Mapping Creative Labour in Contemporary Art

当代艺术中的创造性劳动地图将汇集该领域的领先学者和从业人员，形成一个由艺术家、艺术历史学家、社会学家和艺术工作者组成的跨学科网络，以调查当代艺术生产和流通中目前有偿和无偿工作的模式。近年来，工作已经成为艺术、人文和社会科学学术界的一个主要话题，但在这个新兴领域工作的学者还没有机会反思它的范围，审视它的成就和局限性。由于创意工作者在新冠肺炎疫情期间面临的困难，对这一网络绘制领域地图的需求变得迫切。惊慌失措！这份报告进一步表明，“文化职业的劳动力……在阶级、性别和种族方面被大量排除在外。”(布鲁克，奥布莱恩和泰勒，2019)因此，我们需要的是(1)对整个学术领域的反思，绘制其对艺术领域的知识和话语，并找出其偏见和盲点，以及(2)整合学术领域内艺术的不同工作条件。有关该主题日益增长的文学的规模和多样性的感觉，请参见Dani Child的《工作美学》(2019年)，Dave Beech的《艺术与劳动》(2020)，Julia Bryan Wilson的《艺术工作者》(2011)，Leigh Clare La Berge，《反对艺术品的工资》(2019)，Friederke Siegler《作品：当代艺术文献》(2017)，Miya Tokumitsu《做你喜欢的事》(2019)，安德鲁·罗斯《无领》，Mark Banks《文化工作的政治》(2007)，David Frayne，《工作的拒绝》(2015)，塞西莉亚·威登海姆，丽莎·罗森达尔，Michele Masucci，Annika Enqvist和Jonatan Habib Engqvist合编，《Work Work》，Bernes《去工业化时代的艺术》，Zygmunt Bauman《作品、消费主义与新穷人》(2005)安德里亚·科莫洛西(Andrea Komlosy)《工作：过去1000年》，乔安娜·沃萨(Joanna Warsza)《我不能这样工作》，危险工人旅《剥削训练？》(2012)，西尔维娅·费德里奇(Silvia Federici)，《零点革命：家务、复制和女权主义斗争》(2012)，凯蒂·威克斯(Kathi Week)《工作的问题》(The Problem With Work)2011年，里卡多·安图内斯(Ricardo AnTunes)《工作的意义》(The Means of Work，2013)，该网络的艺术家和学者具有文化产业劳工问题方面的专业知识其他“艺术工作者”(工作室助理、制造者、艺术供应商，博物馆工作人员和艺术家运营组织的社区)将被召集到现场参观和/或在线会议中，以比较隐藏在艺术家作为艺术品唯一制作人的神话背后的各种社会关系。交流的目标是使这一新兴跨学科领域的专家第一次有可能对整个领域进行反思，并绘制出全方位的艺术作品。这个网络将由伦敦艺术大学(UAL)艺术与马克思主义读者戴夫·比奇博士领导，曼彻斯特大都会大学(MMU)艺术史高级讲师达尼·蔡尔德博士担任联合我。毕奇著有《艺术与价值》(Brill，2015)和《艺术与劳动》(Art and Labor，Brill，2020)，这两本书从根本上重新思考了艺术劳动的经济学，以及艺术、手工艺和工业之间不断变化的关系的历史。作为瑞典瓦兰德学院的艺术教授，比奇负责组织重大的国际研究活动，如一年两次的Parse会议。《孩子》发表了大量关于艺术和劳动的文章。她的专著《工作美学：劳工、艺术和资本主义》(Bloomsbury，2019)是艺术史从孤独的艺术家的神话转向使艺术成为可能的制造者和支持工人的网络的重要贡献。她在组织学术活动和小组讨论方面也很有经验。CHILD是澳大利亚人权委员会资助的项目“新冠肺炎：对文化产业的影响及其对政策的影响”的合作伙伴。

Mapping Creative Labour in Contemporary Art will assemble leading academics and practitioners in the field to form an interdisciplinary network of artists, art historians, sociologists and art workers to investigate current patterns of paid and unpaid work in the production and circulation of contemporary art. Work has become a leading topic in academia for the arts, humanities and the social sciences in recent years, but the scholars operating within this emergent field have not yet had the opportunity to reflect on its scope and survey its achievements and limitations. The need for this network to map the field has been given urgency by the difficulties faced by creative workers during the Covid-19 pandemic. The Panic! Report further demonstrates that the 'workforce for cultural occupations [...] is marked by significant exclusions, by class, gender and ethnicity.' (Brook, O'Brien, and Taylor, 2019) What's needed, therefore, is (1) a reflection on the academic field as a whole, mapping its knowledges and discourses of the art sector as well as identifying its biases and blind spots, and (2) the integration of the diverse working conditions of the arts within the academic field.For a sense of the scale and diversity of the growing literature on the subject, see Dani Child "Working Aesthetics" (2019), Dave Beech "Art and Labour" (2020), Julia Bryan Wilson "Art Workers" (2011), Leigh Clare La Berge "Wages Against Artwork" (2019), Friederike Siegler "Work: Documents of Contemporary Art" (2017), Miya Tokumitsu "Do What You Love" (2019), Andrew Ross "No Collar", Mark Banks "The Politics of Cultural Work" (2007), David Frayne, "The Refusal of Work" (2015), Cecilia Widenheim, Lisa Rosendahl, Michele Masucci, Annika Enqvist and Jonatan Habib Engqvist (eds) "Work Work Work", Bernes "Art in the Age of Deindustrialisation", Zygmunt Bauman "Work, Consumerism and the New Poor" (2005), Andrea Komlosy "Work: The Last 1000 Years", Joanna Warsza "I Can't Work Like This", Precarious Workers Brigade "Training for Exploitation?" (2012), Silvia Federici, "Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle" (2012), Kathi Weeks "The Problem with Work" 2011, Ricardo Antunes "The Meanings of Work" (2013)For this network, artists and academics with expertise in questions of labour in the cultural industries other "art workers" (studio assistants, fabricators, art suppliers, museum workers and communities of artist-run organisations) will be brought together in site visits and/or online meetings to compare a diverse range of social relations that are hidden behind the myth of the artist as the sole producer of artworks. The goal is for the exchanges to make it possible for the first time for the experts in this emerging cross-disciplinary field to reflect on the field as a whole and map the full range of waged and unwaged work in art.This network will be led by Dr Dave Beech (PI) Reader in Art and Marxism at University of the Arts London (UAL), with Dr Dani Child as Co-I, Senior Lecturer in Art History, Manchester Metropolitan University (MMU). Beech is the author of Art and Value (Brill, 2015) and Art and Labour (Brill, 2020) which radically rethink the economics of artistic labour and the history of the changing relationship between art, craft and industry. As Professor of Art as Valand Academy, Sweden, Beech was responsible for organising major international research events such as the bi-annual Parse conference. Child has published widely on the subject of art and labour. Her monograph Working Aesthetics: Labour, Art and Capitalism (Bloomsbury, 2019) is an important contribution to the shift in art history away from the myth of the lone artist towards the network of makers and support workers that make art possible. She is also experienced in organising academic events and panels. Child is Co-I on the AHRC-funded project 'COVID-19: Impacts on the cultural industries and the implications for policy'.