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Creative connections
Susannah Silver catches up with artists involved in one of the first NAN Scotland events at Cove Park, and finds out about networking in rural areas.
It was Harold Becker who first coined the phrase ‘artworld’ in 1982 in his sociological analysis of art as a sector of activity.1 Although it is usually understood to mean the metro-centric elite network of galleries, museums, dealers and artists, Becker’s model actually says there are many ‘artworlds’, intersecting each other, each with their own particular conventions of practice and operating as a network of collective activity and co-operation. Any artworld consists of a network of three overlapping elements: resources, practitioners, appreciators. If one element is weak, then the network will not necessarily sustain the practitioners within it. On a micro level, one’s own practice is a mini-artworld. What kind of resources can you access? What opportunities do you have to present your work? Do you have a peer group? Can you meet artists face-to-face to exchange ideas? If your answers are in the positive, I’ll hazard a guess you are living in a city. Although the internet has transformed communication, for a variety of socio-economic and geographic reasons, artists in rural areas find it more difficult to make connections with other...
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