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

Date: August 3, 2006 3:43:19 PM EDT

To: Steven Renshaw <ste_renshaw78@hotmail.com>

Cc: tina@undercover-artists.org

Subject: questions

Dear Steve,

Joanna has forwarded me an email from you in which you write:

“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."

I am writing to point out that the artists, via myself and the UUA, have already posed many questions and issues to you. However, not many have been answered or answered in full, some you have refused to answer,  or simply  have  not responded.

I have compiled these series of questions and your responses below:

20 July

forwarded reports from Ms. Harrison regarding the Cobra group

your response, 24 July:

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?’

21 July

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?

Your response: 25 July:

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.

21 July (in reference to Parachute issue on Work)

The works presented in Parachute seem to come from above, with a sense of overview of contemporary capitalism. In the segment of society working in low-status jobs—the types of jobs encouraged by Prime— immaterial capitalism appears as service and low pay rather than as culture and knowledge.  What do you feel is the significance of this?

Although these strategies may be possible through ‘PART-TIME,’ its seems to directed toward a sense of empathy, not merely for workers, but for the artist who must work in one way (for others) and then work in another way (for oneself, or for art, or for Prime). … The effect is to create empathy, to ask one to put oneself in another’s situation, first by the reporter, then by the reader through the reporter.

One aspect of this process that has become prominent in this project is the actual finding of a job by the artists involved. In a sense, the artists have been turned away from the world of work. How does this experience ‘count’ within the scope of ‘PART-TIME’? It could be interpreted in a number of ways: that jobs have been relocated, that there is economic insecurity throughout society, that artists are not in fact the model for new forms of capitalism, that one activity is the same as any other (is looking for work the same as working?).

And finally, how is this work to be depicted?

Your response, 24 July

Thank you for sending on these articles.

25 July

I must ask, what are your fears in allowing the UUA to play a role in this project?

Your response:none

27 July

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.

Your response: none

27 July

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?

Your response, 28 July

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.

Week of 27 July - 3August

I believe Ellie Harrison has also emailed you twice concerning how to invoice Prime (in addition to my request), the dimensions of the publication and of the exhibition space at Static.

Your response: none

Lastly, you have emailed the artists, writing that you need to determine the legitimacy of the Union of Undercover Artists, yet have not contacted myself nor the Union with any requests for information. And so I must ask more questions: What information to you need to determine legitimacy? What is your criteria for legitimacy?

I believe that the artists would like to discuss the ongoing project,  it would be helpful if you joined them.

Sincerely,

Tina Gurley Flynn

____________________________________________________________

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

Date: August 7, 2006 7:41:14 AM EDT

To: ellie@ellieharrison.com, darkhorse_kear@yahoo.co.uk, jspitzne@syr.edu

Subject: Prime

Dear Ellie, Liz and Joanna,

I recently received an email stating that I have not been communicating with each of you enough regarding your participation in the project.  I also read some of the emails from the union for the first time as I did not read them while considering Primes relationship with it.  Due to this I feel that many wires have been crossed as not all of the email makes sense in light of recent developments.  If at any time you wanted to discuss ongoing issues or problems I wish you would have sent your concerns directly to me rather than using a third party.  I do not think that this is too much to ask as someone who has been open and willing to discuss developments as the project has progressed.  As I explained to Ellie the other day I am currently working full time as a technician and spending 1 day per week on the project with additional evenings.  I feel that this is something that the project has not succeeded to represent and one of the reasons it exists – spending time making art in the hours outside of working for someone else.  I feel that the project has turned all time into art time.  Is this something that you agree with?  You can all contact me at any time on Mondays or between 7 and 9 any other week day if you need to discuss issues that need urgent attention.  I do not have email at home, therefore only pick it up every few days at the moment – and responding to issues that have been raised would take a fraction of the time on the telephone.  I do not want to press this but I have also previously had much difficulty in contacting some of you when I have wanted to check in with you.

In relation to the union, I have decided not to recognise its status and will therefore not engage in any further contact with them.  My main concern at this time with the union is that it does not represent equally the three artists involved and is the voice of just one.  Is this its intention? Also, I do not think that demanding information about my contact with any consultant is the way to go about finding anything out.  At the same time I consider those consultations to be private and for my own individual and personal development.  If this causes any concern I will gladly discuss this matter on an individual basis.  Speaking to each of you individually would clear up any confusion regarding where the project is for you and any queries you might have.  If you let me know of a suitable time in which to call (within those stated above – others can be arranged) and I will gladly ring each of you.  I feel at this time that this method of communication would be more successful than continuous misunderstandings through email.

I look forward to speaking to all of you very soon.

Ste

PS.  I should have stated earlier but it’s either Ste or Steven and not Steve.

