be done while at Uni, or soon afterwards and then only for a short time? I know people who have been volunteering for the Biennial for two years now (£20/day) and now get a mix of voluntary and paid work from them, counting themselves lucky. Is it just me that is baffled by this?? Enough voluntary rants for now. Next: all the valuable things I have learned from Dumb Objects and how artists may benefit from unpaid exhibitions.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Good news and really sad news this week. I found out that Intute (for whom I work as a cataloguer) has had its funding cut by half. This basically means that there may be a bit of work this year (contracts run until the end of June so a new one has begun), but there will be no manual entering of websites to the catalogue in 2010, hence I am out of a (small but rewarding) job. I have been doing this since 2005 and will miss it! I have entered over 500 websites thus far and reviewed more on top and it has proved to be an incredibly educating experience. It can also be annoying when whoever I meet, I can usually say, oh yes I know that website - I catalogued it. They have no idea what I'm talking about but it gives me an introduction to many organisations I would never otherwise have heard of. More worryingly, the £200-300 ish income a month it gives me (I only do a few hours) is the only guaranteed income I have as all my other jobs are freelance. So in tough months, for example in January and February this year, I only earned this: it was difficult to say the least. There is going to have to be some serious planning here.. I cannot make it through the crappy winter months on nothing next year. I am slightly saved by the YSP bursary, but that is finite and does not make for a sustainable income or life! In happier news, I have been nominated by Liverpool Biennial (I know, I know, the very organisation I have been critisicing for depending too heavily on volunteers) for a short residency in Linz, Austria. I found out yesterday that I need to be there next week, so it was a day of much googling and travel planning. Think I am going on Wed, but nothing booked yet as I still debate the benefits of Eurostar over flying. There is a travel budget of about £550 so for once no need to take the cheapest and most uncomfortable, inflexible route with all my belongings packed into my handbag... I need to take work with me as there is an opening for the new building on Friday 10th, how to get my cradboard creations in a suitcase with squishing them? Big print order from photobox today I reckon! The residency is here for three months (I could have gone for six but YSP starts in the autumn and I have signed a contract...) http://www.linz09.at/en/projekt-2434984/atelierhau... There is E1000 fee per month and a E500 materials budget for the project. A newly renovated apartment and studio are included for free with wirless and things. I'll be looking forward to it when it has sunk in! Some images of the Salzamt (Salt Authority building) being transformed into the International Studio House here: http://img13.imageshack.us/gal.php?g=dsc7322dachbo... will keep you posted.. a second blog perhaps?  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I'm off to see 'Twins: How Do I Know I am Me' by Angie Hiesel at A Foundation this afternoon with my identical twin sister. We toyed with the idea of wearing the same clothes, but not for very long! The Bluecoat, who organised the performance were advertising for identical twins for ages and Ruth and I were pretty up for it. Due to some bad communication, we turned up twice for auditions only to find they'd been cancelled, not so bad for me, but a pain in the arse for Ruth who has a very stressful job and had to drive 35 miles for it on her day off... It made me think because after those two attempts, she flat out refused to be involved. To her it was unthinkable to continue with the project after two failed attempts and little apology or compensation (there were expenses paid - after audition stage - but not for time, just for travel). Anyway, a Liverpool-based artist, Laurance Payot, was also looking for identical twins to do a short performance/intervention, so we will be helping her out instead. I think we are both quite happy to share our twin-ness, we know it is useful to people and have filled out book-sized surveys for various university studies each year since we were small. It's a difficult situation isn't it, asking the public to take part in works for free.. especially when rehearsals are involved and the artist is receiving a fee. It must create huge dependance for the artist on people who have no obligation to the work other than an interest and willingness to take part. Not sure I could cope with that stress! I see the plinth gets underway on Monday, will be interested to see how that gets on and whether there are enough people to sustain it for the duration...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 As I meet artists also working at the Salzamt here in Linz it becomes apparent that the capital of culture is not that popular with everyone. I have yet to dig deeper, but already there are murmers of idea-stealing, last minute cancellations and artists not being treated so well... hmmm. Digging via questioning over the weekend. In the British press, I thought Charlotte Higgins blog entry was interesting: http://www.guardian.co.uk/commentisfree/2009/jul/0... Not just for the pioneering moments in art, but a fresh appreciation of our free museums and galleries in the UK. I think I will be lucky enough to get a free 'insider' pass for all cultural events here, (if that doesn't work I will flash my Tate card and smile sweetly) but everywhere has an entry fee - everywhere!  Indeed, how could they stay open otherwise? We are very lucky in that respect.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Just saw this on twitter via Robert Gray, account of a photographer being arrested under section 44 (anti-terrorism), pretty shocking and worrying when you think how often you could be found snapping something random on a street somewhere int the UK... http://monaxle.com/2009/07/08/section-44-in-chatha...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I have just added a new blog post on Intute: Toolkits and free advice for the visual arts. Have a look! The post has links to various organisations and online resources with free advice and opportunity listings. Happy browsing.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 This article, from the latest issue of Variant, is really interesting.. Artist as Executive, Executive as ArtistKirsten Forkert http://www.variant.org.uk/35texts/CultLeader.html It references this article from the Guardian on 19/01/08, which I reckon is also worth a read: http://www.guardian.co.uk/commentisfree/2008/jan/1... ‘No pay, no gain: The reliance on unpaid interns in Britain’s industries puts poorer graduates at a disadvantage and makes a mockery of our so-called meritocratic society’, ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 One of the local artists working here at the Salzamt (for a one-year period), Katharina Gruzei, is leaving to go to Salzburg for a months teaching today, so I asked her if I could email the questions I wanted to ask in my interview, so she could respond by email, or be prepared for a quick interview next time she is around. We ended up talking about making a living anyway and talking about the precarity and sheer edges in an artist’s existence.I asked whether she makes a living from her work and she replied that currently she does, but in the autumn, her stipend runs out and the worry begins again. It seems to me she is very talented and proactive and will have no trouble finding future support, but I thought that I am in exactly the same position. This year and until July 2010, I am supported: I have enough income from bursaries and residency fees to live without too much worry. I know, however that there is nothing after July, and so I will be busy doing applications in the autumn and spring to try and fill this void, or at least provide a small stepping stone to the next respite.We also talked about the fact that we never found ourselves in the most desirable position: having made some work and then being given money/time to make new work. The bursaries we both have are to make new work within a time-frame, or more honestly, to try and make new work alongside other activities such as teaching and writing reports that are attached to this funding. This makes the supported time feel like there is little room for mistakes: the funding brings pressure and a spotlight that did not exist before. This seems ironic when I consider that the funding is intended for a period of making new work, time to play and experiment, fail, figure it out and start again. Perhaps this real experimentation is never possible when you are being given public or charitable funds? This money comes with responsibility to produce things and show money well spent. Perhaps also, it is just the nature of making art that we (artists) are too hard on ourselves, feeling pressure acutely and being unable to escape the looming uncertainty that comes after any opportunity?http://katharinagruzei.blogspot.com/... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 "Arts Council England today announced final details of an organisation-wide restructure that will transform the way it serves the arts and audiences. The restructure will save £6.5 million a year in administration costs and these savings will be invested in the arts." http://press.artscouncil.org.uk/Content/Detail.asp...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.guardian.co.uk/culture/2009/jul/15/yba-... The Guardian interviews four graduates fresh out of Goldsmiths - these lot don't seem to be letting the recession dictate things for them..... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 "His report will warn of a growing culture of unpaid, unadvertised internships now increasingly required to get into competitive fields which is excluding even relatively well-off children if their parents lack the social connections to secure them." Alan Milburn's report on private/state education cited by Gaby Hinsliff in an article from the Guardian today: http://www.guardian.co.uk/education/2009/jul/19/pr...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 If anyone has a few spare minutes perhaps you could go here: http://www.greatbritons.ba.com/users/16501 You have to sign up I'm afraid and can either leave a (nice!) comment on my profile or give it 5 stars by clicking on the last star on the right... this should help get the project shortlisted.. maybe? When you write yor profile they ask you to include 'emotive stories' to get the sympathy/support of the British public.. I, however, have no sob story - I just want to get an interesting exchange project between book artists in Liverpool and Buenos Aires off the ground! Thanks, very grateful to anyone who can take a few minutes out to help.. only five days left to vote!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 As I mentioned earlier, I thought the Capital of Culture year in Liverpool pretty much ignored and perhaps even took money out of (?) the grassroots art culture (some of the best, fiestyest and most innovative in the country may I say!). That fact seems to pale into insignificance when the olympics loom into view.criticalnetwork put it very well on their latest bulletin:"criticalnetwork says NO! to the Cultural OlympiadWe have been receiving a large number of submissions regarding events that form part of the Cultural Olympiad. Please note that we will not list any events that form part of this pointless, hegemonic and excessively drawn-out programme.As a collective of artists practising throughout the UK we directly oppose the Cultural Olympiad at every level on the basis that it aims to co-opt the work of artists to white wash the crimes of the 2012 Olympics and manufacture an appearance of acceptability at the expensive of (primarily grassroots) arts activity throughout the UK. A large proportion (more than £200m) of the ludicrous £10bn cost of the 2012 Olympics is being redistributed from the arts sector nationally and is creating a culture in which artists and art organisations are compromising their integrity, desperately trying to incorporate irrelevant Olympic themes in to their work in the hope of receiving financial support. The Cultural Olympiad is the folly of cultural middle-managers and policy makers, it is art as tourism, it is the Capital City over the rest of the country, it is not going to feature on criticalnetwork." Couldn't have said it better.. I hope the park will at least continue to be used, how depressing to go somewhere like Barcelona and see a garveyard of a park that was once an over-budget, must have thing just for the Olympics. I am not a fan, yet here I am trying to get a flight from BA in their competition. This is all tied in with the Olympics and they say on the website 'This scheme will look for individuals who demonstrate the values associated with Olympic and Paralympic Games and who strive to be the best' hmm, I strive to be MY best, which is not the same thing.. but I really want the flight. Victoria, a book artist in Argentina, and I have been emailing for ages and have also been brewing great plans! Am I a hypocrite? Is British Airways giving away free flights (based on some bizarre voting scheme, but they go ahead and pick the shortlist regardless) system the same as supporting the Olympics? I hope not! Don't even get me started on the allotments.  To subscribe to criticalnetwork bulletins go here: http://www.criticalnetwork.co.uk/home.php Do any artists really want the Olymipics? I'm curious..... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 So, the Linz blog has had to go for now. I stopped blogging about my work for lots of reasons last year, and thought it might be different during a residency. But it's not. I think I tend to get overly introspective and it's just not that great for the work-making. It was getting complicated too as various people here at the Salzamt in Linz were reading it, and when I found that out I felt pretty uncomfortable about how much of myself was laid bare for them all to see! In the meantime, there are some observations I have been making about artists working here and some interviews to write up. I am also busy writing an article for the Linz Neuner Magazine. Just need to wait for my sunkissed glow to die down (ahem) before Jens can take my portrait to go with it.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Events here at the Salzamt in Linz have got me thinking about the way artists get treated sometimes. The atmosphere between the three international artists here (including me) is glum to say the least. Instead of getting on with work, we are all pretty worried about money as we have still not been paid. I have just been paid a bit from Tate Liverpool and have borrowed off three people to keep me going. I will have been here three weeks on Thursday and have also paid for my travel to get here. Needless to say, I don't have any savings to rely on, haven't worked this month elsewhere and so have no income until September 1st (Yorkshire Sculpture Park). I just feel glad that there are people I can ask for help and that I have pounds not Krooni. I am starting to feel a bit foolish as there is absolutely nothing I can do about it. I came here on the strength of some emails (the first from Liverpool Biennial - so I know the money will come). There is no contract, no guarantees and even the amount we are getting seems to have changed (materials money has disappeared from the equasion). Apart from not really getting the benefits of being in a new exciting land, there is also the worry that I have to exhibit some new work in three weeks. I had hoped this residency would be a good chance to play about with some materials (wood, concrete and resin were in my head) or make something really ambitious in this wonderful space I have, but currently I am saving my money for food. Although I am sure the money will come before then, time to play about and make is also important, and it feels like it is slipping away. I shall have to be content for now with my paper and cardboard... and I am still being ambitious, but not in the ways I hoped! I feel like this problem may be fixed for the next batch of residents as we are almost like guinea pigs, but that doesn't help today. So, how often do artists have to put themselves in this position? I know I have, many times. I have also signed contracts, which included payment dates, amounts and what was expected of me. I got paid on time and did what I said (sometimes more) and it was easy and good. Perhaps contracts don't always work out either? It just seems artists are not very likely to have savings, a steady income or other back-ups (i.e. living in your overdraft already), so they will be ill-equipped to deal with delays and non-payments. Pah. I suppose another lesson learned; not to rely on immediate payment or to trust vague figures from an email. At least we have beds!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Well, things are better now that we have dates! They (official types) are meeting on the 13th August to sort money out and transfers will be made the next day.. so we should have money by the 18th at the latest.. They are sorting out money for the next residents then too, so they will actually get paid before they come, but I will have been here for 5 weeks by then. So, anyway, I feel like there has been much negativity from me of late. Apologies, and today - a good and happy post, about Capital of Culture spending would you believe! This place, Bellevue, Das Gelbe Haus (The Yellow House), is fantastic! It is about 7-8kms out of Linz, next to all the tower block flats, overlooking the motorway. It opened on the 25th June and closes on 13th September and everything here is free. Monday = Artist in residency (there are about ten!) presentation or talk - sadly I miss these because my German is hopeless. Tuesday = film screenings with an introductory talkWednesday = Music eveningThursday, Friday, Saturday and Sunday = workshops, sports, walks, writing, dancing, live music and artists in residence againSunday there is also free breakfast from 11. I have been a few times now and it is always full, people use it, hang out with friends there and most definately take part. I went to a sewing workshop last week and made an apron as well as meeting two seventeen year old Somalian refugees who live opposite and go most days to volunteer or just drinks ridiculous amounts of coffee. They also play for the football team, which they are ectastic about - knock out tournaments with other ad-hoc teams every weekend, but they get to wear a special yellow shirt. How nice is that? So, a truly useful and inspiring project. I'm not sure this would work quite as well in England, would it?.. certainly can't imagine the same set-up working in Liverpool. What I mean by that is that I can see it being used to drink in and graffiti on. Perhaps I'm wrong? I hope so. It might be good in a smaller city perhaps.. But yes, it seems like money well spent.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Apologies if this becomes part Linzblog, part paidblog for a while - it all seems to seep through somehow! On my quest to find independent artists groups: I found one! Just by accident and some word of mouth asking.. There is a big group of artists who live in an old industrial building by the docks areas. It's really interesting round that area, very much like Liverpool's old industrial bits, and although I haven't been inside the house I plan to make a visit soon. Comparing Liverpool & Linz, it occurred to me how much grass roots level organisations in the UK try hard to professionalise themselves and in some ways, imitate the larger institutions. Not everyone, but certainly a good amount. This trend of becoming so comercially adept (largely I think, a vital strategy to secure ever more elusive funding) seems to have spread and the number of sleek indie spaces across the UK has grown (and become easier to find due to the awesome power of the internet). This is good, especially if it creates strong networks/communities in local art scenes, as well as providing easier and more visible links to other places. However, how much of this is a fairly hollow process? How many artists and groups are just going through the motions to create something that looks good on the outside, but actually is just based on other people's projects? Doing what they think they SHOULD be doing, not something they have really thought through. In Linz it feels like the pendulum swings a bit too far in the other direction - artists getting on in secret and not engaging with the larger art scene as much. It seems that the kind of activity I am used to seeing from young or less established artists, like exhibitions in empty spaces, or groups setting up, is more the preserve of students here. This goes some way to explaining why it is quiet in the summer. After getting away from the organising, I have been having conversations with a couple of artists via e-mail. At the moment this feels like all I can manage in terms of networking and collaborative efforts. However, there are some good and deep connections developing here, so I hope it does become something more substantial in the future; when it's ready!