Analysing Artists Continual Professional Development (CPD) in Greater Manchester: towards an integrated approach for talent development

Transcription

1 Analysing Artists Continal Professional Development (CPD) in Greater Manchester: towards an integrated approach for talent development A Report by Alison Slater, Amanda Ravetz and Kwong Lee

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3 Analysing Artists Continal Professional Development (CPD) in Greater Manchester: towards an integrated approach for talent development Report by Dr Alison Slater, Dr Amanda Ravetz, Mr Kwong Lee

4 Analysing Artists Continal Professional Development (CPD) in Greater Manchester: towards an integrated approach for talent development First pblished in October 2013 by Castlefield Gallery Pblications 2 Hewitt Street, Manchester, M15 4GB, UK t: +44 (0) in association with MIRIAD Righton Bilding Cavendish Street Manchester, M15 6BG, UK Alison Slater, Amanda Ravetz and Kwong Lee ISBN: All rights reserved. No part of this pblication may be reprodced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise withot the prior permission of the pblisher. Graphic Design by Anna Evans, the Design Stdio, Marketing, Commnications and Development. Printed by IT Print Services, MMU

5 Contents Exective Smmary...1 Prpose and Context...1 Smmary of Methodology...2 Smmary of Findings...3 Recommendations...4 Frther Research...4 Section One: The Context for the Report...5 Arts Concil England Trning Point Networks...5 The Contemporary Visal Arts in Greater Manchester...6 Mapping Srvey of Artist s Continal Professional Development in Greater Manchester (Castlefield Gallery, 2012)...6 Analysing Artists Continal Professional Development in Greater Manchester...7 Table 1: Arts organisations providing Continal Professional Development opportnities and Artists taking part (from Castlefield Gallery, 2012)...8 Section Two: Methods and Participants...9 The Artists...9 The Organisations...10 The Arts Development Officers (or their eqivalents)...12 Table 2: Participating Artists...13 Table 3: Participating Arts Organisations...14 Table 4: Participating Arts Development Officers/Eqivalents...14 Section Three: Discssion of Findings...15 Artists Careers...15 Artist Development/Continal Professional Development Definitions...15 Artist Development/Continal Professional Development Activities...16 What Artists Need to Know...17 The Gatekeepers to Artists Careers...18 Measring sccess in Artists Careers...19 Measring sccess in the provision of Artist Development/Continal Professional Development...21 Deferred Vale...21 Table 5: Competencies, Challenges, Strategies, & Implications for Bondaryless Careers from Jones & DeFillippi (1996: 91, Table 1)...24 Table 6: Developing Artists Careers (Adapted from: Table 5 Competencies, Challenges, Strategies, & Implications for Bondaryless Careers in Jones & DeFillippi, 1996, p. 91, Table 1)...25 Section For: Conclsion and Frther Research...26 Towards a networked approach for Talent Development in GM...26 Making Greater Manchester a Centre for the Arts...27 Frther Research...29 Glossary...30 Acknowledgements...31 Bibliography...32 Appendix A...34 Appendix B...37 Appendix C...39

6 Exective Smmary Prpose The pilot stdy Analysing Artist s Continal Professional Development (CPD) in Greater Manchester: towards an integrated approach for talent development was ndertaken collaboratively between MIRIAD (the Manchester Institte for Research and Innovation in Art and Design) at Manchester Metropolitan University (MMU) and Castlefield Gallery (CG). The primary research on which this report is based was gathered between Jne and October The prpose of the research was to qestion whether the provision of artist development opportnities in Greater Manchester is tailored towards what artists need/desire and to ask how the crrent provision relates to the long-term impact and deferred vale of artist development and to notions of career sccess. 1 The Context Since Art Concil England s (ACE) Trning Point strategy (ACE, 2006) the development and spport of regional contemporary visal arts ecologies has been considered a priority in ensring the overall positive health of the visal arts. The Trning Point strategy made efforts to increase the practice and consmption of the contemporary visal arts beyond London, the UK capital, and Arts Concil England fnded regional networks to develop this. The regional network set p for Greater Manchester is Contemporary Visal Arts Manchester (CVAM). The regional arts ecology is varied and widespread. There is no firm evidence of how many artists are crrently practising in the region. 2 Within Greater Manchester, there are over twenty Frther Edcation Colleges (FECs) and three Higher Edcation Instittions (HEIs), which evidence the interest in stdying art and design beyond complsory edcation. Bt there has been little formal stdy of the availability or impact of opportnities for artists to develop their skills and professional experiences. In early 2012, a Mapping Srvey was ndertaken by Castlefield Gallery (CG) and Natalie Hghes, on behalf of CVAM, with spport from the Centre for Arts Management and Cltral Policy at the University of Manchester. Thirty-for organisations took part in an online qestionnaire; of these, twenty organisations reported offering some form of Artists Continal Professional Development (CPD) provision, attended by over 2200 artists, althogh this is likely to inclde repetition where the same artists attended mltiple events (CG, 2012). The Mapping Srvey (CG, 2012) formed the basis for the crrent stdy. 1 The terms long-term impact and deferred vale relate to the idea that some artist development opportnities are slow brn, i.e. have conseqences that become apparent only in the longer term. For this reason the vale of these opportnities is not necessarily evident in the immediate, or even the medim term. 2 Recent research into the feasibility of ndertaking a censs of artists in Greater Manchester (GM) estimates there are p to 2000 critically engaged artists in GM in addition to those who do not see their arts practice as a career. See Slater (2013) Artists in Greater Manchester. Slater, Ravetz and Lee (2013) Analysing Artists CPD 1

