I hope you can come along.
Showing posts with label May 2014. Show all posts
Showing posts with label May 2014. Show all posts
Saturday, 31 May 2014
Vision & Values - Annual members exhibition at Transmission Gallery - Preview 7-9pm - Sat 31st May
I am exhibiting a work in the annual Transmission members exhibition.
I hope you can come along.
I hope you can come along.
Thursday, 29 May 2014
Another installation arrangement option
Unlike within my drawings posted yesterday, the image above shows the frames in a scattered layout. A scattered layout could exist within a given frame, such as within a defined section on a wall, or it could mean that the frames literally have no boundary.
Wednesday, 28 May 2014
Thinking about installation of drawings
I am thinking about ways in which I could display my recent drawings and collages. I am conscious that I want the way they are exhibited to complement the nature of the drawings, in effect being a form of drawing itself.
In this layout, the drawings are of different sizes, but are aligned so they fit neatly into a specific area.
In this layout, all the drawings are the same size and fit neatly into a specific area.
In this layout, the drawings are of different sizes, but are aligned so they fit neatly into a specific area.
Tuesday, 27 May 2014
Sunday, 25 May 2014
Saturday, 24 May 2014
Liz West blog
I really enjoy keeping up to date with the work of artist and fellow lover of colour, Liz West by following her blog.
A while ago she disclosed that she felt stuck, and so with a little advice from her Mum, artist Jenny West, she developed a project to help her be playful and generate work in a free and open manner.
'Construction project' was intended as "a two or three week project of consecutive days", but has occupied her for a couple of months. During this period, every day Liz was in her studio, she had to construct, document and deconstruct a work using only materials that were already in her studio.
Liz writes, "I felt liberated from the constants I felt I had, able to move freely around my mind in order to explore ideas, respond to space and in the selection of materials I choose."
http://liz-west.blogspot.co.uk
This exercise demonstrates the creative potential in following rules. I regularly construct rules that i have to work with. Rather than being restrictive, I find that a degree of narrowing down can be liberating. I liken it to looking at things with a macro lens; focusing on a smaller section can reveal and enhance, offering a new way to understand and interpret the world.
Rules are one way of exerting control over what can otherwise be overwhelming.
This exercise demonstrates the creative potential in following rules. I regularly construct rules that i have to work with. Rather than being restrictive, I find that a degree of narrowing down can be liberating. I liken it to looking at things with a macro lens; focusing on a smaller section can reveal and enhance, offering a new way to understand and interpret the world.
Rules are one way of exerting control over what can otherwise be overwhelming.
Friday, 23 May 2014
Thursday, 22 May 2014
Wednesday, 21 May 2014
Paying artist launches
The Paying artists campaign and website was launched on Monday, and has already gained lots of well-deserved support. If you would like to add your own support to the campaign, follow this link
The website contains a concise and comprehensive report about the need to support artists, case studies of galleries showing good practice, information about what change is needed and how to support the campaign.
Here is the foreword to the report:
Without artists there is no art.Artists are the innovators from which great art emerges and on which our society’s well-being depends.
It is through artists’ ideas, experiments and ingenuity that creative ideas and products
are made manifest.Art by its nature presents a wide range of levels of engagement and participation for people and audiences.Artists thrive on such engagement as an essential ingredient to feed what is their continuous, life-time’s dedication to a creative practice.
The world is always looking for new ways of seeing.Art practice – the collective performance of art making between materials, artists, artworks, galleries and people -
is an inter-disciplinary reflexive process that enables us all to rethink and re-imagine our realities, which creates cultural value.
Paying artists is about transforming opportunities for artists, galleries, funders and policy- makers alike. In removing the financial barriers faced by many artists, it will give publicly- funded galleries – and the public themselves – access to quality art which covers the spectrum of human experience.
It will bring value to the investment of all who fund the arts by encouraging and enabling diversity and equality of opportunity for all artists now and in the future. In doing so,
it will play a direct role in ensuring we retain our reputation here for supporting creative talent and delivering world-class art.
Now is the time to demonstrate in the arts how much we value art and value artists.
