…cont. from previous post –
I managed to ask a question first, before I lost my nerve.. Most panelists had referenced voluntary work, something I feel very strongly about and that I should never discuss after a glass of wine. I wanted to know what the panelists thought about people working for free. I feel it damages the industry and feeds the idea that it is acceptable not to pay artists. I should point out here that I have done voluntary work in the arts and indeed, I work a lot without getting paid. However, there is a difference in getting paid in kind or experience when others are doing the same, and in working for a company or organisation that is using you as free labour without much recompense. The internship model that is spreading – seemingly from the states – also depresses me. How can someone with limited means work for free? Isn't that just dividing class even more? I'm sure a lot of us have £6/hour jobs that fund our practice, meaning that time is limited. How can we volunteer too? I watched folornly while friends on my BA got great experience in galleries (some of who now work in galleries – and not as Information Assistants!) while I smiled at rude customers in bloody Pizza Hut. It was hard not to be envious.
So in response, the panelists generally agreed. Ideas for stemming this unhealthy trend centered around creating a more supportive community, perhaps even creating a union! The closest we seem to have to a union at the moment seems to be a-n's nan. I am particularly thankful for the pay rates and liability insurance. Scotland have an artists' union thanks to Guyan Porter and friends, and the arts community there is currently fighting the privatisation of the arts into Creative Scotland (loans instead of grants – surely not!). So I feel like there is a model of how to proceed right infront of our noses, but there is definately more research required on my part in all of these areas.
Artists who spoke up in the audience seemed to feel that they were on their own, and that artists were out for themselves, that they had to be out for themselves to stand a chance. One educator in the audience pointed out that art schools train students to think that way and to be competitive and jealous of their own success. There was an element of this in my experience at Edinburgh, although my MA at Wimbledon did encourage strong networks and creating opportunites as groups (perhaps to stand a better chance of making an impact in London).
No doubt I will have more to say once I have digested the day a little more and dechiphered my notes, but for now, some interesting reading around these issues:
Art Schools and the way they teach