7 Smmary of Methodology Analysing Artists CPD seeks to offer insight into the crrent regional provision and to stimlate a dialoge abot how the region might offer the best possible spport for artists at all stages of their practice. The stdy prodced primary evidence throgh semi-strctred interviews and qestionnaires. 3 Three perspectives were gathered across three phases of research; artists, organisations, and Arts Development Officers (ADOs) (or their eqivalents). The initial phase involved semi-strctred interviews with contemporary visal artists. A list of possible artist participants was drawn p sing two criteria: that they shold crrently be practising in Greater Manchester; and that they were willing and available to be interviewed dring the period of the research. Given the pilot-natre of the stdy, sampling methods were not sed, althogh the research team s selection of ten artists attempted to represent a range of career lengths and ages to reflect the assmption that provisions shold be made across all career lengths and ages. In total, six male artists and for female artists were interviewed. Their ages range from 22 to 53 years and the length of their arts practices from new gradates to 28 years. The artists were asked abot their experiences of development opportnities throghot their careers, their crrent needs or desires in terms of development opportnities; how the crrent regional provision meets these; and what can be improved (see Appendix A). The second phase of the research involved interviews with representatives from eleven arts organisations in Greater Manchester that offer artist development opportnities in some form. Interviewees were selected with the aim of representing the wider arts ecology across Greater Manchester. The type of organisation and its fnding strctre was also considered. Of the eleven organisations represented: two are agencies and galleries; three are artist-led initiatives; two are arts centres; three are edcational instittions and the final organisation is Local Athority rn (see p. 13). The representatives from the organisations were asked abot the planning, aims and delivery of any artist development opportnities offered and the impact of recent fnding cts and changes to fnding strctres by the Arts Concil England (see Appendix B). In the third and final phase of the research, a qestionnaire was distribted to Arts Development Officers (or their eqivalents) across the ten boroghs of Greater Manchester (see Appendix C). The qestionnaire was completed by seven of the ten boroghs, with one retrning a smmative paragraph instead. The two non-participating boroghs were Bry and Tameside. The qestionnaire soght the Officers views on their roles in working with local artists and/or arts organisations, any development opportnities that came nder this remit and what their provision of artist development opportnities intended to do. The qestions also addressed any impact by recent fnding cts both in the arts and at a Local Athority level. The consideration of dal perspectives (from both provider and receiver) offers a broad interpretation of the provision of Artists Continal Professional Development opportnities in Greater Manchester. 3 Sarah Thelwall (2011: 39) in Size Matters sees qalitative research methods as an appropriate means to gain insight into different experiences within specific art ecologies. 2 Slater, Ravetz and Lee (2013) Analysing Artists CPD

8 Smmary of Findings 1. The research concldes that the crrent provision of artists development opportnities is not widely nderstood, either by artists or providers, and that this leads to some overlap and redndancy in provision. 2. Providers often evalate opportnities sing immediate impact indicators, for example nmbers of participating artists and, in the case of exhibition opportnities, adience nmbers. This falls in line with Thelwall s (2011) findings, that existing measres of sccess, inclding the evalations for Arts Concil England fnding, prioritizes revenes and adiences associated with tangible assets (Thelwall, 2011: 40). The stdy fond little evidence that consideration was being given to how the provision relates in real terms to the long-term career sccess of artists and the deferred vale of the opportnities offered. As Thelwall notes, deferred vale is often realised long after a commission has left the initiating organisation [and] may take p to twenty years to matre (Thelwall, 2011: 7; 35). 3. The research fond that the most significant opportnities for artists development from the artists point of view inclded: networking with other arts professionals, organisations or galleries; networking with other artists; receiving mentoring from others with more experience in the indstry and, later in a career, giving mentoring advice to less experienced practitioners. While formal exhibition opportnities were also deemed important, it was highlighted that many opportnities stemmed from the development of an informal spport network of those in the know. 4. For some recent gradates or artists moving into Greater Manchester, networks can appear secretive and internal knowledge is needed to access the opportnities available. It seems to take p to ten years for an artist to develop knowledge in the six areas highlighted by Jones and DeFillippi s research into bondaryless careers in the film indstry: knowing what, knowing why, knowing where, knowing whom, knowing when and knowing how (1996: 89). 5. The findings show clear differences between the needs and desires of those with less and those with more than ten years of practice experience. The informal networks developed throghot one s career are crcial in providing the spport needed for contined development and long-term sccess, whether measred in terms of external career sccess that might appear on a CV (for example, exhibiting reglarly and in increasingly prominent locations) or by internal measres of sccess that are more personal interpretations and evalations. The decision to contine one s arts practice is on the face of it down to the individal artist, althogh other factors sch as gatekeepers, inclding crators and arts professionals, and prevailing economic conditions, are likely to inflence sch decisions. Given their significance to artist careers, gatekeepers shold be visible and accessible. Slater, Ravetz and Lee (2013) Analysing Artists CPD 3