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Linzblog: I've seen two amazing things this weekend and feel very lucky to be here.. Soap & Skin at the Cathedral on Sat night; a 19 year old Austrian girl who was just incredible and who I now have a huge crush on. Tonight, Willi Dorner's Above, Under, Inbetween. Not only does this sound like a title I would give my work, it also involves using furniture and found things in a really clever playful way, so I was very keen to see it. Beautiful stuff that built up to a frantic end with furniture and the dancer's bodies being used like the mouse trap game contraption and dominoes. I feel energised. I have also been exploring the building while staff are off and someone left the lift unlocked!! Uh oh.. this meant I could go into the attic - beautiful space, which we really need to use for the next exhibition.. now just to convince Holger.. hm. Paidblog: A conversation in the pub last night highlighted for me something I never do much of -planning! One of the artists here, a photographer, often works with his girlfriend on jobs. He was saying how they have to be really honest about what they are doing/plan to do and also how they are going to achieve X,Y and Z (making money, getting better and building a rep I guess). I thought, hmm wait a minute.. I can't remember the last time I had a conversation with myself about where I want to be and what I want to be doing in (number) months/years time. I tried to make a career plan quite recently, but wasn't taking it - or myself - very seriously. My head is full of these ideas and plans, but they are all shrouded in a (nice) grey mist and I can't quite get a handle on any of it. Hence the panic when I arrived here I suppose. There is also the issue of being honest with yourself about what you are achieving..I always have a feeling with future things that they are mostly out of my control and the directions I take end up being decided by other people according to the opportunities I am offered. I'd like to change that a bit and I have already noticed that being booked for YSP from Sep - July has meant I have said no to things. Felt awful and like I was missing out at the time, but on reflection, they weren't exactly right for my work and it was very good not to overload myself. I suppose I must have known they weren't right otherwise I probably would have found a way to do them. I also divulged all my insecurities to him, along with all feelings of intimidation I often experience and all cracks present in my being basically. It was good; he admitted to some similar feelings (not so many), but after that I felt less bothered: there's not much left to hide!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Randomblog: I always like seeing the curated selections on Axis (well done Rachel!), especially thinking about the links that other people make between artists and their work. Same goes for the MA stars and artists of the month selections - it makes me look at people's work that I wouldn't otherwise find. However, recently the artist of the month has confused me - it always seems to be people who join just because they have been selected.. seems to miss the point a bit..shouldn't selectors be choosing people who are already in the database rather than inviting people? Maybe it doesn't matter, who knows? MA Stars is different, they are artists who probably haven't joined yet anyway... but, anyway; a random thought for a random Monday morning. Also - have been really liking Emilia Telese's tweets of late - this morning: it's staggering to see how many artists make themselves fit into the mold of the selfish, tortured soul, advocating their own uselessness earlier: Artists change the world and are valuable to people's lives Yes! quite. I suspect she is about as good a model of professionalism as you will find in these here art-woods. Interesting podcast with her here: http://www.digitalmediacentre.org/podcast.html Linzblog: Looking afresh at the exhibition space with the other artists and seeing it as a challenge - how to show the many possibilities of exhibiting within the same space - how not to use awful plastic screens! Less complaining about how bad it is and more conviction to make the best of it! I felt excited and am bouncing round my studio a bit today.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Maternity/paidblog: So, this post is quite a personal topic, but something I have been pondering or worrying over for a while, without conclusion or useful thoughts. Perhaps the good blog readers will be able to offer some advice/ own experiences?On having children; my husband is desperate for babies and I’m not adverse to the idea, in fact as soon as YSbloodyP is done next summer it’s babies are go as far as I’m concerned (presuming we are both able etc..). One major problem, as a self-employed artist, is what the hell am I going to do about money?? Full child benefit currently stands at £80/month. My husband earns an okay wage as a games programmer. However, he went back to Uni and graduated again in 2006, so then he had a job, but plenty of debts too. When we moved in together, he had just started work and I am a self-employed artist, therefore neither of us could pass a landlord’s credit check and had to get a loan to pay rent in advance. This meant paying back more and over a longer period, so that took its toll. Needless to say Dan has to bail me out occasionally (see non-payment in Linz for most recent example). Anyway, that is all back history to illustrate the point that we live in our overdrafts and struggle when unexpected car bills and the like crop up. To be solvent it will take a few years, but we don’t want to wait. Friends and family have joked that I need a job in the council or somewhere for 6 months, then I’d have maternity pay. Trouble is, that does seem like the only real option; getting employed.Reminded of a familiar worry by this month’s curated selection on Axis, there is also the worry about how I will manage everything. The selector Katy Deepwell says "While many artists in art school are still fed the myth that somehow motherhood and art are incompatible, the extended education of many women (artists included) has pushed motherhood later and later in their lives”. But is it a myth? Can I still work? More likely perhaps - will I be so smitten that I won't want to? Lena Simic from The Institute for the Art and Practice of Dissent at Home in Liverpool manages to mix her children, life and art pretty seamlessly, but I’m not sure this way is for me; my husband is not an artist for a start and he likes his privacy! I don't know anyone else that I can use as an example; all my (women) friends with babies gave up their art long ago or never did it, and friends who are artists do not have babies. Mainly I am scared about having worked so hard and losing all that. Would I end up losing my practice (as opposed to finding it)? It seems that whichever way you do it; you can’t really have it all. Can you? (someone say yes please..)... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Firstly, thanks to everyone who replied. Like I said below I didn't think about the personal nature of replies being incompatible with comments. Heard from some mums, dads, and some also worrieds. The majority says yes, you can have it all, but perhaps with a year off and some guilt. I also realised that lots of artists whose work I am pretty familiar with, are parents and I would never have known. I also had some good chat going on on facebook about the entry and among the emails, the following response about planning (from a previous post) and babies, from my mum is probably my favourite (she is pretty awesome and usually speaks sense). Hibeen reading your blog ...1: you need an appraisal - Your boss wants to know what you've been up to and what your plans are, so - write on one side of A4 what you have achieved in the past year and on the other side what you plan to do in the next year.When my appraisal's due I look at what I'd said I'd do last year and see whether  I have achieved it, then write down what I want to do in the next year.I also have vague 10 year plan - 1 small piece of paper and a quick scrawl of what needs doing and what I'd like to do.I do have a budget of 300k to spend and have to say what I want to spend it on - you'll have to work in paper and pencils or somesuch instead but the principle is the same whether it's tuppence or a million.as for babies - yes you can do it - they can go to nursery at 2.5 and they'll be great at helping you make things up until then (as long as you don't mind sick etc. on the works of art!!) and they bring a whole new dimension to your life. LesOk Grandma. Appraisal first then... Linzblog: much building and collapsing (see images of me building places to hide). It is raining, which is a relief as I feel no need to leave my studio. Attic idea for the next exhibition completely refused. I am spending too much time on the computer and it's making me really tense! - But(!) one more application to get through today and then I'm done...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I didn't mean to post anything else again today, but I was just checking the deadline for something and came across a residency at the Bridge School; a special needs school in Islington. This is a residency with studio, materials budget that involves teaching a 50% timetable. Payment is in the region of 12 - 13k as a 50% unqualified teacher's salary would be.. But they are not looking to employ an unqualified teacher are they? They want a professional artist. How does that work then? They also state a desire for experience working with special needs - so although on an unqualified rate (lots of artists will never be qualified as a teacher!) they are looking for an art qualification and are asking for experience. So anyway, unqualified teacher/artist: it's not the same thing and seems to be quite dangerous to presume that it is. It seems to also be presumed that the artist will be grateful at having an income and studio space guaranteed for a year and that they won't expect to be paid more. Maybe lots of artists would be grateful? Does this kind of experience imply that the time they are giving you (by paying the same amount as a shop job), is part of the payment? I realise that schools have little spare cash and that this will probably be a great experience for someone.. but perhaps they need to have the resident for half the time and pay the same amount? Anyway, it's a lot better paid than most school-based residencies, but it still seems badly paid (even if you count the cost of a London studio at £200/month that only adds £2400 onto the value..). I would also be terrified at the 50% timetable requirement.. hopefully they give training for working with special needs children too. Having taught English in Japan for a couple of years (very different, yes I do realise..) and art workshops I have a very good idea of how long planning takes when you are inexperienced and are desperate to do a good job. I feel sure that for the first few months this 50% would end up being a full time job.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Must stop posting more than once a day and get a life.....in the meantime: First - HSBC have a £30,000 student bursaries competition going: http://bit.ly/18wOeU Second - just a quickie - a link from The New Gallery on twitter: http://www.rabble.ca/books/reviews/more-business-u... review of a book from 2008, which caught my eye as it is questioning the role of artist-led spaces (you may or may not remember I was wittering on about that a few days ago...). Anyway, decentre: concerning artist-run culture by Elaine Chang, Andrea Lalonde, Chris Lloyd, Steve Loft, Jonathan Middleton, Daniel Roy, Haema Sivanesan, eds is published by YYZ Books (this website is also interesting and one I have catalogued - look:www.yyzartistsoutlet.org/) in Canada. rabble.ca say about the book (sorry to be a lazy quoter): The editors of decentre make a concerted effort to explore artist-run centres (ARCs) in their current form, inviting artists and organizers to reflect on where "the real strength of artist-run culture" lies and whether the concept of ARCs has in fact "outlived its usefulness." The books profiles 103 spaces and the review seems to think it's a pretty good, interesting and timely overview, although certainly not without its faults.. my curiosity was also piqued by the mention of the preface by Hans Abbing that examines the denial of economics in art.. (he also wrote Why Are Artists Poor?) http://www.hansabbing.nl/ I might just have to order a copy and let you know properly - at least if I have something to read I won't be on here every 5 minutes!!  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Linzblog: I have been reading through a few blogs this morning and specifically those by other people currently on residencies.. It made me laugh how much I recognise my own experiences mirrored in these: struggling with time both going slowly and then having disappeared, feeling that progress is slow ( I have been given this time/space I so desperately wanted, why haven't I filled the room with work?) and also having so many ideas that it can be difficult to decide which direction to take. Talking last night to the other residents - we have been here a month now! - we all agreed that we were suprised how long it has taken to really get a feel for Linz, although I think this might be due in part to the capital of culture colouring everything. I also think it has something to do with the fact that we found ourselves here with a week or two notice with no knowledge of what was coming. Applying to something with a proposal gives you a starting point I suppose, and just going somewhere leaves you with a bit of a struggle. Mine is between work I had been wanting to do for ages in Liverpool and wanting to respond to Linz itself. The Liverpool work seems less relevant while I am here and perhaps that it can wait (although it has waited a long time already!). I can't help but have new thoughts, new ideas, all from Linz and seeming more urgent while I am here. There is only 6 weeks left, so I shall have to make some decisions soon and leave this limbo land. The exhibition also looms in my head, as once again, I'm not sure how I can show anything but work in progress? Although I am pretty good at forgetting that it takes me a long time to build up to something and then I make quite frantically for days/weeks before stopping again. Like a zen monk contemplating one brushstroke for an hour, only far less sophisticated and with more angst. This worry over what to do however, make me glad that this has been such a rich experience.. I know that I am gathering things that will stay in my work for a long time. Whether I get them done while I am here or not is another question! Had some unexpected success from this strange and awkward exhibtion downstairs: an artist from France ordering a copy of all of my books (with promises to be in touch about other things too..?) and a multiples shop in Germany asking to stock my books. A much needed boost to my confidence and a sign that my editions need to be a little bit bigger in future - 14 doesn't go very far!!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Getting paid/Linzblog: Who would have thought I'd be so happy about getting Spar vouchers! 100 Euros worth of them infact. That can either feed me for the rest of my time here, or I shall gorge myself on champagne, chocolate and lots of fresh fish. I haven't decided yet. Travel money (not a lot as I came with Ryanair) has been transferred into my bank account too - so should be there in a few days. This will help lots. Actual money payment stuff still not confirmed although it should be within 10 days...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Blogging blog: I have been reading blogs, but not writing them for the last few days. This is mainly because I am frustrated about a fair few things and I just don't think it's entirely appropriate to be ranting about it all on here. I have an opinionated mouth and I should think more before I speak! I have written a few ranty posts in notepad, left them for review in the morning and never posted them. Linz blog: Work is great; racing along with four or five different projects, some drawing, sculptures and a bookwork. None of these will be finished as such by the end of the residency, but I am excited and happy to have so many leads and to be working so consistently. One of the projects will be photographed in the attic space (gorgeous, but not safe for public use, hence the vetoed exhibition idea!) and I hope to have a prototype of the book ready for the exhibition. This is called 'The City is Yellow, The City is Grey' and uses the colours to explore the bright side of Linz contrasted with a darker, underground side. Time feels like it is rushing by and I'm not sure how I will get my day trips (Salzburg/Vienna/Cesky Krumlov) in before I leave.. especially as these are also dependent on cash! Holger as been given the okay to take us to one of the big lakes near Salzburg for the day, so perhaps we will do this next week (weather is a bit overcast this week). Overnight trip to one of the local artist's country pad this weekend and it will be so good to get out! Living and working in one place is great, but I could do with a change.... I also contacted some more artists this week to interview about how they make a living, and have been purposefully trying to contact more established artists to get a balance (and those whose work I really like too!). So far there is quite a lot of passiveness (in accepting things the way they are) and many of the artists are exhibiting garret/starvation tendancies! Ther are a couple who really tip the balance though, so that's interesting to see... wonder what the older generation have to say?... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Getting paid blog: This is in reply to Christina and Andrew in the previous post.. firstly thanks very much for the rant encouragment! There shall be more to come. However, recent frustrations I mentioned here are more to do with personal.. shall we say.. issues, with one of the other artists here (and money), and the blog is not the place! This is one of my areas for improvement - knowing where the line is and not stepping over it! Regarding writing about my practice, I did want to try it again with the Linz blog, but I have learned that when I am very involved in something and start analysing it too much, it gets complicated. I then tend to paralyze myself with too much thought and stop making. I find it is better to have a little distance on things and although I know what I want and am trying to do, the consideration of success and progress should be done retrospectively. Of course this is entirely personal and just what works best for me. No rules etc.. Not sure I agree entirely with your thoughts on the importance of money in the equasion.. It is difficult when you are so absorbed in what you're doing to consider money, but I think it IS important where the money comes from. By supporting your art with another job, doesn't that say something about not valuing your own work? Don't get me wrong, I don't think it's possible to get paid for just making work everyday - so I realise the idea that an artist has a studio and works in it all the time is pretty difficult to acheive. But there are ways of getting people to invest in you, to find support for periods of time, perhaps people will buy your work too (not really with mine). What I mean is, it's very challenging and it takes hard work (and often miserable rejections and self-doubts), but aren't the hours of boring admin the same as having a part time job somewhere? We don't want to do it - but it is what brings money. My dad had an electrical engineering firm when I was small and when he did tenders for jobs (that took days), I remember thinking 'what the hell's that about? They might not even get the job and they're doing all that work for nothing..'. He always said that they budgeted to get one out of eight jobs. It's exactly the same with applications for me and if I get one out of 4/5 residencies/exhibitions, I count myself successful. (It is also a basic psychological trick to make myself feel okay about the knock backs!) cont...