Saturday, 31 of July of 2010

Category » Misc

Get your students designing their own graduation rings

Young and dynamic jewellers Eva London are offering unique opportunities to arts universities to engage their students and raise funds for the university or students’ union. Whether your university is new to the concept of Graduation Rings or just ready for a fresh approach, Eva London will work with you and your students to create a collection unique to your university. Open a Graduation Ring design competition up to students on a specialist course or to the whole university and Eva London will sponsor the competition, assist with the format and judging and go on to realise the winning design(s) into a Graduation Ring collection which your students and alumni can then go on to order. Each ring will be a luxury piece of jewellery crafted to the highest quality, a timeless symbol of your graduate’s accomplishments. There are no setup costs or charges: all rings will be made to order and you will receive commission from every sale.

Case study: University of the Arts London Rings

Partnering with University of the Arts London Students’ Union, Eva London launched a Graduation Ring design competition open to students studying BA Jewellery Design at Central St Martins, one of the constituent colleges of the University. The competition was judged by a mixture of leading figures from the fashion industry, the media and the University itself. The result was a completely unique design that demonstrated a dynamic modernisation of the Graduation Ring concept, in keeping with the University’s ethos and image. The winning student received a cash prize, a set of Graduation Rings, design acknowledgement and features in national press (including Vogue.com). The winning designs were taken into production and can now be ordered at the SU shop, graduation ceremonies, alumni events and online at www.evalondon.com/arts.

How to get your university/Union involved

Get in touch with Eva London by calling 0207 148 7060, visit http://www.evalondon.com or email info@evalondon.com for more information.

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Last Chance to Register for National Arts Student Summit

Time is running out to register your delegates for our Summit to discuss the future of Arts Education!

Visit www.artsgroup.org.uk/national-summit/ or click here for more info and to register your delegates.

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National Arts Student Summit Take 2

The summit has be rearrange for July 1st/2nd at University of the Arts London.

Please visit our “National Summit” Pages for more details and to register.

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Summit Postponed Due to Rail Strikes

With great regret, due to the increasing likelihood of rail strikes on the 6th-8th April, the organizers have taken the decision to postpone the National Arts Student Summit. The Summit is currently planned to be rearranged, probably in June, perhaps aptly, in the first 100 days or whichever government is in power after the election!

Many thanks to those of you who have registered to attend, we look forward to seeing you at the Summit when we can confirm details.

Any queries or issues please don’t hesitate to contact chair@artsgroup.org.uk

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Self-taught and multi-tasking: how Creative Graduates adapt to the working world.

That creative industries are increasing in numbers and economic activity is a recent development. To account for this, the Creative Graduates Creative Futures published a report on the career patterns of creative graduates. Undertaken between 2008 and 2010 and involving 3,500 creative graduates from the last six years, here we outline the CGCF executive summary, released in September 2009, of which a full report is to be published this spring.

Words by Lemma Shehadi

The increase of the creative industry’s numbers and economic activity is a recent development. To account for this, the Creative Graduates Creative Futures published a report on the career patterns of creative graduates. Undertaken between 2008 and 2010 and involving 3,500 creative graduates from the last six years, here we outline the CGCF executive summary, released in September 2009, of which a full report is to be published this spring.

What is particular to graduates in creative degrees, is that in pursuing their careers, they tend to engage in a multitude of activities. The CGCF highlights  that these activities combine a pattern of portfolio work and learning. This stems from the practice-led research emphasised in the curriculum of creative degrees. Graduates seem to combine this skill of applying their learning to work, whilst always learning and working throughout their creative careers

What this tends to encourage is a combination of self-employment and employment, and also a perfect ease with self-employment as a means of self-led learning. The summary reports that 45% of the graduates interviewed had worked on a freelance basis.

Creative graduates find the transition from higher education to the work place quite smooth. Their creative curriculum requires them to apply their learning through live projects. In the course of their degree, they are asked to set up exhibitions, they may receive commissions, and they work amongst teachers who are also practising artists.  Practice-led research becomes an important factor that creative Higher Education institutions want to maintain and enhance for the future.

Whilst portfolio careers are more desirable to creative graduates, they are financially less sustainable. As the summary states, creative careers are not always very well paid. It emerges then that graduates working one steady job earn more than those engaged in three or more paid occupations. The latter, rely on these combined income streams to make a living.

However such a statistic-led research, though it can bring to light certain key patterns amongst creative graduates, does nothing to illustrate how such dynamics are achieved. Neither can it account for the concerns or the exceptions that it highlights. Why graduates choose portfolio careers over having one job with higher pay is not a question that can be answered by the executive summary. And whilst it gives a positive and dynamic portrayal of the ever growing cultural sectors, it merely glosses over a concern that creative roles tend to have a low pay.

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How long is too long? Internships over 6 months qualify as employment.

