Amelia’s Magazine | Review: The Jerwood Painting Fellowships

Cara Nahaul – installation view

The 2010 Jerwood Painting Fellowship provided Clare Mitten, health Cara Nahaul and Corinna Till with the opportunity to develop their practice, adiposity through £10, story 000 each in prize money and six months of mentoring from leading artists Paul Bonaventura, Stephen Farthing RA and Chantal Joffe. The exhibition now running at Jerwood Space in South London is the culmination of this project.

Cara Nahaul

Cara Nahaul is the most classical painter of the three, using the traditional medium of oil on canvas. But underneath lies a more modern invention, as the paintings are based on photographs. Some of the images are very formal, others more casual, as Nahaul draws inspiration from her father’s homeland of India.

The paintings show soft, open faces painted with smooth, sometimes blurry edges. It doesn’t seem to be so much about the individuals, even though one image is an interpretation of a famous portrait of assassinated Pakistani Prime Minister Benazir Bhutto. Instead there is a general feeling of gentleness about the portraits, a neighbourly lack of controversy.

Corinna Till

While maintaining a core focus on painting, Corinna Till takes one step further by presenting her work through photographs. Leaning up against the gallery wall are four life-size images of Till’s paintings of gateways, held in place at the spots that inspired them. Natural textures of concrete and leaves are represented in broad strokes in Till’s paintings, creating an understated but strangely beautiful result. Till’s accompanying text speaks of making observations about material history and how things came to be the way they are, but even without the explanations of the conceptual meaning, it still works.

Corinna Till

Clare Mitten’s work is the most liberal interpretation of painting, with collage and paper models being the main medium for the items on display. Mitten’s practice involves reworking technological items such as cameras and headphones, recreating them in Blue Peter-ish models and in 2D paper collages. Sometimes you can see the artist’s fingerprints in the glue, and at other times the original function of the modelling materials (toothpicks, loo roll inners) poke through – as to highlight how high-tech items may seem mysterious, but at the core they are still just a collection of components.


Clare Mitten

UK-based painters can apply for Jerwood’s 2011/12 fellowship grants on the website – closing October 2011.

– – –

The Jerwood Painting Fellowships runs at Jerwood Visual Arts until 26th June, at Jerwood Space, 171 Union Street, London SE1 0LN. Opening hours are Monday to Friday 10-5 and Saturday and Sundays 10-3.

The exhibition will be shown at the Glynn Vivian Art Gallery in Swansea between 9th July and 4th September.

Cara Nahaul is also part of artist collective Silent City – read our interview here.

Categories ,art, ,Benazir Bhutto, ,Cara Nahaul, ,Chantal Joffe, ,Clare Mitten, ,Corinna Till, ,Jerwood JVA, ,Jerwood Painting Fellowships, ,jerwood space, ,london, ,painting, ,Paul Bonaventura, ,south bank, ,Stephen Farthing RA

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Amelia’s Magazine | Jerwood Drawing Prize 2011: Exhibition Review

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
Homage to Anonymous by Gary Lawrence (detail).

This year the Jerwood Drawing Prize grows more influential than ever. During his speech at the opening of the exhibition last night art historian Tim Marlow told us that there were a record number of entrants this year: 1, ampoule 779 artists submitted 3, ambulance 354 entries in total. In describing the continuing importance of drawing judge Tim Marlow drew our attention to the new Degas exhibition at the Royal Academy of Arts which opens this weekend. It concentrates on Degas‘ relationship with the new disciplines of photography and film as he explored ways of recording movement in ballet 150 years ago. Despite the prevalence of these other mediums today they can never entirely replace the visual discipline of drawing.

Without further ado here’s the work of the winners, order and my favourites from a selection of everything else.

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary LawrenceJerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
I was drawn to Homage to Anonymous by Gary Lawrence the minute I stepped foot in the gallery. This giant biro drawing is a complex, surreal, fantastic piece of artwork. Gary accepted this years Jerwood Prize turned out in scruffy tracksuit bottoms with a greying beard and described his drawing as ‘a tribute to all the anonymous artists through history who made work but are unrecognised.’ The Essex based artist took a year to create his work of art, which was based on a view of Pothea on the Greek island of Kalymnos, which he visited on holiday. Over time the drawing gradually transmogrified into something far more complex, taking on historical references to town views by other artists across time.

The Cut (detail) by Jessie BrennanJerwood Drawing Prize review 2011-The Cut (detail) by Jessie Brennan
The Cut (details) by Jessie Brennan.

Jessie Brennan‘s five metre long The Cut was inspired by oral histories of the Lea River Navigation Canal, and features a delicate array of found objects piled up in curious arrangements. Scale becomes distorted when you realise the presence of little people at the foot of the drawing.

Sketch by Nicki Rolls
Nicki Rolls took second prize in the Student Awards for her Sketch, a black and white film that screens against a sketchbook.

Lake by Kristian Fletcher
A very well deserved first prize went to Kristian Fletcher of the University of West England, who boasts ten years experience in the construction industry. His dimly lit Lake consists of an eery industrial space where hard edged architecture looms over an ominous section of chainlink fence.

Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain Andrews
Surrealism was a common theme amongst short listed entries. I particularly liked Pattern of Faerie Tales by Iain Andrews, which was stacked up loosely on a table. Giant fish lie on chicken feet tables and maidens sit beneath crepuscular bugs, in scenes inspired by the words of Tolkien.

Interior by Adam Bainbridge
Adam Bainbridge‘s Interior combines memories with absurd imaginings: tracking the formation of clay ornaments in soft focus.

Gefallener by Johanna Love
Gefallener by Johanna Love.

Untitled 2 by Janine Rook
Untitled 2 by Janine Rook.

The abstract patterns of dirt were big news: Johanna Love and Janine Rook traced the minutest amounts of fluff in delicate detail.

Untitled by robert Battams
Abstract paper layers featured in several artworks. Robert Battams used graph paper to stack patterns inspired by the fragmentations of digital recording.

Organic Structure, Animation still by Kasia Depta-Garapich
Kasia Depta-Garapich‘s Organic Structure, Animation Still merges drawing, sculpture and animation in a curious fluttering object of semi-transparent layers.

Untitled by Leahy Clark
Simon Leahy-Clark stacked newspaper in random grid formations created around the missing content.

Polly Yates (folds)
Polly Yates considers herself a weaver of paper: circular cutouts and felt tips create the push and pull of space in Untitled (Folds).

Jerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-Eeles
Explosions of colour and pattern will always turn my eye. I loved Imagery Imaginary Volume 1 by Lottie Jackson-Eeles, a concertina-ed sketchbook tracing her journeys through London in glorious colourful detail. Peeks between the pages reveal details such as wind mills and towerblocks. Do take a look at her website: there is some fabulous work on there.

Shepherd's Fry Up by Steven Lowery
Steven Lowery‘s artwork is a protest agains the mindlessness of celebrity infested tabloids and reality TV, set against a love of improvisational music – the tightly crafted words and images curling in and out of each other in Shepherd’s Fry Up.

Mouth Full of Triangles by Sally Taylor
Mouth Full of Triangles 4 by Sally Taylor is a clever and curiously amusing piece.

Jerwood Drawing Prize review 2011-Ground Truth and Deep Grief by Louisa Fairclough
Ground Truth and Deep Grief by Louisa Fairclough are simple watercolour paintings of tents, formed after ritual cycle rides taken along the Severn river at full moon. She sleeps on the ground, at the edge of the river: feeling the pulse of the tides.

Drawing Room by Fran Richardson
Drawing Room by Fran Richardson is a large charcoal artwork, an evocative space of flouncy curtains that invites the viewer inside.

Girl Bag by Evju_Kristian
Photorealism in Girl Bag by Kristian Evju cleverly catches the sense of limbo within a narrative.

25a GF067 by Reginald S. Aloysius
Reginald Aloysius used pencil and enamel paint to create an eery netherworld, where ancient temples and airplane routes collide.

Tree (catocala) by Ash Summers
Fashion meets art. Inspired by memories and moths, Tree (Catocala) by Ash Summers perhaps unwittingly echoes the ikat patterns of the new season’s fabrics.

This year there was a greater prevalence of barely there diminutive abstracts, surely a reflection of influential judge Rachel Whiteread‘s tastes.

The Jerwood Drawing Prize is a must for all practicing artists, whatever your discipline. It runs until 30th October at the Jerwood Space and then heads out to BayArt in Cardiff and Burton Museum & Art Gallery in Devon. Full listing information here.

Categories ,2011, ,Adam Bainbridge, ,Animation Still, ,Ash Summers, ,BayArt, ,Burton Museum & Art Gallery, ,cardiff, ,Charcoal, ,Deep Grief, ,Degas, ,Devon, ,drawing, ,Drawing Room, ,Essex, ,Fran Richardson, ,Full Moon, ,Gary Lawrence, ,Girl Bag, ,Ground Truth, ,Homage to Anonymous, ,Iain Andrews, ,Imagery Imaginary Volume 1, ,Interior, ,Jerwood Drawing Prize, ,jerwood space, ,Jessie Brennan, ,Judge, ,Kalymnos, ,Kasia Depta-Garapich, ,Kristian Evju, ,Kristian Fletcher, ,Lake, ,Lea River Navigation Canal, ,Lottie Jackson-Eeles, ,Louisa Fairclough, ,Mouth Full of Triangles 4, ,Nicki Rolls, ,Organic Structure, ,Papercutting, ,Pattern of Faerie Tales, ,pencil, ,Photorealism, ,Polly Yates, ,Pothea, ,Rachel Whiteread, ,Reginald Aloysius, ,review, ,Royal academy of arts, ,Sally Taylor, ,Severn, ,Shepherd’s Fry Up, ,Simon Leahy-Clark, ,Sketch, ,Steven Lowery, ,Student Awards, ,surrealism, ,The Cut, ,Tim Marlow, ,Tolkien, ,Tree (Catocala), ,University of West England, ,Untitled (Folds)

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Amelia’s Magazine | Jerwood Drawing Prize 2011: Exhibition Review

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
Homage to Anonymous by Gary Lawrence (detail).

This year the Jerwood Drawing Prize grows more influential than ever. During his speech at the opening of the exhibition last night art historian Tim Marlow told us that there were a record number of entrants this year: 1, ampoule 779 artists submitted 3, ambulance 354 entries in total. In describing the continuing importance of drawing judge Tim Marlow drew our attention to the new Degas exhibition at the Royal Academy of Arts which opens this weekend. It concentrates on Degas‘ relationship with the new disciplines of photography and film as he explored ways of recording movement in ballet 150 years ago. Despite the prevalence of these other mediums today they can never entirely replace the visual discipline of drawing.

Without further ado here’s the work of the winners, order and my favourites from a selection of everything else.

Jerwood Drawing Prize review 2011-Homage to Anonymous by Gary LawrenceJerwood Drawing Prize review 2011-Homage to Anonymous by Gary Lawrence
I was drawn to Homage to Anonymous by Gary Lawrence the minute I stepped foot in the gallery. This giant biro drawing is a complex, surreal, fantastic piece of artwork. Gary accepted this years Jerwood Prize turned out in scruffy tracksuit bottoms with a greying beard and described his drawing as ‘a tribute to all the anonymous artists through history who made work but are unrecognised.’ The Essex based artist took a year to create his work of art, which was based on a view of Pothea on the Greek island of Kalymnos, which he visited on holiday. Over time the drawing gradually transmogrified into something far more complex, taking on historical references to town views by other artists across time.

The Cut (detail) by Jessie BrennanJerwood Drawing Prize review 2011-The Cut (detail) by Jessie Brennan
The Cut (details) by Jessie Brennan.

Jessie Brennan‘s five metre long The Cut was inspired by oral histories of the Lea River Navigation Canal, and features a delicate array of found objects piled up in curious arrangements. Scale becomes distorted when you realise the presence of little people at the foot of the drawing.

Sketch by Nicki Rolls
Nicki Rolls took second prize in the Student Awards for her Sketch, a black and white film that screens against a sketchbook.

Lake by Kristian Fletcher
A very well deserved first prize went to Kristian Fletcher of the University of West England, who boasts ten years experience in the construction industry. His dimly lit Lake consists of an eery industrial space where hard edged architecture looms over an ominous section of chainlink fence.

Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain AndrewsJerwood Drawing Prize review 2011-Jerwood Drawing Prize review 2011-Pattern of Faerie Tales by Iain Andrews
Surrealism was a common theme amongst short listed entries. I particularly liked Pattern of Faerie Tales by Iain Andrews, which was stacked up loosely on a table. Giant fish lie on chicken feet tables and maidens sit beneath crepuscular bugs, in scenes inspired by the words of Tolkien.

Interior by Adam Bainbridge
Adam Bainbridge‘s Interior combines memories with absurd imaginings: tracking the formation of clay ornaments in soft focus.

Gefallener by Johanna Love
Gefallener by Johanna Love.

Untitled 2 by Janine Rook
Untitled 2 by Janine Rook.