9 Recommendations The report highlights two key recommendations to take forward the crrent provision of development opportnities: 1. Firstly, artists CPD wold be improved if we fond ways to measre and assess its long-term impact and deferred vale to ensre the spport artists need at different stages of their career is available and appropriate. Artists careers are complicated and rarely take a straightforward trajectory. Artists need to know: what the local arts ecology is and how they fit into it, why they want to be an artist and develop their careers, where opportnities can be accessed, whom (in terms of gatekeepers and organisations) to approach to progress their development, when it is appropriate to access the varios avenes for development, and how they can access what they need/desire within the range of opportnities available. 2. Secondly, a non-overlapping networked approach to talent development, bringing together the provisions of pblic, third sector and edcational instittions, wold be positive for both artists and arts organisations. However, the strctre this wold take needs frther consideration. Frther Research The following qestions and areas for frther development arise from the research findings: 1. How can we measre the long-term impact and deferred vale of artist development opportnities, in order to ensre that these are both available and appropriate? 2. How can delivering organisations be encoraged to come together to offer a networked approach to talent development, considering the needs and desires of both artists and the remits of delivering organisations withot ndermining the content or scope of opportnities or the remit of individal organisations? 3. What form might sch a network take? How wold it be accessed and resorced? 4. How can the role and pblic image of CVAM be developed to flfil its prpose in encoraging strategic programmes of work in collaboration to inform thinking by sharing knowledge across the region as otlined in the Arts Concil England (2006) Trning Point strategy? 5. How wold a strengthened arts ecology in Greater Manchester benefit the region socially and economically? 4 Slater, Ravetz and Lee (2013) Analysing Artists CPD

10 Section One: The Context for the Report ACE Regional Trning Point Networks In 2006, the Arts Concil England (ACE) lanched its Trning Point strategy to spport contemporary visal arts (CVA) in England over the next ten years. One of its five priorities was to provide spport for artists and a key otcome was to bild stronger regional, national, and organisation-to-organisation partnerships (ACE, 2006: 12). It fond that the CVA were not meeting good standards in terms of pay or workforce development and a primary reason for this was the lack of a professional development body for the visal arts as existed in other areas of the creative indstries, which hindered career progression in the field (ACE, 2006: 17). Following the December 2005 report by Tessa Jackson and Marc Jordan, ACE were advised to address some fndamental isses in the visal arts, inclding reward, career development [and] talent management ( Jackson & Jordan, 2005: 81), which were deemed to threaten the visal arts ftre health (ACE, 2006: 35). The Trning Point strategy also drew from the Brns Owens Partnership (BOP) with Experian Bsiness Strategies Srvey in March 2005, which mapped activities in the visal arts across England (ACE, 2006: 15). The srvey demonstrated that mch of the visal arts sector operated at a smallscale level. Among visal arts organisations, 39% had a bdget of nder 5,000 and 58% had p to 10,000 (BOP, 2005 cited in ACE, 2006: 40). The BOP (2005) Srvey also fond regional imbalance of art practitioners and collectors, with London, the UK capital, as the focs of both art prodction and the arts market. Jackson and Jordan (2005) also reported a fragmented strctre and neven distribtion of the provision of contemporary visal arts across England (p. 22), in addition to a lack of regional development strategies (p. 38). From the late 1980s, London was reinforced as the centre of the British CVA, assisted by the sccess of recent gradates from Goldsmiths College. It was (albeit anecdotally and to some extent remains) widely accepted that a sccessfl career in the CVA reqires the artist to, at some point, move to work in (or be represented within) London or otside of the UK. 4 This goes some way towards explaining London s dominance, in the BOP (2005) and Jackson/Jordan (2005) findings, in terms of the nmber of arts organisations, the distribtion of resorces, and as the centre of the commercial arts market in England ( Jackson & Jordan, 2005: 7). 5 As advised by the Jackson/Jordan findings (2005: 11, 38), ACE s Trning Point strategy was lanched in an attempt to readdress these inbalances and promote regional development strategies in the arts (ACE, 2006: 41-42). Efforts were made to increase the practice and consmption of the CVA beyond London, inclding the fnding of regional ACE Trning Point Networks (TPNs) ntil April 2012 (Shaw, 2011 [online]). 6 Of the eleven regional networks, three were formed in the North West with only one 4 Rick Copsey, an artist-participant in the crrent stdy, describes in How Soon Was Now, a pblication celebrating Manchester Artist Stdio Grop s 25th anniversary, the advice he received (formally and informally) pon gradating from Falmoth School of Art in 1988: If yo re serios, do an MA in London or get a stdio (Copsey, 2012: npag.). Three artist-participants in the crrent interview research also reported the migration of arts gradates towards MAs in London or Glasgow. 5. The commercial art market is very weak otside London ( Jackson & Jordan, 2005: 7). 6 The origins and activities of the TPNs are clarified in Phyllida Shaw s (2011 [online]) pblication Understanding Trning Point A briefing paper for Artists Newsletter (a-n), following criticism that five years after their introdction, for many arts practitioners, the TPNs roles remained a bit opaqe. In the crrent stdy, the role of CVAM remained nclear to those not directly involved in the network. Slater, Ravetz and Lee (2013) Analysing Artists CPD 5

