Hi Deborah and others,
in my research on collaborative projects between artists and workplaces,
initiated by a third part, an arts furthering organisation, I've seen the
following motives among artists
- interest in working in new ways that challenges the work-opening
date-exhibition mode
- working with an audience that poses other demands on the artist (see above)
- finding a potential new market and mode of working
- general curiosity and will to explore
OF course these factors are linked to each other in various ways.
I also found some interesting results on the artist role in these projects,
the role and especially the integrity of the artist position in such
projects are clearly viewed very differently by different artists.
My research has been conducted in Sweden but I've seen that my results
correspond to that of other studies and results from other projects.
best
Katja
At 23:48 15/02/2007 +0000, Deborah Jones wrote:
>Hello again aacorners
>
>I posed both questions (below) out of a curiosity I have about the images
>of the artist which can appear in interdisciplinary encounters. Not so
>much to invite answers, but to find out if management people working with
>art and artists care to ask them.
>
>In some of the aacorn discussions I see representations of the artist as a
>phenomena that's minutely examined, then simultaneously raised up on a
>pedestal ('I want to be one') and appropriated as an instrument for other
>peoples' needs.
>
>There are vast quantities of text explaining motivations and justifying
>the collaboration from an organisational position, and yet there's very
>little exploration of why the artist may choose to enter this other
>world. That just seems weird.
>
>Perhaps my assumption about a collaborative intent is the flaw?
>
>There'll be as many differing motivations as there are artists. I'm not
>convinced it's covered by hoping to influence the organisations or seeking
>the resources/opportunity to make new work and engage with a new audience
>- though these will definitely feature. I would say there are other
>intentions and ideas behind the move - Jurgen's gradual, complicated and
>ambivalent journey is an example. I'm wondering if it would be dynamic
>and fruitful to consider how the artist's desires and interests interact
>with those of the organisation they enter into a relationship
>with. Probably in terms of specific instances - I can't currently imagine
>doing this in a general or abstract way.
>
>My question about goodness came out of the pedestal scenario. I get
>sceptical and confused when an image of 'the artist' seems unduly revered.
>(there's a perfectly acceptable mix of good and bad person in me)
>
>
>With best wishes,
>Deborah
>
>(ta, Steve. Ditto!)
>
>
>
>
>
>Apart from the financial incentives, why do you think artists choose to
>work with business, organisations and 'leadership'?
>
>...and if someone's an artist, is she a good person?
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