From: Union of Undercover Artists <tina@undercover-artists.org>

Date: July 21, 2006 11:01:20 AM EDT

To: Steven Renshaw <ste_renshaw78@hotmail.com>

Subject: Dave Beech

Dear Steve,

I am writing to enquire about the ‘series of review consultations’ with Dave Beech, as funded by NAN Re-View bursary (referred to on page 29, in the July 2006 issue of 

AN Magazine). We would also like to congratulate you on receiving this award.

As the representative for the employees of Prime, the Union of Undercover Artists wish to do everything possible to guarantee the success of the project ‘PART-TIME.’ This includes ensuring that you, as the director of Prime, receive proper support.

Without divulging details that you may feel are confidential, would you be willing to provide us the following information?

--Have you had ‘discussion/critique sessions’ with Dave Beech?

--If so, how many times?

--Do you feel that Mr. Beech has provided you with the support envisioned when entering into this agreement with him?

--If yes, in what ways? Has he helped you with conceptual development, fostering contacts, administrative strategies, or logistical details of the project?

--If no, what kind of support do you hope to receive from Mr. Beech?

--If no, what do you perceive are the barriers in allowing a constructive relationship to take place between the two of you?

To be candid, the UUA suspects that Mr. Beech has not fulfilled his duties, merely because none of the artists involved in this project have any sense of his presence. The Union would like to offer our support in ensuring that Mr. Beech provides for you the mentorship he has agreed to. We would like to contact Mr. Beech and request that he become and active consultant in this project, and meet with you at your convenience.

Our aim is not to create conflict between you and Mr. Beech, but rather to insist that, as you have shown great foresight in taking advantage of the NAN Re-View program, you receive all the support this program offers.

Respectfully yours,

Tina Gurley Flynn

Union of Undercover Artists

____________________________________________________________

From: "Steven Renshaw" <ste_renshaw78@hotmail.com>

Date: July 23, 2006 1:22:49 PM EDT

To: tina@undercover-artists.org

Subject: RE: art and work

Dear Tina,

Thank you for sending on these articles.

Yours

Steven

____________________________________________________________

From: "Steven Renshaw" <ste_renshaw78@hotmail.com>

Date: July 23, 2006 1:21:27 PM EDT

To: tina@undercover-artists.org

Subject: The Cobra Group

Dear Tina,

I have just re-read Ellie Harrisons report detailing her experiences with The Cobra Group and found it very interesting in the issues that it raises.  I am currently reading a book by a Guardian journalist called Polly Toynbee called ‘Hard Work’ that describes a year she spent attempting to exist on low paid jobs.  Joanna Spitzner may be interested in one of her earlier books called ‘A Working Life’ when the author among other things worked in Birkenhead at Unilevers Port Sunlight soap factory and lived in the village created there.

For ‘Hard Work’ Toynbee started her new life with no possessions apart from some clean bedding.  She found herself a new flat on a council estate near to her home in Clapham and for the first few weeks had to sign-on before entering the world of the minimum wage.  What is interesting is how she chooses to slip in and out of her role undercover – some of the people she met at social services where in on her experiment, other people she encountered where not.  This much has not yet been made clear.

I mention this as ‘Hard Work’ attempts to draw attention to the ridiculous bureaucracy, the impossible conditions and overall the vicious circle of low waged employment when benefits are an appealing alternative.  In a way Ms Harrisons ‘I had pretty much given up caring what sort of work I was looking for.  I’d do anything and I’d do it now’ in order to make up her ‘quota imposed by Prime’ has fabricated conditions a little similar to someone who has to work out of necessity as opposed to trying to ‘stage’ a specific type of employment.  This draws attention to the issue of entering the project hoping to find something suitable as you have a good idea already of what you might do there as opposed to beginning employment cold.  What is each artist looking to get out of the project and what did they expected of it as an experience?

Attention is also drawn to the time span that has been set for the project.  Is a month a suitable period of time to really engage with a project of this nature and if not how could it have been structure?  Ideally what would be a desirable residency that each artist would apply for and what would they look to avoid – yet this brings us too closely to talking only about art activities.