The abstract patterns of dirt were big news: Johanna Love and Janine Rook traced the minutest amounts of fluff in delicate detail.

Untitled by robert Battams
Abstract paper layers featured in several artworks. Robert Battams used graph paper to stack patterns inspired by the fragmentations of digital recording.

Organic Structure, Animation still by Kasia Depta-Garapich
Kasia Depta-Garapich‘s Organic Structure, Animation Still merges drawing, sculpture and animation in a curious fluttering object of semi-transparent layers.

Untitled by Leahy Clark
Simon Leahy-Clark stacked newspaper in random grid formations created around the missing content.

Polly Yates (folds)
Polly Yates considers herself a weaver of paper: circular cutouts and felt tips create the push and pull of space in Untitled (Folds).

Jerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-EelesJerwood Drawing Prize review 2011-Lottie Jackson-Eeles
Explosions of colour and pattern will always turn my eye. I loved Imagery Imaginary Volume 1 by Lottie Jackson-Eeles, a concertina-ed sketchbook tracing her journeys through London in glorious colourful detail. Peeks between the pages reveal details such as wind mills and towerblocks. Do take a look at her website: there is some fabulous work on there.

Shepherd's Fry Up by Steven Lowery
Steven Lowery‘s artwork is a protest agains the mindlessness of celebrity infested tabloids and reality TV, set against a love of improvisational music – the tightly crafted words and images curling in and out of each other in Shepherd’s Fry Up.

Mouth Full of Triangles by Sally Taylor
Mouth Full of Triangles 4 by Sally Taylor is a clever and curiously amusing piece.

Jerwood Drawing Prize review 2011-Ground Truth and Deep Grief by Louisa Fairclough
Ground Truth and Deep Grief by Louisa Fairclough are simple watercolour paintings of tents, formed after ritual cycle rides taken along the Severn river at full moon. She sleeps on the ground, at the edge of the river: feeling the pulse of the tides.

Drawing Room by Fran Richardson
Drawing Room by Fran Richardson is a large charcoal artwork, an evocative space of flouncy curtains that invites the viewer inside.

Girl Bag by Evju_Kristian
Photorealism in Girl Bag by Kristian Evju cleverly catches the sense of limbo within a narrative.

25a GF067 by Reginald S. Aloysius
Reginald Aloysius used pencil and enamel paint to create an eery netherworld, where ancient temples and airplane routes collide.

Tree (catocala) by Ash Summers
Fashion meets art. Inspired by memories and moths, Tree (Catocala) by Ash Summers perhaps unwittingly echoes the ikat patterns of the new season’s fabrics.

This year there was a greater prevalence of barely there diminutive abstracts, surely a reflection of influential judge Rachel Whiteread‘s tastes.

The Jerwood Drawing Prize is a must for all practicing artists, whatever your discipline. It runs until 30th October at the Jerwood Space and then heads out to BayArt in Cardiff and Burton Museum & Art Gallery in Devon. Full listing information here.

Categories ,2011, ,Adam Bainbridge, ,Animation Still, ,Ash Summers, ,BayArt, ,Burton Museum & Art Gallery, ,cardiff, ,Charcoal, ,Deep Grief, ,Degas, ,Devon, ,drawing, ,Drawing Room, ,Essex, ,Fran Richardson, ,Full Moon, ,Gary Lawrence, ,Girl Bag, ,Ground Truth, ,Homage to Anonymous, ,Iain Andrews, ,Imagery Imaginary Volume 1, ,Interior, ,Jerwood Drawing Prize, ,jerwood space, ,Jessie Brennan, ,Judge, ,Kalymnos, ,Kasia Depta-Garapich, ,Kristian Evju, ,Kristian Fletcher, ,Lake, ,Lea River Navigation Canal, ,Lottie Jackson-Eeles, ,Louisa Fairclough, ,Mouth Full of Triangles 4, ,Nicki Rolls, ,Organic Structure, ,Papercutting, ,Pattern of Faerie Tales, ,pencil, ,Photorealism, ,Polly Yates, ,Pothea, ,Rachel Whiteread, ,Reginald Aloysius, ,review, ,Royal academy of arts, ,Sally Taylor, ,Severn, ,Shepherd’s Fry Up, ,Simon Leahy-Clark, ,Sketch, ,Steven Lowery, ,Student Awards, ,surrealism, ,The Cut, ,Tim Marlow, ,Tolkien, ,Tree (Catocala), ,University of West England, ,Untitled (Folds)

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Amelia’s Magazine | More Soup and Tart at the Barbican: a review

More Soup & Tart by Ben Jensen
More Soup and Tart by Ben Jensen.

It was always going to be a tall order to recreate the seminal work of underground performance artists, viagra but the Barbican programmers clearly like a challenge: to accompany the current exhibition Pioneers of the Downtown Scene, more about New York 1970s (read my review here) More Soup and Tart was staged as a topical update of Jean Dupuy‘s legendary 1974 Soup and Tart. The premise was simple, order the audience was served with leek and potato soup on arrival, then treated to performances from over 30 artists who were each given a two minute window of opportunity to showcase new work. During the interval we were served (slightly dry and greasy) apple tart.

7. Ryan Styles. MST, Barbican 2011
Ryan_Styles_MST_Barbican_2011_by_Lou_Cloud
Ryan Styles by Lou Cloud.

What ensued was a very mixed bag of work, featuring short pieces from established names such as Martin Creed, Ryan Styles and Simon Bookish alongside some lesser known artists. Quality was variable and there were a couple of instantly forgettable performances (particularly film) but those that did work were punchy and engaging, creating a long lasting impression. The giggly Friday night audience were prone to outbursts of chuckling at the slightest suggestion of humour, which was just as well since there was much to be had. Here’s my pick of the best…

11. Simon Bookish. MST, Barbican 2011
Simon Bookish. He appeared in Amelia’s Magazine some time ago!

Edwina Ashton,  MST, Barbican 2011
Edwina Ashton – Lobster Song/Lobster Singing.

In the first half Edwina Ashton entertained with Lobster Song/Lobster Singing, featuring two creatures with lobster features who plucked at upturned guitars in a vaguely depressive manner before shuffling offstage. The success of this piece lay in the offbeat juxtaposition of crazy costume and very ordinary stage set up, a pretty girl in undefinable traditional dress at hand to turn the sheets of music. We are currently listing her exhibition at the Jerwood Space.

Stewart Home Barbican
Stewart Home – Spam Turned Upside Down.

Stewart Home then highly entertained with Spam Turned Upside Down, whereby he stood on his head and recited cock enlargement offers for celebrities. It was short, memorable and again, crucially, amusing.

