March 2011
March 2011
Sent : 29 March 2011
Welcome
As artscareer is all about career development, we thought it best that the inaugural eNews should have a professional development focus too! So included in this issue are interviews with two professional development gurus, a feature practitioner profile (from the world of theatre) and suggestions to help support your career development. Plus to celebrate the launch of artscareer, don’t miss our competition to win double cinema passes.
Artscareer.com.au is the new online resource for supporting professional development across all art forms. On artscareer you can find complete and up to the minute information about strengthening your skills in the visual arts, music, performing arts or writing industries for artists and educators.
For artists this site is your one stop shop for career development tips, studio and rehearsal spaces, networking, training and funding opportunities, as well as the latest news from the sector. For teachers, artscareer can help you find information on curriculum and assessment, teaching resources, links to professional guidelines as well as listings for conferences, seminars and events.
With national and international listings artscareer covers all art forms and keeps you connected to whats happening in your sector.
So if you haven’t already checked it out, take a look at the brand new site here.
For those of you who were registered users of artistcareer.com.au, you can still use your login details on the new site.
We want to hear your feedback on the new site so tell us what you’d like to see more of by voting in our online poll.
We hope you enjoy the first artscareer eNews!
Artscareer spoke to two lecturers from Sydney College of the Arts, both having taught professional development, to get their opinions.
Karin Findeis has been making jewellery since 1986 and has exhibited in Australia and internationally since 1988. Since 1988 she has been a member of the Jewellers and Metalsmiths Group of Australia-NSW and for the last three years has held the position of Chair. Karin was recently awarded her doctorate from the University of Western Sydney.
Andrew Lavery completed a Bachelor of Arts with first class Honours, and in 2001 graduated with a Master of Arts by research in the faculty of Art and Design at Monash University, Melbourne. Andrew is currently Lecturer and Chair of the Glass Studio at Sydney College of the Arts.
AC: Is professional development necessary?
KF: An understanding of how to present yourself and your work in a public context is essential for any artist wanting to receive recognition for what they do. If that information hasn’t been acquired through tertiary education then you should be proactive and take steps to develop that knowledge.
AL: Professional development is vital for anyone engaged in creative practice. Staying tuned into contemporary practice allows you to create a dynamic conceptual and organisational framework work for your practice.
AC: What are the most important areas arts practitioners/educators must consider when they are thinking about professional development?
KF: This will partly depend on what you intend to be doing and what your practice consists of. Are you selling your work and if so where? What is your market? How do you make your work accessible to your audience? If you don’t know what the possibilities are, you cannot know where you will ‘fit’ in, nor what you need to learn and do to achieve your goals.
Professional development can also include being able to write about your ideas, and at times talk about them. These things can be crucial if you are seeking support or funding for your activities.
Another important consideration is that, as you evolve in your practice you may need to learn new (business) skills as you go.
Maintaining your practice in a professional manner means understanding what ‘professional’ is.
AL: Identifying your context and audience early allows you to be more focused and can lead you more directly to opportunities that fit well with your trajectory.
AC: Is it important to know anything about business practice if you’re not running a business as such?
KF: Yes, as the people you are dealing with (suppliers, photographers, agents, gallerists, publishers etc) are most likely to be running a business and you need to understand how their actions will impact on you.
AL: A basic knowledge of business structures such as knowing how to manage your financials is vital for tax purposes and simple transactions like profit and loss. Equally important are skills in organising important information, how to market yourself and logistical skills. These skills can be applied in numerous contexts and make for greater professionalism in applying for grants and commissions, for example.
AC: Should arts practitioners/educators still engage in development even after they are well established?
KF: Most definitely as things do change. A good example of this is when the GST was introduced, though other changes can be more subtle and require new knowledge.
AL: Of course, professional development is ongoing, with regular changes to your focus and structures keeping your creative practice relevant and contemporary.
AC: How did you and do you develop your own professional practice?