____________________________________________________________

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

Date: August 8, 2006 2:37:28 PM EDT

To: tina@undercover-artists.org

Dear Tina,

I am writing to inform you that Prime does not wish to voluntarily recognise the Union of Undercover Artists.  We will therefore not engage in any further contact with yourself or any of the unions representatives.

Steven Renshaw

Director

Prime

____________________________________________________________

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

Date: August 14, 2006 12:20:40 PM EDT

To: ellie@ellieharrison.com, darkhorse_kear@yahoo.co.uk, jspitzne@syr.edu

Subject: Internet meeting

Hello All,

Had a very good meeting with Liz today regarding the project as she relayed your thoughts to date.

I too agree that we need to speak as a whole as this will be the most effective way to clear up some ongoing problems.  Liz mentioned next Monday via internet, its good for me - please let me know if this is suitable for you too.

Speak to you then

Ste

____________________________________________________________

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

Date: August 16, 2006 11:07:07 AM EDT

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

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

Subject: Skype Meeting Tuesday 23 August at 8pm

Dear Steven,

I understand that you met with Liz Kearney on Monday to discuss her own and UUA's involvement in Prime.

I believe that you have also requested a group meeting via Skype with all of the artists involved in the project. Since Monday I have had time to discuss the benefits of this meeting with Liz, Joanna and Ellie. We are all happy for it to take place, next week as you have suggested. The preferred date and time is:

Tuesday 23 August at 8pm

Please confirm as soon as possible (by replying to this email), if this is convenient for you.

The artists and myself are preparing an agenda for this meeting. I will forward it to you on their behalf at least one day before the meeting is scheduled to take place.

I must take this opportunity to apologise for the fact that I will be unable to also be present at the meeting. Unfortunately I have other commitments next week. Regardless of this fact, I trust that it will be a productive and worthwhile session and I look forward to reading the minutes.

With best wishes,

Tina Gurley Flynn

www.undercover-artists.org

____________________________________________________________

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

Date: August 17, 2006 1:41:45 PM EDT

To: ellie@ellieharrison.com, darkhorse_kear@yahoo.co.uk, jspitzne@syr.edu

Subject: Meeting

Dear Ellie, Liz and Joanna,

The change of date for the meeting is fine, although could you please forward any agenda to me by Sunday at the latest in order for me to consider the issues that you want to raise.

Liz, you mentioned the other day about sending me a copy of the notes that you read from on Monday.  Could you please send me these in order for me to look at the points you raised more fully.

I also need to inform you that I am now working with two writers on producing texts for the project.  Stephen Edgell is a sociologist and I would like him to sit in on one of our future skype meetings in order for him to speak to everyone involved and write about the issues raised.  I will talk to you about this on Wednesday.

Kym Ward recently graduated from Chelsea School of Art.  We are currently discussing how she may go about producing her text.

Thanks.

Ste

____________________________________________________________

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

Date: August 19, 2006 2:48:39 PM EDT

To: Steven Renshaw <ste_renshaw78@hotmail.com>

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

Subject: meeting agenda and notes

Dear Steven,

Attached is the agenda for the Skype meeting this Wednesday at 8 pm. Please let me know if you would like to add any items.

Liz has also provided me her notes from her meeting with you on 14th August to forward to you, as you requested. Please understand that this is done informally and in the spirit of creating better communication. Ellie and Jo feel that the points Liz has spoken to you about accurately reflect their experiences, interests, and concerns as well. All three artists are very keen to hear your thoughts about these issues, and it it hoped that providing you these notes will give you a way to reflect upon them and talk to us.

I hope your Skype meeting goes well. I am sorry I will unable to attend, but I will be there in spirit.

Best regards,

Tina

ATTACHMENT: Agenda

____________________________________________________________

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

Date: August 20, 2006 4:41:20 AM EDT

To: ellie@ellieharrison.com, darkhorse_kear@yahoo.co.uk, jspitzne@syr.edu

Subject: Notes and Agenda

Hello Ellie, Liz and Joanna,

Thanks for the agenda regarding Wednesdays meeting, I am looking forward to it.  Thanks Liz for the notes, much appreciated.

Speak to you Wednesday

Ste

____________________________________________________________

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

Date: August 21, 2006 1:52:24 PM EDT

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

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

Subject: Timelines

Dear Steven,

Prior to the meeting on Wednesday, Ellie Harrison has asked me to forward to you her completed spreadsheet featuring a timeline for each of the 28 days she spent on the Prime project. On the left of the spreadsheet you will find the raw data, scroll to the right and you will find a timeline for each day.

The Key is also attached. She would like to discuss these, and the 'payslips' I emailed you on her behalf on 27th July, at the meeting on Wednesday.

With best wishes,

Tina Gurley Flynn

www.undercover-artists.org