By working together to define and adopt practical steps and frameworks for good practice, we can safeguard and strengthen the symbiotic relationship visual artists have with publicly-funded institutions and with the communities and audiences they collectively serve.
a-n The Artists Information Company / AIR Artists Interaction and Representation
May 2014
Without artists there is no art.Artists are the innovators from which great art emerges and on which our society’s well-being depends.
It is through artists’ ideas, experiments and ingenuity that creative ideas and products
are made manifest.Art by its nature presents a wide range of levels of engagement and participation for people and audiences.Artists thrive on such engagement as an essential ingredient to feed what is their continuous, life-time’s dedication to a creative practice.
The world is always looking for new ways of seeing.Art practice – the collective performance of art making between materials, artists, artworks, galleries and people -
is an inter-disciplinary reflexive process that enables us all to rethink and re-imagine our realities, which creates cultural value.
Paying artists is about transforming opportunities for artists, galleries, funders and policy- makers alike. In removing the financial barriers faced by many artists, it will give publicly- funded galleries – and the public themselves – access to quality art which covers the spectrum of human experience.
It will bring value to the investment of all who fund the arts by encouraging and enabling diversity and equality of opportunity for all artists now and in the future. In doing so,
it will play a direct role in ensuring we retain our reputation here for supporting creative talent and delivering world-class art.
Now is the time to demonstrate in the arts how much we value art and value artists.
By working together to define and adopt practical steps and frameworks for good practice, we can safeguard and strengthen the symbiotic relationship visual artists have with publicly-funded institutions and with the communities and audiences they collectively serve.
a-n The Artists Information Company / AIR Artists Interaction and Representation
May 2014
for more information visit
Tuesday, 20 May 2014
Gallery withdraws unpaid installation 'opportunity' in response to protests - a-n article
Edinburgh's Fruitmarket Gallery has responded to widespread criticism from artists and withdrawn an advert for unpaid volunteers to help install a forthcoming exhibition by Glasgow artist Jim Lambie.
BY: CHRIS SHARRATT
http://new.a-n.co.uk/news/single/gallery-withdraws-unpaid-installation-opportunity-in-response-to-artists-protests
Fruitmarket Gallery in Edinburgh has responded to comments from artists and withdrawn what was advertised as an unpaid ‘one-off opportunity’ to install Jim Lambie’s Zobop floor piece at the gallery. The Glasgow artist's solo exhibition, which opens 27 June, is part of the Scotland-wide Generation programme, celebrating the last 25 years of artists’ practice in the country.
A statement sent to a-n from the gallery said: “The Fruitmarket Gallery pays its information assistants, installation teams and all artists working in our learning programmes, the Edinburgh Living Wage or above. In this instance, we thought in good faith that we could offer a one-off short term opportunity that might interest people in our audience who have some free time and are interested in joining in with an installation for a few days.
“We have listened to comments, wholeheartedly support a-n's Paying Artists Campaign, and withdraw the offer. We will use paid installers to install the piece.”
Originally posted on its website and Facebook page on Monday, the advert asked for up to eight people to commit to working a minimum of six days each over a 12-day install period. The volunteers, who were to work a 9-5 day alongside the gallery’s installation staff and artist’s assistants, were offered lunch, an exhibition catalogue and an invite to the show’s private view ‘as a thank you’.
Immediate response
The response on Twitter and Facebook to the advert was immediate. ArtistMorgan Cahn wrote: “I just can’t fathom why Jim and the Fruitmarket wouldn’t want to pay some young artists for this. That would be an excellent opportunity for THEM to put money and knowledge into their community.”
Glasgow artist Janie Nicoll said: “It seems like really bad practice dressed up as an opportunity.” Edinburgh-based artist and lecturer Alan Holligan added: “The immediate problem with these kinds of unpaid opportunities is who is available to take them up. One of the wonderful things about paying people is that it democratizes the opportunity by opening it up to those who cannot afford to work for nothing.”
