ARTISTS TALKING

# 216 [23 August 2010]

Today I spent the afternoon with Sarah, one of the curators at YSP and had a good look around my gallery space (mine for a few weeks of 2011 at any rate). It was brilliant to sit down and find out a few things about timescales, money, materials, and stuff and generally sort out how things will happen a little more. I feel SO much more relaxed having things said out loud. Actually, I'm not sure that relaxed is a word that will ever be right in connection with this exhibtion, but I can't think of a better one at the moment.

Anyway, I am still rubbish at talking money, but I have promised to get better at asking for help. Sometimes I forget how some things that would take me ages and drive me insane are just daily tasks for staff at the park. Default position is to ask, just incase.

One incredible development is being offered the use of the boat house as a place to work in the run up to the exhibition (starting in November by the looks of things). It's amazing and there is a little wooden side part that is made for photographing things in (my things at least!). First residential dates are in the diary for November as well a meeting with technical staff to start asking my list of a million questions.... how would I make this like this? Can you help me make this like this? ETC ETC ad infinitum.

I'm so excited that I have almost forgotten I am doing workshops with the public at the park over the next two days. Anyone in West Bretton please come and make a self portrait as a building with me :D

# 215 [22 August 2010]

Finding a balance as an artist blog:

There has been a good deal of discussion on the blogs over the last few weeks about ways in which we operate as artists. This covers a vast range of issues from making a living, to subject matter, working intuitively versus politically and the dirty matter of being able to market yourself and retain integrity.

I wanted to add another voice into the discussion. Joanne Mattera is an American artist who writes a great blog, in particular, her Marketing Mondays (MM). Bear in mind that a) she is American, b) her work is very much in the traditional gallery model of making and selling and c) she deals with the US philanthropic way of operating all the time, so many posts deal with auctions and fundraisers - the type that we don't really have (YET!). Other than that, she offers some great experience, anecdotes, advice and wording for emails and letters.  She represents an especially generous type of artist to me; one willing to share so much with her peers.

This MM post looks at changing career tactics (the old argument of the starving artist in a garrett versus sleek marketing artists - In reality I guess most of us sit in the middle). She says

"The new breed of artists—and many mid-career and even late-career artists, who are purging themselves of ingrained old-think—are not just working in their studios but presenting themselves to the world."

http://www.joannemattera.blogspot.com/2010/06/marketing-mondays-new-emerging-or-re.html

I liked anon's response:

"Anyway, I believe that every artist seeks (and hopefully finds) the balance between promoting the work and not having that promotion interfere with artistic integrity. Each person's balance is sure to be different, and the main thing is to find what feels right to you--even if it means living with fewer material comforts (which in itself is not a bad thing)"

My position is similar. I want to get paid and I want to have integrity. I believe a balance is totally possible, but I also don't expect to be 100% pleased all of the time. I also want to be in art for the long haul, so I feel like it's really important to find my own pace and not worry too much about what everyone else is doing, at what age etc. I still do though, of course! Perhaps the artists shouting the loudest are not the most interesting anyway. I often find that the artists I admire most tend to slip away for periods of time, probably when work overwhelms everything else.

Pragmatic wihout denying the inner drive to make art - Anthony Boswell's last few posts have pondered some of these issues: http://www.a-n.co.uk/artists_talking/projects/sing...

he says in #44:

"I have done too much empty talking -just forget what it is to be an artist, ask the questions inside what we want answers to and make the work."

On that note, I better go and get on with some...

# 214 [20 August 2010]

http://www.thecumbrianetwork.co.uk/arts-council-fu...

There's an interesting debate going on in the comments here about the effect of funding cuts, from a practitioner perspective (seeming largely unaffected) and from the independent organisation perspective.

It's been pointed out several times that regional areas may be the hardest hit as they are unlikely to draw philanthropic support like high profile London venues. Christian Barnes had this to say about local autority funds:

"Public sector and especially local authority support for the arts is so important because it sits so close (in principle if not in recent practice) to democratic accountability and in this respect it has been the Arts Council's disastrous mistake to approach this period by 'dis-investing' the local authorities. This sent a signal to the local authorities that it was OK to dis-invest in a non-statutory service - after all if the Arts Council doesn’t want to support local authority provision why should a local authority? Many authorities here in Cumbria are now feeling that it’s OK to follow suit. At the time of dis-investment local authorities accounted for a high proportion of revenue to the arts so this was always a questionable and risky position, one whose rationale has never been adequately explained to the sector. The Arts Council chose instead to partner with the Regional Development Agencies"

# 213 [19 August 2010]

Also wanted to flag up a couple of things:

The foundry looks like it is finally getting knocked down. Has anyone heard the protest that "the development is cashing in on the local art scene at the cost of artists" somewhere before?

http://www.bbc.co.uk/news/uk-england-london-110276...