11 grop representing each of the other regions in England. Each network was represented by a Steering Grop, which had atonomy abot the composition and aims of their local TPN (Shaw, 2011 [online]). The for key fnctions of these networks were: 1. to cltivate a shared vision change in their region 2. to deliver strategic programmes of work, in collaboration 3. to inform ftre thinking by sharing knowledge across the network 4. to advocate on behalf of the sector (ACE, 2009: 3 [original emphasis]) The three NW grops are North by North West (representing Cmbria and Lancashire), VAiL (Visal Arts in Liverpool) and Contemporary Visal Arts Manchester (CVAM). The Contemporary Visal Arts in Greater Manchester Greater Manchester (GM), which is represented by CVAM, consists of ten metropolitan boroghs: Bolton, Bry, Manchester, Oldham, Rochdale, Salford, Stockport, Tameside, Trafford and Wigan. The regional arts ecology is varied and wide-spread. Significant focs is on the city of Manchester, with the other city of Salford and the wider regional boroghs receiving less fnding and, as a reslt, seeing artists leave the regional towns and aspire towards Manchester. 7 Within GM there are three Higher Edcation Instittions (University of Bolton, Manchester Metropolitan University and University of Salford) and over twenty Frther Edcation colleges offering art and design corses beyond complsory edcation. There is certainly an interest in stdying art and design p to (and in some cases beyond) ndergradate level. However, beyond the provision of a formal arts edcation at an Art School, there is little formal knowledge abot the opportnities on offer for artists to develop their experiences and skills. Mapping Srvey of Artists CPD in Greater Manchester (CG, 2012) Castlefield Gallery was set p in 1984 by local artists and has an established tradition in spporting and developing regional talent. In the past year it has had to re-evalate its position as its application for ACE s National Portfolio Organisation Fnding (NPO) was rejected. While it seeks alternative fnding methods to contine its provision, CG views its ftre as a major provider of Artists Development (AD)/CPD to emerging artists from across GM. Analysing Artists CPD bilds on research ndertaken by Castlefield Gallery and Natalie Hghes, in partnership with CVAM, with spport from the Centre for Arts Management and Cltral Policy at the University of Manchester (CG, 2012). In this prior research an online srvey was sed to captre data abot the range and breadth of CPD opportnities available to emerging and midcareer artists based in the Greater Manchester area. The Mapping Srvey was based on the perception among artists and arts organisations that the scope of artists development opportnities and training is not known or well nderstood and soght to provide some clarity in the range of artists spport, partnerships and resorces (CG, 2012: 1). 55 arts organisations were contacted from a list of potential respondents that inclded all 7 The regional Arts Development Officers (or their eqivalents) who participated in the crrent stdy stated the importance of encoraging artists to stay in the regional boroghs and not move towards the city of Manchester, evidencing this migration. 6 Slater, Ravetz and Lee (2013) Analysing Artists CPD

12 local athorities, arts organisations, msems, agencies, artist-led projects, stdio grops and niversities and colleges known to offer some form of artists CPD. Among the 34 respondents, the term artists CPD was deemed to be nderstood as an mbrella term sed by many in the sector, althogh there [was] no consistency in what artists developmental training and opportnities [were] (CG, 2012: 2). It was fond that 2253 artists had taken part in CPD events across 20 of the 34 organisations in , althogh this is likely to inclde the same artists attending a nmber of events (see Table 1, p. 11). It shold also be noted that a nmber of organisations that claimed not to offer a CPD provision were artist-led stdios; as this report will sggest, the facilities offered by sch organisations inclding the vale of tangible assets (e.g. eqipment and stdio space) and intangible assets (e.g. peer spport and mentoring) mst be considered as assisting in the development of artists. Analysing Artists CPD in Greater Manchester For Analysing Artists CPD, Castlefield Gallery has collaborated with Manchester Metropolitan University s (MMU) postgradate research centre MIRIAD (Manchester Institte for Research and Innovation in Art and Design) to consider the impact of existing artists CPD opportnities in GM. MIRIAD delivers theory- and practice-based MAs, MPhils and PhDs and has approximately 100 postgradate research degrees stdents. It seeks to offer the best possible opportnities for artists professional development. With another 950 stdents gradating from Art and Design corses in 2011, MMU as a whole has a contined interest in spporting their gradates. The research was co-fnded by both organisations and is intended as a pilot stdy for a ftre largescale research project. The research team was Kwong Lee (Director of Castlefield Gallery), Dr Amanda Ravetz (Senior Research Fellow at MIRIAD, MMU), and Early Career Researcher Dr Alison Slater, who ndertook the primary data collection and analysis. 8 The stdy explores attitdes towards a networked approach to talent spport and a non-overlapping consolidated CPD provision for artists in GM. Throgh a discssion of the findings mapped onto other contemporary stdies, this report aims to give more clarity to the field of AD/CPD. It begins to addresses the qestion of whether integration between delivering organisations is reqired and wold be positive for both arts organisations and the artists who seek their services. Analysing Artists CPD seeks to offer insight into provision of AD or artists CPD across GM by considering the following qestions: What is nderstood by the terms Artist Development (AD) and artists Continal Professional Development (CPD)? What kind of AD/CPD activities are on offer in GM? Is the crrent provision tailored towards what artists need/desire? Is AD/CPD broad enogh in its view of what is being developed? How does the crrent AD provision relate in real terms to the long-term career sccess of artists and the deferred vale of the opportnities offered? 8 A frther small-scale stdy by the research team in Spring 2013, fnded by the Arts and Hmanities Research Concil (AHRC), establishes the challenges and complexities of ndertaking a srvey of artists in GM in partresponse to the findings of this stdy. The Artists in Greater Manchester (2013) findings will be released later this year. Slater, Ravetz and Lee (2013) Analysing Artists CPD 7

13 The long term aim of the research is to demonstrate the need to consider how we, as a region, might offer the most effective spport for artists: from new gradates, to artists moving into the region, and existing artists already residing and/or working in GM. Table 1: Arts organisations providing CPD opportnities and Artists taking part (From: CG (2012) Mapping Artists CPD in Greater Manchester Original Data) 9 Organisation Artists taking part in CPD Redeye, the Photography Network 800 Castlefield Gallery 373 Cornerhose 300 Whitworth Art Gallery 170 Islington Mill 150 Roge Artists Stdios 50 Arts Development - Salford Commnity Leisre 50 Chinese Arts Centre 45 Creative Indstries Trafford 45 Hot Bed Press 44 Mirabel Stdios 30 neo:artists 25 People s History Msem 20 Ultimate Holding Company 20 Pool Arts 18 Site 18 The International 3 16 ArtFnkl 15 Contemporary Art Society, North West 14 Stockport Art Gallery 10 University of Salford 10 Woodend Artists 10 Trnpike Gallery 8 Manchester Art Gallery 6 University of Bolton 5 twenty+3 projects 1 AWOL Stdios 0 MASA Artists - Malgras Nadet - Tameside Msems and Galleries Service - The Other Side Of The Door Is Red - Tochstones Rochdale - Work for Change - Total across 20 organisations Calclations have sed pper nmbers where an approximate range was given. 8 Slater, Ravetz and Lee (2013) Analysing Artists CPD

