ARTISTS TALKING

# 136 [10 December 2009]

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.

# 135 [8 December 2009]

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.

# 134 [7 December 2009]

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...

# 133 [1 December 2009]

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 2010

Ensure that visual arts courses have strong, relevant links to the profession by 2012

Ensure that the visual arts has a role to play in broad education  initiatives by 2012

Support and encourage technical and business skills training in all visual arts degree programmes and courses by 2012

Recognise and support artists' networks and peer exchange opportunities (working with VAGA, Scottish Artists Union and Other - wish they'd named AiR too though!) by 2011

Improve working conditions across the visual arts sector (working with agenices and borrowing best practice models from other industries) by 2012


The 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...

# 132 [1 December 2009]

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.

# 131 [30 November 2009]

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!

# 130 [22 November 2009]

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...

# 129 [19 November 2009]

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.

# 128 [16 November 2009]

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.

# 127 [13 November 2009]

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."