In research for my article for Axis Web, To PhD or not to PhD?, I have recently spoken to David Hancock about his experiences studying towards a practice-based PhD at the University of Salford.
Do you think an artist need a PhD to be successful in their career?
No, not as artist, it makes no difference, but if you want to get into teaching in higher education then it is a great help. The advertisements I have seen recently require candidates to have a PhD.
What were the benefits of the PhD (ie. funds, time, facilities.etc)?
I receive a grant of £13,500 each year for 3 years. I also received a further £300 each year for study trips. I have had full use of the facilities at the University, the support of great staff, and interaction with the students across a number of courses at both MA and BA level. I have to teach a minimum of 6 hours per week as part of my PhD. It has also allowed to focus on my work for 3 years. My PhD is practice based, so my research is drawn from my own work and this informs my research, so it has been an incredibly productive period in terms of output, but also in terms of developing ideas through research.
What attracted you to studying towards a PhD initially?
I had recently gone back into education as an opportunity to shake up my practice. My career was badly affected by the crash in 2008. I lost my collectors, representation, and opportunities to exhibit. I did a Masters to open up new ways of working. After 2 years on the Masters, I felt there was a lot more I could achieve through continuing with my education, so I applied to do a PhD.
On retrospect, do you think the doctorate has enhanced your practice/career? If so, how? If not, how so?
Yes. The written and research aspects of the PhD has enhanced my practical work providing reasons to explore my ideas through other means. In order to answer the questions posed by the research, I have explored creative outlets that I would not have done or thought of previously. This is also due to the University environment, and what I have learnt from the students, staff, and the courses I have taught on.
Do you see differences between artists practice in ideas, content and form that are engaged in academic research (such as PhD) and those who work outside the academic environment post BA/MA education?
Not especially. I think any good artist will have a strong and well researched rationale for making a particular body of work. The PhD is more an opportunity to get this down in a more structured way and expand upon the research. You would go much further with a PhD, and expand into other areas, but as I have found, this creates new outlets to explore. I have found the process creative and inspiring, and I think the work I have made during the PhD has been my strongest to date, and this can be evidenced in the opportunities I have had to exhibit the work.
Would you ever consider that studying towards a PhD is a sign that you are struggling as an artist outside of education?
If you mean struggling financially, then to some extent this is true. The PhD has offered me financial stability which is a good environment to making work. I can focus on the work and not worry about having to take on other jobs that diminishes my time in the studio. An artist would not do a PhD to advance their career in the art world. It wouldn't help you get representation with a top gallery. The PhD isn't judged on the quality of the artwork, just on the ability of the artwork to be used as a methodology to answer an academic question. It is not a badge of artistic quality, as that is too subjective for a PhD.
--------------------------------------------------------------------------------------------------------------------------
David Hancock graduated from Manchester Metropolitan University in 1996 and has been exhibiting widely since. He has appeared in a number of prominent exhibitions such as the John Moores 21, Young Masters and the BP Portrait Prize. He has had solo and group shows across the UK and Europe as well as New York, Los Angeles, Shanghai and Hong Kong. He is currently undertaking a PhD at University of Salford. Hancock currently has a solo exhibition 'Cosplay' at Wolverhampton Art Gallery, which runs until 1st June 2013.
Wednesday, 20 March 2013
Monday, 18 March 2013
To PhD or not to PhD? Interview with Mike Chavez-Dawson
I am currently writing an article for Axis questioning the benefit for an an artist to study towards a practice-based PhD. I have been meeting with a few artists who have completed, or are currently working towards a practice-based doctorate to get their point of view.
Mike Chavez Dawson is currently a PhD Research Fellow at MIRIAD, and has given me his response to my questions below:
Q: Do you think an artist needs a PhD to be successful in their career?
MCD: For me, any academic course is a form of discipline akin to a mental and creative assault course. There are a multitude of rules, bureaucracy and etiquette to navigate, yet as artists we can transform this compromise into a 'medium'-or better still, a 'method'. Of course, this ultimately depends on what is perceived as the 'practice'.
Also, it should go without saying that no one should undertake a course for the sake of gaining the qualification, which should be viewed as a by-product of the process. One should wholeheartedly extract whatever knowledge, understanding and skill the given parameters, time and facilities provide. Of course, as artists we should endeavour to push, question and even rebel when and where possible, although for this to be effective one requires patient intelligence and critical astuteness.
Therefore the focus and openness, and the critical and creative flexibility that a PhD course demands should allow artists to succeed in their endeavours with more finesse and dexterity.
