I’ve been reading “Analysing Artists’ Continual Professional Development (CPD) in Greater Manchester: towards an integrated approach for talent development” – A Report by Alison Slater, Amanda Ravetz and Kwong Lee, linked in Moodle, to get a better understanding of making a living as an artist. As part of the research undertaken in this report, participants were asked to chart their career progression as an artist on a graph – x axis representing ‘time in career’ and y axis measuring ‘amount of success’. The findings have shown that, for those involved, artist careers can “soar then plunge, they can plateau-out; tail off or be kick started” (Slater, Ravetz and Lee, 2013). There seems to be no ‘one glove fits all’ in terms of career progression and complicates the aid artists might need in grounding their practice in real opportunities. There is truth in this – in that progression in the arts looks different for different people, but there are steps one can take to increase their possibility of success.
The term ‘artist development’ is used throughout the report, and points to anything that assists artists in developing and establishing their career. With the plethora of funding bodies that award grants to artists in the early stages of their career, I feel like I am at no loss for opportunities – as long as I maintain a cohesive and consistent artistic practice as evidence of something to build on. ‘Continual Professional Development’ is a second term used in this report and points to the more long-term and formal aspects of continued progress. My problem with this is that progress, for me, does not always feel linear. Even this year I have branched out from composition to experimental videography, workshopping, and installation. I also intend to release music in the future. My interests are diverse and it sometimes feels hard to know exactly where I stand in any given moment. I realise this can come across as confusing to awarding bodies. While some of these mediums are employed to deliver a similar theme, my interests and creative compulsions are diverse and sometimes spontaneous. Holistically speaking, I feel like a lot of my work exists in the same bubble, as I naturally gravitate towards ecologically informed art. Yet, I worry that sometimes it might not seem that way to others. Learning to compartmentalise these different interests of mine is an ongoing process, but one that I feel will ultimately ensure greater success.
Diversifying income is an attractive way of making a living, though I realise it does not come without hard work and financial instability. Yet I feel this method would give me the most freedom to satisfy my divergent urges. The report states that “Some artists do not see their practice as a career at all; others see it as a secondary career that sits alongside a primary occupation that provides a more reliable income” (Slater, Ravetz and Lee, 2013). Differentiating between ‘career’ and ‘vocation’ is tricky sometimes. I aim to seek out opportunities that can allow for the two to overlap. Nevertheless, I also intend to set up as a sole trader/ freelancer, hoping this might open up opportunities to work more traditional sound roles on film sets, or even in studios, etc. This seems like a good way to prop up my creative practice, as any skills acquired from such jobs will be directly transferrable to any personal sound-work.
Artist participants were also asked by the report’s researchers to rate in order of importance various activities in relation to their creative and professional development. The most highly rated were mentoring (received from other artists with more experience) + Networking (both with other arts professionals/organisations/galleries, etc, and other artists). I have experienced this directly this year, having Mark Peter-Wright as my tutor. I am somewhat familiar with his work, and our tutorials have been great sources of inspiration and information to my soundscape composition and field recording practice. Having someone more experienced and established in their practice help make sense of my thoughts has helped me focus my creative efforts with more efficiency. Previously I have forged my own creative path, without seeking the help of others – and this has felt a little isolating. To continue seeking such mentorship outside of university I will reach out to other artists whom I admire, as well as stay in contact with certain lecturers. Attending a field recording trip to London Wetlands earlier this year, organised by Adam Stanovic, put me in contact with many other environmentally interested student sound artists with whom it has been a comfort to share ideas and compositions with. As well as this, remaining confident and open to networking with organisations is something I feel I am already doing, especially in regards to Citizen Zoo, as mentioned in the previous blog post.
Gatekeepers, according to the report, are also supposedly instrumental to the success of an artist. In the context of the art world I understand this term to refer to individuals or institutions that control access to resources and opportunities. Clearly then, networking with such figures is important. I feel however, as if this does not come so naturally to me, having a fairly creatively independent nature. As well as this, currying favour for favour’s sake is an unattractive notion to me. Without being naive, I do realise how far such relationships can go. I have tended in the past to take the approach – “if I do well enough the work will speak for itself!” – unfortunately I am learning this is not always the case – especially in a society overrun by burgeoning creatives. Consciously tapping into a more sociable nature will be important post graduation.
I have thought to create my own studio outfit, in order to continue my practice sustainably, and offer work to various other bodies. But it feels too early on in my newfound creative ventures to do so. I need more time to fully conceptualise the ‘what’, ‘why’, ‘when’, ‘how’, ‘where’ and ‘who’s’ of my career. I am somewhere along the line in answering all these questions, but I need more time for them to fully fruit. Reaching out to arts organisations for advice, mentoring, and residencies for the time being will be a priority.
Bibliography
Slater, A., Ravetz, A. and Lee, K., 2013. Analysing artists’ continual professional development (CPD) in Greater Manchester: Towards an integrated approach for talent development. Manchester: Castlefield Gallery Publications.