The Donal MacIntyre show on graduate schemes last week highlighted the following problem: that graduates looking work experience get caught up in unpaid placements that can last over three months.

The Donal MacIntyre show on graduate schemes last week highlighted the following problem: that graduates looking for work experience get caught up in unpaid placements that can last over three months. The discussion was  geared towards the Graduate Talent Pool, a government scheme set up in 2009 to help graduates find work experience in their relevant fields. The project serves as a kick start for recent graduates facing unemployment because of the recession. However, it emerges that a large portion of the internships advertised on the GTP are unpaid and have an extensive period of over 6 months.


Words by Lemma Shehadi

Graduates fresh out of uni and looking for employment enter a vicious cycle: for though they have the qualifications, they do not have the experience required. Without this, they are unable to get a job, and are furthermore barred from gaining experience. Internships, paid or unpaid, help to resolve this problem.

There is a flexibility as to what qualifies as an internship, which leads some people to see it as “volunteered” work and others as exploitation of labour. The problem of definition begins with the distinct lack of grants available for interns, which make the opportunity exclusive to those who can afford to work without pay. Unpaid interships cover expenses only, and the Job Seeker’s Allowance is only legible to those who have been claiming it 6 months prior to their internship. This likens internships to indefinite unemployment.

In contrast, interns in Wales can claim a minimum of £240 for 10 weeks. What the Go Wales Work Placement does, in limiting the allowance  to 10 weeks, is also restrict the length of internships to that time. This makes the shorter placements more appealing and  reduces the risk of exploitation.

Consider the classic nightmare intern scenario. This is the one where the intern, hoping she will be offered employment by the company, or unable to find a placement elsewhere, works unpaid for over 6 months, during which she is asked to make coffee or squeeze oranges. What is clear in such cases is the following: a six month placement is no longer an internship, and neither do running jobs count as work experience for qualified graduates.

The fear is that in such cases, internships are breaking the minimum wage law, whereby anyone over the age of 22, working full hours should be paid a minimum of £5.80 an hour. A philosophy student argued that a worker’s relation with a company are purely financial, and his work contributes to an economic system of gain. To not receive monetary rewards in return is exploitation. Another student however points to a loop hole whereby because interns volunteer to work, they can do so without pay.

However interns have reported very positive unpaid experiences, many of which would no longer be available should pay become a requisite. Small businesses, online magazines, underground record labels cannot afford to pay their interns, but can provide them with great experience and the possibility of a job. A consultant at Chatham House in Picadilly told me about an intern for whom a solid position was actually created in order to make her an employee. When she left that job, the position was offered to another intern. Chatham House’s internships pay expenses and are restricted to three months.

It is not the pay, but the length of an internship that should be monitored, as well as the company’s work ethic. It is clear that this ethic will not change even if paid internships were enforced. This may, in the end, justify exploitation of employees, by becoming a disguise for what is really an underpaid job. To restrict the length is to reduce the time given for exploitation to become possible. This works on a number of levels, namely that it highlights the “temporariness” of an internship to both the intern and the employer. The former is less likely to feel trapped in an unpaid job with no financial or intellectual benefits.

See the article on jotta

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Draft Programme for Summit Up!

The Draft Programme for our National Arts Student Summit follows. Please register your attendance here

Weds 7th April 2010.

12.00 – 12.30  Coffee and registration

 An Arts Education, Policies and Innovation 

1.30 – 1.45   Kit Friend Chair of The Arts Group, 

Welcome and introduction to the

1.45 – 2.15 Professor Maureen Wayman OBE “Delivering the Dream”



2.15 – 2.45 Ian Thompson 
Sorrel Foundation, 
”Design and Innovation where do we start?”

2.45 – 3.00 Questions from the floor to the speakers



3.00 – 3.15 Coffee

3.15  -– 4.4 5  Facilitated Group Discussions

6pm onwards – Dinner and Evening activities

Thurs 8th April 2010.

Creative Industries and University Collaboration Opportunities, Barriers and Solutions

             9.30– 10.00  Coffee and registration

10.00 – 10.30 Steve Besley Head of Education Policy Edexcel, speaks on the wider education landscape and what we should prepare for.

10.30 – 11. 00  Marcus Mason, Development Officer, ‘New Deal of the Mind’ 

11.00 – 11.30  coffee

11.30 – 12.45  Workshops

12.45 – 1.45  lunch

1.45 – 2.00 Mark Crawley, National Arts Learning Network “Response and Responsibility”

2.00 – 2.20  Leanne Manfredi, Victoria & Albert Museum

2.20 – 3.00  Facilitators – report back and discussion

3.00 – 3.20  Tea Break

3.20   Plenary and ways forward

3.45    Closing remarks

Coffee

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Claiming Creativity Symposium

A joint international symposium presented by Columbia College Chicago in partnership with the European League of Institutes of the Arts, Claiming Creativity: Art Education in Cultural Transition

A joint international symposium presented by Columbia College Chicago in partnership with the European League of Institutes of the Arts, Claiming Creativity: Art Education in Cultural Transition.