Artist Kevin Harman, a graduate of Edinburgh College of Art, recalled being paid for installing a Lambie floor piece during his second year at college: “We got paid £6 an hour, it was a good experience, which I wouldn’t have been able to participate in if it was unpaid as I had to earn some dosh to pay for rent, materials, etc…”
Commenting on Twitter, Joanne Tatham said: "Payment for such work sustains artists and the communities now celebrated by the #generation project." Glasgow-based writer and artist Fiona Jardine (@fdjardine) wrote: “This kind of work underscores the Glasgow scene we've heard so much about... Why can't #Generation @fruitmarket support it?”
Asked by a-n to respond to this specific question, the gallery, which is one of Creative Scotland's regularly funded venues with a grant in aid for 2013-14 of £666,600, said: “The Fruitmarket Gallery has received £3,000 from Generation towards our exhibition. This is in addition to our regular funding from Creative Scotland, which is the only regular public funding we receive, and accounts for around 50% of our costs. The rest we raise.
“Our entire existence and programme supports artists and audiences in Scotland and beyond. We are proud to pay the Edinburgh Living Wage or above to all our staff, and entrance to our exhibitions is always free.”
Creative Scotland comment
Asked to comment on the issue of unpaid volunteers, a spokesperson for Creative Scotland said: “Creative Scotland is supportive of the Paying Artists Campaign. This campaign reflects the principle laid out in our 10 Year Plan of encouraging better levels of remuneration for artists, in order to ensure that Scotland is a country where they can live and work and that their contribution to all or lives is recognised.
“Voluntary positions do have an important role to play and can often present genuine opportunities for people to gain valuable experience in the art, screen and creative industries, to learn and to make a contribution on their own terms.
"In parallel to this, we will be working to encourage the organisations that we fund to develop clear policies around volunteering and to ensure that trained, practicing artists and creative practitioners are always paid fairly.”
BY: CHRIS SHARRATT
http://new.a-n.co.uk/news/single/gallery-withdraws-unpaid-installation-opportunity-in-response-to-artists-protests
Fruitmarket Gallery in Edinburgh has responded to comments from artists and withdrawn what was advertised as an unpaid ‘one-off opportunity’ to install Jim Lambie’s Zobop floor piece at the gallery. The Glasgow artist's solo exhibition, which opens 27 June, is part of the Scotland-wide Generation programme, celebrating the last 25 years of artists’ practice in the country.
A statement sent to a-n from the gallery said: “The Fruitmarket Gallery pays its information assistants, installation teams and all artists working in our learning programmes, the Edinburgh Living Wage or above. In this instance, we thought in good faith that we could offer a one-off short term opportunity that might interest people in our audience who have some free time and are interested in joining in with an installation for a few days.
“We have listened to comments, wholeheartedly support a-n's Paying Artists Campaign, and withdraw the offer. We will use paid installers to install the piece.”
Originally posted on its website and Facebook page on Monday, the advert asked for up to eight people to commit to working a minimum of six days each over a 12-day install period. The volunteers, who were to work a 9-5 day alongside the gallery’s installation staff and artist’s assistants, were offered lunch, an exhibition catalogue and an invite to the show’s private view ‘as a thank you’.
Immediate response
The response on Twitter and Facebook to the advert was immediate. ArtistMorgan Cahn wrote: “I just can’t fathom why Jim and the Fruitmarket wouldn’t want to pay some young artists for this. That would be an excellent opportunity for THEM to put money and knowledge into their community.”
Glasgow artist Janie Nicoll said: “It seems like really bad practice dressed up as an opportunity.” Edinburgh-based artist and lecturer Alan Holligan added: “The immediate problem with these kinds of unpaid opportunities is who is available to take them up. One of the wonderful things about paying people is that it democratizes the opportunity by opening it up to those who cannot afford to work for nothing.”
Artist Kevin Harman, a graduate of Edinburgh College of Art, recalled being paid for installing a Lambie floor piece during his second year at college: “We got paid £6 an hour, it was a good experience, which I wouldn’t have been able to participate in if it was unpaid as I had to earn some dosh to pay for rent, materials, etc…”
Commenting on Twitter, Joanne Tatham said: "Payment for such work sustains artists and the communities now celebrated by the #generation project." Glasgow-based writer and artist Fiona Jardine (@fdjardine) wrote: “This kind of work underscores the Glasgow scene we've heard so much about... Why can't #Generation @fruitmarket support it?”
