Sunday, 5 of February of 2012

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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DIY Kyoto, Wattson Energy Monitor Design Competition

DIY Kyoto, the team of Royal College of Art graduates behind the multi award-winning energy monitor wattson, that The Guardian described as ‘the closest we’ve come yet to an iPod of smart meters’ have launched a student design competition, inviting aspiring designers to create a new graphic design for the exterior of the wattson. Find out how to enter here.

Working from the original wattson design template, applicants’ designs will be judged by a high-profile judging panel, including the Head of Creative at Selfridges, and Wallpaper Magazine’s Art and Design Editor, jotta Editor Millie Ross and Max Fraser of the London Design Guide.

The competition will give applicants a platform for their work to be seen by influential figures from the art and design world, and the winning design will be made into a limited edition version of the Wattson, which will be stocked in Wattson’s retail outlets nationwide.

Green technology experts and independent design collective DIY Kyoto was established in 2005 by three RCA graduates: Greta Corke (Interaction Design), Jon Sawdon Smith (Industrial Design) and Richard Woods (Industrial Design). They presented the worldwide launch of their inaugural product at the Milan Salone del Mobile in 2006 and the first ever Wattson 01 previewed at the Milan Salone del Mobile 2007.

The Wattson is a designer energy monitor which has been proven to help households save up to 20% on their electricity bill, an average annual saving of approx. £280. It’s simple operation, smart design(“I Am Gorgeous” is his tagline), and renewable energy have garnered Wattson a huge amount of praise in the design and eco realms, helping people understand and control their personal impact on the environment.

The competition deadline is Friday 12 March find out more about how to enter here.

www.diykyoto.com

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Skillset & Arts Group On Internships: “Counting the cost”

Arts Group Chair Kit Friend presented at the NALN/UKADIA Conference with Skillset’s Gini Stirling around the issue of unpaid internships and their effect on widening participation in the Arts, following on from the Arts Group’s Emerging Workers Report and subsequent discussion with Skillset and others.

Download the pdf of our presentation: “Internships: Counting the cost”

Download the full draft of the Skillset report here: http://www.skillset.org/uploads/pdf/asset_14315.pdf?1

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BBC: “Interns angry at being ‘exploited’ through unpaid work”

The BBC have published a news feature on the exploitation of interns including a fantastic interview with friend-of-the-Arts-Group Alex Try of Interns Anonymous.

It’s great to see the BBC bringing the issue up. Let’s hope they’ll be paying attention to working practice on all their programmes and making sure to prevent embarrassments like James May’s gloating over the use of unpaid Arts students in his productions.

Full link to the news article: http://news.bbc.co.uk/1/hi/business/8518617.stm

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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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David Lammy champions Internships – but who can afford them?

In response to growing concerns over graduate employment (or lack thereof) David Lammy championed Internships and volunteering as access routes into jobs in a release from DBIS this morning just after midnight.

‘Of course students may be concerned, which is why we are working hard to show that real opportunities are available to them including work, further study, volunteering and Internships. Internships are great way for graduates to kick start their careers by gaining the valuable skills and work experience at a time when they face a more competitive job market.’

Yes David, ‘a great way’ for those who can afford to be exploited by organizations violating the National Minimum Wage. Thanks a bunch. Welcome to the only government who simultaneously claims to champion social mobility whilst also using unpaid work as a strategy for streaming graduates for recruitment.

 

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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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Immersion 2010

A 3 month part-time programme from University of the Arts London, delivered by Central Saint Martins Innovation, helps recent UK graduates ‘get ahead’ in the creative industries. ‘Immersion’ starts this month and there are places still available!
Immersion class of 2009, photographed by participants Bettina John and Jaime Leme AKA AIR

Words by Lucile Dupraz

Workshops, expert presentations, peer learning and practical group work enable participants to explore ways to exploit their creative potential. Graduates develop the personal and professional skills necessary to translate their creative vision into employment, career development or a viable business.

Led by professional coaches who are used to working with ‘blue chip’ clients, and creative industry specialists. Diverse speakers and mentors give participants access to industry professionals. Guides such as Magnus Long (Product Designer and Co –founder of Viable London) and Alistair Hall (Graphic Designer and Director of We Made This Ltd), shared their experiences on a similar career journey.

Some of the questions participants can expect to ask themselves through tailored excercises and group discussions are “Where do I want to be in the future? What routes are available to get there? What is my unique offer in the market? How do I come across to others, how do I want to be perceived? What else to I need to succeed?”

So what did the ‘Immersionites’ of 2009 think of the programme? Michael Antrobus is a product Designer who studied at Kingston University. Michael feels that ”the practical guidance of the immersion course has helped me to identify obstacles and turn them into achievable tasks”. Michael is now pushing his work forward “with renewed confidence”. Annabel Johnson, a ceramicist and Central Saint Martins graduate, realised that “there are others in the same boat as me, starting up… Who share my fears and concerns!”.

