UNIT 9 SELF EVALUATION FORM:
FILM SCREENING @ THE FIELD, NEW CROSS
I submitted to an open call for films relating to the refugee crisis and my work was chosen to be screened. The night is a fundraiser for the British Red Cross European Refugee Crisis Appeal.
Facebook event: https://www.facebook.com/events/509668279233690/
PTBM Course leaflet
Lu and I curated the course handout – a poster with information on the course and each person exhibiting, so that there will be something physical to take from the degree show rather than just the e-catalogue. We had meetings with people on the course to get opinions on colour, paper, printing, content and artwork. We decided to use Riso-printing as we liked the faded aesthetic, and it was more cost effective than other methods. Lu collected information from each person and contacted Richard to write a piece for the back cover. We all decided that Felix’s work would work well as the front cover as his work is bright and fun.
We made some mock-ups of what it will look like:
Riso printing works on a similar basis as screen printing, printing one colour at a time. We chose to do a two-colour A3 print in fluro orange and green.
The biggest challenge we had was how to create the layout and prepare the files for printing. We were helped by Ling who showed us how to separate colours, change colour opacity, add trapping and how to layout the text, all in Adobe Illustrator.
HOTEL MARIA KAPEL RESIDENCY APPLICATION
In collaboration with my friend who studies fine art at Nottingham Trent, I applied for the Hotel Maria Kapel 2017 residency in Hoorn, The Netherlands. The residency is 4-8 weeks long and provides free studio space and accommodation, culminating in an exhibition or event.
This is the first residency I have applied for. I enjoyed writing the proposal and was comfortable with collating examples of our work, CVs and artist statements. We also had to write a budget, which I have never done before so it felt like a bit of a guessing game. I think if our proposal is accepted we will be a strong contender for a STEP-Beyond Travel Grant from the European Cultural Foundation.
WOON PRIZE 2016
I applied for the Woon Prize, an annual prize given to final year fine art students in the UK.
The application was in the form of an online submission form where you can upload images of your work, your artist statement and CV details. A short statement about why you are applying was recquired:
“My practice uses sculpture, installation and lens-based media to explore ideas around landscape and power. I am interested in the politics of mobility and the power relations between those who are allowed free movement and those for whom it is denied. My current work responds to the contemporary issue of migration and the ongoing migrant/refugee crisis that has dominated the headlines in the recent past. I often use found materials such as foil, plants and textiles, transforming them from mundane to poetic, and exploring the materials’ capacity to engage the audience in a political and emotional conversation.
I think being a Woon Tai Jee Fellow would be a really exciting opportunity to meet other artists and to find a community outside of London.
Being based in Newcastle would be beneficial to my practice as I am interested in the city’s industrial landscape and shipbuilding history and how it might relate to my research into mobility and globalization. I enjoy responding to specific sites and think that Newcastle’s ports and maritime landscape would be particularly interesting to examine. I would also use the Fellowship as an opportunity to explore new materials and skills that would help me create more ambitious work.”
Application to volunteer at Borough Road Gallery, Southbank University.
I applied to volunteer at the Borough Road gallery as I wanted to gain some work experience. I have applied for paid gallery positions in the past and have never had any acknowledgement of my applications. I had an interview with the assistant curator at the gallery, where she asked me about my university work, previous experience and why I wanted to volunteer. Although it was quite informal and relaxed, I was not expecting it to be quite so structured and I felt a little unprepared, but I think it was a useful experience and I will feel more confident going into interviews in the future.