Nicoletta Tiberini led a Sounding Poem of carefully placed harmonies from her choir, which were dotted around the auditorium.

Mothball Marcia Faquhar by Ashley Fauguel
Mothball performed by Marcia Faquhar. Illustration by Ashley Fauguel.

For Mothball Marcia Faquhar removed a giant fake fur coat from a vacuum bag and proceeded to dance around underneath it, flinging her heels off in several directions before being forcibly removed from the stage. This was, I imagine, the closest to the spirit of performance art in the 1970s, which is maybe why it worked so well.

2. Andrew and Eden Kotting, MST, Barbican 2011
Andrew and Eden Kotting.

Andrew & Eden Kotting performed the most poignant piece titled Hiding From the Big Guns (Can I Kick It? Yes I Can) which consisted of a man leading a shrouded figure as it kicked a can across the stage against a backdrop of slides that showed the same camouflaged figure in different locations. On reaching a record player the figure was encouraged to kick at the turntable until the shroud was removed to reveal Andrew’s daughter Eden, who suffers from a rare genetic disorder called Joubert Syndrome. It was a profoundly strange and awkward moment that served to enhance the preceding piece.

13. Frauke Requardt. MST, Barbican 2011
Clowns_Barbican_MST_2011_by_Lou_Cloud
Frauke Requardt by Lou Cloud.

Frauke Requardt‘s Episode consisted of two androgynous leotard clad clowns who danced in acrobatic synchronicity against an eery backlight… this was presumably a preview for the new show starting at The Place in June. It was a very effective taster because I now wish I was going to the full performance.

Holly_Slingsby_MST_Barbican_2011_by_Lou_Cloud
Holly Slingsby by Lou Cloud.

The first half ended with Holly Slingsby performing Minotaur in a China Shop (Golden Calf Version) which entailed a lady in bull mask and gold dress chucking plates against the floor.

Lucy Beech and Edward Thompson, MST, Barbican 2011
Lucy Beech and Edward Thompson.

Into the second half: for Lucy Beech and Edward Thomasson‘s 7 Year Itch a group of amateur dancers took to the stage in costumes reminiscent of childhood gym classes. They then created a sport inspired sequence which broke down into its component parts to reveal the thrashing, groaning, sighing sounds of the act of sex – very clever indeed.

Tom Woolner by sanna dyker
Tom Woolner by Sanna Dyker.

Tom Woolner donned a huge blow up head to perform An Early Episode from the Life of Archimboldo, wherein he proceeded to pick his nose in slow motion until a vast green goblet descended to the floor.

Penny Arcade. MST, Barbican 2011
Penny Arcade.

Bad girl performance artist Penny Arcade had flown in from America to give her acerbic take on the Vagina Monologues: this was in effect a short comedy skit.

Dog Kennel Hill Project, MST, Barbican 2011
Dog Kennel Hill Project.

Dog Kennel Hill Project performed Death Scene 347 with the aid of random objects to create the sound effects: concrete blocks, sacks of potatoes and a belt. It was delicately beautiful but I have a burning question… why was it necessary for one of the performers to appear in her pants?

Sam Lee, folk singer and old friend of mine, then stood to perform from the middle of the audience. It was the perfect musical interlude and rightly received a great round of applause.

Tai Shani 2, MST, Barbican 2011
Tai Shani.

In the second half of Tai Shani‘s To Dream and Die in America a group of extras appeared, I think to represent various Hollywood icons. Apparently it is de rigour for every piece of performance art to feature a random naked lady, and this was the piece to do the honours in More Soup or Tart.

Potentially the most absurd performance came courtesy of Tim Etchells, whose And Counting purely relied on members of the audience to shout Now at random intervals. Cue much cackling.

Christian Marclay‘s Smash Hits 1991 upset me greatly: for his two minutes he proceeded to smash a large heap of records and through it all I kept thinking: but what if there’s something good in there? This kind of wanton destruction pains me greatly.

33. William Cobbing, MST, Barbican 2011
William Cobbing – Mobile Home.

We finished on William Cobbing‘s surreal Mobile Home… a globular slab of clay tugged across the stage as the inhabitant pushed it’s arms out of holes to smear and slap the wet clay around in a nosily seductive manner. Like all the best performances of the night it was simple, surreal and instantly engaging.

I hope there is More More Soup and Tart soon.

Categories ,1974, ,7 Year Itch, ,An Early Episode from the Life of Archimboldo, ,And Counting, ,Andrew & Eden Kotting, ,Ashley Fauguel, ,barbican, ,Ben Jensen, ,Christian Marclay, ,comedy, ,dance, ,Death Scene 347, ,Dog Kennel Hill Project, ,edwina ashton, ,Episode, ,film, ,folk singer, ,Frauke Requardt, ,Hiding From the Big Guns (Can I Kick It? Yes I Can), ,Holly Slingsby, ,Jean Dupuy, ,jerwood space, ,Joubert Syndrome, ,Lobster Song/Lobster Singing, ,Lou Cloud, ,Lucy Beech and Edward Thomasson, ,Marcia Faquhar, ,Martin Creed, ,Minotaur in a China Shop (Golden Calf Version), ,Mobile Home, ,More Soup and Tart, ,Mothball, ,New York 1970s, ,Nicoletta Tiberini, ,Penny Arcade, ,Performance Art, ,Pioneers of the Downtown Scene, ,Ryan Styles, ,Sam Lee, ,Sanna Dyker, ,Simon Bookish, ,Smash Hits 1991, ,Sounding Poem, ,Soup and Tart, ,Spam Turned Upside Down, ,Stewart Home, ,surrealism, ,Tai Shani, ,The Place, ,Tim Etchells, ,To Dream and Die in America, ,Tom Woolner, ,Vagina Monologues, ,William Cobbing

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Amelia’s Magazine | What art says about us: An interview with Silent City

The new publication from Silent City, page ‘Art and Activism’, visit web poses three key questions: Should art be separated from activism? Should art have a political value or function? Should art be radical, remedy critical, resistant or subversive? While Silent City has chosen activism as the focus of its examination, the key question is one that can be applied to any art discussion: What do we want art to say about ourselves?

“The political value of art will always be disputed, [but] it cannot be denied that there is a relationship,” says the Silent City trio. “Modern UK activism is incredibly creative, from the actions of Climate Camp to art collectives such as the Vacuum Cleaner. It may not be always overly political, but it is far from separate.” At all times in history, art has told a story about the politics of its time; just consider the identity of the people in the pictures, or the subtle ways in which the artist undermined the status quo.