Another issue concerns the hiring of employees.  I’m very interested in what we normally are not privy to but that which undoubtedly takes place within every project, commission, residency, curated show etc etc.  The negotiation that goes on outside what we see and how an end point is reached is an intrinsic part of all that we do as artists.  Written agreements, tacit agreements, work carried out that is paid, work that is carried out unpaid.  How much freedom does the curator give the artist?  What are the downsides to an open-ended, unspecified work period?  Is there in effect too many possible outputs when nothing is defined and can freedom be stifling?

I have also been thinking about how artists are employed on the basis of previous work, as they are hired to repeat its ‘quality’, while at the same time to produce something that progresses what they have previously done and is higher in ‘quality’

.‘You have been hired because of what you did, but I don’t want you to do that.’

All these points have been generated in response to the progression of the project as a whole therefore my question specifically to Ms Harrison is what do you do with this knowledge and is it enough to simply have had an experience and to have found out that there are some terrible jobs out there?  If you have had to get a job really quickly you kind of know all of this anyway – so how will this experience effect what you do in future apart from avoiding this kind of employment?  If an outcome is produced who might it be for

‘scum like the Cobra Group?’

I look forward to receiving you thoughts

Yours

Steven Renshaw

____________________________________________________________

From: "Steven Renshaw" <ste_renshaw78@hotmail.com>

Date: July 25, 2006 2:17:37 AM EDT

To: tina@undercover-artists.org

Subject: Consultancy

Dear Tina,

I would like to make it clear that at no time will Prime communicate information concerning consultation taking place within the organisation.  The artists that you claim to represent are working for our organisation, not the other way around.   As employees they are not entitled to information concerning Prime and any form of consultancy and this information will not be made available to them now nor on a future occasion.

I would also like to take this opportunity to inform you that Prime has been advised to seek information as to whether the Union of Undercover Artists is reputable and whether we should recognise the organisation as representative of our employees.  Until this point has been cleared up Prime will not engage in dialogue with the Union of Undercover Artists or any of its representatives concerning Prime employees or their work.

Yours

Steven Renshaw

Director

Prime

____________________________________________________________

From: Union of Undercover Artists <tina@undercover-artists.org>

Date: July 25, 2006 9:01:55 PM EDT

To: Steven Renshaw <ste_renshaw78@hotmail.com>

Cc: tina@undercover-artists.org

Subject: an invitation

Dear Steve,

I was delighted to receive your email on 23 July regarding your thoughts on The Cobra Group. I think you asked several good questions regarding both work and the your project as a whole. It is this kind of dialogue that the artists working for Prime seek.

Before I address this email, I must say that your emails sent on 24 July present a very different and disturbing picture: one of opacity, withdrawal, and defensiveness. In fact, I can only see irony in an artist-led project whose aims are to explore work, yet taking stances that mimic the worst aspects of corporate management: asserting control, silencing voices, withholding information and making decisions by fiat rather than consensus. I do not think that you intend to exploit your artists, yet by asking that they share their experiences with you openly and without reciprocity creates a dangerous hierarchy and demoralization on all sides.

As a representative of YOUR employees, as you clearly point out, I can tell you that they have your best interests at heart. One would think that showing a desire to support your own work would be taken as a sign of caring. As an experienced negotiator, my services in regards to the consultancy funded by NAN were offered to you in solidarity. You have sought support for your own work, and my wish was to make sure you receive that support. Your strong rebuke of this gesture is puzzling.

I believe that we need to establish trust amongst ourselves. That you have questioned each artist individually about their involvement in the Union undermines the trust that these artists have attempted to create.  This is a familiar response to unionization. Employers often combat any efforts to unionize by promoting ideas such as unions cannot be trusted and only add another layer of bureaucracy to employer-employee relations. In fact, what most employers fear is the empowerment fostered by unions. The UUA is not interested in taking control of PART-TIME, as it sees this as a collaborative project. It is interested in ensuring good practices and good communication.