APPLICATION TO ‘OF THE SEA’ EXHIBITION
Sea Wall (2016) Sandbags made from polyester shower curtains and sand. 100cm x 57cm x 25cm
Sea Wall is a makeshift sandbag wall constructed from tropical sea-themed shower curtain fabric. The piece addresses themes of borders and control, and is a metaphor for the fact that the sea is but one of many hurdles in the process of refuge seeking. The image of the sandbag defence has connotations of warfare and references the landscape of conflict that many refugees have come from, but also the sad fact that their arrival on foreign shores is not always met with open arms, but with unwelcoming political rhetoric and social views. The image of the sandbag is also interesting in relation to climate change. Over Christmas 2015 news stories of terrible flooding in the north of England appeared every day, and footage of communities; including migrants and refugees, working together, filling and stacking sandbags, symbolised solidarity in the face of adversity. Climate change is an important contemporary issue and contributes not only to rising sea levels and extreme weather, but also to the displacement of people whose homes and livelihoods become unsustainable.
For the interim show I exhibited some drawing, writing and photography on paper and fabric. The pieces are a selection of studies I made whilst thinking through issues to do with landscape and power. The large piece is a fabric print of a photograph taken at Imperial College London. I was interested in the themes of mobility, class and globalization when thinking about the context of the photo: what kinds of people study at Imperial? Where are they from? What are these plants? How did these plants come to grown in England, what was their individual and historical journey and how is this mirrored in the people that inhabit the space? Overlaid on the photo are drawings and writing on tracing paper.
Overall I felt ambivalent about this work. I like the imagery and the writing and I think the installation in the window space was suitable, however I felt like I did not articulate myself as well as I could have, both visually and when presenting my piece. I think this was because I was thinking too generally about the themes I am interested in, and needed to narrow my focus.
• Language and power
• Endless text
• Borders, territories, languages, barriers, understanding, meaning, where is meaning, where is it lost, gaps, chasms, cultures come together
• A never-ending text that switches between different modes, poetry, memory, essay, linguistic analysis. Something that is many things at once.
• Take a motif, a word, an idea and run with it, exhaust it, get inside it
• Could form the basis of a film, or have filmic/image interventions. Projections, objects, installation?
• Print onto fabric?
- look at systems art
- have a look at the LUX archive
- Stillness and Time book
- Glen Ligon
- Bruce Naumann
- Duncan Campbell
- Homi Bhabha
- Mona Hatoum ‘Measures of Distance’
Current artist statement:
“My practice employs film, installation and sculpture to address issues of landscape and power. I am interested in the politics of mobility and how the regulation of space and movement affects all of our lives.”
– I like this shorter statement as I think it succinctly summarises my practice and is not too convuluted.
Previous artist’s statements:
2.“We have Citalopram.
We have Sertraline.
We have Diazepam, peace be upon him.”
– this is an extract from my recent writings. I decided I wanted the artist statement to be a work in itself rather than a description of my work – which can be limiting.
1.”Using everyday materials and objects combined with film and installation, my work explores social and political issues relating to gender, cultural identities, globalization and power. Dealing with troubling issues in a sensitive and considered manner, my work seeks to uplift and empower.
News stories, personal accounts and lived experience act as starting points for work that treads the line between the political and the poetic. Jelly sculptures, bloated beanbag bodies and portraits of plastic bags attempt to straddle the gap between sensuality and repulsion.
I am interested in the intersection of culture and nature, male and female and the dichotomies that shape our society. How are our houseplants related to our imperial past? How does our environment affect our bodies? Who decides upon the division of land and resources? Who has power and how can we reclaim it? My work seeks not to answer these questions but to create and promote space for thought and discussion.”
PPD 8 11/12/15
Andrew Grassi and Silvia Baumgart
-creates copies of famous works of art in miniature and paintings of installation views that contain other artist’s work
– began by faking his own work – reproducing replicas of his original paintings he done before
– worked with Tate and painted some very famous works, which he had to get permission to include. This process can take a long time and you may have to pay some artists or estates
Silvia Baumgart from Own-It
– a style is not copyright
– can use an artist’s work 70 years after their death
– risk is minimal when dealing with big companies – you are more likely to be sued by artist’s estates or commercial photographers or illustrators (because they make their living through the reproduction of their work)
– “The law does not care about artistic merit whatsoever.” Silvia Baumgart
– interesting tension between what is perceived as high or low art, see case of Warhol and Elaine Sturtevant
– What is copyright? Original work, derivative works and entrepreneurial copyright
– Moral rights: the right to be identified as author, to object to derogatory treatment and to not have work falsely attributed
– always credit people!