April 21-24, 2010, Chicago, USA

Online Registration closes 14 April, 2010

http://claimingcreativity.com/registration.php

Claiming Creativity seeks to re-position creativity as a driver not only for our economies, but also for art making, for transformational processes, and for social and cultural development and change. The working assumption is that the vitality of our common future is linked tightly to creative practice in many forms. This symposium will place artists, designers, architects and other active “creators,” and those who teach in the creative disciplines squarely at the center of these important conversations along with leaders in industry and commerce who share an interest in the life of the imagination and its value to society.

Educators and other leaders in the arts, business, science, commerce, industry, public policy, and environment are invited to attend.


Claiming Creativity also features an online forum, live and available now to all symposium registrants. Successful proposal abstracts are included on the forum and allow for pre-symposium discourse to begin shaping the Chicago symposium; the forum discussions will also provide additional ideas for special sessions at the Chicago symposium, making Claiming Creativity as interactive as possible for the symposium registrants. Additionally, a symposium “journal” will be published through Columbia College Chicago’s academic press.

Claiming Creativity keynote speakers include Sarat Maharaj (UK), Dany Jacobs (Netherlands), and Amina J. Dickerson (USA). Their vast cultural knowledge and influence will undoubtedly afford symposium attendees new perspectives on “Claiming Creativity” and “the life of imagination and its value to society.”

For details about the symposium, registration, and the keynote speakers, please visit: http://claimingcreativity.com

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How They Did It: Elise Foster Vander Elst of Gallery BMB

Keen on an international art career? Elise Foster Vander Elst is commercial director of Gallery BMB, India. She tells how she carved a career in the global art world, helping to launch an art space in Mumbai with a debut show featuring contemporary art greats the Chapman brothers, Jon Kessler, Riyas Komu, George Osodi, Tunga and Wang Qingsong.

By Barnaby Tidman

Keen on an international art career? Elise Foster Vander Elst is commercial director of Gallery BMB, India. She tells how she carved a career in the global art world, helping to launch an art space in Mumbai with a debut show featuring contemporary art greats the Chapman brothers, Jon Kessler, Riyas Komu, George Osodi, Tunga and Wang Qingsong.

What’s your background?

After leaving school in the UK, I moved to Paris and completed a BA in history of art at the Sorbonne. I realised I was particularly interested in contemporary art, and decided a great place to learn about it in more depth would be New York, so then I went to the big apple to work at MoMA-PS1 and ArtReview magazine, and loved every minute of it.

I thought it best to have a masters, so returned to Paris to do an MA in contemporary art, where I specialised in performance art.

How did you become involved in launching a gallery in India?

After my Masters I joined a small Parisian gallery, and its director was interested in bringing more Indian art to France. I helped research interesting artists, contact them and plan exhibitions, and was fortunate enough to build good relationships with some brilliant artists.

Then I went to work for a British auction house in Paris. I began to realise that to properly delve into the Indian contemporary art world, I had to be in India. Returning from a holiday in Delhi, I was standing at the luggage carousel of Charles de Gaule airport when Bose Krishnamachari called me to discuss a new gallery he was planning with long-term art patrons Dia and Devaunshi Mehta and Avanti Birla.

What’s been the high point of your work at the BMB so far?

Bringing 39 works, by 7 artists from 5 continents, to Mumbai for The Dark Science of Five Continents exhibition.

Which Indian artists would you particularly recommend?

Where to start? If I had to narrow it down- Prasad Raghavan; Charmi Gada Shah; PS Jalaja’s fresh large scale, beautiful pastel works; Tejal Shah (whose works always keep this incredible balance between being challenging and aesthetically beautiful); Riyas Komu; I adore Bose Krishnamachari’s installations; and Sumedh Rajendran’s solo show was one of the best gallery exhibitions I have ever seen.

What advice would you give to a young person with dreams of an international art career?

Visit every single gallery show in the town where you live. If you are lucky enough to live near museums, go to every exhibition, and if you can afford it and the show was good, buy the catalogue or at the very least take the press release. Read every art magazine you can get your hands on, remember names, be respectful to everyone you meet – but always stand up for yourself. Finally, as unglamorous as it sounds, work really really really hard. It’s the only way.

Image: Gallery BMB, Shankar Natarajan. Courtesy Gallery BMB.

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Pre-Registration For National Arts Student Summit Now Open!

Pre-Registration is now open.

The National Arts Student Summit is open to all representative (from sabbatical officers to course reps) from creative subjects across the UK.

At the Summit you will have the opportunity to debate and discuss the development of Arts Education and Employment from Primary School to the Workplace.