14 Section Two: Methods and Participants The research consisted of sond-recorded semi-strctred interviews with ten contemporary visal artists based in GM and eleven arts organisations involved in the planning and delivery of artists CPD in the region. A qestionnaire was distribted to Arts Development Officers or their eqivalents in each of the ten boroghs in GM. Where possible, interviews were arranged at the participant s normal place of work; if this was not possible, the Righton Bilding at MMU was sed instead. The interviews varied from 38 mintes to almost 2 hors in length. They were sond recorded to allow verbatim transcription and the transcripts were sent to the participants to be approved (following Thompson, 2000). 10 At this stage a nmber of minor corrections to spellings and names were made and a few interviewees made minor adjstments to their transcripts for clarification. Following the best ethical practice framework otlined by the Oral History Society for the se of interview data, copyright of the actal words spoken by an interviewee (and recorded by the interviewer) is deemed to belong to the interviewee (Ward/OHS, 2003). 11 No coding analysis of reslts has been ndertaken, primarily becase of the pilot natre of this stdy, bt where previosly sed in the stdy of artists careers, the process of coding was deemed to complicate the findings and prevent wider dissemination than non-coded analysis wold allow (see for example Bridgstock, 2007). Instead, the findings are considered against existing analytical frameworks in relation to developing bondaryless careers ( Jones & DeFillippi, 1996) and the conditions that make a place hospitable to artists ( Jackson, 2004). Participation in this research project was volntary and npaid. Participants cold contact the research team with any qestions that they might have at any stage in the research. Anonymity was offered pon reqest and participants were free to withdraw at any time, withot giving any reason, in writing or by telephone. All those who participated in the research gave fll consent, agreeing for their words and views to be sed in this report; all responses have been anonymised to assist the analysis in this report. The Artists The artist interviews were one-to-one conversations with artists at different stages of their careers covering three areas: their views, reqirements and needs in terms of AD/CPD; how crrent provisions meet these; and what can be improved. 12 The artists were selected with a view to gaining as wide a perspective as possible in terms of diverse edcational experience, career stage and exhibition portfolio. The only criteria applied in the initial stages were that: 1. They shold crrently be practising in Greater Manchester 2. They were willing and available to participate in the research. 10 The sond recordings and transcriptions will be kept in accordance with Manchester Metropolitan University s Ethics Committee Gidelines (MMU, n.d.) with access only permitted to the three members of the research team. 11 Therefore consent forms were sed to gain permissions for qotations to be sed. Under the agreement with interviewees, the transcriptions may be retained by the three members of the research team and may only be sed for this research or ftre work stemming from the crrent stdy; where reqested, participants will be contacted for permissions to se their words in ftre work. 12 For one of the interviews, two artists were interviewed at the same time. Slater, Ravetz and Lee (2013) Analysing Artists CPD 9

15 Following the literatre review, the research began to focs on artists who were involved in a critically-engaged CVA practice (ACE, 2006: 15), rather than amater artists who see their art more as a hobby than a career. From a collated list of possible candidates, the research team chose ten artists. Given the pilot natre of this stdy sampling methods were not sed. However, attempts were made to represent: a range of career lengths and ages; both male and female artists; a balance of artists connected with CG and/or MMU and those withot formal connections to those ndertaking the research. 13 Of the initial ten artists approached, only one artist declined participation on the gronds that they were too bsy in spporting their arts practice throgh paid employment. 14 As a reslt, another artist was recrited throgh snow-balling. 15 The final list of artists and how they fit the criteria applied in the stdy can be seen in Table 2 (p. 16). The artists in the crrent stdy are considered critically engaged as each had an awareness of the context of their own work across the contemporary visal arts, locally, nationally and, in most cases, internationally. The Organisations The organisation interviews took the form of one-to-one conversations with representatives of arts organisations involved in the delivery of Artists CPD opportnities in GM to consider what they offer, what this provision intends to do and how sch opportnities are impacted by recent fnding cts in the arts. Representatives were again chosen on a basis that soght to represent the wider geographical area of GM; the type of organisation was also considered, as was representing the varios fnding strctres that spport these organisations (see Table 3, p. 17). Of the eleven participating organisations: Two were agencies and galleries (Castlefield Gallery and The International 3) It was decided that CG shold be interviewed alongside other organisations in order for a clearer vision of its aims in terms of crrent research and ftre plans as a key provider for AD/CPD in GM. The inclsion of a commercial gallery, The International 3, was deemed important after a nmber of the artist interviews had been ndertaken and it became clear that the lack of regional commercial galleries was seen as problematic in terms of offering opportnities for artist development otside of GM (see p. 31). Three were artist-led initiatives (HIVE Projects, neo:stdios and Pool Arts) It was decided to interview two artist-led grops from the boroghs: HIVE Projects (in Rochdale) and neo:stdios (in Bolton). Both offer spport for artists inclding exhibition opportnities. neo also offers stdio space and hosts open competitions with entrants nationwide. Pool Arts was chosen as it provides spport for artists who have had some kind of 13 In reality, this was perhaps the most difficlt to ensre: the role of CG in providing opportnities for artists after gradation and the nmber of corses offered at ndergradate and postgradate levels for artists at MMU meant that the majority of participants had some connection to one or both organisations: only one artist, BP, had no formal connections to CG or MMU (see Table 2, p. 16). 14 This isse was raised by other participants as a key factor in contining a sccessfl arts practice. 15 The term sed by oral historian Pal Thompson to describe interviewing people sggested by other informants (2000: 151). 10 Slater, Ravetz and Lee (2013) Analysing Artists CPD