Of course, trust is not easy to attain, as it also involves being vulnerable to others. Although I have only known Liz, Ellie and Joanna for a relatively short period of time, I believe you have assembled an incredible group of artists, one worthy of trust and the kind of openness all good endeavours require. I must ask, what are your fears in allowing the UUA to play a role in this project?

I do not wish to belabour these points. Rather, let us look at the practice of art. Most artists would agree that constructive feedback, that is, criticism, is an essential part of their development. Good criticism is aimed at improvement, at finding the possibilities in a work, of pushing ideas and practices further. Yet, for working artists, this is often the most difficult element to attain. Your employees have set up a structure for this, and have invited you to be a part of it. They recognize you as an artist, not as a manager. They desire your involvement with them to operate on a level as an artist involved in the same project, not as merely their employer.

It is, of course, entirely up to you to become a part of this dialogue. It is up to you to decide what kind of manager or artist you wish to be. I can only stress that, in my experience, working together in reciprocity can only open up positive avenues of thought and work.

Sincerely,

Tina Gurley Flynn

Union of Undercover Artists

____________________________________________________________

From: "Steven Renshaw" <ste_renshaw78@hotmail.com>

Date: July 25, 2006 2:25:14 AM EDT

To: jspitzne@syr.edu

Subject: Union

Hi Joanna,

Hope all is well with you.

I have recently been contacted on your behalf by the Union of Undercover Artists to notify me that they are representing you while you take part in ‘PART-TIME’.  Please could you inform me what your membership consists of and provide me with the information upon which you made your decision to join the union.  The Union of Undercover Artists has yet to be recognised by Prime as a reputable and trustworthy organisation and this information may prove crucial.  If the information regarding your membership to this union is incorrect please ignore this email.

How is your editing going of the work you made in Blackpool?

Speak to you soon

Ste

____________________________________________________________

From: Joanna Spitzner <jspitzne@syr.edu>

Date: July 25, 2006 12:27:44 PM EDT

To: Steven Renshaw <ste_renshaw78@hotmail.com>

Cc: tina@undercover-artists.org

Subject: Re: Union

Steve,

Yes, I am a member of the Union of Undercover Artists, and they do represent me in all matters relating to Prime and the project PART-TIME.

I can only encourage you to recognize the UUA and engage with it in an open and fair manner. I have joined this Union because its existence is only to ensure that the project PART-TIME is a positive experience and one that will contribute not only to my own growth as an artist, but growth for all those involved. It also examines and advocates for work in a way that I feel is positive, work in both the sense of labor and as an artists' project. I do not feel the UUA aims to be antagonistic. Instead, it offers a way for the artists working for PART-TIME to talk and develop ideas, and to share this with Prime, and ask for feedback. It is an important support structure for all of us--support grounded in concepts and dialogue.

My membership consists of discussing with other members the goals, problems, and possibilities of this project. Tina Gurley Flynn, our union representative, moderates these discussions and communicates any relevant issues and ideas with both you and other members of the Union. I have found her to be very supportive. She is very knowledgeable of the history of unions, and seeks to redeem its ideal qualities--working together, developing a voice, creating better work environments-- rather than its pitfalls. I feel that the discussions that have taken place through the Union have helped me a great deal in completing my work for PART-TIME.  Although the UUA is primarily for employees, I also feel that your willingness to discuss matters with us via the Union can only strengthen your ideas as well.

I must say I find it unusual for an employer to contact employees in this manner. I am not as familiar with British labor laws as I am with US laws, but I do believe that once employees have voted to unionize, employers must recognize this. Although I assume your email is innocent, questioning this vote can be perceived as union-breaking, similar to the practices of Wal Mart when it singles out those employees it perceives as organizing and transferring them to other stores or otherwise pressuring them.  If you feel you need to discuss things with us individually, rather than through the union, perhaps we can find a vehicle for this, although I think the open sharing of thoughts and information is important, especially as we work towards the public presentation of our work. I will bring this up with Tina and the UUA.