Q: What were the benefits of the PhD (for example, in funds, time, and facilities)?
MCD: As I implied, one benefit is the intensity provided by the academic discipline. Another is to view the PhD as a 'residency' of sorts, one that provides space, time and some reasonable economic recompense (if you're lucky enough to receive a bursary, freeing you from applying for many projects and so forth).
This is especially helpful if there's a key part of your practice you really want to resolve and frame within an ongoing discourse (or 'field' in which you find yourself), although more importantly it's about refining and furthering that area. I should say that as an artist you should arrive at a new perspective that becomes the next level of engagement for your practice.
Q: What attracted you to study towards a PhD initially?
MCD: It was having a particular framework and period of time to make a more in-depth examination of a key area, one that kept coming up in my practice (the borders between documentation and performance from a contemporary visual art perspective).
Also, I felt that this would contribute to the field of inquiry, and the only context that could facilitate this was the PhD.
Q: In retrospect, how do you think the doctorate has enhanced (or not enhanced) your practice/career?
MCD: I'm nearing the end, and personally I don't think I'd be making the work that I'm doing now if it wasn't for the PhD. I feel a deeper confidence and clarity in my methods. I have a refined nimbleness to my practice. It's certainly a personal shift, especially as I'm not drawn to pursuing an academic profession yet, and want to engage with a wider demographic beyond the institute.
In addition, one of the best things for me was being able to justify reading extensively in the area of my inquiry and practice. This was a luxury and a discipline that was hard to maintain as a freelance professional artist and curator.
It has certainly enhanced my career thus far.
Q: Do you see differences in ideas, content and form between the practice of those artists engaged in academic research (such as a PhD) and those who work outside the academic environment after a BA or MA education?
MCD: Again, it comes down to how you engage with the parameters, and the things that allow you to focus in a particular way. There's certainly a gear-shift in terms of intensity and clarification of your practice with an academic pursuit; the knack is to apply a flexible 'transposability' to the field or area in which you practise.
Q: Would you ever consider that studying towards a PhD is a sign that you are struggling as an artist outside of education?
MCD: I think artists just struggle whether they are outside academia or inside. It's their motivation and the extraction of possibilities that are important, and the struggle is just part of the course.
I feel it's best to view a PhD as a long residency where you're focusing intensely and rigorously on a key area of interest, one that you're happy to be grilled about by other knowledgeable folk.
So, from my perspective this is subjective. Ask me tomorrow and I might give a different answer.
-------------------------------------
Mike Chavez-Dawson is an Interdisciplinary Artist Curator based at Rogue Artists Studios, Manchester, his work fluctuates between curation and performance.
He was the visual arts editor and FLUX SPACE curator for FLUX Magazine for over a decade.
He curated and instigated the critically acclaimed Unrealised Potential show for Cornerhouse and more recently the hugely successful David Shrigley solo show 'How Are You Feeling?'.
He's currently a PhD research fellow at MIRIAD, and has recently shown and performed at TATE Britain, Barbican, ICA, Cornerhouse, The Whitworth Art Gallery, British Art Show 7 at Nottingham Contemporary and The Whitstable Biennale. As well as numerous international shows and projects in Dresden, Seoul, Rome, New York, Sans Francisco, Lisbon and Helsinki.
Mike Chavez Dawson is currently a PhD Research Fellow at MIRIAD, and has given me his response to my questions below:
Q: Do you think an artist needs a PhD to be successful in their career?
MCD: For me, any academic course is a form of discipline akin to a mental and creative assault course. There are a multitude of rules, bureaucracy and etiquette to navigate, yet as artists we can transform this compromise into a 'medium'-or better still, a 'method'. Of course, this ultimately depends on what is perceived as the 'practice'.
Also, it should go without saying that no one should undertake a course for the sake of gaining the qualification, which should be viewed as a by-product of the process. One should wholeheartedly extract whatever knowledge, understanding and skill the given parameters, time and facilities provide. Of course, as artists we should endeavour to push, question and even rebel when and where possible, although for this to be effective one requires patient intelligence and critical astuteness.
Therefore the focus and openness, and the critical and creative flexibility that a PhD course demands should allow artists to succeed in their endeavours with more finesse and dexterity.
Q: What were the benefits of the PhD (for example, in funds, time, and facilities)?