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Cont from previous post.. I also think this is where the arts get strange. I'm not sure there are other industries (for want of a better word), where unpaid professionals work alongside paid ones (Is anyone really paid?). I don't think it's really a case of amateur and professional working alongside each other, as lots of artists are graduates and have been practising for a long time, they just earn their income in another sphere. Imagine if someone graduated in accounting and after university continued their part time job in a stationery shop whilst doing accounts in their spare time -  never going to happen because they can and will earn money. If artists never expect or ask to get paid (properly) for the things they do then why would the public perception of arts being free ever need to change? It won't. If artists, on the other hand, recognise that they have many skills to offer, perhaps in other arenas than simply making their own work, other people will also value them. I'm thinking about all the multi-tasking, writing, applying creative thinking, problem solving, imaginative, thrifty things that artists do in everyday lives that could be applied in any number of situations. As the visual arts are becoming increasingly important parts of big development projects and consultations, it is up to artists to stand up for their worth. A really great example in this field is Sans Facon, who get involved with large scale projects, but will also insist on changing the terms to fit the way they work best if they cannot work within the original brief. http://www.sansfacon.co.uk/ On the other hand, the perception of the arts being free is quite far gone and it might take a lot of work to undo it - but on the scale of individual/organisation, it might only need a conversation. There is also the issue of there being too many artists for the amount of work available, I have no idea what happens there. I guess you just have to try and find the place you fit best and work at that, perhaps considering other avenues for work that aren't strictly art? It seems to me the less restrictions or labels you tag onto yourself, the less likely it is that others will categorise you too.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 blogblog: Just noticed that a shortlist of 59 proposals for Take the Lead (Cultural Olympiad) has been decided on: http://tinyurl.com/mbzwcu. Some interesting ideas.. Linz blog: Rain here, the likes of which I haven't seen since I lived in Japan. It's nice and warm too so was good to go out, get soaked and then have a swim in the river, in the rain today. Work still going well.. I am making a costume/wearable sculpture for a performative piece Jens is going to help me document in the attic. Feel very lucky to have the help of such a talented photographer and hope I can repay him in other art favours. Imagine if art-bartering worked so well all the time! I never appear in my work so this is a bit of a strange leap for me, but I feel a bit like no one is watching, so it's a good time to try something I would normally be too shy/self-conscious to do. Drawings, nets, start, attic and my portrait by Jens all here... He is photographing all the artists in their studios as part of an ongoing project, but I will also use it for the article I WILL write for the neuner (09) managzine... any day.... I don't look like me.. far too serious (or glazed?!). Travel money for the first leg of the journey came through, alas, by pure human error the £130 flight was missed off, so all I got was £42 trains... oh dear.. trip to Salzburg is off then! I was pretty fed up when I realised, but I'm so defeated by it, I just feel like what difference will one week make? More studio work at least...  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Paid in Linz blog: Just spoke to Holger (thanks H if you are reading this!).. money was paid in yesterday!! Hoorah - more than I thought too, so massive sighs of relief all round. That means on Tuesday next week (perhaps Monday?) I shall be rich! Beyond my wildest dreams. Well, actually I will be buying my sister a really nice 30th birthday present and squirreling away a large amount for my tax bill in 2010! There is enough materials money to make a decent edition of the 'Grau/Gelb' book too, which is very exciting. I don't think I can finish it while I am here unfortunately (a prototype but not a finished edition).. that will involve at least a weeks (maybe two if I make a hardback..) full time work in the print studio and on assembly. But it will be done!! I need another month here! I wish I could have stayed for six infact. That would change everything and it's interesting (and useless) to think about how the work would continue to develop. I suspect it will be hard to hold onto in the same way when I get back to Liverpool and am in the midst of many stressful workshops for YSP in Wakefield. Tax blog: I was just messenging Dan about getting money and he piped up with tax worries.. YSP (the next project) involves a £10,000 bursary, but it is a charity and should be tax free say HMRC, although they won't say one way or another over the phone until I file it! This is because it is for career development/ training rather than paying a proper rate. It includes 100 days work - £100 per day, but travel, materials and accomodation while in Wakefield are not included, so the actual amount includes a lot of living costs rather than payment. Linz is definately taxable as it is a fee for work done, although I have some confusion about earning the money in Austria rather than the UK (when working in Japan I opted to pay NI, but didn't have to). But I will declare it of course.. infact earning more on paper is really important this year as I'm sure we will want to try and buy a house at some point in the next few years.... At least that is for next year's taxes.. I still have to do this years, although they are very simple as I earned bugger all! Next year's tax form will involve this ever-increasing pile of receipts/travel costs and much more complicated things. I would like an accountant, but not sure my earnings are going to be enough to warrant it. Liverpool Council/ACME offer free accounts/tax training to self employed types, and so do Train 2000 infact. I shall be going down that route first. This may just give me a true idea of how little I know and lead me to an accountant! Right, enough tax chat.. more glue guns and cardboard.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Paidblog: Alas, still no money through. I guess when a bigger amount is transferred the bank like to hold onto it for a bit longer to make themselves some money. Linzblog: An incredible weekend.. to the house of a local artist up north, a gorgeous 18th century cottage with a huge garden and orchards looking out over hills and hills and hills. Beautiful. Also discovered that Stephan is an amazing cook, so we were fed on gourmet titbits all weekend while we lounged on sunbeds and deckchairs reading through his collection of art magazines. Bliss, and a much needed break from the Salzamt. Living and working in the same building is fantastic, intense, productive, but also too much after a while! On Saturday there was a trip to Atterseee (one of the big lakes in the Salzkamergutt area.) and swimming in very clear water followed by smoked makerel from a little wooden hut by the Danube on the way back. Sunday night and Monday I spent in Vienna, while Stephan collected some large prints for the next exhibition here. I went to see Mind Expanders, Performative Bodies - Utopian Architecture at MUMOK http://www.mumok.at/program/exhibitions/mind-expan... Very relevant to my work at the moment and really meaty stuff. Very nice to see some work of Austrian/German artists that don't get shown much in the UK. Valie Export is a new favourite. http://www.valieexport.com/ Cy Twombly was also on and I was surprised how much I enjoyed that.. especially the sculptures and photographs, or maybe it was the mix of everything. Made me realise I too am guilty of putting artists into neat boxes (it's just what I am fed, sorry!!). I also had a good walk round, went into some of the commercial galleries - really nothing I could recommend unfortunately. A walk past the Secession building sent a shudder through me as I relived working at the Tate during the Klimt exhibition last year. Thank god it was closed Mondays so I didn't have to decided whether to go in or not... although they do have contemporary art as well as the Beethoven frieze! My Tate staff card actually gets me in everywhere free... well almost, somtimes you have to pay 50 cents (tax?). This in incredible, changes the way you look at exhibitions, how long you spend and also saved me at least 40 euros. Yesterday we spent four hours sorting out the flyer for the upcoming exhibition. Uck. A struggle working with a group of headstrong artists with whom relationships are still fairly new, but we have an image. Just need a title now... oh dear! My cardboard idea for the image was the one we ended up using, so I was very glad about that.. Anxious about time/work/finshing/whether what I'm making is a pile of crap or not, but just doing it now - it's too late for too much worrying.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Paidblog: Very good news: Intute have found me 10 hours work a month until December :) So glad. This will be mainly reviewing/ updating the mass of old and out of date records, but if you have a good art related website then send me the link and I will add it to the database. emily@emilyspeed.co.uk No personal websites I'm afraid, but good critical research or indepth written content very welcome.. http://www.intute.ac.uk/creativearts/... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Rantblog: Just saw this posted by Art in Liverpool's Ian Jackson on Facebook http://www.artinliverpool.com/blog/2009/08/topshop... Liverpool's new topshop are looking for an artist to design and paint the walls in both Topshop and Topman. The store is going to be huge (biggest outside London I think) and has taken months to refit/build. In the midst of all this development you don't think they could manage to leave a bit of cash for the art? No, if you win, it's even preferable that you have your own team of helpers. Nice. You have 5 days to finish it and although there is no payment, you will get 'considerable media attention'. Ah really? thanks Topshop, you lovely multi-million pound business you. It doesn't even say if they will provide the paint/materials - that could make it a very expensive load of media attention if they don't. This is incredibly angry-making and is a good example of art being added on for decoration (literally) at the last minute. Would a measly £500 have killed them? Wonder how much the shop fittings cost, and the plastic bags? A lot more than the art for sure.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Linzblog: On Friday we were very lucky indeed, and managed to get the keys to go into the tunnels under Linz. As the book I am making is about the surface and what lies underneath, I have been desperate to get in the tunnels and I have been pestering Holger to get me in for a while.. it was good too as everyone ended up going and seeing them. Earlier in the 09 year, there was an exhibition held in the tunnels, which I am so sad I missed, but the gallery who curated it still had the keys. This is a really good example of the things residencies can give you - a way in to things that would otherwise seem impossible. You have a middle man from the residency programme who knows who to ask and how to ask them. These tunnels were partly built by prisoners from Mauthausen concentration camp 20kms outside the city. One of the hardest camps - no gas chambers until quite late on, but worked to death working in a stone quarry - a lot of the prisoners here were sent from Auschwitz and it was also well known for holding a lot of Russians, and treating them with incredible cruelty (5 tea spoonfuls of food every three days, enough to keep you alive, but hardly living). They worked in the dark (pitch black) and when bombs were dropped on Linz, which was often, as the industry Hitler built up was for manufacturing ammunition and artillary, the prisoners were made to go outside so the guards could take shelter. We had about two hours in the tunnels and access to about 2 miles of them over two levels underground. On the lowest level there was the shell of a really old car, which was incredible and very puzzling! Lights only went so far so there were parts that we only saw after taking a photograph with flash. This was an incredible experience that I won't forget. http://www.mauthausen-memorial.at/... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 NotPaidblog: well, guess what, the money didn't go through again. No travel money, no fee money - nothing. I am pretty disappointed, but not surprised. I am leaving for Liverpool on Wednesday evening as it is my 30th birthday on Sat 29th and I have to spend it with my twin sister (it just wouldn't be right not to). I was looking forward to some celebrating, frock buying, champagne drinking (oh fine, cava then), not worrying. As it is, IF the money goes through this week (international payments on Thursdays) then it will be in my account by Tuesday 1st September. One problem, all my bills come out then, rent, studio, council tax etc et... If the money doesn't go through.. I have no reserves left now, overdraft used, credit card a goner. End of line. Except family loans of course.. but that's horrible, I don't want to do that, I'm 30 next week.. an adult capable of supporting themself surely? Pah. meeting about travel money on Wed morning, so that may be a couple of hundred guaranted for the 1st, although I don't know why this hasn't been paid in already. But as for the rest of it, it seems I am at the mercy of Linz council or some other official body...I don't really know what's going on. so for the last two weeks of my residency I may have some money to spend (see reports of drunken, belligerent artists in the cultural capital)? Or not... watch this space....... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 post #101! Should I be worried? Applyingblog: Battling today with my need to try and do evrything all the time in the world ever.. Currently this involves my regular load of applications plus two open exhibitions - the kind I never normally apply for (I like to go and see them, but then I also like having my work in exhibitions with fewer people and a planned connection). These two seem to be more themed and connected with my work.. but then they ask for an entry fee. Just little ones, but I don't like that either (although I recognize the amount of admin involved). It seems too much of a gamble to be honest. Perhaps I'll choose just one, that's not a bad compromise.. then I can add it to my list of lessons learned if unsuccessful.  Again, YSP comes to my rescue when I look at a lot of dates and have to say.. oh no, I shall be in Yorkshire, can't apply for that. I quite like having some things in my diary until July next year!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 The birthday trip home to Liverpool begins in about two hours, so I shall see you in September... Hoping this break will give everything a bit of clarity when I get back and see my work again. The next exhibiton is on the 8th September, so I want to think carefully about how I show things in that exhibition space. My mum is coming back to Linz with me for a few days, which will be so nice - the thing about residencies is no one else gets to see where you are or what you're doing, so you come back talking about things and no one else has clue. It makes you dull if you're not careful! Unfortunately she may end up getting roped into a photography session or similar :) Some images of the work that Jens took in the attic of me.. no title yet. I also dumped all the images into an animation to see what it looked like, the answer seems to be too comical! Feedback includes, mad deranged dalek, Howl's Moving Castle (awesome Studio Ghibli film), cardboard robot, waddling city, hilarious and well funny. This was all well meant and looking at it, I can see where they're coming from! However, plenty of editing and displayed how I want it should look a little differently, I hope! Perhaps the dear blog readers have some other comparisons to add?? Here is the unedited animation should you care to take a look: http://www.youtube.com/watch?v=QE_bhNOQm2g (The House Like Me title is temporary -  from one of my artists' books and is inspired by Casa Malaparte, a kind of self portrait in architecture by Curzio Malaparte, on the island of Capri.) Some ideas around the work: Inhabiting the city/being outside the city/The city as psychological space/The city or architecture as self portrait.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Paidblog!!! Just a quickie.. I'm back and oh a bath and my own bed were so sweet. Really enjoyed a massive pot of tea and some toast this morning too. More importantly.. I've beed paid! Some birthday God must have been looking over me, or perhaps the money did go through and just took a very very long time. I don't care and it doesn't matter that it took over six weeks (ahem) ..I can now relax and pay some bills! Phew. Few bits of writing to get done today and tomorrow and then my brain shall be non-art/work related for the whole weekend. See you next week.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Apologies for going so awol... very good long weekend in Liverpool/Kingsley having a 1950s themed birthday party. No time to finish off all those little jobs while I was home after all.. so am feeling unprepared and a bit muddled about what I need to do next. Mum was here for a few days this week so we saw a lot, explored, ate, drank and were utterly geeked up at Ars Electronica digital art festival here this weekend. Some fantastic stuff, will upload pics when I find the phone cable...if I didn't leave it in Liverpool... oh dear. http://www.aec.at/index_de.php Also the migrating academies project is here from Vilnius (among other places) so I will go along tonight and see if anyone there knows Fiona Flynn (fellow a-n blogger who was filming an art/reality show, Artothlon, there this summer). http://www.a-n.co.uk/artists_talking/projects/single/544034 Exhibition opens here on Tuesday evening so that had better be first on my list I suppose!! Work is sort of done, but I haven't decided how to show it or where it should go. The space is still awkward and I am considering putting it in the lift. Maybe I should be in it? Maybe I should walk around during the opening, bump into people and spill their drinks and break other people's work. Perhaps not. Besides I had more ideas and starting making another piece today, as usual. Mehmet from Turkey is here, going through similar troubles extracting money or information, I empathise but cannot lend anything this time.. Money from YSP (To be paid Sep 1st in contract) has not appeared - it is to be a cheque in the post so I am being very wary of spending what I have.. it might need to last me a long time. I realise now that I am always in this situation and it is tiresome! It also makes me a bore so I shall stop on that subject, sorry. So anyway.. hanging the show over the next day or two and then some proper thoughts.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Ah, show is up, I have a title.. it's not the most amazing thing I have ever done, but that disappointment is partly due to the fact that I can't show the animation alongside the sculpture.. otherwise it will do. This exhibition could have really done with a curator.. as it is, it looks like two solo shows with the rest of us squeezed between.. no actually, Rait is in a little room on his own and that works well. But a big-ish rectangular hall is always problematic, especially when you have six artists with a big film on one end wall with incredible sound, and two other sounds pieces, as well as two films with sound in an ante room. I might wear ear plugs tonight. Jens and I have silent work. Cardboard and paper (photographs). I would have liked light, but I couldn't get slides done in time for the projection idea. Not sure I could afford them either. I saw an exhibition in Salzburg which had medium format slides, oh how I envied those... the projector looked extremely expensive however. Anyway, it is difficult when everyone wants their work shown to its best, but this show hardly ended up being diplomatic - it was pretty much first come first served in the end. Holger did say that the next exhibitions would concentrate on two or three artists who were at the end of their residencies, which seems to make more sense and will be infinitely more manageable. Perhaps I am too quick to compromise, I don't know. But I find it bizarre when artists are all in this situation together and still won't compromise. I see both sides I suppose, but I find confrontation difficult and as the space is not ideal for anyone, compromise seems inevitable. Should I be a bit harder I wonder?      ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I have been asked to be in a show in Blackpool at the end of the month and by some miracle will be able to organise myself into it between returning from Linz and going to YSP for first part of the project! A fellow a-n blogger is in it too and some faces I know from Liverpool. This exhibition might be quite a pivotal moment for me: the work is one I have shown before! The work  still exists, it is not in a skip, damaged, stolen. It is infact in the boot of the car where I left it.I have been thinking about this for a while, since I thought about how often one of the artists here was exhibiting (along with other people I know) and how that might be acheived with the help of making films and sending DVDs. Not that I'm saying film is easier, not by any means! But it is easier to transport, replicate and I want more of that. Enough spending £200 driving places with a car full of wood and tools, more spending £10 on posting some things in a box please.  I have spent the last eight ish years making site-specific works that no longer exist when the show or residency or whatever is over. Documenting things brings other problems, particularly that of skewing the way people view the work. Plus I don't show photographs or re-show works so that doesn't help too much either. Last time I tried to do this I ended up remaking it anyway. I have a couple of (small!) solo shows coming up in 2010 and I was thinking that if either were bigger, I would never be able to do it, unless they gave me a year to work for it. I have no stock, for want of a better word.For Drawn In at the Bluecoat space in April I made a piece about heights, danger, voids, the unknown. It is called 'From the Mountain to the Abyss' - see pics. As this was made in the studio and not in response to a site - actually is was made in response to a paper at a conference the week before - it was different. I can keep it, it is transportable. So, it will get its second outing this month and I will pack it with pins and diagram and go to the opening for drinks. This is good. I don't think I want to make all my work like this, in fact I know I don't, especially as I need the deadlines of exhibitions and other things to act as important kicks up the bum and I love responding to new places and histories. But for my own sake, my bank account's sake and to be able to apply and take part in more opportunities, I think I should be doing this more often.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Ooh, I found this today and was very pleased: Kirsty Hall saying how much she hates the myth of the tortured artist. She also has links to a couple of other blogs  that agree. http://kirstyhall.co.uk/blog/2009/08/the-tortured-...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Gettingpaid/ websites blog: Two interviews done with Artists here today - things speed up when the end gets closer! These were really interesting as they were more like conversations that developed out of the initial questions (artists I can't get to have been answering an online survey, which is no where near as satisfying or revealing). Often way off topic, there were some great snippits of things that came up that made me think twice about my standpoint on things. First thing I'll mention - I shall come back to it after transcribing them, but my goodness 45 minute interviews contain a lot of words! - is marketing. This was mentioned in both as being utterly essential to getting your work seen and one of the artists said he couldn't understand why some of his friends didn't have websites yet. I am of a similar opinion, although I do think it's better to having nothing online than to represent yourself poorly. Before I came to Linz I googled all the artists and was really frustrated when I couldn't find anything on one of the artists anywhere. After seeing both of his studios I am still a bit unsure of what his work is about exactly, a fact that I both like and am frustrated by. I guess what I like is that  there is something to discover on my own terms, I don't have a statement spelling it all out and arranging it neatly online. I wondered whether I look at artists' websites and then think that I know all about them, when I probably haven't a clue. Judgements are made very quickly after all and if an artist used comic sans or similar on their website I would probably dismiss them entirely (not really, well maybe..). However, finding out from people in these chats how many contacts come from the internet (certainly for me it's the majority) and where that can lead: I think spelling it out is probably wise. I also love having a website because you can see who is looking at your work. You know when, where, which things they look at, how long they spend and ip addresses with ac.uk and gov.uk are very informative. I know how many referrals I get (this month my blog has given me 7 for example), it's not what you expect that gets you the most traffic. I am always incredibly pleased when people link to me, and in my stats I can see I am getting ten times as many visitors as this time last year. Free websites and blogs are great, but I like having more control over the appearance and getting statistics! I must admit that I had the help of programmer-husband who got me started - but I can do it myself now. It might seem expensive but I think the £50/year for hosting is very good value. HTML is not too hard to learn, try this step by step website: http://htmldog.com/    ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Saw a really interesting exhibition yesterday in Nordico (the museum for Linz's stuff). Actually the exhibition wasn't great, but there were some good facts and figures around the place ranging from the city's Nazi past to how they got capital of culture and what that has meant. One room was about employment. Hitler and Goering built a massive factory here, one which brought masses of employment and development to Linz and probably made the place what it is today. Now it is VOEST Alpine and still employs loads of people. There were some thoughts from local people about employment and their working hours and one film has VOEST workers next to artists and cultural workers (whatever that may mean..). Now this was interesting - the two major industries in Linz shown together inviting comparison. The factory workers said that the company was very good not to encourage overtime or excessive working, they provide things like a swmming pool and little day trips and holidays for their workers and see the health of their workers as something to be invested in. I don't know how true this all is, but it sounds good. All of the workers interviewed said that home and life were completely separate and they had no problem leaving work at work. The artists and musicians on the other hand said they were happier earning less and stuggling for time, but they all felt that no one understood how hard they work, and that their hours were frequently more than 12 a day. There was also a common thread of being constantly ON and also not feeling their was enough time for the true vocation (be it painting or music or other) as they needed more than two or three jobs to make a living. some quotes from the artists' interviews: 'it is all very uncertain, I go from one project to another without thinking about next year's income.' 'it all intrudes on my private life, or I don't have one because it is all mixed together. I think I have unlimited working hours.' 'it's all too little to do with what I studied these days, but I need my day jobs to fund my lifestyle. To be honest sometimes it's all a bit hard to manage.' and from a Voest Dept. Manager: 'those people who work many hours extra can be very useful, you can always give them an extra project or call them late, but overall they represent a problem to the system as a whole.' (I'm showing this last bit to my husband..)... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Last night (at about ten pm) I managed to pin down Katharina for her interview. I should stop saying interview I think, they are more like conversations. Anyway, it was good, very interesting and I was glad we got it done as I leave Linz in two days! She is incredibly busy, and at 26 and still studying she is doing remarkably well with a gallery and platform space representing her in Vienna. It was inspiring stuff indeed and it was the kind of conversation that made me reconsider some of my own opinions. This richness that comes out in a conversation with someone you have got to know quite well is such a different thing to the online questions I have also sent out. I'm not sure those are actually much use anymore, they are interesting, but perhaps there is not a broad enough sample to make it truly useful.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Yesterday Holger took me up North a bit to visit the artist Robert Mittringer in his studio in Epferding. This was such a pleasure and he and his wife were so sweet and generous. I left after 4 hours there, a bit squiffy after some prosecco and also armed with books - one signed with a drawing especially for me! Loved going through his drawings and limited edition bookworks, also his archiving is pretty amazing too; special cupboards full of wrapped, labelled works. The bits of Roberts work that I like best are his cardboard sculptures, and this was why I wanted to meet him, seemed like we had something in common. A couple of people who saw my work here also mentioned a link between us, so I thought I'd better follow it up.. Images attached of his incredible studio and some works, also the little cellar under the house. I am invited back to stay with them next time I come to Linz and he also said I am welcome to work in his studio if I stay! I was pretty chuffed that he liked my work too and had the pages of my website printed out with notes on. I hope I am always so open to meeting people and generous with my time.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 LastLinzblog: Well, I leave today, so the blog should get back to normal business quite soon - no more of this Austrian stuff. I'm quite surprised when I look back, at how much work I made, and I'm excited that I can come back and finish the book and just well, come back to be honest! I'll miss the place and people, and apart from the money stress, this has been a great summer. Yesterday was the very last thing I needed to do - taking 'Inhabitant' into Linz: the exchange project does have the title of Urban Interventions after all. I had been putting it off because I was a) scared of doing it, b) unwilling to be too cold or wet (fairweather artist) and c) waiting for photographers to be free. As it turns out, it was really hard work and after about two minutes the thing was incredibly heavy. It was a nice day too so I was a hot ruffled mess by the time I got back. I couldn't really see either and was just walking blindly until someone shouted stop or CAR! But, I could hear lots of reacting and I was having a good old laugh on my own in there too. My arms are quite sore today, but I expect it was great exercise for the wings. So yes, some of the hundreds of images the guys took attached... perhaps another book... So big thanks to Jens Sundheim and Mehmet Dere for documenting too.. very much appreciated. http://www.jens-sundheim.de/... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 oh dear, my arrival in the UK last night was not entirely successful, I managed to sprain my wrist quite badly wrestling with my suitcase (stupid excess baggage charge too) and am in lots of pain today. Typing very slow and irritating and no other usage. Right hand too - bloody typical. Someone come and airlift me back to Linz please!! Arrived back to the flat today to find no cheque from the trust for the YSP bursary.. how depressing. The contract  says £4,000 on 1st September and I even emailed a little reminder at the end of August. Is there any point when you can rely on punctual payments? Anyone? I've been putting a lot of prep in and collecting materials for weeks so I just want everyone's end of the bargain upheld, but perhaps it's lost in the post somewhere.. Our car is pretty much dead (extra bonus of a flat tyre within a mile of my husband picking my up at the station last night) and MOT is due very soon. Perhaps it was naive of me, but I had counted on this big amount of money to pay for that - especially as a car is essential to the project. I can't get to the depths of Wakefield without it. If a contract states payment on 1st and you still haven't been paid by the first day of work on the 22nd (I've already done lots of work actually), what do you do? Have faith? Stay at home refusing to go? Moan on your blog (some themes reoccuring here!)? Hmm, probably go and have faith, but without Sat Nav or video camera to help the project along (definitely not putting those things on my credit card!). At least my Ma-in-law dropped me off at the flat with a bag of mini reese's peanut butter cups as a pressie from NY. These should speed recovery and improve mood... grumble grumble grumble.......... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Mashedpotatoblog: Oh dear, all this moving, returning, catching up has rendered my brain a smallish lump of mashed potato. I am so behind with correspondance and admin but the biggest problem has to be getting back into the pace I was working at before, everything just slowed so much in Linz that I can't quite find it again.. I have been paid by YSP though, was all quite quick once I piped up complaining. It doesn't help that I have to contact a lot of teachers for this project, and although I started that in July, I still haven't heard back from my first two schools... arrgh. Lesson: teachers do not do email (on the whole). Going to London on Saturday to a seminar called 'Making a Living' so have been thinking about alternative ways to make money... really looking forward to this discussion as it seems to take a more practical and proactive approach: looking for solutions and models rather than talking about the problems. We shall see!!! I also owe a-n a massive thanks as they have bought my train tickets. Hopefully I'll have an hour or two to check out the Whitechapel Artist's Book Fair too!! Then, my lovely husband has booked us a week to Greece leaving on Sunday, which he desperately needs after a four month stretch of 12 hour + days on Lego Rock Band. They aren't allowed to take any holidays during projects like this (always over the summer as the games have to be ready for Christmas sales) and it always feels really unfair. He looks like a zombie and I feel like we haven't spent any time together for ages and ages. I'm not sure I need this right now, but he really does and of course, why would I turn down a relaxing holiday in a teeny little village of peace. I have been enjoying being back though and this holiday takes me away until the day before my first school date with YSP... I guess I shall just have to get on with it! Gulp. Email from Sean at g39 yesterday asking me to speak about artists' blogs at this: www.mayyouliveininterestingtimes.org.uk which looks great. Don't think I've ever been to Cardiff... oh maybe when I was very small, but I don't remember anything about it. Speaking fear looms, but it is long enough away to forget for now. School fear first and then speaking fear, one fear at a time. But before all that, sea and souvlaki.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Fundingcutsblog: Janie Nicoll has been posting a petition around the place to stop The Park Gallery, Falkirk being closed. If you have a minute to add your support to this really lovely small contemporary art space please add your name here: http://www.thepetitionsite.com/3/sign-the-petition... The Herald have written a good piece putting the Park's case forward too: http://www.heraldscotland.com/arts-ents/more-arts-...  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Well, YSP has begun, day one in a school today and it was great, a lot of fun and targets achieved! I am staying in Yorkshire for the next few days (very kind friend's parents who have fed me and everything!) and will be back and forth between now and next July.... it is a beautiful misty drive over the M62 at 6.30 in the morning, just a shame it all comes to a standstill around Bradford.... On other notes: an amazing holiday, fantastic restful sunny bliss in a little village, many olives consumed. See images (sigh). good afternoon at an event about 'Making a Living' in London at the end of September. Lots was said of interest and many notes made, must decipher these at some point.. and lastly: saw this advertised and frowned. http://www.tiny.cc/W6Egu An online course costing £600 giving a qualification in being an artist in residence; really? One that expects you to complete two live projects but will not be involved in those and that also says "If you are inexperienced in this field, you may prefer to offer your services for free to organisations that are willing to allow you to work with them" No no no no.    ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Have done three schools for the YSP project and am already full of a cold after the little people were constantly coughing and sneezing all over me. I did, however, get a lot of little hugs yesterday when I left and it was a good day. I will be with just one class at another school for a whole week next week so really looking forward to getting stuck into a longer project. I also have a progress meeting and (hopefully) a meeting with one of the curators there too. Turns out the exhibition at the end is not a given, but for the whole thing to be worthwhile for me there HAS to be something, an exhibition or a book or something. Otherwise the bursary is not about the artist‘s personal development (outside of education environments) at all, it is just about schools. I have some lovely prints of Inhabitant from Linz so will take those and some artists' books. The only way a show at YSp will happen is if they like my work enough and that feels unlikely or possibly out of my reach. Negotiation skills must be used (or discovered), this is too important and I really have to stand up for myself here. Frustrating things is, with all this travelling to Yorkshire, I have been invited to and been unable to go to an interview and am also unable to fit in with any of the Curious Minds (the rebranded Creative Partnerships) selection days. Perhaps the latter is for the best as I get some more experience and then can go to one in December feeling more confident, possibly. Completely failed to get in applications for Arts Council and Cube open, really cross with myself as I actually thought this was a good time for both; I often feel like I’m not ready when applying to other things. Pah. But better not to apply then send in a load of dross I suppose. If the application is really awful they might remember my name in a bad way!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I’ve been finding a bit difficult to write the blog recently; too much upheaval and not enough time to do my usual reading around and pondering on things to form much opinion on monetary matters. Linz also confused things so I don’t want to do the same thing with the YSP project, although it is bound to feed into things (see below). One thing I thought might be important for future entries is focusing on positive things. It is too easy to point out the bad when it comes to artists (not) getting paid. I will still be highlighting organisations and opportunities that seem to be taking advantage, although Susan Jones did point out recently (after Topshop I think), that it may be a case of ignorance – they are not trying to rip people off, but perhaps they are just copying practices they have seen elsewhere and think that is the normal way of going about things. So, although I still can’t help getting angry about these situations, perhaps the most useful thing is advocacy.  Indeed I did take it upon myself to calm down and write to TS explaining why I thought they were setting a bad example and how they might hold a competition according to recommended rates of pay. No reply as yet. I have been in to see what was on the walls, but I have no idea if an artist did it as it looks like a print over the three floors. It certainly doesn’t look like anyone painted it…So yes, I will try for more happy thoughts. There are a lot of people working hard to change things out there and not enough sharing of that.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 So, joy and proactiveness-spreading here we go.. The carrotworkers' collective, are a bunch (ha ha, sorry - couldn't resist) who describe themselves as "a London-based group of current or ex interns, mainly from the creative and cultural sectors, who regularly meets to think together around the conditions of free labour in contemporary societies." http://carrotworkers.wordpress.com/about/ I met three of them and took part in their participatory mapping project at 'Making a Living' in London a couple of weeks ago. What I really like about them is their stance against bad Internship practice and the corrosion this causes in general working conditions. They are working on a counter-internship guide and more about this can be found on their blog along with some great links to other organisations and resources. There was a really interesting list of resources and references handed out at Making a Living, more of which I will post on here shortly (my blog was one of them so I won't include that!). The event was organised by Sophie Hope, facilitated with Veronica Restrepo and held at the Austrian Cultural Forum on 26th September. Sophie's PhD is about the relationship between cultural democracy and the commissioning of art to effect social change so there is some really interesting stuff in there, have a look at some of Sophie's action research here: http://www.welcomebb.org.uk/... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Firstly, see this website for a great opportunity (ok money isn't enough for paying off any debts or saving but..) http://www.varc.org.uk/air/index.html I have coveted this residency since I was in Edinburgh but have never applied - 12 months seems a bit impossible, not to mention unfair on Dan. Will someone else please go and make the most of it though? In other news (if you can call it that!) getting up at 5am to get to Yorkshire in time today hurt. I am ready for bed now (8.02pm) but will hang on a bit longer so I sleep well.... Just found out I have five year olds for two days next week so am terrified! I love little kids, but not leading 30 of them in an art class - need more training!! I keep meaning to say thanks to those who have emailed about the maternity blog post some time ago... I am still getting emails about that one, which is fantastic. Many of the later ones have been highlighting the immense difficulties of continuing your practice (especially in the first year) and coping generally with all the self-disciplined working hours and baby brain.  Now - peppermint tea and watching Howl's Moving Castle in bed; the kids are going to watch it so I just want to recap (and I love it). They're a bright bunch this week, but they seem to have had their creativity pushed out of them a bit - for example, upon seeing a house underwater in my initial presentation bit, several of them worried about the electrics and whether the carpets would be ruined. Their self-portraits as houses mostly look like surburbia (there is one boy who has drawn his completely made of BBQ spare ribs), but at least they'll be easy to make I suppose!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Today was one of those days where you think you are simply not being paid enough to go through it: 47 kids and me alone in the school hall, tired and impatient at the end of the day. Sod that. I am insisting the teachers stay tomorrow!! Ugh, wine and bath making it go away.. On a more constructive note, I have noticed something going on in my applications of late. I have been applying for exhibitions this year as they are distinctly lacking on my CV. For three, (that I really wanted to be in) I was contacted by the curator, shortlisted and then not put in at the last minute. When I asked for feedback, all of them more or less said they wanted existing works - my proposals had all been for new pieces (as I don't have much work in existance). It seems like this potential future work way of going about things might make you too much of a liability, and of course, when they are galleries with a budget (these were), then they want to spend as little as possible, so transport over production costs/artists fee seems far more viable. Further proof that I need stock!! Manchester Artists' Book Fair is coming up in a couple of weeks (or three..?) on Saturday 7th November. I am really looking forward to a half term off so I can get making some more books and printing a couple of brand new ideas that have been waiting patiently.. http://www.artdes.mmu.ac.uk/rightonpress/bookfair/ Come and see me at my table if you're in the area..... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I have been meaning to post this article for a while: http://www.perspectives.creativescotland.org.uk/di... and was reminded to when I got the AIR update email. The article by Hans Abbing, goes into (among other issues) the fact that subsidies for artists are not the answer for sustaining professional artists. Whenever I go to a discussion event and indeed, it happened at the seminar I was at in Cardiff last week, someone always pipes up with the fact that artists get support in countries like the Netherlands and Germany (Germany have stopped this now I think). They wonder why don't we support our artists like this? Hans Abbing says: The moment more money flows into the arts - whether from more demand (including more public commissions) or support (including subsidies and donations) - the number of artists tends to grow and so does the number of poor artists. In the case of support this is problematic: support leads to more artists being poor while hardly increasing the amount of art that reaches the public. I really don't think artists should be subsidised by a general benefits system like the Netherlands - what right do artists have to warrant a use of tax payers money in such a way when our health/education systems need it so badly? I don't understand why people feel they are entitled to special help either: I want to take responsibility for myself. I don't oppose other sources of funding like Arts Council - the arts needs some support - but in a competitive field where quality is important, not by career choice default. The Arts Council has always been there while I have been an artist and I suppose I take it for granted. The first time I thought about how much we all depend on it (although I realise it's not an entirely popular organisation - especially in Cardiff!) was when thinking about the fairly likely event of the Tories getting into power next year. They say they won't cut funding, but don't have a great track record. http://www.guardian.co.uk/culture/2009/oct/08/cons... So I shall have to think on that one as I just take all these systems for granted, I've never considered whether they are the best solution to supporting artists or not. Alan Davey on the other hand, says funding the arts is very good value for moeny: http://www.guardian.co.uk/culture/2009/oct/21/arts... The article also made me think about where my income is coming from - a few organisations supported by Arts Council for a start, although no direct funding. It's hard enough to make a living to start with, nevermind stopping to think about the morality of it all. I found Mr Abbing's article a pretty depressing (and realistic) read in that it highlights just how impossible the situation is, but the idea of stopping people trying to become artists is a sad one.  I also had to wonder if I am one of those 'In-between' artists he mentions... I hope not.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Found this link to my website when I was going through my website statistics today: http://bird-in-the-house.blogspot.com/2009/10/emil... Thanks Kathryn. I guess speaking at a seminar about sharing information works for sharing information..... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Manchester Artists' Book Fair yesterday - finally it is done and the flat can stop being covered in paper trimmings and cut off lengths of linen thread.My husband will be very pleased. It was a really good day; lots of inspiring works, a really interesting lecture from David Faithfull about his Inkubator project, and sales. Of course, sales only just covered costs back to zero - these things can never return a profit. But I sold three books to the Manchester Met collection and five to the University of West England Collection (where Sarah Bodman, Queen of artists' books is based). 200 ish of my cards went out (although there was a ton of students there getting ideas and making notes/taking photos, so these may just be stuck in sketchbooks!) and my website stats are showing a big peak from yesterday and today already. I also just love chatting about book things with and it is always encouraging when people show an interest in your work. The costs were £60 for the table, £10 train, £10 subscription to the Blue Notebook from UWE and £15 in M & S on lunch and then dinner stuff too - too tired to cook, I will also count in costs the £30 worth of printing I couldn't use because it wasn't good enough - another expensive and valuable lesson learned about not rushing things! So weigh that £125 up against £148 of sales and that leaves me with £23 towards labour and production costs on a lot of books. Still, probably a worthwhile investment in myself when all is considered. I met Carol Ramsey and Annie Harrison (not Hamilton!) - fellow a-n bloggers who both came over to say hi. Add to that Angie Butler from PET Galerie, who I have had e-contact with in the past (through Artist Book 3.0 community on ning) and it made a really good chance to meet people and have a good natter about what we all had going on. I mentioned an idea I had for a mobile book fair next year to one person and word quickly spread, with people coming over to ask to be added to the mailing list/submit work. Guess I will be doing that then! Sometimes I need that pressure to make sure things happen, but then I often find I have put myself in incredibly stressful situations and I am never sure why I feel the need to do it (over and over). But as I will be moving to the countryside in January, I am thinking a rural tour of artists' book van may be an option. Watch this space.... http://emilyspeed.co.uk/section.php?name=bookworks http://artistbooks.ning.com/ http://www.petgalerie.co.uk/ http://www.bookarts.uwe.ac.uk/about.htm... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Full of a cold and bundled up on the couch looking at application TO DO TODAY! Just noticed that the debate on the artists talking front page points to my blog at the moment - on the subject of professional v's amateur following entry #122. Looking through application opps today, this has unexpectedly reared its head again. I had earmarked a few things to apply for but was just doing a last-minute trawl through a-n and axis etc. when a Res-Artis newsletter appeared in my inbox - so off I went to trawl through that as well. Just when did it get so peppered with posh b and b's masquerading as residencies? These are rural retreats for artists with organic food in highly desirable holiday areas of France and Italy, not exactly residencies as I think of them. I probably started using Res-Artis about 6-7 years ago and I don't remember it being like that then. These kinds of 'residencies' are, if not exactly a scam, guilty of false advertising. (see also: Lindsay Sunley's thread 'scams' on the forums). Yes, if you go, you will be resident there and they do only invite artists and they have studios, but it still seems more like a holiday. They are quite good value as accomodation however, so might be worth bearing in mind for next summer. To my mind this is the same problem of some pay-to-enter exhibitions that are just looking to get as many artists in as possible to top up the year's money, and books being published where artists are invited to be included, for a price. It is taking advantage of artists who want to further their career and aren't sure what the best way of doing that is. They seems to be aimed specifically at (what is probably an unfair sterotype) semi-professional artists who have come to art late and have money to support their new career/hobby and don't mind paying. You are essentially renting a studio somewhere amazing. What I have found the most valuable about residencies in the past is meeting and having dialogue with other artists, having access to great facilities, workshops, lectures and also being asked to provide workshops and lectures. All of these things contribute to professional development and offer support to artists. Basically, I just wish that these places weren't included in Res Artis listings, or were kept seperate; it would save me a lot of time. I do wonder whether I am being very dogmatic about this though - does it bother other people as much? So, as an example, I don't really recommend applying for this residency if you want the above things, although it looks pretty damn good for a bit of a working holiday somewhere lush: http://www.resartis.org/index.php?id=42&tx_ttnews[tt_news]=882&cHash=7250137cf9... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Isn't providing references an absolute bugger! If you don't end up with your MA/BA tutor for years (which probably makes you look amateur), it can be really awkward asking for one from someone you have only done a short project with, no matter how well it went. More difficulties of being self-employed and spreading yourself very thinly. After Hospitalfield, the Director was awesome and provided me with a word file containing a fantastic reference and some sheets of signed headed paper. That solved that for a while. But now... hmm, going to have to email a few people and of course, I have left it all rather late as usual!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Probably kicked off by looking at other artists' work - I have been wondering lately what the difference is when artists initiate community based projects and comunity based projects. Where does the line site between art/activism/social science? Should artists receive funding for these kinds ofprojects? I was reading around the art mags online today and came across this article in Frieze in the Editor's blog, which pretty much sums it up perfectly: original article here: http://www.frieze.com/blog/entry/underneath_the_ni... Apologies for quoting lengthy passage - not much time/energy and if I don't write this post now, it will disappear from my brain. "A question that begged to be asked was precisely to do with the issue of art; what is it about the ‘art’ element to a project that might make it socially unique and useful, rather than a community garden or youth outreach scheme like any other? What, for instance, makes the Baltimore Development Cooperative’s project to turn an area of wasteland in their city into an urban vegetable allotment any different to hundreds of similar, non art-related projects across the United States and Europe? Because it is run by artists? Are artists that special? Are they to be afforded more socio-political latitude or leverage as citizens than, say, gardeners or social workers? Is the label ‘art’ just an excuse for tapping into a broader range of funding streams? An impressive answer to that question came from artist Laurie Jo Reynolds, who spoke frankly in her talk about how she has used the label ‘art’ where it seemed most useful in order to support her admirably successful campaign to instigate reform of conditions for prisoners at the Tamms Super Maximum Security Prison, Illinois. Here was an artist taking serious political responsibility rather than just associating herself with it."... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Have not felt this rotten for ages - have been barking like a dog all weekend and am at the point of exhaustion with it. My stomach muscles feel like I should have a six pack with all the coughing, alas, it is still hidden. Back to YSP tomorrow - did pop in briefly to see the new Rob Ryan exhibition on Thursday, I couldn't go to the opening for fear of hacking up all over everyone. It's a lovely show, but a bit soppy. My Ma came over for a day to go to the park with me (so nice to have someone there) and bought me a roll of amazing tree paper cut based tape. I felt spoiled. I found out at my last meeting with Helen about the bursary that there has only been one exhibition from Feiweles artists in the last 20 years. ONE? Odds not good for me then. BUT, I have a meeting with the curator tomorrow and she mentioned the possibility of showing my work. Many hedging words in the email, so POSSIBILITY is good, and I will be hanging on that for as long as possible. The curator I'm meeting oversees all publications at the park (what an amazing job) and has specifically asked to see my books. I shall let you know. Fingers crossed. In other news, applying for a couple of things that may be out of my league, but I thought I would have a go anyway.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I really have to get myself packed and off to Yorkshire, but it's been a week of 200 miles a day in the car and I can't be bothered! I've had a good week though, with high school kids for the first time; they aren't as scary as I expected. Also, the much-anticipated meeting with the curator at YSP. Firstly, I got a free copy of the Rob Ryan catalogue, so it was a good start. Secondly, she suggested an exhibition of new work in the Bothy Gallery (my favourite one in the park!) all going well... probably in Feb or May 2011. There would be support, in both money and practical/development and there was also talk of an accompanying publication. This is all still incredibly precarious, so I won't jinx it anymore by talking details. It feels pretty incredible considering I went along thinking the best I might be offered would be a cabinet in the corridor for my books. Staying a travelodge at some random services on the M62 tonight, which is pretty bland way to spend an evening. But I shall take some books parts to be assembled/cut/sewn etc. Try and make myself useful. Money is getting tight now (next payment of the bursary is not till February) so I shall have to do a bit of thinking next week and go over my finances. I should probably do my tax return too! Right, enough of that.. I'm off to pack.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Is it just me or is anyone else a bit dubious about Saatchi's new art show? After the first round, Matthew Collings apparently said ""It's worth the public watching this. They should be thinking about where that utter s*** comes from that those poor little young artists are spouting."" Can I just ponder whether the entries they received were representative of 'poor little young artists'? Would it not be the case, as with X Factor, Big Brother etc, that the people likely to apply to the show were quite keen on becoming famous and saw this as a good short cut. The article also picks up on one finalist, who was praised by Emin: Suki Chan. I have seen Chan's work a couple of times, it was beautiful on both occasions. However, one look at her CV will show that she is doing pretty well already: http://www.sukichan.co.uk/cv.htmThis leads me to wonder what exactly is wrong with the slow burn? Perhaps the art world is too insular and maybe the fact that people can do well and not be visible to the public at large is not desirable.. I don't think so though. Doing well and not being famous surely just gives artists a chance to grow, develop and build up a body of work (also without the press heaping scorn on everything) before they are given the sort of opportunities that earn them mass exposure, if they want it -  and when they are ready. That's the way most people go about their careers, because experience usually counts for something. Why do we (as a nation) seem to feel that celebrity is so important, and that it should be treated the same way in art as pop? There is another series on at the moment too - not sure which channel - for Britain's best young Butcher, Hairdresser etc. Not sure what it consists of, not watching it either. I am interested to see how this panel choose what is 'best' from their artist candidates. So, will the contestants end up being famous for having odious/adorable personalities rather than their work? I also wonder how it will work for the artists' legacies, I mean, how many off the show will keep their credibility - or will it just end up a load of Jedwards? Guess I'll have to watch and see...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Croak. Monday morning - the first one after a very intense load of work in schools and also my first day off in ages. I am struggling to get going. I say day off, but actually that just means no paid work - studio and some food shopping instead. I hate the way the studio always comes between domestic chores. I feel pretty bruised (head and mind) after helping mum move house at the weekend and working so much and all I feel like doing is sitting drinking tea and watching studio Ghibli films, but then I would loathe myself for being lazy. Doing some visiting lecturing at Sheffield Hallum on Thursday, which I am really looking forward to - not been there for years so will see some of the new galleries. Also like hearing about students' work a lot - I plan to soak up some of that fresh-faced enthusiasm and steal it back to Liverpool. Also packing up a few things into boxes and trying to have a clear out pre-move at the end of the year. Hate living in such clutter and am convinced this is part of my problem!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 It turns out that I still haven't shaken the cold thing I had a couple of weeks ago, so I have been wrapped up taking it a bit easy. Today is posting loads of things (the joy and pain of selling books off my website), starting on tax return (last years) and sorting out receipts for this year so far. Also putting a presentation together for Thursday's lecture. I watched School of Saatchi again last night and I was a bit bored to be honest. It's partly the overfamiliar dramatising editing tchniques from reality TV: "anyone of them could be a DISASTER" surprise, Charles really likes most of them. But it is also because I don't think making stuff necessarily makes good TV. It is incredibly easy to pick apart an artist's work, especially after an MA with much picking apart, this format just means they are incredibly vulnerable throughout the making process. Because the artist are under pressure and being fairly timid (partly from being put in a very difficult collaborative/commissioning situation too!) they don't believe in their work in the same way as they usually might, and neither do I.