Claire Roberts at the Silent City symposium. All photography by Sally Mumby-Croft.

Art and Activism
‘Art and Activism’, which Silent City hopes to publish later this year, was created from submissions following a call-out to several arts websites. The final choice was up to Sally Mumby-Croft, Cara Nahaul and Emily Whitebread, who had partnered with Peter Eramian, editor of Shoppinghour, for the project. Designed by Simon Sherlock, the finished product contains a combination of photojournalism, poems, essays and documentation of actions undertaken by the artists.

Last year Silent City presented a symposium (review) focusing mainly on climate change, but this latest publication shows the trio has a broader mandate.

“The original idea behind Silent City was to produce three separate exhibitions, exploring the three pillars of the UN’s 2005 World Summit outcome document: economic development, social development, and environmental protection,” says Silent City, pointing out how these three elements are interconnected. The symposium included references to social and economic consequences of climate change, meaning ’Art and Activism’ felt like a natural progression.


The big issues
As the issue of climate change moves from being a scientific concept to something that infiltrates everyday life, people increasingly feel like they want to do something. But where do we start with such an overwhelming issue?

“It’s overwhelming because it is a crisis that affects humanity as a whole,” says Silent City, referencing Anthony Giddens’ book ‘The Politics of Climate Change’. “He explains that this is precisely one of the reasons why we cannot face up to the consequences of climate change. Society is always pressed by more ‘immediate’ concerns – a situation which is taken advantage of by politicians and policy makers who continue to distance themselves from making radical and concrete gestures towards combating the issues.”

Having said that, the past year has seen activism come back on the agenda in a big way, with widespread protests against coalition cuts and the rise of activist groups.

“[This shows] activism trying to find alternative dialogues and use inspiring visual methods to find alternative solutions. The work of Art Not Oil and Liberate Tate in the face of the BP oil spill is immensely inspiring,” says Silent City, further listing the emergence of Art Uncut, the occupation of the Slade School of Fine Art and the development of the Free School.

Sally Mumby-Croft has created a short film, ‘Edgeland’, bringing attention to how parts of the Hackney Marshes are being sacrificed for the Olympics – but this is an issue where little can be done.

“I wanted to draw attention to the spaces so often ignored or perceived as desolate. [The East Marsh] is a space shared by many people for many different purposes and yet it has been decided that this land will be temporarily paved over to make way for a car park. A space teaming with football pitches and dog walkers will become a concrete block. I think that’s terribly sad, and I think it’s immensely important that this issue is discussed. [… ] Hopefully it will encourage viewers to question their relationship and use of public space.

Ways of seeing
Cara Nahaul, the founder of Silent City, is currently a painting fellow at Jerwood arts centre. Asked about the place of activism in a typical ‘fine arts’ practice like painting, Cara points out how she sees her practice as discussing her culture and background, and exploring it within a larger political meaning.

“I feel that audiences have moved away from the assumption of expecting ‘nice’ things from contemporary painting,” says Cara. “In attempting to discuss painting with video art, we tend to think of a hierarchical relationship in which the visual language of painting came first and cinema learnt from it. Today cinema has developed a strong and autonomous language whilst painting is often criticised for its inability to reflect on contemporary society. For me, this is where I find the freedom for my own work. Whilst I am unsure about a place for activism within painting, I believe that painting can still challenge our ways of seeing.”

Art is rarely created just to be something pretty to look at, but with each added layer of meaning it gets harder for the layman to ‘get it’. Even so, it may be wise to leave reading the leaflet till last, says Emily Whitebread, who is just finishing her degree in Art Writing.

“My personal response to writing about an exhibition or an artist is not to read too much beforehand. This works particularly well if I am unfamiliar with the artist or exhibition, as I prefer to absorb as much as possible from experiencing the work without external influences. I then incorporate these reflections in my writing and only when I feel satisfied with my initial response do I then look at external sources.”


The New Educators
Shoppinghour-editor Peter Eramian has also had a hand in selecting the works that make up ‘Art and Activism’. He describes Shoppinghour as “a hub from which we spawn other collaborative projects and events”, with an ambition to mobilise and inspire creativity in response to political, cultural and social issues. Still, Shoppinghour is not just a tool for political activism, says Peter, explaining how there is a theoretical foundation to Shoppinghour:

“Both Yasushi [Tanaka Gutiez, co-founding editor] and I are basing our doctoral research on understanding the New Educators of our time: individuals and collectives inspired by a heightened critical awareness of culture and the active employment all mediums, disciplines and practices in their critique of society and ruling ideologies. We’re fascinated by the reconstruction of the activist epistemology and its potential to subvert, and hope that through Shoppinghour others too will be fascinated with us.”

The Shoppinghour magazine is currently in the phase of significant expansion, including a new distribution deal that will see the magazine sold across London. Still, the quality of content will remain the first priority:

“We’re certainly not prepared to compromise the quality of our content. But then, neither are we cynical enough to believe that the ‘larger audience’ is somehow less sophisticated,” says Peter, adding that it may be equally complacent to reject the popular and only focus on the opposite, “that which is uncommunicative in its overabundant self-important ‘sophistication’.” So while Shoppinghour wants to tackle its subjects with “substance and gravity”, we can also expect an edge that is “playful and accessible, alternative and punchy”.

Shoppinghour issue 7 – Rights

– – –

Keep an eye on Silent City’s website for details on ‘Art and Activism’ – here.
Sally Mumby-Croft’s film Edgeland can be viewed here.
Cara Nahaul’s work can be seen at Jerwood Space until 26th June – details here.
Emily Whitebread is part of arts group X Presents – read about their projects here.
Read more about the developments at Shoppinghour on its website here.

Categories ,activism, ,Anthony Giddens, ,art, ,Art and Activism, ,Art Not Oil, ,Art Uncut, ,BP oil spill, ,Cara Nahaul, ,Climate Camp, ,East Marsh, ,economy, ,Edgeland, ,Emily Whitebread, ,environment, ,Free School, ,Hackney Marshes, ,jerwood space, ,Liberate Tate, ,London Olympics, ,Peter Eramian, ,Sally Mumby-Croft, ,Shoppinghour, ,Silent City, ,Simon Sherlock, ,Slade School Of Fine Art, ,society, ,The Politics of Climate Change, ,UN’s 2005 World Summit, ,Vacuum Cleaner, ,X presents, ,Yasushi Tanaka Gutiez

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Amelia’s Magazine | What art says about us: An interview with Silent City

The new publication from Silent City, page ‘Art and Activism’, visit web poses three key questions: Should art be separated from activism? Should art have a political value or function? Should art be radical, remedy critical, resistant or subversive? While Silent City has chosen activism as the focus of its examination, the key question is one that can be applied to any art discussion: What do we want art to say about ourselves?