Also, an opportunity for artists that made me laugh thinking about the proposals they might get; The House of Lords seeks to commission and artist/designer/craft practitioner for site specific work for its permanent collection. This involves a 6-8 week residency for 2-3 days a week at the Palace of Westminster library with a fee of £10,000. So it's a well paid opportunity indeed, and their collections of rare books and manuscripts sounds amazing, but it's such a complex situation at the moment. I guess it's not a residency in the house of commons - that would be different.

If anyone would like the pdf of application details just ask...

# 212 [19 August 2010]

I went to Birmingham today to see the BOOK SHOW, which was great and certainly food for thought... of course there was a talk this evening and I missed it - sod's law, but then I did get the BOOK and think I may even like that better than the exhibition. I also saw a sumptuous and beautiful video piece at Ikon Eastside and 'Inbindable Volume' at VIVID, which was astonishing. It was strange and a little pretentious at points, but beautiful, poetic and laugh out loud funny in parts.

http://www.vivid.org.uk/

http://www.ikon-gallery.co.uk/programme/current/ev...

After my brief trip to Edinburgh at the start of the month I had a bit of a revelation about why I left my BA as clueless as I did. Depending on the traditional tourist pound means that Edinburgh just doesn't have the same kind of art scene as cities like Glasgow, Liverpool and Manchester. It's a bit insular in a way, although vastly improved since I lived there and Martin Creed was fab. Funny to experience the lift piece in Birmingham again today. So I thought I would go to a few more cities and see what they are like. Newcastle is next on my list. It all helps to appreciate what you have at home and Liverpool is fantastic really, despite its flaws.

I am currently being interviewed by an LA based curator via email. This will be published somewhere to accompany my exhibition at Showreel in Milan this autumn.

http://www.showreelproject.com/artisti.html

As questions and answers go back and forth I can recognise this as a really valuable experience. It's rare to have someone delve so deeply into my work and I have enjoyed being challenged and pushed on things. I have a meeting with the curator at YSP on Monday too and a good look round my space, so things feel stressful and rich and bursting with possibility. I am also terrified, but this is familiar territory...

# 211 [16 August 2010]

On life:

I've been in Leeds for a few days doing the Drawing Shed project at PSL. It was a lovely thing to do and although I haven't really looked at the animation properly yet (I suspect it is slightly dodgy - need a heavier tripod as there was stll jumping around in the picture) I did what I said I was going to. That might be the first time such a thing has happened.

http://www.projectspaceleeds.org.uk/emily_speed_un...

I was also invited to a dinner the gallery held for its new volunteers - this was interesting; to see it from a gallery's point of view. Given that they a) made the volunteers dinner and b) asked what their preference for work times and roles were and c) offered to help with things like CRB checks, I would say PSL are some of the good guys. Helps to be a small team within a less formal organisation I guess, but nice to see a two-way relationship. I also had some visits from people - Axis came and interviewed me in the shed (seriously, much err-ing and hardly anything of interest said!). I also had a visit from Josie Flynn, an artist and relation of mine, which was a really nice surprise. Lastly, Liz, a curator from Axis popped in - we had a good chat about online stuff, doing art for a long time (i.e. me still cracking on 9 years after graduating - not that it has been seamless I might add!) and how children affect (or not) your career. All great input. Also enjoyed getting to know the staff at the gallery, although I had met Amelia before on an a-n trip to Lille. Phill, an artist and all-round gallery assistant was an interesting chap and I have interviewed him about art, life, money and working conditions. Seems I can't go anywhere without getting people on tape. I shall transcribe that and post some of it here later.

Now I am making eggitecture, which involved learning about silicone rubber. Techy stuff gives me brain strain if I'm honest. Also thinking about the exhibition at the start of October in Milan as I really need to let the curator know what I will show. Trying to adjust to this mad future timetable and planning concept, but it is all new to me. I think the days of making things when I get there or on the day of the opening may be over!!??