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 The CCS (Creative and Cultural Skills Council) have released the Visual Arts Blueprint after much consultation: http://www.ccskills.org.uk/LinkClick.aspx?filetick... Below are some examples of the recommendations it makes: Ensure that internships are fair and offer high quality career development opportunities by 2010Ensure that visual arts courses have strong, relevant links to the profession by 2012Ensure that the visual arts has a role to play in broad education  initiatives by 2012Support and encourage technical and business skills training in all visual arts degree programmes and courses by 2012Recognise and support artists' networks and peer exchange opportunities (working with VAGA, Scottish Artists Union and Other - wish they'd named AiR too though!) by 2011Improve working conditions across the visual arts sector (working with agenices and borrowing best practice models from other industries) by 2012The report also goes on to expand on these recommendations and many others and also profiles the creative sector (not just artists remember though), outlining who it is comprised of (95%white!). This may not sound like a massive thing, but considering 'artist' has not been mentioned as a job role before, these basics are important, especially if the CCS are to promote their plans across the UK. Anyway, it looks a bit of a beast, but they have peppered it with lots of nice images, so the content is not as daunting as it may first seem! I'll have a proper read and get back to you...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I've been having to write my entries in notepad this weekend, because I can't seem to concentrate for more than two minutes at a time. Got lots of reading/writing to do and none of it is coming very easily. I did a talk/some tutorials at Sheffield Hallum last week and it reminded me of a few things I have been thinking about, mostly slow burn careers. It also made me question how I talk about my own work - I usually manage to get round it a bit by talking about money and things. But, as this was a professional practice lecture series, I could only talk in terms of my own experience. So, for the first time in ages, I went through my experiences since BA (8 years ago) until today, warts an all. I realised I put myself down a lot and I thought afterwards that maybe I should have done two talks - one presenting the glossy, perfect timeline in retrospect way, and then the same talk again, but with the problems and everything included. That might be a better way to illustrate the reality of it, and would highlight the fact that often you will only see glossy talks. Oh well, lesson learned. I heard myself saying at one point (to 3yr BA's) 'I'm not that much further ahead than you lot really'. I had to think then, because, actually, I know that I've been working my arse off for ages, and it feels like it's just starting to build into something. But obviously I have some issues still feeling like a graduate. The terms 'emerging' and 'mid-career' are difficult ones and I see myself as floating between the two. As I started giving too much of myself away at the end of the talk (always uncomfortable when it's not a dialogue) I said something about money. This is one of the things that is trapping me, and my work in the former category: I find it very difficult to imagine making things that cost more than, well, not much. At YSP they asked what I might need for a production budget and I couldn't answer: I knew if I said a number it would be ridiculously low. When they said that the book budget would have to be under £2,000 I stuggled not to let out a whoop. Basically I am like the bloke in Warrington who won millions on the lottery but just moved round the corner to a bigger house and upgraded his car to the new model. It's not that I don't have ideas that I want and can't afford to make, quite the contrary, but I don't know how to make the leap. I am daunted by project managing rather than making things myself and am not confident of my ability to deliver, having never done it before and therefore I avoid applying for opportunities with 'proper' budgets. There, look - I just gave too much of myself away again...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I would like a mentor please. To be fair, I think I get bits of mentoring here and there off various people in all different roles - advice and encouragement that is really valuable and much appreciated. But wouldn't it be great to have someone to build a longer term relationship with? Perhaps work with.. or someone who could remind you of your goals and give you a nudge when you're heading off track or making wonky choices. Someone whose work you love and admire. I saw this today, twittered by Hayley Harding of Axis fame: http://www.rolexmentorprotege.com/en/visual-arts/i... and thought it looks like an amazing year. This year's visual arts mentor is Anish Kapoor. A less famour version please! YSP did offer to help me get in touch with groups in the area while working towards the exhibition.. perhaps this is a good chance to make some valuable links. Architects were mentioned. Must not waste this opportunity...Must not waste..etc.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 My husband just sent me this link and I have been laughing out loud throughout. It is an exchange of emails (with pie charts!) and also a very good and hilarious example of how things can go wrong if you ask people to work for free (also if you have a shoddy business plan). Please design a logo for me. With pie charts. For free: http://www.27bslash6.com/p2p.html Warning, much effing and geoffing. Enjoy.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Tax return is filed! I made a pathetic £5,372 in 08/09, so it's no wonder that I started this blog in January in an attempt to address the very serious issue of making more money. I think I have at least four times that coming in this year, but I reckon at least half of that has been for materials, printing and travel and other expenses: it adds up so quickly. So that doubles my income at least - and takes me just above the poverty line, not bad for a blog. The receipts since April this year have been piling up and I am collecting EVERY bloody THING: I had my finances investigated the first year I was self employed after my MA and that is not pretty. If I am picked to do that again, I will have to be much better prepared... especially given the increase in work and the fact that I will be putting expenses down for the first time. Next year, the tax return gets done in April, it all gets too fluffy when you leave it so long!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Just pondering who to nominate for the Liverpool Art Prize next year: http://www.liverpoolartprize.com/ Lots of good artists working in Liverpool at the moment and some people whose work I love... but you can only nominate three people. It's a funny little prize, which I think was the Liverpool-own version of the turner prize for 2008 (Capital of Culture year of course), although I'm not 100% on that. £2,000 or £1,000 in prize money will no doubt make quite a difference to someone. The exhibition is also a nice chance to see a good chunk of someone's work rather than the odd piece in group shows. Karl-Heinz Klopf from Linz came round for a cuppa the other day.During the first visit to my flat he was video-interviewing me, so it was nice to not be thinking about the camera shoved in my face! :) I was asking him about his career and when he felt like a mid-career or fully fledged or made a living or however you might describe that stge of a career and he said he still didn't. Quite unexpected from an artist with a very impressive track record and a lot of good work behind him. He said most of his income went back into making work... maybe it never changes!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 The final of Saatchi art school - so after just two commissions, the artists are to put on a group show at the Saatchi Gallery. We are not told how long they had to do it, or what the budget was, although it seems like about 3 weeks from come clues given. I can't help thinking this is designed to set them up to fail a bit. Work would have to be fairly bombastic to stand much chance of registering in those spaces.. also much stress upon inviting the 'right' people, although it seems that they have Saatchi's mailing list, so perhaps he's just saving on admin wages. Suki's work was a bit subtle for last week's task and this happened again here, although I can't helping thinking this is not her best work and she might be a better artist under different conditions? Eugenie - she's only a first year student and 19, so their comments that she is confused and not experienced enough seem expected. But with one epic fail and one lovely fence she pulls it off as she seems to presume she will. Saad - apparently has struggled for inspiration in both tasks, but wait... didn't he just have a good think before plunging in? Then he wiggles around in a sheet - as good a way to generate ideas as any.The editing doesn't help the way you see the works either as they are given the slant of the judges: you can't help but be underwhelmed by this work. Sam's electrical thingmajigs are interesting but don't hold my attention for long. I don't like work that is led by technology instead of ideas and he seemed to be falling into that trap. The first piece with magnets inspired by Brunel was elegant, not so here. The fact that Eugenie won is probably the best indicator that it was Saatchi's art school and not 'the best artist art school', see also lots of very well spoken people at the opening. Can't help feeling like she won, but without getting to be taken seriously. I was so very glad that Matt got to be in the London leg of the show, also that Eugenie gave him her studio for the first year. He wanted it and seemed to deserve it more (I realise hard work does not necessarily make a good artist, but he is good too). I felt all of his emotions as they came out of the TV and filled my lounge, they was so palpable. I recognised myself in him at that final judging moment. But then again, I would never have made that call to the council to get the fence removed, far too low in confidence and expectation. Anyway, if you fancy having a go at a mini art school, without the TV and with a bit more space to breathe - Apply for A Curriculum at A Foundation in Liverpool next spring. Online applications on Saatchi's website here: http://www.saatchi-gallery.co.uk/acurriculum/... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Really nice time at the Royal Standard (my studio) Christmas Party last night.. mostly I loved decorating the gallery as a log cabin and making cardboard mountains and of course, the dancing at the end of the night. But it's nice to just spend time chatting to people you see around the building and also meeting new ones. Received a catalogue in the post from my friend Jane Edden this morning, from her recent solo show at Flowers East (which I sadly missed due to stupid train prices). As usual her exacting standards have made me want to work harder and be neater, but I am just very pleased to add this beautiful book to my collection. Kark-heinz Klopf from Linz also gave me a book about his work last night too so I am doing well. Have also just sorted out dates to teach a drawing class at a summer school next year. I was asked to devise a week-long course so have gone for experimental drawing after thinking what I really love to do. Best thing is, the arts centre I'm teaching at is Truro Centre for the Arts on Cape Cod!! It's amazing to be paid to go there for a week of work right on the beach, in August. Can't wait and as their apartment has space, Dan should be able to come too... The arts centre also have a shack residency thing (basically a posh shed in the middle of nowhere on sand dunes) for two week sessions, so I might apply for that and see if I can stretch the whole thing out. Unsurprisingly; it's very competitive, but worth a try! Now, almost hangover free, it's back to the studio (I have spent the week in the project space starting some new work) for some casting... taking the painkillers with me though! http://www.the-royal-standard.co.uk/events/ http://www.flowerseast.com/FE/Artists_Originals.as... http://www.castlehill.org/  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I saw this earlier this evening, posted by Susan Jones on twitter: http://www.skillset.org/uploads/pdf/asset_14315.pd... A guide to Internships. Lots of really good rules about pay/minimum wage - worker issues and time limits. So I applied this to the two internships advertised in ArtJobs today. Grizedale: very good, no, excellent opportunity for 6 week internship with pretty decent pay and a totally immersive experience. Plus they are up for splitting the residency into two or three week blocks. http://www.grizedale.org/about/internships Florence Trust: Not quite as good, probably still an amazing experience at a very interesting place, but it's not paid at all, and doesn't mention any costs covered either. On the plus side - a really broad range of stuff to work on and it's only for one day a week working as an assistant to the Director/Studio manager i.e. a lot of contact with interesting people. http://tinyurl.com/ybczsnl The Grizedale one could be for anyone too, whereas you'd pretty much need to live in London to do the Florence Trust Internship... Ok, exercise for the day over, will do a bit more comparing of how different internships measure up and report my findings.. now to sweep the studio floor and go home!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 This year has started quite intensely, with a project at the Grundy Art Gallery in Blackpool, which apart from a day there on Wednesday, is done. http://www.grundyartgallery.com/programme/forthcom... I spent last week being snowed in at home for a day, then iced-in in Blackpool. Car abandoned in my makeshift home/hotel car park there as no one could get back up the slope and out - pushed out by three of the staff yesterday. Regardless of the fact that I missed a day because of the weather, the gallery still paid me the full fee, which I was depending on for imminent car repairs and so am very grateful for their good will. Over Christmas my husband and I also started moving house. We had an overlap of a month with both places so have been doing it in pathetic little car trips. Never move like this! Just get a big van and stuff it all in. If you have some money, pay other people to pack. We still have two weekends worth of moving and furniture dis/reassembling so I feel quite sad (and exhausted) when I think about that! Back to Yorkshire on Monday (if the schools are open) - don't want to drive so far again, not after last week. Doesn't seem worth the risk. They've had more snow there so fingers crossed it's off... Also must get some things ready for Lancashire zine fair on the 29th/30th Jan. I promised myself I would have a year off book fairs after this one, so let's see if I can stick to it. So, mainly feeling very overwhelmed, but just got to get on with it and get some things out of the way... then I can have a treat, first one is doing the book layouts for the YSP project. Love love love doing those, but they can take ages, especially as I have no content yet. I have also been doing a lot of reading around pay and things over the hols, after the BECTU ruling in Nov and going to a seminar about working for free in Manchester in Dec. I was thrilled when I met a friend who works at the Biennial last night and she said the document I emailed her about internships has been sent round the office. It seems that they are rethinking their intern/volunteer policy accordingly!! Hoorah. I really hope they do. Actually, I am at the Biennial on Tuesday talking about my time in Linz to the staff. It's nice that they are interested, but I still have talk-fear.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Very pleased this morning; a friend told me that my blog had made her try and renegotiate two work contracts as her hours had gone up but money hadn't. I don't know how likely a pay rise is, but asking is important - after all, how will they know it's not okay if she just keeps quiet? I realised too that my blog is nearly a year old and that I should probably get round to doing a quick summary of all the good things that it has brought. I finally got my copy of Hans Abbing's 'Why are Artists Poor?' in the post. I have a feeling I should have read it years ago, but am quite hooked just a few pages in and feel some fresh conviction coming on...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Also very pleased this afternoon as today was like a second chance Monday. YSP was snowed off so I had this gift of an extra day to do some catching up. Accounts up-to-date, invoices sent, talk images ready for Biennial tomorrow, applications half finished, bills cancelled and changed address for the flat, my sister's dogs walked and all in my slippers (except the last bit!) Also a nice tea in the oven, perhaps this is why it feels like the weekend and I am stopping myself opening a bottle of wine? Maybe just one glass, I am cooking after all....... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Another good day, firstly, I am a winner! A blog winner to be precise, which is very nice and I am looking forward to my prize - a copy of Rachel Howfield's book. Thanks very much a-n. This morning there was some packing of things at the flat and then I went to Liverpool Biennial to give a talk to the staff there about Linz. Surprisingly (considering I was talking to a load of people), I enjoyed it. Very friendly and interested lot and it was good to go over the whole thing and think about all the things that happened this summer, also to reflect on the things I made and what it has done for my work in general. Afterwards, I met a friend for a cuppa and we talked about a piece of text she's going to write about Inhabitant for me. I feel very lucky as she has a way with words and I will get something far superior to anything I could manage. Tonight I am staying in the Liverpool flat for the last time as I am off to Blackpool in the morning. I'm a bit sad about leaving, but sleeping on a single futon on the floor is not really inspiring me to stay. Can't wait to get moved properly on Saturday and have fewer journeys. Then I can just drive to Liverpool to go to the studio, imagine that. Right, bed time - I'm taking Han's Abbing with me.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I didn't think that the RSA's State of the Arts Conference would be streamed online as there was no mention of it on their website.. but the tweets (follow #sa10 on Twitter) are just a bit confusing so far. I am hoping that the audio is at least put online afterwards so i can try and make a bit more sense of it all. I think I'd better get on with doing something more useful instead. Tea and toast springs to mind.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 After leaving the State of the Arts conference tweets alone yesterday, I came back and had a read through them all in the evening. It was interesting stuff, but although full of good soundbites and kindly distilled by the tweeting sudience, I got the impression I was missing a fair bit. In summary though, it seemed that: the wifi was rubbish; people felt artists were under-represented in the audience; people were (too?) easily impressed by Jeremy Hunt; although not perfect, it was a good coming together and discussion; artists are valuable to the economy and mood of the nation; it was an exhausting day. Anyway, I shall look forward to it going online... Found out I have a group of 12 sixth-formers for a whole week next week as part of the YSP thing. I am very excited as the age groups have mainly been under 10 so far. The project will be based around turning their research papers into artists' books. Joy.  Moving house tomorrow, which makes me want to cry a bit, but thinking of when I am back here at the new place with fire on and wine/takeaway on the go. It will be very good to have it done and be rid of the other place. Waiting to hear about a lot of things, applications, projects and possible trips abroad. It's frustrating as it is putting me off applying for other things (if I get certain chances, they will clash and applying will be a waste of time). It's always like that though, and usually you end up with the thing you were least keen on and you have plenty of free, unpaid time. I am also waiting for a delivery of soapstone. Although I haven't carved anything since 1997, the latest work seems to warrant it, so I have yellow and grey tones ordered and will do my best! Next on my list - re-learning to weld.