“The political value of art will always be disputed, [but] it cannot be denied that there is a relationship,” says the Silent City trio. “Modern UK activism is incredibly creative, from the actions of Climate Camp to art collectives such as the Vacuum Cleaner. It may not be always overly political, but it is far from separate.” At all times in history, art has told a story about the politics of its time; just consider the identity of the people in the pictures, or the subtle ways in which the artist undermined the status quo.

Claire Roberts at the Silent City symposium. All photography by Sally Mumby-Croft.

Art and Activism
‘Art and Activism’, which Silent City hopes to publish later this year, was created from submissions following a call-out to several arts websites. The final choice was up to Sally Mumby-Croft, Cara Nahaul and Emily Whitebread, who had partnered with Peter Eramian, editor of Shoppinghour, for the project. Designed by Simon Sherlock, the finished product contains a combination of photojournalism, poems, essays and documentation of actions undertaken by the artists.

Last year Silent City presented a symposium (review) focusing mainly on climate change, but this latest publication shows the trio has a broader mandate.

“The original idea behind Silent City was to produce three separate exhibitions, exploring the three pillars of the UN’s 2005 World Summit outcome document: economic development, social development, and environmental protection,” says Silent City, pointing out how these three elements are interconnected. The symposium included references to social and economic consequences of climate change, meaning ’Art and Activism’ felt like a natural progression.


The big issues
As the issue of climate change moves from being a scientific concept to something that infiltrates everyday life, people increasingly feel like they want to do something. But where do we start with such an overwhelming issue?

“It’s overwhelming because it is a crisis that affects humanity as a whole,” says Silent City, referencing Anthony Giddens’ book ‘The Politics of Climate Change’. “He explains that this is precisely one of the reasons why we cannot face up to the consequences of climate change. Society is always pressed by more ‘immediate’ concerns – a situation which is taken advantage of by politicians and policy makers who continue to distance themselves from making radical and concrete gestures towards combating the issues.”

Having said that, the past year has seen activism come back on the agenda in a big way, with widespread protests against coalition cuts and the rise of activist groups.

“[This shows] activism trying to find alternative dialogues and use inspiring visual methods to find alternative solutions. The work of Art Not Oil and Liberate Tate in the face of the BP oil spill is immensely inspiring,” says Silent City, further listing the emergence of Art Uncut, the occupation of the Slade School of Fine Art and the development of the Free School.

Sally Mumby-Croft has created a short film, ‘Edgeland’, bringing attention to how parts of the Hackney Marshes are being sacrificed for the Olympics – but this is an issue where little can be done.

“I wanted to draw attention to the spaces so often ignored or perceived as desolate. [The East Marsh] is a space shared by many people for many different purposes and yet it has been decided that this land will be temporarily paved over to make way for a car park. A space teaming with football pitches and dog walkers will become a concrete block. I think that’s terribly sad, and I think it’s immensely important that this issue is discussed. [… ] Hopefully it will encourage viewers to question their relationship and use of public space.

Ways of seeing
Cara Nahaul, the founder of Silent City, is currently a painting fellow at Jerwood arts centre. Asked about the place of activism in a typical ‘fine arts’ practice like painting, Cara points out how she sees her practice as discussing her culture and background, and exploring it within a larger political meaning.

“I feel that audiences have moved away from the assumption of expecting ‘nice’ things from contemporary painting,” says Cara. “In attempting to discuss painting with video art, we tend to think of a hierarchical relationship in which the visual language of painting came first and cinema learnt from it. Today cinema has developed a strong and autonomous language whilst painting is often criticised for its inability to reflect on contemporary society. For me, this is where I find the freedom for my own work. Whilst I am unsure about a place for activism within painting, I believe that painting can still challenge our ways of seeing.”

Art is rarely created just to be something pretty to look at, but with each added layer of meaning it gets harder for the layman to ‘get it’. Even so, it may be wise to leave reading the leaflet till last, says Emily Whitebread, who is just finishing her degree in Art Writing.

“My personal response to writing about an exhibition or an artist is not to read too much beforehand. This works particularly well if I am unfamiliar with the artist or exhibition, as I prefer to absorb as much as possible from experiencing the work without external influences. I then incorporate these reflections in my writing and only when I feel satisfied with my initial response do I then look at external sources.”


The New Educators
Shoppinghour-editor Peter Eramian has also had a hand in selecting the works that make up ‘Art and Activism’. He describes Shoppinghour as “a hub from which we spawn other collaborative projects and events”, with an ambition to mobilise and inspire creativity in response to political, cultural and social issues. Still, Shoppinghour is not just a tool for political activism, says Peter, explaining how there is a theoretical foundation to Shoppinghour:

“Both Yasushi [Tanaka Gutiez, co-founding editor] and I are basing our doctoral research on understanding the New Educators of our time: individuals and collectives inspired by a heightened critical awareness of culture and the active employment all mediums, disciplines and practices in their critique of society and ruling ideologies. We’re fascinated by the reconstruction of the activist epistemology and its potential to subvert, and hope that through Shoppinghour others too will be fascinated with us.”

The Shoppinghour magazine is currently in the phase of significant expansion, including a new distribution deal that will see the magazine sold across London. Still, the quality of content will remain the first priority:

“We’re certainly not prepared to compromise the quality of our content. But then, neither are we cynical enough to believe that the ‘larger audience’ is somehow less sophisticated,” says Peter, adding that it may be equally complacent to reject the popular and only focus on the opposite, “that which is uncommunicative in its overabundant self-important ‘sophistication’.” So while Shoppinghour wants to tackle its subjects with “substance and gravity”, we can also expect an edge that is “playful and accessible, alternative and punchy”.

Shoppinghour issue 7 – Rights

– – –

Keep an eye on Silent City’s website for details on ‘Art and Activism’ – here.
Sally Mumby-Croft’s film Edgeland can be viewed here.
Cara Nahaul’s work can be seen at Jerwood Space until 26th June – details here.
Emily Whitebread is part of arts group X Presents – read about their projects here.
Read more about the developments at Shoppinghour on its website here.