For more information and to pre-register your delegates please click here 

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Copyright

One of the four main types of intellectual property rights (or “IPR”) is “copyright”. This is quite a well known term in artist and design circles but surprisingly is very often a misused term.

Copyright gives creators of original works (called “copyright works”), such as artwork, illustrations, pieces of writing and even software code, legal rights allowing the creator to stop reproduction of that work by others without the creator’s permission. Copyright does not need to be registered with any Government agency to exist, it exists automatically when an original copyright work is created and the first owner is automatically the creator of that work. The duration of copyright for most types of creative work is 70 years after the death of the original creator.

If copyright exists in a copyright work it is illegal for anyone to make copies of that copyright work without the creator’s permission. It is also illegal for anyone to issuing copies of that copyright work to the public or reproduce it on the Internet (or to broadcast that copyright work if it is music or film) without the permission of the creator, i.e. the original artist or designer.

One issue that is sometimes overlooked is where an artist or a designer is working for someone else when they create copyright works. This will affect ownership. If an artist or designer is employed by a company or other person, then when that artist or designer as an employee creates a new creative work, the copyright in that creative work is automatically owned by the artist or designer’s employer. However, the opposite is the case if the artist or designer is self-employed and working for clients on a freelance basis. In the latter situation, the artist or designer would automatically be the owner of the creative works he or she creates even where the client has instructed them to do it and paid the artist or designer to do the work. Because of this, it is a good idea for all artists/ designers to have a simple agreement for work they do for clients which covers the issue of IPR. This will normally be a Freelancer Agreement.

Whoever is the owner of copyright in creative works, they will be able to give permission to others to use their work commercially (this is called an IPR licence) in return for regular payments (licence fees or royalties) or if a company or person wants to buy copyright in certain creative works outright from the owner for a one off lump sum this can be done by way of an IPR assignment. Both are common in the art and design world. If copyright works are assigned, this will not change the duration of the copyright which will still last until the end of the seventieth year after the death of the original creator, regardless that the original creator no longer owns the copyright because it has been assigned to someone else.

It is worth remembering that copyright does not protect ideas, or such things asnames or subject titles. So, for example, a painting of a still life with a clever theme will not stop other artists staging still life on the same theme and producing paintings of them. The same goes for ideas for creative works; for example, if you write down a summary of an idea for a piece of creative work that you are planning to produce, copyright in that written work will only allow you to stop someone copying the written words, and will not allow you to stop them from producing the envisioned work summarised in writing.

Image by Slaven Gabric, Don’t walk !

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Hidden cost of studying in the Arts

Student Union Arts London are fighting to uncover an evil that we know is true everywhere - the horrific hidden costs of studying an Arts course!

SUARTS are campaigning to ensure that any additional course costs (on top of tuition fees) are upfront, transparent and reasonable.

This means additional course costs should be stated on all Entry Profiles, there should be no compulsory fees further to those stated, there should be support and structured programmes in place to help students with their fundraising and sponsorship and student should receive a breakdown of what their additional fees have been spent on.
Currently additional course costs are administered on an ad hoc basis that varies widely across different colleges and courses – some students are asked to pay £100 towards materials at the beginning of each term. After this, the extra costs students are asked to pay could be almost anything. Often sprung upon students with little or no notice and at difficult times of the year. This affects every student, but we all know that those from lower income backgrounds and those hard up of cash are going to suffer the most.

It is not unknown for students to enter the last few weeks of Uni not knowing whether they will be able to afford the obscene amounts of money that are needed for a Final Show.

We accept that costs for materials must come from somewhere, but if students are going to be asked to pay for something which they need for their course, the University needs be upfront, transparent and reasonable. Something which currently does not happen.
Over the course of the next term SUARTs be collecting raw data on the extent of the hidden course costs that you have to face. We will be distributing blank Compulsory Costs guides (through Course Reps) so you can all feed in to this. This will be analysed to highlight the breadth and disparity of the problem. This will then be taken to the University to ensure these are addressed and to highlight the absurdity and unfairness of the situation.

What can you do?
• Report any ‘surprise’ costs that you are asked to cover this year by emailing campaigns@su.arts.ac.uk
• Fill in your blank Compulsory Costs Pro Forma when it is distributed this term
• Stand as a Course Rep!

Last week their travelling campaign ‘Hidden Costs’ went on a whistlestop tour of all the University of the Arts London colleges.

They gathered pics of students looking surprised by these outrageous extra costs -looks like they had fun!Ssee the facebook group (tinyurl.com/UALhiddencosts), tag yourself to be in with a chance of winning some great prizes! Prizes include…
DAB Digital Radio
£50 cash
£20 HMV vouchers
and other mystery prizes!

Winners will be announced 22nd January

http://www.suarts.org/content/213845

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