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 In other news: I am sick of the TV picture. Here are some images from the Collaborate and Make exhibition I have on at the Grundy Art Gallery in Blackpool,. It opened last week and was made with school groups from the area. http://www.grundyartgallery.com/programme/... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Happy Birthday blog. Blog is one! It's been a very exciting and progressive year, which I have to credit in part to 'Getting Paid'. This is mainly because it forced a change in the way I approach my career/practice. I think the blog has been particularly responsible for making me analyse what it is I do with my time and what skills I have, which in turn has made me see new ways I can apply those skills. I started writing down things such as achievements and aims – something that I often think about but never do and this made me realise how hard I was working. These are things that we all know about ourselves, but often just have floating about our brains in a grey woolly confusion. The blog has also raised my profile and led to a few opportunities (directly and probably indirectly too) including: talking at an AIR event in Manchester, Talking at Chapter in Cardiff, writing news items for a-n, not to mention the fact that my increased presence on the blogs has meant ongoing conversations with lots of fellow bloggers and artists. So good developments in 2009 include: Finding out in January that I had got the Feiweles Bursary at Yorkshire Sculpture Park and starting that in September. More work doing talks/lecturing rather than minimum wage workBeing commissioned by Artland in AprilBeing nominated by Liverpool Biennial for the Linz residency (and being chosen by Linz of course!)Getting three stockists for my artists’ booksBeing offered more opportunities and work than I applied for (just!)Being commissioned by the Grundy in Blackpool to do their January exhibtion. Transforming from a ¾ time artist with a part time job, to a full-time artist with a lot more options for making a living.To look forward to in 2010. Finishing YSP with a book and closing eventTeaching a drawing course in Cape Cod in the summerShowreel project in MilanGoing back to Linz to launch the new book I am makingSolo Show prep for YSP in 2011 And………????Aims and objectives for Emily this yearLess guilt. More regular (and more efficient!) accounting and admin.Curating one exhibition/event (and no more).More writing and researchAn ambitious new body of work well underwayMore books and drawingLess compromising. Kittens & good times in the new house.A long (i.e. more than a week) holiday with my husband. Right, I'm off for some cake. Or to Liverpool to move house. Or both.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Awesome news this afternoon: I got a phone call offering me a place on A Foundation's A Curriculum studio residency, starting in March for 2 months. It magically falls in the two months I have off YSP and as my exhibition in Milan has been moved back to September (Curator has a baby on the way) it is perfect. I am very very very very very pleased as I am dying to work hard in the studio during that time away from YSP, but also feel a need for some research/pressure/discussion/engaged peers/big kicks along with it. It also comes with a £500/month bursary so it takes off a huge amount of bill-related stress. Tonight (in my travelodge room near Doncaster somewere..) I have been watching video footage from the State of the Arts Conference. 1. Observations on Jeremy Hunt's speech: Liz and Matthew seem to be keen tories. He was incredibly nervous (who wouldn't be!?).Points for their plans to cut admin costs.In my horribly cynical way of reading things - he seems to be saying he will cut funding for the arts upon Tories getting into power, and attempt to maintain levels through other sources, He mainly cites US philanthropy and endowments as a model; this seems like passing the buck? I don't know if I have this all right, but it's worrying anyway. His chat about the UK having loads of money (comparative to the US) may be true, but surely that money is split between a tiny percentage of the population. Are we to depend on their generosity? He made a confusing critisicm of targets in funding agencies, whilst stressing the need for more engagement as a result of funded projects. I would like to see less ticking boxes/more independent choice making, but would have been nice to hear how he plans to go about it. Is it just me being too bloody northern, or does his comment about holding the event outside London next time - to step back and get perspective - imply that they are mainly stepping back from and therefore talking about London? Bacially at this point I am suspicious. Everyone who asks questions is a director of something. Generally the twitching audience is very enjoyable to watch, especially the staring woman at 25.40 ish. Lastly, what are Liz and Matthew whispering about?... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Absolutely knackered, life still in boxes blog: Firstly, thanks so much for all the recent kind comments - these have cheered me up immensly and make me want to continue blogging. Secondly, I didn't put the link to the the conference if anyone else fancies watching it. Still haven't watched anymore yet. http://www.thersa.org/events/state-of-the-arts-con... I am in week two of four straight weeks in schools in Yorkshire and am pretty shattered after not being able to sleep last night. I have to get up at 5am on Mondays to drive over (I stay with a friend's parents in the week) and today I only just made it up the motorway with my eyes open. Moving house the weekend before last was so much worse than I anticipated. I would really like to be at the new place unpacking, but I can only do bits at the weekends. I will be spending my evenings writing and also laying out the books for the end of the YSP project so at least I am doing some useful things. This week also involves some book finishing off as it is the Lancashire artists' book and zine fair on Friday and Saturday. Lastly, Susan Jones posted this on twitter earlier from the Guardian. Talk about badly researched, over generalising, romantic artist stereotyping. Pah, in my opinion, this article just sets artists back in public perception to starving in an attic or being eternal students. http://www.guardian.co.uk/culture/2010/jan/24/arti... I am also keen to know which visual artists out there earn £521 per week? That's the average apparently. I like the way they also mention sales from the affordable art fair and say some of that may go to galleries - try around 50% usually. Do more research next time please.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Bloody hell. I need some more days this month; it's getting ridiculous.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I have a day at home today! Well, the morning at least.. I was in Yorkshire last week; a really nice three days at one school, but then Thursday was just exhausting. I was at a little school where they had decided the best way to use their day with me would be to put me with 39 6/7 year olds. Seriously, talk about setting me up to fail! It was okay - we all made things, but it was just a constant struggle to settle them and get any kind of concentration. Not great. Couple that with a confusing meeting at the park and I was ready to get back to Cheshire. Friday and Saturday was the first Lancashire Artists' Book & Zine Fair at UCLAN in Preston. As usual I broke even on cost, but didn't make anything. Still, these events really are more about meeting people, getting some books out in the world and looking at other people's work. I had some really lovely comments and caught up with various people I don't see enough, so it was good. The new house is still fairly corridor-between-boxesesque (I only have Sundays to unpack at the moment), but my studio is starting to take shape. I have to go into Liverpool later today, but this morning I am going to start on a bit of stone carving. I need a nice pair of pink legs for a piece I want to make so will make a start on some soapstone before tackling the more expensive pink talc. I haven't carved since my first year at eca, so it may take a few goes. I may end up casting them with pink resin or plaster in the end, but I have to try or I'll always be wondering! Just got to find the chisels now...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Should artists be giving artworks away for free? Add your tuppence worth to this discussion on the forum. http://www.a-n.co.uk/forums/read/27,756,759 Also, my news article on free labour in the arts in this month's a-n: http://www.a-n.co.uk/publications/article/600067/7...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I've just been reading this while doing some research on artist-led groups. It's another article from Alias (I posted one from Gordon Dalton a while back I think): http://www.stevenpaige.com/Artistrisklatest_Steven... Steven Paige discusses some really  interesting points about the pitfalls and advantages of artist-led activity and asks whether "the term artist-led is lazy shorthand for a type of idealised radical position, with some ethical butter applied?"... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I am staying in a travelodge in Wakefield this week - good for getting on with some work after school days at least. I booked a load of rooms for YSP dates back in November when they had their £9 sale. Bargain. I sat down when I got in tonight and tried to work out what money was coming in when. I realised I only knew dates for YSP and that all my other income is as and when my employers choose... Regardles of a 'please pay within 30 days' on the invoice, I still haven't been paid for some jobs 10 weeks later. I realise this is the same for self employed people in lots of professions, but if anyone has any advice on getting more prompt payment, I'd appreciate it! Cashflow can really bugger my life up at times. In more cheerful news.. I got an offer of lecturing work from Blackpool College after the Lanc zine/book fair last weekend. Also, Women's Studio Workshop got in touch saying that my book, Unfolding Architecture, was going to be in a show in the Grolier Club in New York in December 2010 (amazing venue!). They also asked if I would write an essay for the catalogue as their emerging/young artist voice - for an honorarium. I'm very flattered and excited. There is also the possibility of going halves on flights for me to be on a panel of artists at a seminar in Jan/Feb 2011... Hopefully I can do that too - I would love to go back to New York. Any excuse! After giving a talk at the Biennial about Linz last month, I have been approached to build a cardboard set for a play/comedy series one of the staff is organising at the Bluecoat. Trouble is, he's asked me to name my price - but has also stressed how small the budget is. But is his small the same as my small? Probably not. I'll start at recommended rates and go from there I guess... I have been keen to do some set deisgn for a while... http://www.wsworkshop.org/_art_book/ab_archive.php http://www.grolierclub.org/    ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 *COMPLETELY IMPOSSIBLE-FOR-A-NORMAL-PERSON OPPORTUNITY* Yes, wouldn't it be great to have Nettie Horn Gallery on your CV, to get this experience an all. But four full days a week minimum - for three months?! Not realistic in the slightest. Also - how do they expect University students to be able to commit to that much time? So many questions... (I see they have circumvented the national wage legislation completely here. ) I wonder how many applications they will get though... NETTIE HORN gallery is currently offering an internship within its team of three people.   This internship is an excellent opportunity to experience working at a dynamic gallery on Vyner Street, providing support to its Directors and curators in all aspects of the running of the gallery. This internship would best suit a university student with an interest in working within an arts organisation and who has: - Good administration and organisational skills - Good interpersonal skills and the ability to work effectively as part of a team - Strong verbal and written communication skills - The ability to use MS Office, Photoshop and internet - Good technical skills in order to assist with the installation of exhibitions The internship will be for 3 months, commencing as soon as possible, and will require a commitment of minimum 4 days per week from 10am to 6:00pm.   To apply please send a CV and covering letter to marie@nettiehorn.com. Please note that this internship is offered as a voluntary activity and, as such, is outside the scope of the National Minimum Wage legislation.  Regrettably, no contribution can be made towards expenses. All applications are welcome. Thank you  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 *INFINITELY MORE MANAGEABLE INTERNSHIP THAN THE LAST POST OPPORTUNITY* 5 -7 hours a week over 6 months; that seems more like an actual voluntary post. Long time scale to get to know people and gain lots of experience, but you don't have to be funded by the bank of Mum & Dad to do it... Gallery Intern, Menier Gallery London Unpaid (Expenses Paid) Part time Artform: visual arts   Contact:mail@meniergallery.co.uk Caron Pelletier      Description The Menier Gallery, located in the historic Menier Chocolate Factory in Southwark, is currently looking for a Gallery intern to assist with its administration. The role would suit anyone looking to gain experience in an arts organisation and to develop skills in marketing and exhibition planning. Tasks include: Assisting with gallery site visits and answering enquiries (by email, mail, telephone and face to face)Conducting gallery visitor surveys and compiling feedbackHelping with the creation of gallery marketing and promotional materials Helping to maintain contact/mailing lists and assisting with gallery mailingsWhen appropriate, helping with gallery events and private views Hours are flexible, ideally candidates should be able to volunteer 5-7 hours per week, with a commitment of 6 months.  An interest in the visual arts is essential. For further details, please email mail@meniergallery.co.uk to receive a copy of the internship outline.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Joanne Mattera discusses the invisibility of artists in statistics and how they are missing from job list reporting about the recession.She says in her blog: "The number of bank tellers without employment is greater than the number of artists without jobs, only because most artists never had a countable job to begin with." http://tinyurl.com/yhgmx6j One comment links to this blog post about the latest suggestion to members from the Freelancers Union (this is all US based) to 'Pay to get paid'. This means taking 3-4% off your invoice in order to get paid quickly. http://tinyurl.com/yfmc9uh Blimey. Another comment replies 'I think artists need to spend more time advocating for themselves and educating people about the fact that we are business people and that our earnings are a significant part of the economy.' Couldn't agree more - we spend a fortune on materials/services etc. the writer of the comment expands on it in her own blog: http://tinyurl.com/yzrsfb5 A convoluted post! But this seemed to go off in so many useful and interesting directions I thought it worth following up. Thanks to kirstymhall on twitter for the link! Read on a bit if you have time and look at Joanne's Marketing Monday posts - there's some really good stuff. Some of it is more relevant to the US though (e.g. donating to auctions - although we may need to know this if the tories get in and we go all philanthropy dependent).... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Please add your thoughts to this thread on the forums if you have a minute: http://www.a-n.co.uk/forums/read/33,781 Thanks!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Today was a great example of a bad day. I have been having a nice week too and was probably feeling a bit too pleased with myself (brought it on myself). School has been good so far and last night I went to see 'Northern Soul', a photography exhibition at the National Coal mining Museum. It was nice, weather was sunny, had a good walk. Today was good too - although I was with year three this morning and found them hard work - short attention spans. After school the head and a teacher pulled me in to say a child had fallen on a cocktail stick, it had gone in her wrist and she'd been sent to hospital. Awesome. I gave a million warnings this morning and made sure they were all collected in after the kids had used them to make towers, so one had probably been put in someone's pocket and voila. I feel terrible and even though I have used them over 100 times with no accidents and wasn't there when it happened, the implication is it's all my fault as I brought them into the school. I shall spend some time cutting all the ends off and making them blunt before my next school! To cheer myself up I went into Wakefield to see 'Collect' curated by Victoria Lucas at Westgate Studios. I like her books a lot and thought that if her curation shows the same sensibilities it would be a very good show. Looked on website and called to find out if it was open, but no answer in either place, so I just went. Of course it is only open 9 -1 so there is no chance of me ever getting to see it! Bugger, but I will maybe try and see if they'll let me in one evening as it would be disappointing to miss it when I'm over in Yorkshire so much. Cue much getting lost and being stuck in traffic afterwards just to add to the mood. Now I am going to stop moaning and eat something, I may just be hangry (hunger causing anger). Here's hoping tomorrow will be a bit more cheerful.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Morning. It is half term. I am not in Yorkshire doing workshops. I did not get up at 5am or drive on the M62 at 15mph in a queue for so long that I couldn't feel my foot. I am a very happy artist. Apart from the toothpick hospitalisation of a 7 year old, last week ended up being great. The teachers all helped out and really pushed the conceptual side of the work (drawing and modelling yourself as a building based on personality). It can be hard for the kids to grasp, but when pushed they make amazingly thoughtful and often amusing work. Last week was the best school so far in the whole project. My next things for YSP are writing the interim report (next week) and planning the publication, as my print deadline is in May sometime. But it will be banished from my mind this week. It does not exist. I do have a truckload of work to do however, but it is really meaty good stuff that I am happy to be settling down to. I don't like working in dribs and drabs and I don't think it's good for me either. First - writing, second - cataloguing and third - report writing. For breaks inbetween I shall be carving little bits off my soapstone feet that are slowly emerging. This week is time to work at home, in my lovely new house that has finally been unpacked. My studio is go, so is the nice clean desk for the computer. Opening the door to the spare room is still fairly treacherous, but we don't talk of it. Not a problem until April when an artist from Linz is coming to stay for a few nights - she has a show in Liverpool with POST (set-up funded by a NAN bursary I think. ) I was reading a really good article about J.G.Ballard in the Guardian on Saturday (based on the Crash exhibition at Gagosian currently) and it made me think  about working habits. I am hopeless at working at home, or I have been, but I hope the new house will allow me the opportunity to break with some bad habits and to be more efficient. This may be foolish, but just humour me please. Apparently Ballard took two daily constitutionals and I thought how amazing that I can go and get my sister's dogs and go for a walk with them anytime. In Liverpool a walk in my local park (Everton) would have involved the walk of doom through the smackhead gates. Theory is that I go outside as a reward for some work done, get fresh air and come back renewed - I'll see how that goes! Speaking of Liverpool - work on developing the Festival Gardens starts today. I went a lot as a kid because my Auntie busked there and we could go in free. I remember it as some wonderous oversized Charlie and the Chocolate Factory place, although a recent visit through the hole in the fence suggests otherwise. But that dragon slide that you can still see from the road, I used to have dreams about that being filled with water in some underwater land. I think I have got the reality of it (giant pencils as benches! Giant jam jars!) mixed up with the wonder in my head. Either way, I will be sad to see being developed somehow. Working with kids so much recently has really opened up some of these impossible thoughts again - especially looking at the buildings they design. POST Liverpool: http://www.a-n.co.uk/nan/article/498645/473133 Ballard article: http://www.guardian.co.uk/artanddesign/2010/feb/13/jg-ballard-exhibition-iain-sinclair Festival Gardens: Pictures from 1984 and 2004, also a short film. The legacy of a "unique riverside parkland gifted to the city and available for all to share" didn't really work out so well then!  http://www.bbc.co.uk/liverpool/capital_culture/200... News report on Garden Festival: http://www.youtube.com/watch?v=M29ekNg6dyo&feature... Dan Simpkins and Penny Whitehead made a really interesting newspaper with contributions from artists, based on the gardens, regeneration and repetition of history within the capital of culture. See more about that and get a free copy here: http://www.danielsimpkins.net/main/future/future1....  