MCD: As I implied, one benefit is the intensity provided by the academic discipline. Another is to view the PhD as a 'residency' of sorts, one that provides space, time and some reasonable economic recompense (if you're lucky enough to receive a bursary, freeing you from applying for many projects and so forth).
This is especially helpful if there's a key part of your practice you really want to resolve and frame within an ongoing discourse (or 'field' in which you find yourself), although more importantly it's about refining and furthering that area. I should say that as an artist you should arrive at a new perspective that becomes the next level of engagement for your practice.
Q: What attracted you to study towards a PhD initially?
MCD: It was having a particular framework and period of time to make a more in-depth examination of a key area, one that kept coming up in my practice (the borders between documentation and performance from a contemporary visual art perspective).
Also, I felt that this would contribute to the field of inquiry, and the only context that could facilitate this was the PhD.
Q: In retrospect, how do you think the doctorate has enhanced (or not enhanced) your practice/career?
MCD: I'm nearing the end, and personally I don't think I'd be making the work that I'm doing now if it wasn't for the PhD. I feel a deeper confidence and clarity in my methods. I have a refined nimbleness to my practice. It's certainly a personal shift, especially as I'm not drawn to pursuing an academic profession yet, and want to engage with a wider demographic beyond the institute.
In addition, one of the best things for me was being able to justify reading extensively in the area of my inquiry and practice. This was a luxury and a discipline that was hard to maintain as a freelance professional artist and curator.
It has certainly enhanced my career thus far.
Q: Do you see differences in ideas, content and form between the practice of those artists engaged in academic research (such as a PhD) and those who work outside the academic environment after a BA or MA education?
MCD: Again, it comes down to how you engage with the parameters, and the things that allow you to focus in a particular way. There's certainly a gear-shift in terms of intensity and clarification of your practice with an academic pursuit; the knack is to apply a flexible 'transposability' to the field or area in which you practise.
Q: Would you ever consider that studying towards a PhD is a sign that you are struggling as an artist outside of education?
MCD: I think artists just struggle whether they are outside academia or inside. It's their motivation and the extraction of possibilities that are important, and the struggle is just part of the course.
I feel it's best to view a PhD as a long residency where you're focusing intensely and rigorously on a key area of interest, one that you're happy to be grilled about by other knowledgeable folk.
So, from my perspective this is subjective. Ask me tomorrow and I might give a different answer.
-------------------------------------
Mike Chavez-Dawson is an Interdisciplinary Artist Curator based at Rogue Artists Studios, Manchester, his work fluctuates between curation and performance.
He was the visual arts editor and FLUX SPACE curator for FLUX Magazine for over a decade.
He curated and instigated the critically acclaimed Unrealised Potential show for Cornerhouse and more recently the hugely successful David Shrigley solo show 'How Are You Feeling?'.
He's currently a PhD research fellow at MIRIAD, and has recently shown and performed at TATE Britain, Barbican, ICA, Cornerhouse, The Whitworth Art Gallery, British Art Show 7 at Nottingham Contemporary and The Whitstable Biennale. As well as numerous international shows and projects in Dresden, Seoul, Rome, New York, Sans Francisco, Lisbon and Helsinki.
Tuesday, 5 March 2013
Towser Bothy Zine Library - Artist Book Collective at Leeds International Artists Book Fair 8.3.13 - 22.3.13
Last year, some of my artists books and zines were included in the Towser Bothy Zine Library at Holmfirth Arts Festival, curated by Alice Bradshaw and Vanessa Haley. The Zine Library, built by artist Bob Milner, included my artist book 'On the way' and zines 'Directional#1' and 'Directional#2'.
The Towser Bothy Zine Library has been selected by Artist Book Collective, to be shown as part of the Leeds International Artists Book Fair and Divided We Fall Festival in Leeds. The dates are 8th - 22nd March 2013. For more information, please visit:
Artist Book Collective: http://abcarchive.blogspot.co.uk/2013/02/pop-ups.html
Divided We Fall Festival: http://dwf.uk.com/about/
The Towser Bothy Zine Library has been selected by Artist Book Collective, to be shown as part of the Leeds International Artists Book Fair and Divided We Fall Festival in Leeds. The dates are 8th - 22nd March 2013. For more information, please visit:
Artist Book Collective: http://abcarchive.blogspot.co.uk/2013/02/pop-ups.html
Divided We Fall Festival: http://dwf.uk.com/about/
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'On the way', 2012. For more information, or to purchase, please visit PAPER gallery.  'Directional#1', 2012. For more information, or to purchase, please visit PAPER gallery |
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Jerwood Drawing Prize at The Gallery (Arts University Bournemouth) 22.3.13 - 26.4.13
Last chance to see the Jerwood Drawing Prize, and my drawing 'Navigating the Junction' at The Gallery at the Arts University Bournemouth, information below:
22 MARCH – 26 APRIL 2013
The Jerwood Drawing Prize 2012 is the largest and longest running annual open exhibition for drawing in the UK. Judged by an independent panel of selectors; Stephen Coppel, Curator of the Modern Collection, Department of Prints and Drawings at the British Museum; Kate Macfarlane, Co-Director of The Drawing Room, London; and Lisa Milroy, Artist and Head of Graduate Painting, Slade School of Fine Art, UCL, the Prize aims to explore and celebrate the diversity, excellence and range of current drawing practice in the UK.