PPD 7 4/12/15
Victoria Lupton from How To Work Together
– HTWT is comprised of three galleries: Chisenhale, The Showroom and Studio Voltaire. Three mid-range, non-profit spaces
– Prioritising collaboration over competition
-Chisenhale helps launch artists,Showroom works with deprived community around Edgeware rd. and Studio Voltaire provides studios and has pop-up shop House of Voltaire.
– they bring to the fore artists and practises that would be ignored in a commercial gallery
-“incubators of new talent”
– Common Practice – fights for small scale arts sector
– Catalyst Arts – Arts Council funding for 3 years. The three galleries applied together to boost chance of getting funds.
– Strategic development – meet once a week to give each other advice, share audiences and share PR
– one exhibition per year of an artist responding to the theme ‘how to work together’
-Think Tank – commissions writing and research etc
-Sharing economy – peer to peer like Airbnb or Wikipedia
– Unmonastery – group that interviewed monks – interested in how they worked democratically. Used tech to facilitate sharing.
– Match funding – the galleries raise funds and this is matched by an organisation e.g Arts Council
-Seed funding is initial start up funding
– the art world likes the idea of sharing but the system puts emphasis on the individual
-Temporary custodians – way of buying art with lots of people chipping in and then circulating the work
-Syrian Collective – upload anonymous videos
PPD 6 27/11/15
Marcus Coates – artist
- work is broadly about human-ness
- how do we create nature as a concept? how does culture serve us?
- did 9 years of art education – a kind of delay tactic, didn’t feel ready to join the ‘art world’
- sees his art as a by-product of life rather than an end point in itself
- moved away, into the countryside, and connected with nature – which brought back his desire to make art
- felt like making ‘works of art’ was a huge responsibility – thinking about the end point is too limiting
- through play he found ideas
- most important time in his career was working as a labourer and doing art for himself rather than anyone else – didn’t have to worry about it being good
- did a Grizedale arts residency
- making art because he believes in his imagination
- all arts organisation have an agenda – Coates likes to challenge their expectations
- he had a methodology: pursued his passions and searched for interesting people
- Dawn chorus piece – got people in a small village to sing along to a very slowed down track of birdsong. Then speeded it up, thus recreating the birdsong using humans. Project escalated and received funding from the Wellcome Collection. Became a 14 screen installation.
- in the village – saw people feeling an emotional connection to art, enjoying working collectively and connecting to nature
- did a residency in a tower block that was due for demolition – started to collaborate with residents and form relationships. Model for socially engaged process
- his role as artist: to test things
- Went to the Galapagos Islands- noticed that people there were second class to the animals – tourists just visit for the wildlife. Found a tiny tv station for the island and did some reporting for them dressed as a bird. Found that he had a position to say things that others couldn’t – birds can say anything!
- Went to the middle east – talked to a mayor in Israel whilst dressed as an animal
- there is power in playing the fool
- believes that in western culture we don’t trust our imagination/unconscious
- stopped doing performances in galleries as found it not useful – strange context
- it is a mistake to think that the ‘art world’ is where art exists
- by not being in London and working in regional areas he had access to more funding
- “London’s a great place for consumption.”
- imagination as a source for pragmatic ideas
PPD 5 20/11/15
- The website lists resources, opportunities and networks
- opportunities are hand picked, so only the best ones are listed – to minimise the chance of exploitation
- Artlaw section – archive of Henry Lydiate’s legal arts articles from Art monthly. Contracts and copyright are the most asked about categories. Be prepared and informed about legal stuff.