KF: When I went through art school there was no professional practice taught (but then again there were no grants for emerging artists!). I learnt how to document my work but little else. As a student I joined a professional organisation (Jewellers and Metalsmiths Group of Australia- NSW Inc.) and picked up information from their newsletters and from participating in their activities. While living in another country I joined a similar organisation, which offered rudimentary business skills. This became important when I started selling my work and buying from wholesalers. Such organisations often have activities targeting emerging artists, as they are part of the future picture.
When I returned to Australia I joined NAVA and Craft Australia, which gave me access to a lot of information, and I did a short course in business practices for artists that included a component run by the Office of Small Business, which addressed setting up a business and writing business plans. Over the years I have added other components as necessary.
In addition, as my experience as an artist has grown, so has my understanding – simply through ‘doing’. This has encompassed participating in exhibitions and competitions, designing and printing catalogues and publications, websites, grant submissions, exhibitions proposals, negotiating sponsorship – and more.
Since 2006 I have been the Chair of JMGA-NSW Inc, which has brought another realm of knowledge and experience.
AL: Early I worked and learned from senior artists and my experience working in a commercial glass factory added to these skills. Membership in professional organisations and attending conferences, both here and internationally have allowed me to develop some great connections. As an academic I have read a great deal about the subject and find the case studies of artists the most useful.
AC: Do you have any dos and don’ts advice for those just getting started?
KF: An essential is to document your work as you go, making sure your images are of excellent quality, paying special attention to focus and colour balance/ lighting.
It is also important when submitting proposals or grant applications, that you read the guidelines thoroughly.
And don’t be afraid to seek advice.
AL: Do work out what sort of creative practice you would like to develop. Create a context for your practice. Identify your audience and how you wish to disseminate your work. Create a plan and try to stick to it. Don’t exhibit/show your work in a place that doesn’t fit with your trajectory, as this may not reach the audience you are looking for.
To find out more about Karin’s and Andrew’s practice and the Jewellers & Metalsmiths Group of Australia – NSW, click on the links below.
What do the artscareer partners have to say on the subject?.
Technology is rapidly changing society and culture. For artists to be able to create and communicate in this environment requires an open-ended view to professional development, in which they constantly learn as they create and shape our futures. It is not only the medium that is undergoing continual and dramatic change, but what defines an artistic career and how and with whom an artist needs to practice to reach their goals.
Gavin Artz, CEO ANAT
Quality professional development for teachers of the Arts is pivotal tomaintaining high teaching/learning standards, which supports student engagementthrough new teaching ideas, and promotes staff enjoyment.
Pru Borgert, Project Officer – Schools, Music, Play For Life MCA
We live in a media saturated environment and we constantly have to interact, interpret, and classify it. Through teaching Media – communication, influence and production, we enable students to go out into the world more actively informed; understanding and contributing to the world they move in everyday. As technology evolves, society is also changing and continued professional development in media is provided to support this. Augusta Zeeng, Education Officer, ATOM Victoria
[Image: Karin Findeis]
Feature Practitioner: Mangin Street Theatre
With all things fringe taking place across the country over the past few months, we decided that our first eNews Feature Practitioner had to be from the wonderful world of theatre. So we asked Sophie Wray-McCann, of the formerly Tasmanian but now Adelaide-based, Mangin Street Theatre, to tell us a bit more about the theatre group and their work.
AC: Tell all about Mangin Street Theatre? How did you get started?
SWM: I think, originally, Mangin Street Theatre began in 2007 when we [Sophie Wray-McCann, Rachael Williams and Michael Fazackerly] undertook a three year Bachelor of Contemporary Arts at the School of Visual and Performing Arts (SVPA) in Launceston, Tasmania. During our time there we researched different types of acting and directing styles, as well as producing original scripted works by fellow students. As the theatre stream at the SVPA expects students to be involved in all aspects of theatre, throughout the three years there were opportunities to be involved in stage management, directing, acting, design, promotion and front of house management.