16 mental health problem; it was also one of the organisations that had seen significant changes as a reslt of the crrent climate of fnding cts in the arts. Two were arts centres (Chinese Arts Centre and Cornerhose) Both arts centres have a national and international reptation for their exhibition programmes. The Chinese Arts Centre s remit focses on artists of Chinese origin, however, they also provide opportnities and events for local artists. The Cornerhose offers a nmber of opportnities and events for local artists. Of the participating organisations, only the two arts centres had been sccessfl in their applications for ACE NPO fnding reslting in a rise in their fnding from April Three were edcational instittions (the University of Bolton, the University of Salford and Oldham College) Two Higher Edcation Instittions (HEIs) (the Universities of Bolton and Salford) and one Frther Edcation College (FEC) (Oldham College) participated. The representatives from these organisations were approached with the rationale that they were responsible for providing the formal arts edcations for the next generation of artists. As edcation providers have also seen recent changes, their opinions offer another view into the impact of recent fnding cts and an ncertain ftre determined by management and policy-maker decisions that can sometimes ndermine the process of AD before it has even begn. One was a Local Athority organisation (Creative Indstries Trafford) 17 Creative Indstries Trafford (CIT) is niqe in GM in that it is the only formal Local Athority provision that promotes the development of creatives working in the region. Amongst nmeros other activities for writers, filmmakers and theatre-makers, CIT works with CG to provide Portfolio Sessions twice a year where contemporary visal artists (for the low cost of 5) can receive critical feedback and/or career advice in a one-to-one 45-minte session from invited crators and other arts professionals. All bt one of the organisations interviewed (Oldham College) had participated in the CG Mapping Srvey earlier in This allowed for the findings of the Mapping Srvey to be sed alongside those from the interviews in the crrent stdy. 16 The Chinese Arts Centre sees its revene from ACE increase from 172,287 in to 300k per annm from (calclated as a 46-47% rise in line with inflation predictions); the Cornerhose will see a gradal increase from in to 1,028,775 in (calclated as a 7-8% rise in line with inflation; this rise is also in line with its merger with the Library Theatre Company nder the new name: The Greater Manchester Arts Centre Ltd. (ACE, 2012 [online]). 17 CIT is discssed as an organisation here. Two ADOs from Trafford took part in the qestionnaire addressed to all LAs. They were not asked specifically abot CIT. Slater, Ravetz and Lee (2013) Analysing Artists CPD 11

17 The Arts Development Officers (or their eqivalents) The arts services provided at a Local Athority (LA) level have been impacted by recent cts in local government fnding. The national pictre is demonstrated in the Local Athority Arts Spending Srvey (Arts Development UK, 2012), which highlights that the average expenditre for arts services by LAs redced by 38% between 2008 and Fifty LAs (15% of the national total) have either closed their arts service entirely or have made their arts officers redndant since 2002 (Arts Development UK, 2012: 16). While retrns from the North West in the Local Athority Arts Spending Srvey were low, 19 no Greater Manchester LA has closed its arts services provision entirely. However, the Arts Development Officers (ADOs), or their eqivalents in the crrent stdy, have faced internal restrctring and have to strategically plan how they will manage ftre bdget cts; as part of local government cts, many expressed concern abot the ftre of their post. The qestionnaires were sent to LA Arts Development Officers, or their eqivalents, 20 to consider: their roles in working with local artists and/or arts organisations, any delivery of Artists CPD opportnities in Greater Manchester they offer, what that provision intends to do and how their roles and any artist development opportnities they offer are impacted by recent fnding cts in the arts. Participants were asked to answer as honestly and in as mch detail as possible, representing their own views and, where relevant, those of their Local Athority. The response rate was 80%, with the boroghs of Bry and Tameside not represented in this report. 18 The national average bdget for arts services within a Local Athority was 617, 750 in 2008, redcing by 26.2% to 455, 819 in 2010, with a frther 16.3% redction to 384, 087 (Arts Development UK, 2012: 16). 19 Across the North West, which incldes Cheshire, Cmbria, Lancashire and Greater Manchester, only seven responses were received, representing 10% of the 2012 srvey participants (Arts Development UK, 2012: 1). However, three of these responses came from LAs in Greater Manchester: Bolton, Bry and Tameside (Arts Development UK, 2012: 18-19). 20 The internal restrctring reported by Arts Development UK (2012) is evident in the role titles of the ADO/Eqivalent participants, which appear in Table 4 (p. 17). 12 Slater, Ravetz and Lee (2013) Analysing Artists CPD