Categories ,activism, ,Anthony Giddens, ,art, ,Art and Activism, ,Art Not Oil, ,Art Uncut, ,BP oil spill, ,Cara Nahaul, ,Climate Camp, ,East Marsh, ,economy, ,Edgeland, ,Emily Whitebread, ,environment, ,Free School, ,Hackney Marshes, ,jerwood space, ,Liberate Tate, ,London Olympics, ,Peter Eramian, ,Sally Mumby-Croft, ,Shoppinghour, ,Silent City, ,Simon Sherlock, ,Slade School Of Fine Art, ,society, ,The Politics of Climate Change, ,UN’s 2005 World Summit, ,Vacuum Cleaner, ,X presents, ,Yasushi Tanaka Gutiez

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Amelia’s Magazine | Jerwood Drawing Prize 2009-Last chance to see drawing’s finest

The Teach-In was held last week at the V&A and a packed hall of students, information pills faculty and staff  – as well as 22 institutions around the world tuning in to the live Internet broadcast – were there to respond to the critical issues of our time, dosage resource depletion, loss of biodiversity and especially the issue of climate change.

TIN

One of the main aims of the event was to focus on the role of the design community in facing these problems. The design community is well placed to offer solutions as well as educate people towards an ecological literacy, an understanding and awareness of how to work towards a sustainable future.
One of the main problems addressed is the need to communicate the climate science to people; often dry documents, facts and figures fall short on getting the audience engaged. It is up to designers to try to communicate this and engage the masses. Eco Mag No.1 ‘Future Scenarios’ designed by Eco Labs, a network of designers and visual artists committed to addressing environmental problems, is an example of how this can work. The magazine features an array of artists who respond to the different scenarios we face in a hotter climate, based on Mark Lynas’ book Six Degrees.

TIN2

Amelia’s Magazine is also publishing an Anthology later this year where we have worked with over 20 Illustrators to picture new and sustainable technologies, you can pre order your copy now. Engaging people through imaginative and visual medium is one way we have looked to help to develop an ecological literacy. Science is never going to be a way in for most people and these two methods are great examples of addressing the problem.

TIN3

The Teach-In hosted a range of inspiring speakers, Richard Hawkins a researcher at PIRC, that has developed major reports ‘Climate Safety’ and ‘zerocarbonbritain’, opened with a great slideshow illustrating the problems we face. Emma Dewberry talked on Nurturing Ecology in Universities and highlighted some student work like the streetlights that respond to the moons cycle designed by the Civil Twilight collective.

TIN4

The event also gave the audience the chance to get involved with activities and discussions, and it was great to see what ideas we could come up with as a group  in such a short space of time.

After a quick lunch, speakers from the Tactical Technology Collective gave a talk on their work. They offer guides, tools and training to help groups and organisations increase the impact of their campaigning. Obviously very committed, co-founders Stephanie Hankey and Marek Tuszynski offered an insight of some of the projects they have been working on. One they told us about that is particaularly worth mentioning is Information is Beautiful, a site that has a range of amazing illustrated charts and diagrams, go check it out, it has kept me engaged for the past half an hour.

TIN5

To end the day John Thackara, director of Door of Perception, gave us a whirlwind tour of his 3-step plan for Universities and the importance of adapting the curriculum to educate about the importance of sustainability. His idea that we should stop making stuff to fix other stuff was also really interesting. He illustrated his point by showing how things like mobile phones and electric or green cars require huge amounts of energy and materials that then render them completely unsustainable.

TIN6

Jody Boehnert, event organiser and also an integral part of Eco Labs, finished with a debate and a quick consensus decision making on the 2012 imperative, which can be viewed here. It sets the aims and points out what individuals and the educational institutions can do to tackle climate change.

People left discussing how to implement some of the ideas developed by the Teach-In, in particular, how Universities and workplaces can work towards some of the aims.

The day inspired another group of people that will hopefully continue to implement the imperative and spread the word in any exciting visual and imaginative ways they can think of!

Make sure you join the movement and visit the website and sign up to the 2012 Imperative.
jerwood drawing prize6
The Jerwood Drawing Prize is back again for another year and 2009’s hopefuls won’t disappoint. The longest running annual exhibition has been going since 1994 and is dedicated to promoting and rewarding excellence in contemporary drawing in the United Kingdom.

kate russo

Spaced over two rooms, sickness the first piece I come to is by artist Kate Russo, whose two works sit on top of one another. The first, “Dissolving Symmetrically” and the second, “The Key Is Repetition”. Both pieces are done on graph paper, working in the confines of grids. Amongst the mass of verticals and horizontals, Russo has rendered an extremely intricate network of minute coloured squares. Using coloured pencil and graphite she has systematically filled in alternate boxes to eventually build up a repeat pattern that you can only distinguish from a distance. It is clear that time and dedication has been taken to carry through this task she has given herself. It is interesting because the outcome of this drawing was predetermined by the system she chose to follow to colour in the squares. As I look closer the tiny dots almost look as if they’re vibrating, bouncing off one another like molecules in an atom. Or perhaps they even appear to be working ants, busying themselves around a nest. This is quite a satisfying piece of art to study, especially if you have a thing for mathematics, rules or systems.

kate russo2

The work of Catherine Nicholson is quite arresting as my gaze moves over to the next piece. “After The Storm” is in pen and ink on a large canvas. It is the most intrinsically rendered drawing of a collection of apparently decomposing branches, leaves and foliage. On closer inspection you see that Nicholson must have used an extremely fine nibbed pen to achieve the level detail, from the veins of the fern leaves, the cracking of the bark on the branches to the areas where the leaves are starting to decompose. At first this may appear to be a very well executed study of nature but the title makes it take on a new meaning. “After The Storm” makes you think that these are the debris of a natural disaster maybe. Where they all once growing peacefully somewhere in an undisturbed habitat? Perhaps now ripped from their surroundings and discarded in the dirt by the storm.

jerwood drawing prize2

Another two drawings by Japanese artist, Yumi Shimada are displayed to my far left. One sitting on top of the other, “Self Portrait 2008” is drawn in black ink on paper, showing an unknown formless being in the centre of each frame. The undeterminable origin of this creature, no visible facial features and its forthright position on the page is quite confrontational. The surface is made up of dark, black cross-hatching to give a sense of a thick, dense mass. The first drawing shows it slumped over the length of a small table, almost as if it can longer take it’s own weight. The second is far more disturbing, depicting the creature sending itself through a mangle and turning itself into a black, viscous liquid on the other side. The scene described is actually quite disturbing. It appears that it is performing this act of it’s own will. I am brought to mind the ‘stink-spirit’ character, Okusare, in Spirited Away – a sloth-like, sluggish being. I try to work out the connection between the two pictures. There is perhaps a sense of despair in the first, which may consequently lead to the macabre finality of the second. Shimada says that the portrait shows her squeezing negative thoughts through the mangle, somehow disposing of them. The world that this creature inhabits is not one I recognise. The influence from Japan and the Japanese fantasy genre is apparent. The ominous nature of it and connotations of the dark under-belly of somebody else’s imagination does not make for particularly comfortable viewing. At the same time, I have conflicting feelings that it is strangely compelling. A morbid curiosity to look at something you know will scare you.