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I should stop. I have been bent over the computer all day and wrist/arm/neck have had enough. I am writing profiles on four artists and an essay - so lots to get on with. I have transcribed three of the conversations I recorded for this at various points over the last few months, but one I foolishly recorded in a cafe and have been struggling to hear! Today it went through some extra speakers I rigged up at home and apart from the odd irritating waiter and background laughing, I managed to get it all - finally. It's taken most of the day and I am done in but this artist is interesting and I don't want to miss him out! Progress should be a bit more swift tomorrow. I found myself at the weekend doing something unexpected: reading through empty shops guidelines and application procedures from Liverpool Council. I did say I was allowed to curate/organise one event this year (to stop it taking over my life) and I think I have figured out what it is. I'm still not sure about the whole shop thing, but for the exhibition subject it is actually a pretty perfect setting. All of things that I have put on in Liverpool have been at borrowed/empty properties and it is a pretty standard way of going about things here as the city has been half empty for ages. In this case, it just means that the council are putting money into grass roots and artists that maybe should have been part of the capital of culture. I have started contacting artists, but I am taking it slowly - I know how stressful these things can be and the hidden work that's involved! Exciting stuff though.. Lastly, some good news: the curator who invited me to show in Milan as part of Showreel has been in touch about a possible group show in Stuttgart in October. Seems like the autumn may involve a bit of European inter-railing or something with Milan, Stuttgart and possibly Linz on the list. Stuttgart is also very close to Strasbourg, where I did a bit of my degree, I would so love to revisit! My mum was on about a short trip to Istanbul too... hmmm, I'd better earn some money if any of this is going to happen!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I think I still have two days of editing ahead. I am very quick to write, but I am, as usual, way over word count and it always takes me longer to sort it all out afterwards. I am very lucky that my husband is a grammar nazi and will not tolerate my sloppy syntax :) Really enjoying myself, especially as I have lovely french-lined notebook and mechanical pencil on the go. I try to do my writing on the laptop - but I can't see it in my head the same way as if I've written it by hand. I like to have sweeping arrows connect things, make texty flowcharts and asterisk the hell out of bits as afterthoughts. I don't see connections as quickly if the text has to be scrolled up and down. Give me a big sprawling A3 notebook any time. I like working from home. I am the calmest I have been for weeks. I have accepted that my lunch break has to coincide with neighbours and home & away. I blame my friend (?) Rebecca for this: she started me on Neighbours while we were doing our MA in Wimbledon and then stopped watching it herself. To me this is akin to starting your mate smoking and then giving up, I am left with a life-long habit. Thanks Rebecca.  Have been for a lovely sunny walk this morning and was wondering how my new rural abode will change things. I grew up in this village too so all of a sudden everyone know me and stops for a chat - a massive change from Liverpool/London/Japan etc. Do artists in the countryside make different work to those in the city? I remembered Rosemary Shirley had written something about this a while ago, but I'll have to see if anything changes for me..... http://www.a-n.co.uk/publications/shortcut/article... http://beccafoster.co.uk/home.html... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I am a little distracted as I have just discovered a secret bit of recording at the end of one of the conversations with an artist in the Salzamt. I go out of the room and I presumed that was the end, but I just left it playing today and found out that was not the case! Jens must have picked up the phone recording us (it gets very loud) and he's giggling and making lots of sound effects, mixed in with some swearing followed by 'shit, she's coming back' and clang goes the phone back on the table. Made me miss him a lot and I have also been laughing heartily. Also found out we are getting a cat on Monday! Very excited. This is my friend Tracey's cat who is being adopted as she has to live with three basset hounds at the moment! She is extremely fluffy and will hopefully enjoy the surrounding fields and being my companion.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 KNICKER BLOG. The postman has just brought me a lovely package from a-n, my prize for being one of the blogs of the year. Inside was a copy of Rachel Howfield's artist's book 'What a Waste of a Day' and an extra surprise - a pair of knickers! I should fill in some background here. It started with a group friends from uni (eca), four of us that used to always buy each other knickers as presents. It became a bit ridiculous so that they would get more and more elaborate until they were festooned with ribbons and bows and ruffles and patterns to make your eyes bleed. When I was doing the residency at Hospitalfield in Arbroath we had to use the laundrette. I found out near the end that I was known to the staff as the knicker-lady. One of the elderly women who did the folding said to me that I had the most incredible collection of unmentionables she had ever seen. A great compliment if ever there was one. But I believe these small things can change the way you feel and make a difference to your day, laugh at me if you want, I don't care because I have ribbons. The pair from Rachel come with a tag for hanging instructions: ·         Fling onto lampshade ·         Hang off bedpost ·         Pin to the wall ·         Hide in your knicker drawer ·         Drape casually over the back of the sofa I'm wondering whether a knicker wall may come into being...  Incidentally I am off to Lincoln this weekend for a reunion with said Edinburgh friends so the post feels very timely.. I think I may have to pop to the shops before I go! I should also mention that sewn into the gusset there is a tiny panel with a picture of a fire sign saying 'Fire hose keep clear'. Excellent stuff. Thanks Andrew, a-n and Rachel! http://www.axisweb.org/artist/rachelhowfield... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Jack Hutchinson had tweeted some interesting stuff about internships when I had a look this morning. The BBC have done a report on the growing number of unpaid internships (in all professions). They reckon 90% of internships are unpaid and 60% of interns say their experiences were in no way beneficial. Video here: http://news.bbc.co.uk/1/hi/business/8518617.stm That's not great is it? They interviewed one of the founders of Interns Anonymous, so get adding your experiences on there if you have anything to say: http://internsanonymous.co.uk/ The Arts Groups have just launched a report on internship called 'Emerging workers: a fair future for entering the creative industries' http://www.artsgroup.org.uk/2010/01/emerging-worke... As for me, I am having a slow morning today, partly because I couldn't get up! Husband left me in bed so was a bit disoriented when I finally woke! Went to Blackpool to do a talk on my work to Illustration & Fine Art students yesterday, then I took a small group for an artists book workshop in the afternoon. It was lovely and they came up with some very clever and thoughtful ideas. There was talk of whole bookbinding day at the beginning of the year on October, which would be great for them. I also had some really kind emails waiting when I got home, from students thanking me, thanks! I also popped in to the Grundy gallery while in Blackpool to drop off a CD of images from the Collaborate & Make project I did there in January. Their current exhibition 'Magic Show' touring from the Hayward is worth a visit. Sinta Werner has been commissioned to make a site-specific piece and it's awesome! She is the next artist in the Showreel series in Milan that I am doing, so I was keen to see her stuff. I think Alice Channer's work, which she showed at Showreel in Milan back in December is in Frieze next month so I must remember to buy a copy... http://www.grundyartgallery.com/ http://www.sintawerner.de/ http://www.showreelproject.com/artisti.html In other non-art related news, we have a cat. She is lovely, but mainly under the sofa at the moment. She is adopted from a friend and very nervous. She was living with three basset hounds so is stll waiting for the dogs here and is very suspicious of doors. Hopefully we can give her a non doggy life where she can chill out a bit! Luckily Dan is a cat whisperer so they are already firm friends.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I keep looking at the Arts Council consultation and trying to do it... but there's so much reading to it and I have too much report writing to do for YSP at the moment. http://www.artscouncil.org.uk/consultation/taking-... You can have your say until 14th April. I will do it, I will.. can't really moan about artist not being represented if I don't can I?... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 A friend sent me this link yesterday: http://jangosteve.com/post/380926251/no-one-knows-... basically he defines the FRAUD COMPLEX; something I think a lot of people suffer from, especially artists (me included). It's difficult as there are hardly any measureable successes in this business, so if you do well, sometimes you can't pinpoint why exactly and there is no guarantee of replicating that. Everything seems subjective and uncertain and precarious and so on ad infinitum.... At a discussion group at Royal Standard last month - about what inspires us to make - the fraud complex business came up and most people nodded a bit. In the blog post, he defines knowledge by shit you know, the shit you know you don’t know, and the shit you don’t know you don’t know. I have a lot of the middle one; shit I know I don't know, which can be intimidating, especially when you presume everyone else does know it. This often leads to not trying things or writing off your best ideas before they have chance because you presume you will probably fail. It also means that you know something isn't right, but you can't necessarily fix it. I have this a lot when I read back through things. I know it's not right, but I am me and I will probably write the same thing again, even though my head tells me otherwise. Also - this new blog on artists talking looks like it might shape up to be interesting... Critical Creative Support Campaign by Mark Brereton http://www.a-n.co.uk/artists_talking/projects/sing...... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Offline for two days and it was when everything needed to be emailed. Anyway, much hurried emailing of reports and things that hadn't sent because they were too big.. silly girl. This is interesting and worrying.. Margaret Hodge: the arts are a 'closed shop' http://tinyurl.com/ycu9q96 "someone who works for a major gallery told me that the same thing is happening at their workplace: people are being made redundant and replaced by unpaid interns." I know someone whose contract hasn't been replaced at the gallery where she works and she is sure that she will replaced by interns. It's so insulting! In other news; some good news, but further updates when I know more!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Ah haa, this explains a lot. My husband forwarded this link after reading my Fraud complex blog entry: http://en.wikipedia.org/wiki/Dunning%E2%80%93Kruge... "The Dunning–Kruger effect is a cognitive bias in which "people reach erroneous conclusions and make unfortunate choices but their incompetence robs them of the metacognitive ability to realize it".[1] The unskilled therefore suffer from illusory superiority, rating their own ability as above average, much higher than in actuality; by contrast the highly skilled underrate their abilities, suffering from illusory inferiority. This leads to a perverse result where less competent people will rate their own ability higher than more competent people. It also explains why actual competence may weaken self-confidence because competent individuals falsely assume that others have an equivalent understanding."... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Oh my I am tired and extremely headachey. School this week is hectic. One more day and I shall get home, hopefully in one piece, and sleep. I am armed with a bottle of baby bedtime bath and new pyjamas. Get set.. zzzzzzzzzzzz. Me, Dan making me tea periodically and the cat stomping around my head and a newspaper I can't be bothered to read. An amazing picture. Only three more days in schools after this week until the end of May, so this is a real chance to get some rest and reflect a bit on how it's all going. A Curriculum starts on Monday and I cannot wait to be back in the studio. The boxes and materials are already packed waiting to go. Looking forward to some brain strain although nervous about all the people I will meet and have studio visits with, also about the presentation to other artists... The curator from YSP is coming to do a studio visit at A Foundation too, so I feel the need to be prolific in the first month of the residency. What was I saying about rest? How about I call it a child-free period instead? I like deadlines. Actually, that should probably read -I need deadlines. There was a nice comment by a book artist I saw, something like 'without a deadline, there is no book'. Quite. Sent off the interim report to YSP, which seems to have gone down okay, I think?  Although I had an epic technology fail and lots of trouble making the pdf as it was a humoungous file and my laptop wasn't coping. Looking back over it I realised that the latest version hadn't saved and the one I had sent had a generous number of typos! I hate that. Really really hate that and I feel embarrassed that they will think I can't read/write/spell. Seems to be the way my life is at the moment.. best intentions but some avoidable and unnecessary cock-ups in retrospect. Pah. I think I'd better start saying no a bit more - better to do less things well than lots of shonky ones. Lastly and less self-indulgently, this is a good read by Charlotte Higgins in the Guardian: http://www.guardian.co.uk/commentisfree/2010/mar/0... The case for safeguarding arts funding in the future.  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 I've been doing some research for the next Taxed event in Liverpool and have been visiting some people for a chat as well as emailing (and proabably irritating) everyone I know. I have also been using exhibition openings to prey on artists to answer my questions. So far there have been some really great answers and I'm glad I asked because a lot of things that came up hadn't occurred to me at all. Patterns are beginning to emerge. Sacha from the group is also doing some research on this so it will be good when we meet up next week and compile the results.. I started a thread on the a-n forums here: http://www.a-n.co.uk/forums/read/33,781 and that's got some interesting  responses - but I want more please! Just three questions - ARTISTS SKILL SWAP SURVEY - Please fill me in!     http://www.surveymonkey.com/s/3BXTDRT Ideally before 5pm Wed 10th March, thanks! Also wanted to mention Waygood in Newcastle - who may be getting their funding withdrawn by ACE, ending 15 years of support for artists. They are collecting good wishes to present to funders on their website. They point out on their website the irony of ACE's aims to support young artists in light of their decision to withdraw funding to an organisation like this. Please have a look and add your own message. http://wishesforwaygood.tumblr.com/#428170127 The original ACE 'think piece' by Nicola Slawson, a 25 year-old artist can be read here: http://www.artscouncil.org.uk/consultation/think-pieces/supporting-the-development-of-future-artists-and-arts-leaders/... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 'Kin Hell. I have been shortlisted for the Liverpool Art Prize.. not expecting it and very very pleased. http://www.liverpoolartprize.com/ I am in very good company indeed (pretty intimidating company actually) so I hold no illusions about winning any money. It will be good to be in the exhibition alongside the other artists though. Also shortlisted are Gina Czarneck, David Jacques, James Quin and Paul Rooney. Gulp. Started A Curriculum today. It was great to get in there, although those studios are COLD. It's a bit strange actually as I am in a position I haven't been before; where I have no desire to explore so I am just ready to get my head down and work. I'm not making work about where I am for once, just work. I quite like it. Going to take my socks off tomorrow and cast my legs. BRRRRRRR.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 As I mentioned, A Curriculum started on Monday and it's been a good week so far. The space we have is ridiculously big (and chilly). I am feeling a bit out of it in some ways.. being local and also the OLDEST!! But there's no escaping the fact that my experience will be different to the others'. I hope it is too - I want this residency to be a very productive period and also to feed into my studio practice afterwards. I have to find a better balance of making work and taking on other projects! We all gave presentations about our work yesterday and it was great to see what everyone is up to. Normally I'm not too bothered about speaking in small groups like that, but something was up yesterday! I suppose it always makes you feel a bit vulnerable speaking about your work - I always forget half the stuff I want to say too. When there are no questions either - that seems worse than too many somehow! Anyway, enough reflecting on that - we all find the speaking stuff hard I'm sure.. During A Curriculum I am also making a (cardboard) set for a new comedy/performance production at the Bluecoat in April.It will be a slightly surreal affair and I am planning a lot of pipes that become other objects, a cat/telephone  mix was also mentioned last night at out meeting... I will also be working on a collaboration with Nathan Jones, poet in residence over the last year at the Bluecoat. We will be creating an artists books with one or more of his poems. He has written an especially beautiful one entitled 'Slow Magic' about the experience oif gallery spaces and we will concentrate on that. Right, to my little red van and A Foundation. Ta ra.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389 http://www.a-n.co.uk/artists_talking/projects/single/497389 Monday - and started by waiting in for the postman to deliver materials that didn't come, rubbish. Was planning to work with those this afternoon in A Foundation, but maybe tomorrow. Just wanted to flag up this: http://www.longhouse.uk.com/artist-projects/in-con... This is an online conversation I am having with Anna Francis as part of her month guest editoring the Longhouse website. There are a few conversations on the go, we are manily talking about activism in the arts and improving working conditions for artists (sound familiar?). The weekend was fantastic - hardback bookbinding with Lucy May Schofield at Hot Bed Press in Salford. Amazing results and it sorted out a lot of my bad habits. Last night I went to the pub with me ma and over a few glasses of plonk she manged to help me sort out all sorts of irrational thoughts I have been having about making work at A Curriculum. I have no idea where all the insecurity comes from, but I shall have to ignore it if I want to make anything... This morning was invoices, phone calls about unpaid invoices and updating accounts. They are behind still. I have made a list, which may help me to prioritise, it may not. Now I am off to Metal at Edge Hill for a meeting about the Liverpool Art Prize exhibition, then A Foundation, then cooking tea for my granny, then home for Glee with sister, bath and bed. What an exciting life!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/artists_talking/projects/single/497389