18 Table 2: Participating Artists (detailing Formal Arts Edcation, Length of Career and Formal Connections with CG and/or MMU) Artist Age Formal Edcation Year of first arts degree/ eqiv No. of Self- years since first arts degree/ eqiv defined start of career (approx.) No. of years since selfdefined start of career (approx.) Connections with CG and/or MMU 1 BP 53 B of Fine Arts (Soth No formal connections Astralian School of Art, Adelaide, 1984) BA Social Science (Flinders, Soth Astralia, 1995) PhD (School of the Bilt Environment, Salford, 2012) 2 IA 37 BA Fine Art (UC of Wales, Aberystwyth, 1996) MA Painting (UC of Wales, Aberystwyth, 1997) PG Dip. Art Psychotherapy (Sheffield, 2000) Donated work to CG action (2012) Use of space at CG in smmer 2012 to prodce new work 3 JG 23 Fondation (2008) Gradate of MMU (2012) BA Fine Art (MMU, 2012) 4 JRe 41 BA Fine Art (Reading, 1992) Exhibited at CG ( Look to this day, 2003) Worked with MMU ndergradate stdents for Unit X (2011) UHC represented by CG at art:gwangj:12 (Korea, 2012) 5 JRi 22 Fondation (2008) Gradate of MMU (2012) BA Fine Art (MMU, 2012) 6 MC 38 Fondation (Stockport College, 2007) Attended CG focs grops CG hosted Symposim of the local for Islington Mill (2008) 7 RC 48 BA Fine Art (Falmoth, 1988) MA Fine Art (MMU, 1995) Lectrer in Contemporary Art History at MMU Former member of MASA that fonded CG Exhibited at CG in Work and Play (1992) and Absolt New (1997) Gradate of MMU (1995) 8 RG 34 Fondation (Hopwood Hall, Rochdale, 1999) BA Fine Art (Leeds Metropolitan, 2000) 9 SH 35 BA Visal Arts (Salford, 2008) 10 SM 53 Fondation (Manchester College, 1997) BA Sclptre (MMU, 2000) MA Fine Art (MMU, 2001) Donated work to CG action (2012) Exhibited at CG in The Grotto Show (2000), Print Portfolio (2004) and Compendim (2005) Pblished in In Hose No.2 lanched at CG (2003) and Widesht crated by CG (2005) Used the ceramics facilities at MMU throgh Artists Access to Art Schools (AA2A, 2011) months Donated work to CG action (2012) Involved in Openended exchange between Bristol and Manchester artists is association with CG (2008) Donated work to CG action (2012) Gradate of MMU (2000 & 2001) Slater, Ravetz and Lee (2013) Analysing Artists CPD 13

19 Table 3: Participating Arts Organisations (detailing Interviewee, Name, Type and Location of Organisation and Year Established) Interviewee Organisation Type of Organisation Location Year Est. 1 AB University of Bolton Higher Edcation Instittion Bolton 1982 (niversity from 2004) 2 AK Pool Arts Artist-led Manchester EM HIVE Projects Artist-led, Stdios and Rochdale 2010 Gallery 4 JM Oldham College Frther Edcation College Oldham JS neo:stdios Artist-led, Stdios and Bolton 2007 Gallery 6 KL Castlefield Gallery Agency and Gallery Manchester PB The International 3 Agency and Commercial Gallery 8 PH University of Salford Higher Edcation Instittion 9 RE Creative Indstries Trafford Manchester 2005 Salford Local Athority Trafford SP Cornerhose Arts Centre Manchester YK Chinese Arts Centre Arts Centre Manchester (niversity from 1967) Table 4: Participating ADOs/Eqivalents (detailing Local Athority, Participant Name and Role) Local Athority Participant Participant Role 1 Bolton Mindee Htchinson Arts Development Officer, Bsiness Bolton 2 Bry 3 Manchester Sarah Elderkin Team Leader Cltral Economy 4 Oldham Annie O Neill Arts and Heritage Manager 5 Rochdale Yvonne Hardman Art Gallery Officer 6 Salford Sara Noonan Strategic Development Manager 7 Stockport Lara Mrphy Active Stockport Officer 8 Tameside 9 Trafford Karen Shannon Robina Sheik Let s Go Global Project Manager (Role to be disestablished from ) Arts & Cltral Development Officer 10 Wigan Httson Lo Arts & Heritage Development Manager 14 Slater, Ravetz and Lee (2013) Analysing Artists CPD

20 Section Three: Discssion of Findings The stdy of dal perspectives, both the recipients and providers, offers a broad perspective into the provision of Artist Development opportnities in Greater Manchester and how a networked approach may assist all involved. These findings are based on the responses from thirty participants (ten artists, eleven arts organisations and eight Local Athorities). Artists Careers In the United Kingdom, the notion of a job for life is no longer crrent. In addition, careers in the creative indstries rarely take a straightforward trajectory and this lack of fixed path is championed at the highest level. ACE accepts that in their working lives, artists develop a wide range of skills and many hold several jobs (2006: 33). Some artists do not see their practice as a career at all; others see it as a secondary career that sits alongside a primary occpation that provides a more reliable income. To investigate how the artist-participants had charted their own careers, they were asked to draw diagrams representing their career trajectories (see Appendix A). The findings map onto the ranging experiences highlighted by Loisa Bck who arges that artists careers can soar and then plnge; they can platea-ot; tail off or be kick started (Bck, 2004: 19). The lack of clear progression that characterises artists careers, clearly complicates what artists need in the way of opportnities. Added to this, the term development implies a modernist notion of progress: that artists need developing; that their practice shold evolve over time. 21 The qestion of what artists need to develop their careers might similarly be considered contentios. 22 AD/CPD Definitions The terms Artist Development (AD) and Continal Professional Development (CPD), sed throghot this report, are again contentios. Among the representatives from LAs, there was a tendency to view AD as anything that assists artists in developing their practice and helps them to establish a career, with particlar focs on spport for emerging or early career artists. CPD was seen as something more long-term and formal. Some artists noted that for them the phrase CPD was too corporate or bsiness-like and that it also implied that one s arts practice was continal, when this was not always the case; many of the contry s most established artists have taken career breaks for one reason or another. The artist-participants considered AD/CPD to cover a range of different opportnities that they cold make for themselves or that were instigated by others (gatekeepers). AD/CPD opportnities were viewed as taking one of two rotes: the first developed technical and/or theoretical knowledge and the second offered access to networks and opportnities. If sccessfl, access to networks and opportnities increased the engagement and reception arond an artist s work that in trn fed back 21 The aim of this report is not to sggest a one rote fix. As stated by a nmber of the artists, there are many different approaches/rotes to, and definitions of, sccess. 22 In moving between the terms practice and career here we want to indicate a distinction, bt also potential overlap, between carrying on with one s artistic practice and developing a career that provides an income. Slater, Ravetz and Lee (2013) Analysing Artists CPD 15