After graduating, Rachael, Michael and myself decided that we wanted to continue working with each other on a professional level. After working so closely for so long, we found that we had established strong bonds and each of us has our own strengths within the theatre. So, after doing a couple of solo projects we thought it was time to put our heads together and form a company.
Mangin Street Theatre has a strong focus in Youth theatre and are very passionate about creating new works. We devise our own scripts, which are often community theatre based and aimed at a particular target audience.
AC: What is it about working in the theatre that you enjoy?
SWM: We all love different aspects of working in theatre, from the process of creating a script, to the rehearsals, light rigging and finally the adrenalin rush of a live audience, an experience that keeps us coming back. It is a rewarding moment to see your own work taking form and being presented right before your eyes. We love that when you put on a production with a group of people you create a new culture and experience of community that cannot ever be recreated, except for in that instant. We love that theatre pushes our minds and bodies into new experiences and the way that it helps us keep our minds open and creative. We feel that it is a very cathartic way of storytelling because a play can draw the audience in and create a sense of community and amity within a space.
AC: What processes do you go through when working on a project?
SWM: Each project will begin in a different way. Sometimes one person will have a vision and the three of us will work together on that. At other times we all generate an idea and will brainstorm together, either on paper or with a workshop session. The beauty of working with a group generally means the outcome is bigger and better than the original idea. We believe communication and collaboration are key elements in working as a team. We try as often as possible to work and liaise with other artists, including visual and musical, as this expands our own ideas, theories and projects.
AC: Tell us about A Crash Course in Theatre School, which is showed as part of the Adelaide Fringe?
SWM: The workshops are designed to give people an experience of what it is like to be in a theatre school. It is an interactive experience, so the audience is the performance. It may feel confronting to some people to be up and part of the experience, but each workshop is created in a gentle atmosphere, so the works originate organically and by the end people should walk away saying ‘wow, I never thought I would be brave enough to do that!’ Our aim is to introduce basic aspects of the stage to people who are beginners in theatre, or who are perhaps interested in theatre but aren’t quite sure of what to expect. Our classes are friendly, fun and silly.
AC: How do you develop your own skills/theatre work?
SWM: We are always trying new and old ways to rehearse our work. Anything from Stanislavski’s theories, to Eastern practices like Butoh and Suzuki theatre are used within our workshops. We find it beneficial to never say no to an idea, as you never know until you try it. This has led us to produce more creative and inventive work within our own theatre circles and other artist networks, opening up many doors for us within the industry.
AC: What have you got planned next?
SWM: We each have a couple of solo projects planned which we will be keeping under wraps for now, but hopefully we will have some success with our crash course in theatre school and will continue to offer advanced courses for the people that enjoyed our workshops. We also have some projects that we will work on together, for example we are planning to revise a touring musical that we wrote and performed in Tasmania and have a couple of new works up our sleeves. We are looking forward to getting started on those once the excitement of the Fringe settles down.
Featured Practitioner website: NAIK
Naik (or Sam Price as he is otherwise known) is a musician and filmmaker from Perth. Naik’s live show has received critical acclaim and was voted best Australian live performance of 2009 by the Members Only writers of Drum Media. He was also nominated for best live act at the 2009 Perth Dance Music Awards. Naik’s background as a filmmaker informs his music and he has produced WAMi award winning videos for the likes of Birds of Tokyo, Downsyde and Eleventh He Reaches London.
Featured Blog: Michele Morcos
Michele Morcos is a visual artist with a studio practice in Sydney. She graduated from the College of Fine Arts (UNSW) in 1999 with a Bachelor of Fine Arts (Painting) and a BA Honours in Art Theory. After living overseas and travelling throughout Europe, Michele held her first solo exhibition in 2002 followed by over 20 group exhibitions throughout Australia. Michele has worked in Sydney galleries for 9 years, and is currently working at Object: Australian Centre for Craft & Design in Surry Hills, while continuing with her studio practice and writing for her tinytrappings blog.
