Full of Eastern Promise
December 11, 2012 in art, discussion, notice, research
We’ve been quiet for a while because our official first programme of events and projects has ended, but we’re now thinking about what to do next. In January/February 2013 we’ll be publishing our first policy document, gathering some of our conclusions about what we’ve discovered over the past two years and sharing information we think all professional artists need to know, what best practice might look like in an ideal world, and who are the wrong ‘uns to always avoid (and why).
Two related possibilities are firstly the expansion of the group to include more professional East Anglian artists in the very successful learning, career development and peer support activities we’ve been doing on a small scale; secondly to facilitate mentoring by and for artists, not just on day-to-day career matters but on ethical, economic and personal matters (e.g. the gender pay gap, or managing a career as an artist when you have children) similar to some of the issues we’ve covered on this blog and at our live events. We know already that many artists are grappling with these issues on their own. We’d also like to bring artists together to address some of the failures, omissions and mis-steps of institutions in the region with regard to artist support. We already have some horror stories of our own– mentors who did it in a spirit of ego and competition instead of a spirit of generosity, so-called “experts” who provided totally basic (and sometimes wrong) information as if it was a great revelation, advisers who didn’t even bother to find out basic information about the person they were meant to be helping, lazy old handouts or Powerpoints about general matters, artist groups that are all talk and no action, and so on. We want to do this right, so help us by sharing how you think it should be done.
Some background information and research material:
http://www.artquest.org.uk/articles/view/mentoring-one-to-one-sessions
http://www.culturalleadership.org.uk/353/
Case studies from the Cultural Leadership Programme, including our Julie:
Julie Freeman
http://www.culturalleadership.org.uk/376/
Helen Carnac
http://www.culturalleadership.org.uk/354/
Members of Market Project will be discussing possibilities and experiences with mentoring and artist groups here, but everyone with an interest is encouraged to comment and contribute especially if you’re an artist who’d like to become part of an artist-led support network, or if you’d like to learn from or mentor other arts professionals. What knowledge or contacts do you think you need but don’t know how to get? If you’ve been mentored, critiqued or been critiqued, or worked with a group of artists or studio group, what were the good things about those things and what were the things you thought were wrong?
I know we should play the ball and not the player, hate the sin and love the sinner, hate the game and not the playa, etc… but seriously, what the hell? This picture- and the fact that it’s one of the first things you see on their site, a site that’s supposed to be about developing the careers of artists, and the fact there’s pages and pages of other images of them and their press clippings 
We’re not far away from technology that could potentially be used to copy and produce indefinitely long runs of physical objects, including “unique” sculptures that could be replicated in the same materials as the original. Current technologies are already producing 
Members of Market Project will be at 
Some recent discussion at Market Project regarding Lewis Hyde’s book ‘The Gift: How the Creative Spirit Transforms the World‘ – which involved in part me trying to summarise what it was about from a rather distant memory of having read it a while back- inspired me to have another look at it to check that I hadn’t been misrepresenting the contents and intent of it. It’s been around since the late 1970s, although I’m referring here to the revived/revised version published by Canongate in 2006 (which is still a bit hippy-ish, naïve and dated in places, predating as it does even the flourishing of Thatcherite and Reaganite politics in the 1980s). Generally speaking I would still recommend it as an inspiring read, although it’s undoubtedly more interesting to me in the first half where it’s primarily ethnographic, economic and folkloristic.
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