135 artists are taking part in "Inside Job" which takes place on the 7th and 8th of April on Level 6 of Tate Modern. Over the next few weeks The Rebel Magazine will be chatting to some of the Tate staff who are showing their artwork. Today it's the turn of Sarah Carne
Q) Where did you grow up and what kind of education did you receive?
"I grew up In High Wycombe (source of all the mid century furniture but a little bit underwhelming as a hometown in the 70s. Howard Jones was our only other famous export which just about gives you the right picture of its charms.) I went to a primary school that reflected our community and then a secondary school that didn’t, thanks to the iniquities of the grammar school system, so escaped to the local college for A‘Levels and escaped further to the joys of Manchester in the mid 80s to study English and Drama. Then a foundation course in my mid twenties, documentary photography in my 30s and somehow, along the way, became an artist and educator. Without the full grant, housing benefit, and dole in the holidays this would not have happened. (Though I could have got there without the bedding grant that bought me my first duvet but it was also appreciated.)"
Q) How long have you been working at the Tate and what's the best show you've seen there?
"I first worked for Tate Liverpool in 1999 delivering workshops for schools around the Peter Blake exhibition. I then moved to London and I think started again at Tate Britain in 2004 (slightly hazy I confess - it’s correct on my CV but as a freelancer any day when I don’t have to look at that counts as a happier day to me).
I cannot choose the best show, too tricky a word, but an exhibition or display by a woman over the age of 50 who isn’t part of the small number of usual suspects gives me joy (more joy would come with more artists of colour hitting that venn diagram sweet spot)."
Q) What can you tell me about the work you're exhibiting in the Tate Modern show?
"I’m Not Looking for Mrs Barbara was devised for Mining the Gap, a Public Programme event mapping histories of artists’ collectives from the 1970s, co-hosted with the Women’s Art Library at Tate Britain last year. It takes the form of a map for a walk through the displays at Tate Britain and plots the women artists on display along with an appraisal of their Wikipedia entries. These are assessed using the Finkbeiner test devised by journalist Christie Aschwanden, in which a journalist can’t mention a female interviewee’s childcare arrangements, husband or other irrelevant details."
Q) How can people find out more about your work - do you have a website or do Instagram?www.sarahcarne.co.uk
(updated by the skin of my teeth) and @SarahEJCarne on Twitter which is probably the best way to contact me. I’ll be on instagram when I can afford a better phone.
Q) What's the best thing about working for the Tate?
"Camaraderie across departments/early morning access to galleries and exhibitions/under the radar art projects"