As for my own work around Blackpool, right now I am working on the idea of souvenirs--objects that refer to an experience, in this case, work. I have been reading some of Susan Stewart's writing on the souvenir, for example " We do not need or desire souvenirs of events that are repeatable. Rather, we need and desire souvenirs of events that are reportable, evens whose materiality has escaped us, events that thereby exist only through the invention of narrative."  So, in many ways these souvenirs are objects to narrate my experience, yet I also want them to point to the normal--the work that others do, repeatable events--playing on the tourism of Blackpool but also my interest in the work that takes place there.  I am working on some obvious souvenirs--rock, postcards--right now, but these may develop. I am hope that I will have them together by the end of next week.  I have chosen this avenue, right now, because it seems more appropriate to this project. I have also been working through the video footage, but I think it will take me much longer to shape that into something more final.

So, back to the Union-- I think you should embrace it. Liz, Ellie, Tina and I are all committed to making good work, and want to be in dialogue with you about your ideas and how ours reflect or differ based on our experiences. What we really want is constructive criticism and support. I imagine that you wanting others to enact PART-TIME means that you are interested in ways of experiencing work/art that is both similar and different to your own experience and ideas. The Union offers one way of developing this.

Joanna

____________________________________________________________

From: "Union of Undercover Artists" <tina@undercover-artists.org>

Date: July 27, 2006 11:53:19 AM EDT

To: "Steven Renshaw" <ste_renshaw78@hotmail.com>

Cc: "Union of Undercover Artists" <tina@undercover-artists.org>

Subject: Final Hours

Dear Steve,

I do hope that you have had an opportunity to review my email of yesterday (26 July) and are able to begin to take on board some of the benefits of the existence of UUA and my role as representative of the employees of Prime.

In the meantime I have had an opportunity to speak with Ms Harrison regarding some of the questions you posed to her in your email of 24 July regarding The Cobra Group.

'

Firstly, Ms Harrison has asked me to check over and forward to you her 'final hour' slips for her 4 weeks participation in Prime. Please find these attached. Once you have reviewed these, Ms Harrison would like to invoice Prime for her commissioning fee. Please respond with instructions on how she should go about this.

There were two questions which Ms Harrison particularly picked up on. The first being about the desperation she found whilst looking for work - this sense of a simulated reality. She did indeed feel a great amount of pressure to find work, not for financial reasons, but because of Prime's stipulations. This was a interesting (and sometimes fun) situation for her to find herself - sited somewhere between participant in a role playing game and social tourist.

The downside of this experience, however, was the isolation. It was difficult for her to totally identify with her fellow employees or the people she encountered whilst job seeking. Even though, to all of them, she appeared to be having the same experience, the undercover nature of this project meant that wherever she went she could not relax, be normal or fit in.

Because this was such an unusual situation, there were in fact only two other individuals who were able to totally empathise with the experience - the two other employees of Prime - Liz Kearney and Joanna Spitzner. It is for this reason that I believe the Union was formed and has thrived.

Your second question addressed directly her experience of the Cobra Group and what she should do with the knowledge she obtained whilst working for them and how to convey this. Unfortunately Ms Harrison does not currently know the answer to this. When she returned from that day's work, she worked for nearly 4 hours writing the report as a way of immortalising the experience and sharing it with others. (She was not able to take any photographs on this day, for fear of being 'found out'). She does not know whether this report (or edited sections of it) could form part of the publication's text.

The union would like to hear your feedback on this question - as to whether written texts, diary entries or descriptions, from each of the individual artists can and should form part of the publication.

I look forward to hearing from you,

Sincerely,

Tina Gurley Flynn

Union of Undercover Artists

____________________________________________________________

From: Union of Undercover Artists <tina@undercover-artists.org>

Date: July 27, 2006 12:55:25 PM EDT

To: Steven Renshaw <ste_renshaw78@hotmail.com>

Cc: tina@undercover-artists.org

Subject: logistics

Dear Steve,

I hope our recent exchange does not dampen the enthusiasm we all have for the completion of PART-TIME. I apologize if my email on 26 July was overly strident. I can, at times, become too protective and therefore defensive when it comes to union activities. I do wish to have a productive relationship with you, and so I hope you will be able to discuss with me the best way to do so.