From its beginning, the Jerwood Drawing Prize has championed the breadth of contemporary drawing in the UK. From a submission of almost 3,000 entries, the selectors have brought together an exhibition of 78 works from 73 artists. The shortlist includes established artists as well as relative newcomers and students fresh from art college.
Jerwood Drawing Prize 2012 has toured throughout the UK, London to Hastings, Birmingham and Gateshead, with its final stop at TheGallery, Arts University Bournemouth.
For further information on the Jerwood Drawing Prize and tour visit: jerwoodvisualarts.org and aub.ac.uk
EXHIBITION RELATED EVENTS:
THURSDAY 18 APRIL 2013: 5.00 – 6.00PM
Chaired by Professor Stephanie James,
Associate Dean\Head of School of Visual Arts, Arts University Bournemouth
Panel Members to include:
Sarah Williams;
Gallery Manager and Curator: Jerwood Visual Arts (JVA), London, Artist and LecturerTom Hammick; Exhibiting Artist Jerwood Drawing Prize 2012 - Artist and Senior Lecturer at University of Brighton Fran Norton; PHD Student, Arts University Bournemouth and ArtistLaura Banks; graduate from BA (Hons) Fine Art, Arts University Bournemouth, 2012 and Artist
Followed by a Drinks Reception 6.00 - 7.00pm, TheGallery, AUB
ADMISSION FREE
BOOKING ESSENTIAL
Tel: O1202 363272Fax: 01202 537729
Email: gallery@aub.ac.uk aub.ac.uk
TheGalleryArts University Bournemouth, Wallisdown, Poole, BH12 5HH
Tuesday, 4 December 2012
Manchester Postcard Fundraiser at Chinese Art Centre 7.12.12
Come along to bid on my manchester inspired nearly postcard sized artwork this Friday at Chinese Art Centre, Manchester. All work is anonymous until purchased when you find out who the work has been created by! See more information below...
Manchester Postcard Fundraiser
Launch Night 7 December 2012 (6.00pm - 7.30pm)
Here at the centre we have developed an idea by recent ‘Breathe Residency’ artist Luke Ching. Upon discovering various bright and cheerful postcard images of Manchester’s fair city, Luke felt that they needed some adaptation to reflect the more regular rainy climate here in the North West of the UK! The postcards looked beautiful and reflected the city perfectly as you can see below.
Just in time for the Christmas season, a whole host of generous artists and even some Chinese Arts Centre staff will be adapting Manchester postcards for sale here in our shop and on-line. The postcards will be available to buy as of 7 December here in our shop, so do keep an eye out! Each postcard will be available to buy at £30 and all funds raised will be used to support Antonia Low’s residency (14th Jan – 20 Apr 2013). The postcards will also be available to buy via our on-line shop shortly!
Chinese Arts Centre
Market Buildings
Thomas Street
Northern Quarter
Manchester
M4 1EU
England
Jerwood Drawing Prize at Jerwood Gallery, Hastings 8.12.12 - 6.01.13
My drawing 'Navigating the Junction' will be on show at the Jerwood Gallery, Hastings, in the first part of the tour for the Jerwood Drawing Prize, the show runs from 8.12.12 - 6.01.13.
The Jerwood Drawing Prize 2012 is the largest and longest running annual open exhibition for drawing in the UK. Judged by an independent panel of selectors; Stephen Coppel, Curator of the Modern Collection, Department of Prints and Drawings at the British Museum; Kate Macfarlane, Co-Director of The Drawing Room, London; and Lisa Milroy, artist and Head of Graduate Painting, Slade School of Fine Art, UCL, the Prize aims to explore and celebrate the diversity, excellence and range of current drawing practice in the UK. As a response to the ever-growing popularity of the competition, and the present financial landscape of the arts, Jerwood Visual Arts (JVA) and Drawing Projects UK are delighted this year to announce an increase in the total prize fund, from £11,000 to £17,000, a rise of over 50%.
