Personal Practice and Career Development Task 4 Seminars

Seminar presenting Eleanor, Jo, James 12th May 2014
http://eleanormacfarlane.blogspot.co.uk/2014/05/task-4-personal-practice-and-career.html

Me, Jo and James presented Multiples and Editions. I focussed on items artists make or commission to make which are often smaller versions of larger works, or pieces translated into a different media, even homeware. I tried to present this as an exploration of practice and an extension of practice, that there may be times when an artist is expected or has the opportunities to sell to a range of audiences and collectors, and that it makes sense to think creatively about that and perhaps accommodate different price ranges. This may be especially true if you make a work which is successful in entering the public or art world consciousness, or if an artist tends to make large or less sellable work. I admit I felt the conversations tended towards whether this side of monetising work, producing items to sell and commodifying practice was a moral sell out. I had wanted the discussion to be more about this as a practical reality, and a positive choice in making a living. Undoubtedly there are issues and judgements here, but it's hardly selling out to make a living in a creative manner.

Jo had considered prints and cards, comparing various print methods and drawn together examples. It's surely a vital side of an artists portfolio to choose prints and cards well.

James considered the gallery shops and outlets, and the plethora of products available, some of which are clearly not art items, but stuff. However, there are also a lot of judgements here, and I do not agree that producing a product to sell is necessarily selling out! Sometimes it looks like that, but artists get into different economic positions, and what we sell is something to consider at all levels. Sometimes as a customer I am delighted if I can afford a small art trinket or treasure, and sometimes it's tat. However, various levels of the art market exist, and I for one cannot afford to stand outside that and consider it lowering myself to sell multiples, if only I could!

Seminar presenting Simon, Clare, Sarah, Jennifer, Amelia 19th May 2014

Simon and Alexa's presentation was about the relationship between art practice and work, especially of artist/teachers, which they are. Naturally the balance of time is a main issue, and fitting in creativity for the self. Difficulties about establishing the artist/teacher identity, and that both require dedication. Simon had added some interesting research about education about the artist/teacher - as living enquiry, the living practice of art research and teaching, and the living embodiment of the self reflective cycle. Teaching is, after all, a human activity.

Clare and Sarah discussed exhibiting work and open submissions. Discussed issues about the fees of entering competitions, and whether some are worth going for - and if they will do your work a favour in the end. Personally I have quite a creative view about that, and would prefer to show work in less that ideal circumstances than not at all - you can't always choose of know in advance, and perhaps its up to the self to bring context to a show - many small and unlikely exhibitions can add up and make a case. Creating a context and community for your work - Sarah seems to have been able to do that and now gets asked to participate in exhibitions - we all know that's not always straightforward.

Jennifer and Amelia discussed public art and commissions, with examples of small and large works, enormously funded and less so. Again, it felt like the other end of the spectrum to Multiples and Editions - finding ways to express elements of practice in different medium. How can what you do be translated differently, how can you collaborate with different professions in order to manifest your ideas  in different buildings and contexts.

Reflection

This MA group has a lot of experience to share. the knowledge and discussions have been full of treasures to ponder and consider further. I was especially inspired by Amelia's' presentation about public art, as often these monolith works seem to be by well known artists with inconceivable funding. But there's always a way. I respond to ideas about recycling materials, using colour, design, and transformative reframing of places. As in thinking about what multiples and editions I extend practice into, it would be fruitful to think outside the gallery and think how I could translate my practice into public work if I am ever given or create that chance.

At some point the conversation seemed to stray into art school policy and learning techniques. Although one can feel all at sea at art school, there is a point  not being tutored in specific techniques at that stage. The art student must learn to rely on creativity and interpreting briefs rather than fulfilling predetermined tasks. It's been that way in the West for many decades, and it won't go back.

30th May 2014