I would just like to work out with you a few logistical details. As, over the next month or so the artists will be completing their work for PART-TIME, there are still some questions regarding what form you would like their work to be submitted to you.

As you asked in your email on the 24 July, "what kind of freedom does a curator give to an artist"? In this respect, I think you have been quite generous and open-minded as to what form each artists' work takes. It has allowed each to pursue a way of working that makes sense to her in relation to her experience. But in my discussions with Liz, Joanna, and Ellie, they have expressed some concern over how these final forms will be presented. They are not concerned about mis-representation, but rather they would like to take into consideration the manner of exhibition (presumably, the publication and its launch) in order to communicate their work in the best possible way.

On 12 July, you outlined a schedule for the production of the publication, as follows:

--18 August: Liverpool Culture Company grant decision announced. Based on this, the size and format of the publication will be determined.

--End of September: work submitted by artists (and writers?)

--October-December: design and printing

--January: launch of Prime/PART-TIME

Both Ms. Harrison and Ms. Spitzner have indicated to you the direction their work is taking in regards to reflecting on their work experience. Do you have any concerns or comments regarding this? Would you like to engage in any sort of work-in-progress critique? If so, would you prefer to do this in an individual basis, or as a group?

Can we discuss, sometime soon, the content of the publication? My current understanding is that you are commissioning 2-3 writers, one who will write about the artists work; the others writing about sociological/philosophical issues in relation to the overall ideas of the project. Is this correct? Are you writing something for this as well? Do you want the artists to write anything?  If any of the artists have ay suggestions for writers, would you like to receive them?

Although January seems far away, can we start to work on a date and place for the launch?

I hope to hear back from you about these questions.  As always, please feel free to contact me with any questions or concerns.

Best regards,

Tina

____________________________________________________________

From: "Steven Renshaw" <ste_renshaw78@hotmail.com>

Date: July 28, 2006 4:16:40 AM EDT

To: jspitzne@syr.edu

Subject: Prime

Hello Joanna,

Yes, the union could possibly be a solution to communication between Prime and its artists.  I first need to look into its legitimacy.

My current solution to discussing the ongoing project is that each artist pose/raise a series of questions/points that they see as pertinent to where they  are at with the project or any issues they want to raise and forward them to myself and the other artists.  'What we really want is constructive criticism and support.' Please let me know how I can go about this for your project.

In relation to the ongoing problem of having to know a context before developing a piece of work my solution is this.  If Prime where to launch in January, would you be interested in using part of Static to house outcome /process.  Paul Sullivan has already offered support of the project and I would have to ask him to find out whether this would be possible.  In this way whatever the form that the final work takes can be housed here.

Look forward to hearing from you

Ste

____________________________________________________________

From: "Steven Renshaw" <ste_renshaw78@hotmail.com>

Date: July 28, 2006 4:24:54 AM EDT

To: ellie@ellieharrison.com

Cc: darkhorse_kear@yahoo.co.uk, jspitzne@syr.edu

Subject: Prime

Hi Ellie,

Hope you had a good break in Wales.

I've been thinking about how all this material can be represented and my solution is this.  Paul Sullivan at Static has offered support of the project and I will be asking him to house the launch of the project there in January when I know what the publication will be and therefore when it can be ready.  What if I asked whether he would be interested to house the outcomes / process of the project so that all work produced can be housed for a week or two.  It will be difficult to say about the publication before the funding date.

I also realise that there is a need to communicate via the ongoing development of each project. so as I am mailing Joanna I suggest that the artists inform each other and myself of the issues that they feel need to be addressed and this dialogue will be circulated.  It would be interesting to know how the negotiations took place for 'day to day data' and how much each artist was alowed to do as they wanted - where there pros and cons to the structure of the project and its process?  I will not be communicating via the union until I have investigated their legitimacy.

Speak to you soon

Ste