Lee Corner explains how the new Code of Practice for the Visual Arts lays foundations for good relationships between artists and the arts professionals with whom they work.
The National Artists? Association?s (NAA) plan in 1992 to commission a Code of Practice for the Visual Arts. The idea grew out of the successful bid by the Northern Region to host Visual Arts UK ?96. NAA seized the opportunity to work with Northern Arts, and expressed its belief in the need for a Code as follows:
?? although there are many specific areas where sound practice has been developed, researched and documented ? the visual arts sector remains fragmented. Artists and artists? groups often operate in isolation. In the absence of commonly accepted standards and codes of practice, the majority of artists are not properly rewarded for their work, and those who seek to commission or engage artists lack a framework of guidelines within which to define acceptable terms and conditions.?
Different emphasis
An exploration of codes of practice from other sectors ? the RIBA; the Association of Illustrators? even domestic gas suppliers ? soon revealed that the accepted purpose of a code of practice is to lay down guidelines for standards of behaviour, approach and service delivery by the member/provider. Breaching such a code can result in anything from professional opprobrium to penalties and even expulsion. By contrast, it soon became clear that most artists were looking for a code of practice which would protect them from the bad practice of others. The Code needed to address, therefore, practices undertaken by artists and those with whom they work which would encourage that mutual respect and recognition: that would undermine the assumption that each was out to exploit the other, by revealing and sharing the ?other point of view?. While artists were exhorted to, for example, research galleries rather than just expecting their work to be of interest to them, galleries were equally encouraged to be clear about their selection policies, commission charges, buyer profiles etc.
New principles
Working in the visual arts and crafts is one of the more isolated areas of creative endeavour. The artist/curator, commissioner/artist relationships can be occasional and insular, leaving limited opportunities to hone skills or compare notes. A decade on, and a new CoP Steering Group, new artists in new focus groups, new links into Higher Education, and with arts managers and commissioners, reveals the need for a re-assertion of core principles. Each debate articulates a desire for
? more respect ? for the views, perspectives and skills of each
? greater understanding ? of the needs of each concerned; of the languages and practices of each other
? fewer assumptions ? about who?s good at what; who?s interested in what; who has and doesn?t have creative ideas
? better outcomes ? for the product, the project, the public
This leads to the formulation of four basic principles, as relevant to those who engage or involve artists as to artists themselves. And so each principle begins: Good practice prevails when artists or those who work with artists
? contribute confidently?
? by engaging with the development of ideas, and solution of problems; by refusing to pigeonhole and to be pigeonholed; by challenging stereotypes and assumptions about who knows what; by being generous with their knowledge and their skills; by knowing their worth.
? prepare thoroughly?
? by finding out about where, with whom and how they will be working; by researching context, legislative implications, location, environmental concerns, potential impact, and interests of partners and colleagues.
? collaborate creatively?
? by establishing mutual respect and recognition: through identifying shared goals, encouraging the views of others, welcoming open and informed discussion, valuing complementary skills, co-operating and collaborating in achieving a vision without losing sight of their own identity and integrity.
? aim high?
? by aspiring to bring quality to everything they do, whether presenting ideas, managing professional relationships, negotiating, or producing the work.
Mutual respect
The Code of Practice?s starting point is that the most effective relationships between artists and those with whom they work ? curators, commissioners, residency organisers, project managers, etc ? are those in which the motivations, aspirations, needs and practices of each are recognised, appreciated and (as far as reasonable) accommodated by the other. The decision to incorporate the Code into [a-n]?s new website ? as well as to produce it in a paper-based format ? presents the opportunity to demonstrate and illustrate the principles of good practice by reference to the website?s case studies, profiles and project descriptions.
Organisations increasingly look to secure the services of visual artists and makers ? as contributors to design teams, makers of objects for display or exhibition, workshop leaders, generators of ideas. Artists will be adding their skills to other professionals who are specialists in their own area, and understanding what each can bring is critical to the success of the relationship.
Graham Fagen ? whose practice has ranged from Grizedale artist to official war artist to Kosovo ? begins all his encounters with sessions that allow for ?knocking preconceptions on the head?: ?I need professional regard from all the people I?m working with to make the job work. Professionalism is about trust in both directions and trust as part of a team. Building confidence in each other opens up more and more opportunities.? The Code of Practice for the Visual Arts seeks to build on this sound and sensible approach.
Lee Corner researched and wrote the Code of Practice for the Visual Arts which is available at http://www.a-n.co.uk. Contact [a-n] The Artists Information Company for a printed copy of the Code plus access to subscriber-only resources on the site. Organisations Subscriptions include a monthly copy of [a-n] Magazine and discounts on display advertising. For details see insert in this issue of ArtsProfessional.