“I now am in a better position to achieve my artistic goals” says Ann Pitkin, a fine artist and Byam Shaw School of Art alumni, ” the programme provided opportunities to explore and develop my art practice outside of the actual making of my art work.” More insights can be found on the immersion 2009 blog: http://www.jotta.com/jotta/groups/view?id=552726

Companies involved in the programme include Liberty’s, Ellesse, Live|Work, BBC, WGSN, Formerol, Futureheads Recruitment, Nokia, Max Fraser, Hannah Martin, Pulse London, Think Public, Make Good, Colour Union Ltd…Immersion is open to all UK creative graduates but places are limited. Book your place at http://www.csm.arts.ac.uk/csm_immersion.htm .

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Lib Dems launch ‘The Power of Creativity’

The Liberal Democrats invited the Arts Group Chair, Kit Friend, to attend the launch of their new proposals entitled ‘The Power of Creativity’ . The celebrities were out in abundance with everyone from Imogen Heap to Rory Bremner milling around the tightly packed room at the Lords to hear an address by party leader, Nick Clegg.

Mr Clegg’s speech unfortunately seemed to plaguerise uncredited one of the best known speeches by Sir Ken Robinson but we’ll forgive him this one as it is very good. Perhaps more dubious was his claim the the Arts were ‘a duty’ for any government to support, which again probably had the right sentiments behind it, but could do with a little more work on if he wants to make it party mantra. For the record Nick we’d like to be seen as a strength, an opportunity, a vital contributor to society and at minimum a partner to Government and society – not something you’re obligated to look after.

The Arts team of Don Foster MP and Baronness Jane Bonham-Carter were on hand to introduce and speak to guests, and as usual did a fantastic job of raising the profile of creativity in government. Their approachability and willingness to except input from across the sector (including inviting the Arts Group to contribute to their policy discussions) should be welcomed, and even if we’re not going to see a Liberal government elected any time soon, it’s good to know people like them are on hand to put the pressure on with the other parties.

In terms of the actual content of the proposals, the Lib Dem press release has a capable summary of the highlights, including proposals to:

  • Change the way the National Lottery is taxed to generate more money for arts and heritage as well as for the Treasury
  • Provide support for new start-ups in the creative industries and enable more businesses to offer internships and apprenticeships
  • Offer all our children a more creative education by freeing up the curriculum and increasing the amount of time trainee primary school teachers spend learning about the arts and creativity
  • Make it easier for small venues to host live music events by reducing bureaucracy that restricts small venues
  • Make sure the regions and cities outside London do not miss out by reviewing the Arts Council England’s funding structures and creating a new administrative status for national museums that will enable them to be more enterprising and independent
  • Open up the Government Art Collection for greater public use “

The key points the Arts Group pushed in consultation were around our internships work and Further/Higher Education, which both have a mixed presence in the policy.

On internships…

“a new “Paid Internship” for the first year of the next parliament, enabling hundreds of thousands of young people to work for up to three months with any employer, without cost to the business. Each intern would be paid a new “Training Allowance” of £55 per week”

The Paid internship bit and supporting a scheme with little cost to employers is a good call, but £55 a week? Half of this would go on travel in London alone, and it falls dramatically short of National Minimum Wage. In fact, if the young people are ‘to work, and not in study, this is illegal even by current employment standards. Revise it to cover at least National Minimum Wage however, and this sounds like a great idea.

On further/higher education

Development for either of these in a tangible sense is difficult to find from the policies, but there are some good statements…

“Creativity is undervalued in our education system. All too often cultural learning is seen as an ‘add-on’ while priority is given to what is measurable through exams and league tables. The Liberal Democrats will seek to change this perception and place creativity at the heart of our education system.

Similarly, creative skills have often been inadequately supported in our society. Government needs to offer more support to the creative industries to enable them to offer training opportunities through apprenticeships and internships and to foster greater levels of partnership working to share expertise.”

It’s nice to hear Skillset and other agencies also mentioned explicitly…

“We are fully supportive of the invaluable work being done by Skillset through their academies network and training programmes and advice. We will ensure that government structures and regulation don’t form a barrier to creative organisations working in partnership with higher education providers in setting up academies and training courses.”

FE & HE aren’t mentioned explicitly elsewhere, and our input to the policy to look at making Arts education at this level more accessable by making sure materials and associated costs of study were covered by student finance appear not to have made the cut. However we’ve invited the team to join us at the National Arts Student Summit so with any luck they can be challenged to make some pledges there.

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New Deal of the Mind Future Jobs Fund

More than 200 new arts jobs across London & Essex have been given the green light thanks to NDotM (New Deal of the Mind).

Working in partnership with a range of arts and cultural organisations including the British Library, Young Vic, Lyric Hammersmith, Notting Hill Mas and the Royal Court Theatre, NDotM successfully bid for funding through the government’s Future Jobs Fund which is aimed at helping find placements for young people who’ve been unemployed for six months or more.