Asked by a-n to respond to this specific question, the gallery, which is one of Creative Scotland's regularly funded venues with a grant in aid for 2013-14 of £666,600, said: “The Fruitmarket Gallery has received £3,000 from Generation towards our exhibition. This is in addition to our regular funding from Creative Scotland, which is the only regular public funding we receive, and accounts for around 50% of our costs. The rest we raise.
“Our entire existence and programme supports artists and audiences in Scotland and beyond. We are proud to pay the Edinburgh Living Wage or above to all our staff, and entrance to our exhibitions is always free.”
Creative Scotland comment
Asked to comment on the issue of unpaid volunteers, a spokesperson for Creative Scotland said: “Creative Scotland is supportive of the Paying Artists Campaign. This campaign reflects the principle laid out in our 10 Year Plan of encouraging better levels of remuneration for artists, in order to ensure that Scotland is a country where they can live and work and that their contribution to all or lives is recognised.
“Voluntary positions do have an important role to play and can often present genuine opportunities for people to gain valuable experience in the art, screen and creative industries, to learn and to make a contribution on their own terms.
"In parallel to this, we will be working to encourage the organisations that we fund to develop clear policies around volunteering and to ensure that trained, practicing artists and creative practitioners are always paid fairly.”
Sunday, 18 May 2014
Thursday, 15 May 2014
Wednesday, 7 May 2014
Back in the studio
My studio time of late has been taken up with funding applications, writing, proposals and paperwork. Although I would like not to have to divert my attention from making, I accept that this is the way things have to be, and realise that in order to be able to continue making work and exhibiting, the administration and paperwork is necessary. At times, a break from making ones own work can be beneficial and prompt a period of reflection and evaluation, allowing ideas to flourish and reconfirm one's desire to make artwork.
It can be slightly daunting or nerve-wracking to begin making work again, even after a short pause.
I am still teaching myself to stop putting pressure on myself, and to relax in the making process, acknowledging that there are no failures.
I've really enjoyed getting back into the studio, and have picked up from where I was, using colour swatches to make collages & small studies.
Tuesday, 6 May 2014
Launch of Artists' Union England
May 1st saw the launch of Artists' Union England, with a welcome speech to the trade union movement by Beth Farhart, Regional Secretary of the Northern TUC at the May Day rally held in Newcastle Saturday 3rd May.
LAUNCH EVENTS – NEWCASTLE and LONDON
Artists’ Union England is hosting two launch events, one in London and one in NewcastleGateshead. In London on 14th May, will be hosting a formal launch event at the Showroom from 7-9pm, with a presentation from the Chair followed by a panel discussion. In Newcastle, on 16th and 17th May Artists’ Union England founding members will be hosting a series of informal events as part of Newcastle Lates.
Please note tickets for the London event are free but must be booked online – please see link below.
MEMBERSHIP
Membership is open to professional visual and applied artists. From 1st May there will be a three-month grace period until 1st August 2014 in which there will be no membership fees. All members who join before 1st July will be invited to take part in a collective decision-making process to determine the initial priorities and annual membership fee. The resulting membership fee will be implemented from 1st August 2014.
AUE Trustee, Artist Margareta Kern describes why she believes a trade union for artists is so important. “In my own experience as a cultural worker/artist, I have found that it is often left to the artist to individually negotiate terms of a commission, a public talk, an education workshop, or an exhibition. This makes things appear personal, whereas in fact they are structural. Quite often, art organisations, which are increasingly under pressure to seek funding from private and corporate sources due to government funding cuts, are expecting an artist to work for speculative cultural capital, using the mythology of art (work) as pleasure, to not pay (or poorly pay). It is therefore really important to have a collective body that could represent artists for better and fair working conditions and rates of pay, and that could effect change more broadly across the cultural sector.”