- Artroute section – guides on being an artist in specific countries
- Artelier section – designed to make travel for artists more affordable. You can arrange studio and accommodation exchanges with other artists around the world.
- Artquest run residencies, talks and seminars
- Sometimes selling work is appropriate for your practise, sometimes not. If you don’t want to/can’t sell a work you can make editions.
- think about the integrity of your work, does it make sense to sell it, or make editions?
- always have a price in mind
- What are you selling? Who are you selling to? Where are you selling, what is the platform?
- Different platforms include; commercial galleries (takes a long time to forge a relationship with them), fairs, pop-ups, market stalls, shop, direct sales, online etc.
- Know your audience and their buying/spending capabilities
- the ‘right’ person buying your work (e.g a well known collector) can affect sales
- Be consistent with your pricing
- Installation work: can you sell the whole piece? Will it make sense in another location? What are the installation costs and who will install it? Does it require maintenance? Manage the buyer’s expectations, for example if the piece is delicate and may need repairs in the future, make sure they know this from the start.
- Film: what format are you selling – a DVD, an Mp3, an installation? A back up file is usually provided by the artist as standard
- Performance art – you can sell the re-enactment rights or the documentation.
- Editions: decide on a number of editions, obviously the fewer the editions the rarer the piece and the higher the price. When you have decided a number, this is final!!! Producing more editions after a limited run will devalue them and annoy buyers. There is a convention of producing an odd number of additions. You can print as you sell. If a piece is selling well you can reproduce it, but the new format must be considerably different or smaller/cheaper e.g. printing a postcard after the success of a limited A1 print run.
- Artists proofs?
- Do not fluctuate your prices. The price of a piece is the same in all circumstances/platforms
- The only way is up, so do not price yourself out of the market by charging too much early on. Decreasing the value of your work is bad.
- Different ways to calculate a price – material costs? Hourly wage? Good idea to research artists at similar places in their careers and see what they are charging.
- Leave room for negotiation (i.e haggling)
- When prices go up; after a major group show; after a sell-out solo show; after winning a prize or significant residency; after a successful year of press and sales or a purchase by a collector.
- Artists Bill of Sale is a good way to track your work and should include: Date, price, title, description, buyer’s name and details, terms of payment, copyright: stays with artist (!!), signatures.
PPD 4 13/11/15
Fraser Muggeridge – pleasedonotbend.co.uk
- studio in Clerkenwell
- team of five
- make publications and graphic design
- primarily working with artists
- worked with Jeremy Deller a few times – example of an artist whose work is enhanced by graphic design
- Fiona Banner poster
- Work on the border between designer, artist, typographer etc – not limited to a specific category
- Often their practise is about being appropriate – what is appropriate for the client might not necessarily be something you like
- emotion – give a feeling through art, convey the tone of a book/show/film/etc
- ‘nearly boring’ created poster for art on the underground that was very simple, almost an anti-poster, but very striking
- sometimes mix fonts – very subtle, almost imperceptible
- Love is Enough exhibition for Modern Art Oxford – Jeremy Deller curated William Morris and Andy Warhol show. Designed a book/poster/campaign using a new print made from a mix of Morris’s wallpaper and Warhol’s camouflage print
- appropriateness – may not be the best design, but is appropriate for the client
- work a lot with Focal Point Gallery in Southend
- Catch Me Danny film – created a tumblr that is all gifs
PPD LECTURE 2 16/10/15
Hannah Breslin from Student Careers and Employability at UAL, formerly SEE
- visit the website (http://www.arts.ac.uk/student-jobs-and-careers/) for information on careers, artstemps, creative opportunities, own-it and artquest.
- jobs advertised and offered by UAL are always paid – they don’t believe in people working for free. The Graduate Internship Scheme helps companies hire graduates by paying half their internship wages.