167 people will be recruited through local Job Centres for the jobs in London. Meanwhile, 56 jobs have been created in association with Essex-based Theatre Resource which is one of the biggest disabled-led arts organisation in the UK.

Along with other placements announced previously, this latest announcement means that NDotM has helped identify and secure funding for over 300 jobs in the arts & creative sectors since its launch last March. That’s more jobs than days NDotM has been in existence.

Martin Bright, NDotM’s founder and Chief Executive said, “This is a great start to 2010 and means that 200 young people will be starting work in theatres, libraries, design studios and arts organisations who would otherwise have been stuck on the dole , their creative potential wasted.”

The people who’ll fill the first 30 FJF funded placements at London’s Southbank Centre are expected to begin work in early March.

www.newdealofthemind.com

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“Expressive Value”, commercialising your talent.

Two hundred years ago, the arts were seen as a diversion from productive capital. Today, creative industries have a strong role in the country’s economy and account for 7.3% of it. What steps do creative projects have to take to ensure the achievement of their final goal? And what obstacles will they meet along the way? By Lemma Shehadi

Two hundred years ago, the arts were seen as a diversion from productive capital. Today, creative industries have a strong role in the country’s economy and accounts for 7.3% of it. What steps do creative projects have to take to ensure the achievement of their final goal? And what obstacles will they meet along the way?

By Lemma Shehadi

These are questions that the Department for Culture, Media and Sport tried to tackle in 2007, with a commissioned report on the state of Creative Industries. This analysis made by the Work Foundation argues for creativity as a catalyst for running businesses. Creative products are assessed and gain popularity by their “expressive value”, a concept which I will explain subsequently.

Originality and creativity, the production of ideas rather than objects is what makes the Creative Industries a “pioneer” sector. Universities and high tech manufacturers, which are hot spots for new ideas, become central building blocks of the economy.  These two contribute to what is known as the knowledge economy. Similarly it is this basis in innovation that gives creative industries that lucrative potential. Furthermore, in the UK, knowledge and creativity fuelled industries thrive better than in other parts of Europe. On a tangent, the reports adds that cultural diversity, as is seen in the highly cosmopolitan cities like London, bring forth a tolerance and openness to new ideas from which the knowledge economy thrives. Creative industries function by commercialising expressive value. This is not limited to paintings and poems but new software, video games etc. “Essentially expressive value creates new insights, delights and experiences. It adds to our knowledge, stimulates our emotions and enhances our lives” (4.7) This commonality also makes creative industries unique in that their products are truly original. Playstations 2, 3 and Xbox for example, are technological enhancements of the original Playstation, however new games that emerge, with new narratives and new graphics are the marketed ‘expressive’ goods. Makers of creative products cannot predict how these will be received. As the report points out, fluctuating trends allow for some products to experience an unexpected vogue, though this is always temporary. But what such products have as a distinguishing quality is that once made obsolete, they can experience a revival. This is very true to the current fad for “vintage” clothing and accessories. A 1970’s kettle, for example, is made useless by newer, faster and more eco-friendly ones. However it is highly desirable as an antique or as a decorative object. The “expressive value” of the kettle comes into play even though its value as a technological product is nought. It becomes also difficult, with the uncertainty of reception, to predict what profits a creative product will make, and creative products cannot be sold until they are packaged and completed. It would be absurd to release half of a blockbuster in cinemas whilst the rest of the movie is still in the making. What happens then is that a lot of money is spent producing a good film with unpredictable revenue and shelf life. A man setting up a barber shop can compete with his peers by ensuring quality and value. He can hire the best hairdressers, give cheap haircuts and build on his reputation. On the other hand, an eminent film maker could ensure that the best actors, the best production team and the latest equipment be used for her film. However she cannot guarantee that the ‘expressive value’ of the film itself will appeal to contemporary audiences. The dissemination of products with expressive value involves many layers of work from various creative industries. At the core are the creative ideas, truly innovative products that earn the need of a copyright. These are disseminated and mass produced by cultural industries such as film or production companies, radio, television. If Don deLillo writes a novel, this is a product of “core expressive value”. It is awarded copyright which protects it’s expressive originality. deLillo’s publisher is the cultural industry that reproduces the book. Another sector in the creative industries, designers and marketers would get involved in producing a cover for the book and advertising such as banners and PR. Politicians and celebrities also make use of this latter sector to create a public image. It is finally important to note that this analysis explores the function of art within an economic framework. The commercial value of artistic expression is subjective to popular demand, though this changes radically and unexpectedly. Creative projects undertake a lot of risks in such an ambiguous market. However, as the report underlines, there is much demand for expressive value in almost every aspect of consumer experience, which allows creative industries to flourish and generate more ideas.

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