From its beginning, the Jerwood Drawing Prize has championed the breadth of contemporary drawing in the UK. From a submission of almost 3,000 entries, the selectors have brought together an exhibition of 78 works from 73 artists. The shortlist includes established artists as well as relative newcomers and students fresh from art college. The selected works are exhibited at JVA at Jerwood Space, London from 12 September - 28 October 2012, and will then tour to venues across the UK including the new Jerwood Gallery, Hastings and mac, Birmingham.
The prizes, were awarded to the winning artists at a ceremony on Tuesday 11 September 2012, and are a first prize of £8,000, second prize of £5,000 and two student awards of £2,000 each.
First Prize: Karolina Glusiec
Second Prize: Bada Song
Student Prize: Katie Aggett
Student Prize: Min Kim
Highly Commended: Jane Dixon
Jerwood Gallery
Rock-a-Nore Road
Hastings
East Sussex
TN34 3DW
Tel: + 44 (0)1424 728377
Email: info@jerwoodgallery.org
For further info go to - http://www.jerwoodgallery.org/visit/find-us
Tuesday-Friday 11am-4pm
Saturday- Sunday 11am-6pm
Closed Mondays
For admission prices, please go to http://www.jerwoodgallery.org/visit/visitor-information
Sunday, 11 November 2012
Paper#3 and Mirabel Selling Studio, 23rd November 2012
Paper Gallery will be having an opening for their third show Paper#3, as well as a Mirabel Selling Studio, and a launch for the new project space, psMirabel.
My editioned prints, and books will also be on sale. For more information on available works, please visit http://www.paper-gallery.co.uk/70879/640216/paper-artists/jenny-steele.
Manchester’s micro art gallery, PAPER #3
Opens 23rd November
www.paper-gallery.co.uk
PAPER #3 Opens: Friday 23rd
November 5 - 9pm
Open Studio Opening
Times: Saturday 24th November 11am- 5pm & Sunday 25th
November 12 – 5pm
Find us at: 14-20 Mirabel Street, Manchester, M3 1PJ
Paper is
a new micro gallery open in Manchester city centre, close to Victoria Station
and MEN Arena. PAPER #3 show will coincide with the annual Selling Open Studio
at Mirabel Studios and the launch of a new project space ps Mirabel. New Paper
artist Poppy Green will be creating
an outdoor site-specific installation at the opening and will be showing
original and printed works in the gallery. We will be showcasing Hole Edition prints by Simon Woolham, John Moores Prize winner Narbi Price, and Turner Prize nominee George Shaw. Paper launched its website
www.paper-gallery.co.uk in July showcasing a range of artwork by local and
international artists. If you missed us at Manchester Contemporary art fair now
is your chance to see our artists work and invest in a piece of work for
Christmas
Paper’s
mission is to bridge the gap between audience, artist, and artwork,
presenting critically engaged artworks in a domestic environment. Paper
will focus solely on work on paper, paper as a support. Paper will present a
wide range of originals and multiples, including drawings, paintings, prints,
photography. Paper will be accessible, creating an intimate atmosphere within
our small gallery space. Paper will be affordable, selling work to promote artistic
practice.
Paper is
the brainchild of Liverpool John Moores University Masters graduates Andrea Cotton, David Hancock, Nicola Smith
and current Design Manager at Manchester Art Gallery, Ian Smith.
For our artists the use of paper is integral to their
practice. For our stable of artists we have created a mix of emerging,
mid-career, and international artists. This includes; Alice Bradshaw, Fulya Çetin, Jenny Core, Philip Davenport, Julie Dodd,
Bethan Hamilton, Sarah Kate Wilson, Naomi Lethbridge, James
Moore, Narbi Price, Anna Puhakka, Dawn Woolley, Simon Woolham,
Miranda Whall, Bethan Hamilton, Leanne
Richardson, Roshanna Rubin-Mayhew,
Lucy May Schofield, Richard Shields, Jenny Steele and Wen Wu.
We would like to introduce new artists work to Paper exhibition
#3 Sean Caherty, Susannah Douglas, Nicola Ellis, Suzanne Smith, Paul Vivian.
Paper
is open every Saturday. For more information please contact David Hancock on
07799813062 or email papergallery@mail.com
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