How to 'Make it' in The Visual Arts

S Mark Gubb is an artist working across a range of media incorporating sculpture, video, sound, installation and performance.  Here he gives his top 5 tips for making it in the visual arts.  Particularly useful for recent graduates but invaluable, as a reminder, to those of you who are already established.

1, First, and most important, always focus on the art. I'm putting this first as it's actually the most difficult to maintain and I often find myself not heeding my own advice. There's admin to do, things to apply for, lack of money, and all that TV and tea won't watch or drink themselves. Try and find strategies that keep you engaged in making, even when you have little time or money – it may be sketching, collage, taking pictures/shooting videos on your phone – simple, quick, easy, satisfying ways of being creative every day, even when your situation doesn't seem to want you to be. A day with 5 minutes of making in it is always better than one with none.

2, Network, network, network. This word still has a lingering stench of the 80s, attached to power-dressing and cut-throat professional manoeuvring, but all it actually means is getting out and talking to like-minded people. You need to be part of your professional community. You can be the best artist in the world, but no-one is looking for you. Get out and about, see shows, have drinks, talk to other artists, talk to curators. Once someone has seen your face and spoken actual words to you, you exist. You're no longer just a set of pixels in a monthly mail-out or on an exhibition flyer. Building a peer and professional network runs a very close second to making work in terms of importance for any sort of future sustainability or sanity.

3, Always think of the wider context for your practice. Cultural lines are more blurred than ever. You may paint, you may sculpt, you may make videos, whatever, and whilst the creation and production of your work may seem like a solitary pursuit, it has a context in the world. It may be relevant to a particular subculture or group, it may have specific relevance to a geographic location or non-art-based activity. Think around your practice and who might be interested in it. Of course your primary focus should remain on getting your work seen within an art context, but this expanded field of vision will be very useful when you come to write funding applications, or develop projects or just fancy taking a sideways step for a short while.

4, Don't worry about the other things you're doing to make money. It doesn't matter if they're not directly involved in the arts. Everyone has to make money to live, so do it however you can. Great if you can get a job in your local arts centre but, if not, work in the local call centre instead. In many ways having a totally unrelated job can help you focus on what you really want to be doing with your life.

5, Be nice. This should probably be at the top of the list. No-one wants to be friends with, or give a show to, or give support to, or give funding to, someone who isn't nice. Nice is a really bad word, but you get what I mean. Be yourself, be helpful and be proactive. (But if someone crosses you, bear a grudge forever. Not really). Be nice.


Image: S Mark Gubb, Alight 2014.  Permanent work, Cardiff City Centre. Junction of Bridge Street & Barrack Lane. Image credit Jamie Woodley

www.smarkgubb.com

www.gubbstore.bigcartel.com

 

 

 

  • Published in Advice

Joseph Young

My original background is in the theatre, with a long and successful career as an actor and composer for over 20 years. In 2005, I refocused my practice as a visual artist after an MA at University of Brighton, producing my first sound installation “The Family Album” which was exhibited at Sonic Arts Network Expo 2006.

The Ballad of Skinny Lattes and Vintage Clothing (2012)
Lewis Elton Gallery, Guildford
Installation for iPods and museum objects
 
The Gentrification Suite (2014)
Artist book and CD
5 songs (plus 'Revolutionary Manifesto of the Middle Classes')

As an artist, I’ve exhibited and performed nationally and internationally at Tate Modern, Tate Britain, Whitechapel Gallery, Jerwood Hastings, Seoul Museum of Art, Conflux New York City and Berlin Month of Performance Art. An edition of my work “The Ballad of Skinny Lattes and Vintage Clothing” is held in the permanent collection of the Estorick Collection in London.  My sound pieces have been published or broadcast by BBC Radio 3, BBC Radio 4, Public Record, Furthernoise, Radio Papesse and Resonance FM.

 

The Garden Manifesto - part of Growing Manual (2014)
Seoul Museum of Art curated by Hyemin Son and John Reardon
Japanese Knotweed and text

In 2007, I formed an artist group, Neo Futurist Collective, and we embarked on the creation of a series of works entitled (Re)Awakening of a City, in celebration of urban noise, inspired by the surviving seven bars of the score to Awakening of a City by Futurist artist, Luigi Russolo. The group is a collective of one. In 2012-14, we produced “The Ballad of Skinny Lattes and Vintage Clothing” – a six movement noise opera about artists and gentrification, which toured site-responsively across the UK. Our current project Revolution #10, an epic sound installation and performance inspired by The Beatles Revolution 9, is about the importance of democracy and investigates our political system through public interventions and online debate.

 

The Listening Ears (2012)
Tate Britain
Performative Sculpture 

 

More information about Joseph Youg:

Main website: artofnoises.com

Neo Futurist Collective: neofuturistcollective.com

The Ballad of Skinny Lattes and Vintage Clothing: skinnyvintage.com

Revolution #10: revolution10.uk

  • Published in Artists
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