In other exciting news, my twin sister has finally bitten the bullet and is opening a craft workshop/shop in Frodsham. I am really thrilled to see her doing something about her real love (not a career in HR) and will be offering lots of support.

Lastly, the journal, Cardboard Folly, seems to be looming so I shall have to see where it is all up to and start on the marketing. Best crack on with the logo/cover then! Yeeeek.

On the funding cuts:

Spoonfed have done a quick ask round about funding cuts from those in London. I liked what Cathy Lomax (Transition Gallery) had to say:

Lots of institutions will be struggling – the cuts could be seen as helping to weed out wasteful institutions and practices but I don't really see it like that. Some people like to think that adversity produces better art and I find myself thinking that sometimes. But ultimately I don't believe its true. I think that art patrons like to think of their artists as struggling. Look at the whole outsider art thing – patrons like mad, poor, suffering artists. It's a kind of weird vicarious-ness – you can buy into some bohemia and wallow in the terribleness of the artist's life and then go back to your own good/normal existence. Cuts basically mean that people that don't have privileged backgrounds will not be able to make art.

http://www.spoonfed.co.uk/spooners/tom-699/funding-cuts-the-impact-on-culture-in-london-3544/

# 210 [7 August 2010]

Today has been a little bit blissful. I woke up at 9, put my head down again and somehow it was midday. It the best and first sleep I have had at home, at the weekend for about 6 weeks. WONDERFUL.

Anyway, I am in pyjamas, eating toast, posting nonsense on twitter et al and reading my way round the confusing myriad of articles and comments on the current state of the arts cuts and funding. Also into that goes the SAU and Scottish highlands research into loans for artists (not sure if that's a good idea or not, but thanks to Susan Jones for highlighting some important points). Lastly I signed up to be an AIR activist and am looking forward to seeing what that involves. After I have made some sense of it all - hopefully  - I will have some writing to do!

Over the next three weeks I also plan to get a group of creative types together at Royal Standard to draft a submission to the DCMS inquiry on arts and heritage funding. Was very glad to hear my posting of this on facebook prompted Anna Francis to organise similar with artists in Stoke-on-Trent. Anyone can contribute, so do if you can.

http://bit.ly/c0Hqgn

Recently I have been shocked at how many practitioners I know have been quite staunch Tory defenders. I was born in 1979, when Maggie came into power, but I feel like I remember quite lot about that period, or at least I learnt a lot about it, I'm not sure. I was too young to vote in the landslide 1997 election, by 3 months, but there was a feeling of wanting to bring about a big change amongst my friends. I wonder if the generation who are now 25 and under had a similar feeling this time round? Was it that they weren't voting for the Conservatives, but they just wanted to see a change and didn't really know the implications?

Anyway, this letter from Tony Benn and friends is interesting from the Guardian and highlights how the cuts will affect certain demographics.

http://www.guardian.co.uk/commentisfree/2010/aug/0...

If those badly off are going to face so many cuts, surely the mega rich need to be taxed more to balance things out. Oh wait, it doesn't work like that does it?

On a brighter note though! I had a great meeting with Emma Gregory at the Bluecoat yesterday. Was pleased to finally meet someone who I had been emailing for a while and finding she was even more articulate, honest and enthusiastic than I had hoped.

http://www.emmagregory.co.uk/

The plans for the new journal thing, Cardboard Folly, that I am launching in October are going well, all artists have been invited and about 95% have replied saying they would like to be involved so far. I'm very excited, if not a little daunted by the amount of work that lies ahead. The journal/ artists' book will be launched at the Bluecoat during Liverpool Biennial then and exhibited for a month-ish. When filling in the ISSN forms for the British Library I said it would be an annual publication. I am extremely glad I decided on that - I thought of doing two a year but can already see that would have been the route to doom.

Cardboard Folly at the Bluecoat in October: http://bit.ly/dochuL

# 209 [4 August 2010]

Back from a few days in Edinburgh. A lovely time visiting friends and art (I studied at eca so it's an obligatory biannual visit). But kind of glad to be home and to crack on with the next exciting project (more on that soon)!