21 into their practice. For the more experienced artists, it was often important that they had a small nmber of people, sally more established artists, who they cold trn to for advice and spport. Notably, many of these opportnities had been brokered by and paid for by the artists themselves. Ultimately, AD/CPD was nderstood by artists as the opportnity to find and access the right spport at the right time in order for artists to contine their creative jorneys. This report ses the term development to cover a broad range of methods geared towards knowledge and skill acqisition. It borrows from a definition of learning to sggest the mtability of development, where learning is: a mltilevel phenomenon, which incldes creation and acqisition of knowledge, creative processes for shared interpretation, and patterns of adaptation and transformation (Arthr & Rossea, 1996: 376). In as mch as it involves learning, development in this context is taken to sggest that the acqisition of knowledge, and patterns of adaptation and transformation cold be desired by an artist at any point in their arts practice jorney. AD/CPD Activities A wide range of AD/CPD opportnities were discssed dring the research. These inclded a list of activities/opportnities that the artist-participants were asked to rate in order of importance to them. Their collective responses prioritised these experiences in the following order: 1. Mentoring (received from other artists with more experience) 2. Networking with other arts professionals/organisations/galleries, etc. 3. Networking with other artists 4. Bsiness Advice 5. Mentoring (given to other artists with less experience) 6. Critiqe Sessions 7. Financial Advice 8. Portfolio Reviews 9. Teaching 10. Attending Workshops 11. Pension Advice and Ftre Planning Some artists acknowledged that these priorities had changed over time, althogh there were significant individal differences regarding changing priorities: some saw teaching as becoming less important over time, for others it remained a priority; 23 more experienced artists viewed mentoring others as an increasing responsibility as their practice developed. One artist noted that while networking was important at all stages of their career, their approach to networking had changed over time as they gained more experience. In addition to the activities/opportnities listed above, some of the artist-participants sggested other opportnities, not covered by the provided list, were also important. They were (arranged in reported order of importance): Peer spport/peer mentoring Gallery Visits/Research Trips/Residences/Artist Exchanges 23 For one artist, teaching was viewed as part of their arts practice. 16 Slater, Ravetz and Lee (2013) Analysing Artists CPD

22 Exhibition opportnities Intellectal Property Rights Advice Self-initiated Projects Formal Arts Edcation Associate Schemes For emerging and early career artists, there was more emphasis on the need to develop their knowledge of how to set p and rn their arts practice as a sccessfl bsiness. The more experienced artists reported the importance of time management, where all elements of their career were jggled to ensre that the bsiness and administrative element of their practice did not overshadow the time they had to make new work. The findings spport those of The Big Artists Srvey (2011), where artists were fond to prioritise the need for personalised AD/CPD plans, bsiness spport and networking events in addition to critiqes of their work (a-n/air, 2011; King, 2011). What Artists Need to Know The findings in relation to what artists need to know can be interpreted in line with Jones and DeFillippi s (1996) research into bondaryless careers in the film indstry. Taking their starting point from Rdyard Kipling s (1902) Jst So Stories, 24 Jones and DeFillippi arged that six principles identify the knowledge needed to ensre career sccess in the 21st Centry (1996: 89). The format offered by Jones and DeFillippi (see Table 5, p. 27) provides an objective view of careers in the film indstry that is compatible with the sbjective experiences of the artist-participants in the crrent stdy. Table 5 (by Jones and DeFillippi, 1996) has been adapted, sing the findings of the crrent research, to offer some indication of the challenges artists enconter, what strategies cold be employed to overcome these, the implications for an artist s career and what AD/CPD opportnities an artist needs to enconter at varios stages of their career in order to gain the knowledge reqired for a sccessfl career (see Table 6, p. 28). Artists starting ot, termed emerging or early career artists in arts administration, are perceived to need more development opportnities than mid-career or established artists. 25 This was spported by the stdy, as what artists need was fond to change over time as new challenges are met and need to be overcome. The research fond there was a difference between the needs of emerging artists in their first ten years after leaving formal arts edcation, or after considering themselves to be an artist if they had no formal arts edcation. This can also be explained throgh Jones and DeFillippi s (1996) analysis of bondaryless careers. It seems that after ten years, the majority of practitioners have conceptalised what, why, when, how, where and who they need to know to contine and develop their careers. However, the important role of experiential learning in career development was highlighted throghot. 24 I keep six honest serving-men, (They taght me all I knew); Their names are What and Why and When, And How and Where and Who (Kipling, 1902 cited in Jones & DeFillippi, 1996: 89). 25 While sed here, the athors recognise that these terms for career stages, sed within arts administration, are contentios and lack clear definition (see Morris Hargreaves McIntyre, 2004: 8 and Bck 2004: 19). The notion of emerging or early career artists shold also not be confsed with age; artists can become artists at any age and many emerging or early career artists have kick-started their arts practice after retirement (Artists in GM, 2013). There is clearly a need for a wider discssion abot the terminology sed in relation to artists development and careers. Slater, Ravetz and Lee (2013) Analysing Artists CPD 17