MEASURING THE EXPERIENCE #18
A ‘life-style’ philosophy is apparent in the aspirations of many of the artists’ groups which have been studied: “to provide opportunities for the public to become involved in the arts by meeting artists in their studios, seeing their work and how it is produced” (Cambridge Open Studios); ‘[Because we believe that all people are creative], we want to enable a large number of people to participate in the visual arts… and build up confidence in themselves… [to use] the visual arts to make works which have a lasting impact on the lives and environment of those who take part” (The Pioneers); By collaborating in sharing a building [we] become a community, interdependent, self-sustaining and with its own morale. [We] become ideal shock-troopers in the battle to revive the inner city, bringing back vitality to an area, giving it life, giving it people… giving it pride” (Lime Street) and “We aim to make the visual arts accessible to a broad section of the community [because we] believe that the visual arts enriches our lives and the environments in which we live and can create a unique sense of place and ownership” (Isis Arts). In this way, artist-led organisations demonstrate a commitment to locating visual arts practice outside mainstream art practice and within the broader fields of social and environmental development.
In addition, the studies show that although groups sometimes receive assistance because of a funding body’s aspiration to improve the economic climate for, and status of, artists, the opportunity for financial reward is not a prime motivation for the artists themselves. Although income-generation is sometimes quantified, advantages tend to be measured against different values, as typified in the comment “Artists have always been the role model for a fulfilled life. They may face financial problems, but they are motivated by a higher level of fulfilment and purpose than survival”.[1]
Benefits cited by contributors to the studies include “enabling isolated artists to plug into local networks”, the opportunity for artists “to re-evaluate their motivations and methodologies… to question individual preconceptions and assumptions”, “creating a relevance for artists and their work”, the value of “talking to people” and “broadening the understanding of how artists can engage in dialogue with others”.
Artists within such organisations appear to be committed to ploughing any money which might be available back into their current and next projects rather than seeking to pay themselves any kind of realistic wage or partaking of any other financial indulgence. Because of this artistic driving force – to make regardless of any practical or financial consideration, something which has been described as a “form of neurosis or compulsion”[2] and “a fundamental relationship in evolutionary mechanisms”[3] – it is no surprise to discover that an artist’s level of income does not tend to rise in tandem with his/her status or reputation within the art world.[4]
Ironically then, the term ‘cutting edge’ which is often applied to artist-led practice, may apply both to the artistic product and the artists’ own financial status whilst undertaking their practice. However, this is likely to be the case when a creative life-style is put before other considerations and when success and well-being is measured against artistic or social development rather than in terms of economic benefit. Such a philosophy is encapsulated by a comment from painter Jenny Saville who, although she has been highly successful in terms of gaining prestigious exhibitions and prizes has said “I am not interested in having a regular [income], I just want enough money to buy materials”.[5]
[1] Introduction by musician and entrepreneur Sir Ernest Hall to the Yorkshire & Humberside Arts Annual Report 1995/96.
[2] ‘The Business of Being an Artist’, Dr Nicholas Pearson, The Business of Being an Artist, edited Janet Summerton & Eric Moody, City University London, 1996
[3] ‘Creative urges’, Jacques Rangasamy, Artists Newsletter, November 1996
[4] “Neither how established and experienced artists were… apparently exerted any influence on arts earnings”, see The economics of artists’ labour markets, Ruth Towse, Arts Council of England, 1996.
[5] Jenny Saville, interviewed for Artists’ Stories, AN Publications, 1996.