If you would like to suggest a website or blog to feature in the next issue email us at artscareer@visualarts.net.au
[Image: Mangin Street Theatre]
To celebrate the launch of the new site, artscareer are giving away five double passes (super saver vouchers) to Hoyts cinemas. To enter, email your details (including name, address and telephone number) to artscareer@visualarts.net.au by midnight on Sunday 3 April. All entries will go into a hat and the winners drawn and announced on the artscareer site on Monday 4 April.
The vouchers are transferable at any Hoyts cinema across Australia, unfortunately excluding Tasmania.
When we spoke to them, both Karin Findeis and Andrew Lavery recommended membership of professional organisations as a useful career development tool. If you're not already a member of a professional development organisation, we thought we’d compile a list of organisations, from across the art forms, to get you started.
Dance
Ausdance
Ausdance National provides leadership in advocacy and representation, and creates national programs and resources to support and sustain professional dance practice in Australia. These services are integral to those offered by the wider Ausdance network.
STRUT dance
STRUT dance is a choreographic development centre and the main support organisation for contemporary dance in Western Australia.
Dancehouse
Dancehouse exists to advance independent contemporary dance in Australia through its program of research, training and performance.
Drama
Drama Australia
Drama Australia is the peak national body that represents and advocates on behalf of all state and territory drama education associations in Australia. All members of state and territory Drama associations are automatically members of Drama Australia.
Live Performance Australia
Live Performance Australia (LPA) is the peak body for Australia’s live entertainment and performing arts industry.
Inter-Arts
Australian Network for Art and Technology (ANAT)
ANAT supports artists and creative practitioners engaging with science and technology, within Australia and beyond.
Literature
Australian Publishers Association
APA is the peak industry body for Australian book, journal and electronic publishers.
Australian Society of Authors
The Australian Society of Authors is the peak professional association for Australia's literary creators.
The Australian Writers’ Guild
AWG is the peak professional body representing film, theatre, television, radio and new media writers in Australia.
Media
Alliance Online
The Alliance is the union and professional organisation which covers everyone in the media, entertainment, sports and arts industries.
Australian Teachers Of Media (ATOM)
The Australian Teachers Of Media or ATOM is an independent, non-profit, professional association in Australia for teachers of media and teachers who wish to use media effectively in their classroom.
Music
Australian Music Centre
The Australian Music Centre is a national service organisation which facilitates the performance,
awareness and appreciation of music by Australian composers and sound artists.
Music Council of Australia
The MCA is a 50-member national peak music organisation for Australia. Its members include nominees of major national music organisations, and distinguished individuals expert in various aspects of music.
Visual Arts
Art Education Australia
The AEA welcomes membership by art educators, researchers, students and others working in the field of or with an interest in Visual Arts Education.
Craft Australia
Craft Australia is the peak national advocacy organisation for Australian contemporary craft and design. We actively promote and provide access to Australian contemporary practice through advocacy, communication and research.
National Association for the Visual Arts
NAVA is the peak body representing and advancing the professional interests of the Australian visual arts and craft sector. NAVA undertakes advocacy and lobbying, research, policy and project development, data collection and analysis, professional representation and service provision.
all
Arts Access Australia
Arts Access Australia is the national body for arts and disability with a network of members in every State and Territory.
Association of Northern, Kimberley and Arnhem Aboriginal Artists (ANKAAA)
ANKAAA is a non-profit, Incorporated Aboriginal Association. It is the peak advocacy and supportagency for aboriginal artists and art centres located in the regions of:
o Arnhem Land
o Darwin/Katherine
o Kimberley
o Tiwi Islands
Regional Arts Australia
Regional Arts Australia is the key national body representing the broad and complex interests and concerns of those working with and for the arts in regional, rural and remote Australia.
Young People and the Arts Australia
Young People and the Arts Australia (YPAA) is the national peak body for organisations and practitioners engaging children and young people in the arts.
