Social Media, a lesson learned

©instagram

Yesterday was the end of my week long ‘shift’ running the Instagram account of an Artist Collective in South West England. Drawn to the Valley is a collaborative support network and promotional organisation based in the Tamar Valley, a beautiful and often overlooked part of Devon and Cornwall. The members of the group work in and are inspired by vastly different landscapes and environments. The maritime port of Plymouth forms the distinctive Southern point of the group’s territory. The point where the River Tamar flows into the Hamoaze, Plymouth Sound and then finally flows into the Atlantic . In keeping with the mythic and folkloric emergence of any river the Northern boundary is less definite. Unromantically I would say somewhere in the post code EX 20. Specifically of course the Tamar arises out of the ground at Woolley Moor, Morewenstow.

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The area has many significant titles relating to Geography, History and Aesthetics.

UNESCO World Heritage Site

Throughout human history the area has been exploited for minerals. It has a unique archaeologicaly significant mining heritage stretching from the Bronze Age to the present time.

European Special Area of Conservation.

Site of Special Scientific Interest

Area of Outstanding Natural Beauty

The last category is represented by the Tamar Valley AONB. Drawn to the Valley has a particularly close association with this organisation

The Makers and Artists in this group are as diverse as the landscape in which they work.

Social Media is a valuable tool in keeping this diverse group of artists aware of what they are doing as individuals or groups but also and perhaps more significantly it is the group’s everyday shout out to the world.

Social Media has been a ‘thing’ for 27 years. It attracts bad press,deservedly, because like everything it is fallible.

But in benign hands for arts organisations it is invaluable. Persuading individual members of this can be a hard sell in any artistic community. As a group we run workshops and support groups to encourage our 160 + members to launch themselves safely and confidently into the Social Media Pond.

Which rather circuitously but hugely importantly brings me to the title of this blog.

I’ve been associated with the Tamar Valley for a large portion of my adult life and have only just learnt that River Tamar is the correct term for the river and area I’m talking about. Whilst #tamarriver is a completely different place in Tasmania.

#rivertamar

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A quick #tamarriver search on Instagram shows I am not the only person to make this error.

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There is also another lesson to learn, I fail to remember this one too often.

When operating a social media account on someone elses behalf always log out before waffling on about your own stuff.

Artist of the month.

No need to blog today. I’ve just lifted these two pages from the Drawn To The Valley Artists Newsletter.

It’s been quite a week of chatting at theoldmortuary all of it with other artists from the group Drawn To The Valley. Artists and bloggers live a singularly isolated working life so nattering around a table is a real treat. I think we’ve done some good planning and my Mrs Marvelous natter formed the Meeting Mrs Marvelous blog.
https://theoldmortuary.design/2020/01/27/meeting-mrs-marvellous/

Tomorrow we are all off to a Daffodil Nursery , more arty nattering, sketching and learning. Tomorrow’s blog might well be yellow.

A row of books.

Any row of books has potential.

A row of books that are beautiful, but fakes,  should be disappointing.

Tate Modern bought ‘British Library’ by Yinka Shonibare CBE in 2019.

The installation of 6,328 books is as much a space for contemplation as the Seagram Murals by Rothko in the same building .
https://www.tate.org.uk/visit/tate-modern/display/in-the-studio/mark-rothko

My response to Rothko is to be peaceful and calm. Shonibares work makes my head fizz. It’s not just the vivid, vibrant colours but the stark utilitarian librariness of it.

3 walls of a gallery are filled with bookshelves. All the books are brightly coloured, covered with Dutch Fabric, a mass produced batik style material from the Netherlands. On the spines in gold leaf are the names of first or second generation migrants to Britain who have made significant contributions to the culture or history of Britain. Some books have the names of people who have opposed migration, this negative group is balanced by the huge number of books that have no names on their spines representing the future when currently unknown migrants will boost and embellish British life in unimaginable ways.
https://www.tate.org.uk/art/artworks/shonibare-the-british-library-t15250

Central to this exhibition is a website where migrants or their descendents can add their stories. These additions can be read on the website.

I took my small granddaughter, also a migrant, to this exhibition before she was one. Already a lover of colourful books I plan to take her regularly until she can add her story.
https://thebritishlibraryinstallation.com/about/

The Guardian ran an article about Yinka Shonibare last week.

https://www.theguardian.com/artanddesign/2020/jan/13/yinka-shonibare-london-nigeria-african-renaissance