- 16th-20th November is Enterprise Week
- Mead Scholarships and Fellowships – £10,000 can be awarded as a fellowship to graduates, who can apply for 2 years. They are flexible about what the money can be spent on, they just look for well thought out ideas and committed people. Deadline in April 2016.
- Artquest.org.uk is useful for how-to guides, information and opportunities
- In December there will be a Wimbledon specific Employability series for info on hob hunting, CV building etc.
- A huge part of an artist’s practise is admin and the most successful artists are ones that accept this early on
- DACS, A-N, Carrotworkers Collective – useful sites
PPD LECTURE 1 9/10/15
- Marcus Coates, How we work now
- Victoria Lupton from How to work together – a new model for collaboration
- Andrew Grassie and Silvia Baumgart, on copyright. Artquest, ownit.
- Frazer Muggeridge, graphic designer
- Nick Kaplony, art and value
- Max Dovey, ptbm graduate on post-grad learning.
Group Discussion on expectations for the degree show:
- to get noticed by galleries/collectors/big-wigs
- a debut – the start of something rather than the end
- a chance to be more professional and ambitious, put into practise everything we’ve learnt over the degree and make something to be proud of
- we need to work together well!
- need to take responsibility for ourselves and be aware of deadlines etc
- group show mentality – co-operation and support. Not just an exhibition with lots of individual pieces, but a coherent, well curated show.
E-publication for the catalogue:
- Ling explained the model of an e-publication for the degree show catalogue that would entice people to come to the event – new and exciting.
- in the e-book you can embed videos and links. The e-book itself can be embedded on people’s websites.
- cheaper option!! Last years catalogue was too expensive, not the greatest quality and had lots of issues
- There could be i-pad points where people can access the catalogue at the show, or can download it. Option of free wifi for the night.
- Also looked at examples of pathway-specific printed material, so people can take away something physical as well
Utopia at Clapham Orangery, curated by Bradley and Bownes for Artlicks Weekender: 1st – 4th October 2015
I was invited to submit to Utopia, after exhibiting with Bradley and Bownes at Clapham Orangery the previous spring.
“Bradley&Bownes are pleased to present #Utopia. This exhibition sees the derelict Clapham Orangery filled with a plethora of plant-inspired artworks as a part of the ‘Art Licks Weekend’.
Using the unused site, which juxtaposes the typical ‘white cube’-esque gallery space, it sits humbly in the Notre Dame Estate. The orangery’s unique attributes including towering Georgian columns, high ceilings and great acoustics are the perfect backdrop for the 16 contemporary artworks.
Forming a conversation between reality and artificiality, in a synthetic garden of paradise; the Latin phrase Hic Ver Assiduum Atque Alienis Mensibus Aestas sits at the top of the orangery’s façade – its translation: Here is ceaseless spring and summer in months in which summer is alien.
#Utopia has become the embodiment of this text, exploring the boundaries between the artificial and manmade, working in conjunction with the derelict state of the site and traditional architecture of this historic building. Injecting highly saturated aesthetics and idealisms, #Utopia encompasses all that is promised in the notion of utopic paradise through the creation of a perpetual synthetic summer.”
My piece Orchid Hunters (2015) was inspired by the victorian practices of travelling overseas in order to find exotic plants to bring back to England. I thought this was interesting in the context of the Orangery which was part of a small landscape estate built by the Thornton family in 1793. Orangeries were used to store plants and overwinter fruit trees. I made wooden plinths covered in marble-effect vinyl and topped with fake flowers. I like the contrast between the tacky, cheap plastic materials and the surroundings. The sculptures didn’t turn out exactly as I had planned; I had to make the plinths collapsable so I could carry them on the tube, which created some breaks in the marble vinyl; I also wanted to have orchid plants, either real or artificial, sitting atop the plinths like prizes, but this was financially unfeasible.
I feel quite ambivalent about these works and would probably make something different if I had the time again. However I really enjoyed seeing the other pieces in the exhibition and it is always enjoyable working with Bradley and Bownes!