Chris Biddlecombe from the Scottish Artists’ Union says “After 14 years of being the only visual and applied artists’ trade union in Britain, the Scottish Artists’ Union are enthused and encouraged to see this artist group initiate the beginnings of a new trade union that will support and strengthen the position of fellow professional working artists across England. We look forward to discussing with them ways in which we can work together on mutually agreed issues and campaigns.”
The website www.artistsunionengland.org.uk has been designed by John Hill from LuckyPDF, and is live from 1st May 2014.
More information:
· Newcastle and London Launch events
www.artistsunionengland.org.uk/launch
· Becoming a member
www.artistsunionengland.org.uk/membership-criteria
www.artistsunionengland.org.uk/apply
· Founding members
www.artistsunionengland.org.uk/who-we-are
LAUNCH EVENTS – NEWCASTLE and LONDON
Artists’ Union England is hosting two launch events, one in London and one in NewcastleGateshead. In London on 14th May, will be hosting a formal launch event at the Showroom from 7-9pm, with a presentation from the Chair followed by a panel discussion. In Newcastle, on 16th and 17th May Artists’ Union England founding members will be hosting a series of informal events as part of Newcastle Lates.
Please note tickets for the London event are free but must be booked online – please see link below.
MEMBERSHIP
Membership is open to professional visual and applied artists. From 1st May there will be a three-month grace period until 1st August 2014 in which there will be no membership fees. All members who join before 1st July will be invited to take part in a collective decision-making process to determine the initial priorities and annual membership fee. The resulting membership fee will be implemented from 1st August 2014.
AUE Trustee, Artist Margareta Kern describes why she believes a trade union for artists is so important. “In my own experience as a cultural worker/artist, I have found that it is often left to the artist to individually negotiate terms of a commission, a public talk, an education workshop, or an exhibition. This makes things appear personal, whereas in fact they are structural. Quite often, art organisations, which are increasingly under pressure to seek funding from private and corporate sources due to government funding cuts, are expecting an artist to work for speculative cultural capital, using the mythology of art (work) as pleasure, to not pay (or poorly pay). It is therefore really important to have a collective body that could represent artists for better and fair working conditions and rates of pay, and that could effect change more broadly across the cultural sector.”
Chris Biddlecombe from the Scottish Artists’ Union says “After 14 years of being the only visual and applied artists’ trade union in Britain, the Scottish Artists’ Union are enthused and encouraged to see this artist group initiate the beginnings of a new trade union that will support and strengthen the position of fellow professional working artists across England. We look forward to discussing with them ways in which we can work together on mutually agreed issues and campaigns.”
The website www.artistsunionengland.org.uk has been designed by John Hill from LuckyPDF, and is live from 1st May 2014.
More information:
· Newcastle and London Launch events
www.artistsunionengland.org.uk/launch
· Becoming a member
www.artistsunionengland.org.uk/membership-criteria
www.artistsunionengland.org.uk/apply
· Founding members
www.artistsunionengland.org.uk/who-we-are
Thursday, 20 February 2014
ATELIER PUBLIC#2
As the launch of Glasgow International (Gi) Visual Art Festival draws closer, one exhibition that is part of the Gi programme is about to open.
ATELIER PUBLIC#2
GoMA
20 FEBRUARY – 27 MAY 2014
20 FEBRUARY – 27 MAY 2014
ATELIER PUBLIC#2 is a re-presentation of a 2011 exhibition at GoMA where members of the public were invited to make artworks using materials available in the gallery. In the spirit of ATELIER PUBLIC, visitors are invited to use the materials to make new work, which will be installed in the gallery for other visitors to see. These materials may change over the course of the 13 weeks the exhibition is open, and the works may be used by others as part of their creative and playful practice in the studio. As in 2011, some artists have been invited to work within the parameters of the framework of ATELIER PUBLIC#2 and develop the installation.
There are a number of events scheduled for the duration of the exhibition, and more information can be seen at: http://atelierpublic.wordpress.com/how-to-participate/events/
The hashtag for Twitter, Vine, Instagram, and You Tube is #ATELIERPUBLIC, and you can follow us @GlasgowGoMA
I look forward to seeing the changing elements and creations throughout this exhibition, and am interested to see how the public interact with the work and embrace the invitation to contribute to the exhibition.
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