Quite a while ago I was chatting to someone from Arts Council in Manchester and he mentioned they were planning to split their jobs board into paid and voluntary sections. He said the volume of unpaid work was making the listings almost useless for many arts professionals. I nodded eagerly and looked forward to it happening. Imagine my delight yesterday when I got back and saw this link from Jack Hutchinson on Facebook:

http://www.artsjobs.org.uk/

Amazing! No more unpaid adverts at all while they work out a way to only include genuine volunteering and paid work within minimum wage guidelines. Here's what the arts council have said about their decision:

"Please note that due to the high volume of adverts for unpaid opportunities that contravene Minimum Wage Regulations we are temporarily suspending adverts for unpaid work, work experience, voluntary roles or internships. This is so we can make developments to the website that will help users to post genuine volunteering opportunities only and stay within Minimum Wage Regulations.

Arts Council England is committed to ensuring that artists and those who work in the creative industries are properly remunerated for any work that they do. We recognise that there is great value in people having access to proper work experience, where it is offered and arranged properly and is a mutually beneficial arrangement, but that this should never be used as a way of attempting to circumvent the Minimum Wage Regulations.

We will continue to accept adverts for paid employment and will let you know when we expect the facility to be live once more. Thanks for your patience while we address this important issue"

HOORAH.

# 208 [29 July 2010]

Not blogging blog:

Recently I have been quiet. I have been trying to figure out why I don’t feel like saying much or getting involved in conversation. I can only conclude that I have been knackered and it has been a case of self-preservation. I don’t think I gave myself enough chance to recover from YSP, initially thinking that a few days would be enough. As it was I just couldn’t help myself and went into the studio and worked pretty much as normal. I don’t seem to have an off button unless I am somewhere else. It's also like the saying, if you don't have anything nice to say - same applies to not having anything interesting to say.

Then I went to London for five days. Amazing, nourishing, exciting and inspiring to see a ton of art, catch up with friends, buy paper and see new babies. But by the end of the trip, the sore throat and bad chest were back (I had bronchitis as the end of the YSP project), a sign to just stop!

Anyway, I got back on Sunday and have had trouble getting out of bed since. I have been going into the studio, but the pace of work has been pedestrian at best. Today I have physio (from a car accident last month), doctors and dentist, so a great reason to have lunch with my Gran, see my little neice and not drive more than 4 miles. Lovely.

It has been good to just read other people's blogs, and although I have added a couple of comments here and there, it has felt like listening rather than talking all the time. There has also been a lot going on with the arts in general and the funding cuts. I have been reading a lot and I don't know whether I am a little slow - but I feel like I can't absorb it all just yet.

I was glad to see AIR putting a request in for an artist representative at Culture Forum, kicked off in part by Katriona Beales' excellent post on artsfunding I think? The Guardian has been publishing a number of feisty pieces on the subject (often the best writing is on the theatre blogs), with some statistics that really put it all into perspective (Arts are half a pint of milk a week per person apparently...but check I quoted that right!). Some interesting links below worth a read:

Katriona Beales on artsfunding:

http://bit.ly/bGRx40

Will Gompertz on cuts:

http://bit.ly/dzFcr3

*** Daniel Bye and his milk stats ***

http://bit.ly/aU9QLy

Daniel Trilling on scraping of UK Film Council:

http://bit.ly/aVtvdU

DCMS has launched an inquiry into funding of the arts and heritage. You can add a written response, guidelines are outlined here:

http://bit.ly/c0Hqgn

For the first time yesterday, catching up with whats on in the world, I got a bit annoyed about a discussion on artinliverpool.com; artists talking about the Independents strand of the Biennial. So much expectation from them and so little understanding of the reality of the work involved and the bigger picture... I couldn't help myself and had to add something to the comments. That felt better, a bit of anger is a good thing it seems and often my impetus to get involved. Hopefully it is a constructive anger and getting involved in discussion is a useful way of dealing with it!

This argument is a little esoteric, but I think it's pretty revealing to the way in which artists expect things to be done for them - there is a feeling of entitlement going through the comments that I don't empathise with at all. Scroll down to comments:

http://www.artinliverpool.com/blog/2010/07/indepen...

Some London reviews and future scheming to follow soon. But I need another cup of tea now. See you soon.

# 207 [8 July 2010]

Got the folders... massive phew. But they got delivered along with five other people's orders. I really hope those people hadn't planned a book launch for tomorrow!

Anyway, book production factory in progress (see pic), done about 30 so far, which may have to do for now. Also putting presentation together and cutting cardboard triangles out for the audience to make geodesic domes with. I like a bit of practical in my celebration events.

One of the best things about the bursary with YSP is the food - looking forward to lunch and squirreling all the leftovers tomorrow :D