jerwood drawing prize

The final artwork that I come to is also my favourite. The most reserved of all the pieces on show in size and yet the most monumental in its stature, Samuel Kelly’s “Tokyo Aero-abstraction 7” is quite awe-inspiring. If I had thought the previous drawings had a good eye for detail, it doesn’t compare to this. Drawn on a tiny square of paper, dimensions probably no more than 4cmx5cm, it appears to show an aerial view of a city or road system. Even standing at a normal distance away, it just looks like a grey block of colour. You are invited to stand much, much closer – my face is literally inches from it. Only then can you really see a tiny network of roads and buildings and appreciate its complexity. It is so tiny in fact, that I can only imagine that Kelly would not have been able to draw this with a pencil nib any finer than the point of a pin. I have to say, without delving any deeper into its underlying meaning, it is easily impressive enough as it is. The modest frame seems mammoth in comparison. It allows it so much space, emphasizing even more it’s miniscule proportions. There is something quite impressive about creating work on a microscopic level, like the artist who makes objects to fit on the head of a needle.

samuel kelly

There are many more notable examples of drawing on display today, even in a relatively small gallery space; you could spend hours soaking in the extraordinary talent showcased. This is the last week of the exhibition’s run, so head over soon to avoid disappointment.

Categories ,catherine nicholson, ,Jerwood drawing prize 2009, ,jerwood space, ,kate russo, ,mit senoj, ,samuel kelly, ,yumi shimada

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Amelia’s Magazine | Art listings November 16-22

ghost forest

Angela Palmer’s Ghost Forest

Mediumly-interesting fact: Nelson’s Column stands at 169 feet. The relevance of this morsel? Angela Palmer’s new installation of rainforest tree stumps in Trafalgar Square, sale which would once have stood as tall as the Column but now are rather lower to the ground, pill more roots than trunks. Palmer’s work is intended to highlight the destruction of the rainforest. Much better than the 4th plinth people. That didn’t quite work did it?

braun record player dieter rams

Dieter Rams @ The Design Museum

The Design Museum is excellent because it gets down to business: if you can’t sit on it or reasonably hang it on the wall, use it to build bridges or fill a teacup, you won’t find it there. This ethos of substance as well as style echoes the title of the current Dieter Rams exhibition, “Less and More”. He was Head of Design at Braun and every time you see something ergonomic and pleasing to look at on an appliance, like an iPhone for instance, you can see his influence. His ten design principles:

Good design is innovative.
Good design makes a product useful.
Good design is aesthetic.
Good design makes a product understandable.
Good design is unobtrusive.
Good design is honest.
Good design is long-lasting.
Good design is thorough down to the last detail.
Good design is environmentally friendly.
Good design is as little design as possible.

Hiro-RBS

Illustration by Hiromasa Iida

C Words: carbon, climate, capital, culture @ Arnolfini Gallery in Bristol

I’m really looking forward to the Design Competition event at C Words this weekend, hope you are too! The public judging and prize-giving of a design competition for a rebranded RBS as the Royal Bank of Sustainability is convened and co-judged by Amelia Gregory. Artists and designers were asked to create logos or posters communicating something ‘new, possible and radical’.

C Words is a two-month build-up to Copenhagen, using a multitude of free events, installations and discussions to generate interest and action on the topics of carbon emissions, our changing climate, capitalist structures and the culture wars. More about active engagement than simply mulling over points, PLATFORM, a group of artist-activists, aims to question how culture will grow up in the context of a low-carbon future.

bob and roberta smith

Bob & Robert Smith @ Beaconsfield

Bob and Roberta Smith, who is actually one person, will be showing their/his works to celebrate and commiserate the end of their/his residency at the roomy “Factory Outlet” space at Beaconsfield in Vauxhall. Smith is known for painting signs and there are references to the previous usage of the space, as a “ragged school” for poor little boys and girls to learn to read, in the use of text.

cornelia parker

Passing Thoughts and Making Plans @ Jerwood Space

This exhibition at the Jerwood Space takes the tack that seeing the process behind an artwork is interesting in itself. This isn’t always the case – looking at the sketches for a work do sometimes make you grateful for the myriad choices the artist had to make to get it to the end result but it can also be a bit boring. This exhibition focuses (ha!) on artists who use photography as part of their process and escapes boredom by including interesting artists such as Cornelia Parker and Rachel Whiteread, whose work you can imagine hinges on perfect recollection of spaces. I am persuaded about this exhibition, but I will never be persuaded about “alternative versions” of songs at the end of special edition albums.

Categories ,Angela Palmer, ,arnolfini, ,Beaconsfield, ,Bob and Roberta Smith, ,C words, ,Copenhagen art, ,Cornelia Parker, ,Design Museum, ,Dieter Rams, ,Ghost Forest, ,jerwood space, ,Passing Thoughts and Making Plans, ,platform, ,Trafalgar Square

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Amelia’s Magazine | An interview with a New Contemporary: Alice Browne

Long Story Short, erectile look 2010

Since graduating from Wimbledon College of Art in 2009, Alice Browne has exhibited her paintings at Foremans Smokehouse Gallery’s Divergence exhibition and opened her shared studio to the public during the recent installament of Hackney Wicked. In 2010 Alice Browne was selected to participate in Bloomberg New Contempories, which is currently at the ICA. Earlier this week, Amelia’s Magazine had the pleasure of interviewing Alice Browne.

How did it feel to be selected for New Contemporaries?

Very exciting, and it really boosted my confidence in the studio. It has been great to meet other artists through the show.

What attracts you to the medium of paint?

I think, I’ve always found that paint was the medium which allowed me, the most experimentation. It involves more collaboration than mastering.

Production Still, 2010

What were you first experiences of art or if you had to, which artist(s) have had the greatest effect on your work to date?

Early experiences of art included the Greek and Roman pottery and sculpture in the Ashmolean and treasure trove of oddities at the Pitt Rivers in Oxford. I was introduced to painting through trips to the National Gallery. I was very influenced by an exhibition of Max Beckmann’s work which I saw in New York when I was at school. Artists who have had the greatest effect on my work include Francis Bacon, Pieter Claesz, Philip Guston and Prunella Clough.

Club, 2009

What are the financial implications after the decision has been made to start out as a painter?

It’s a constant weighing up of time, really. I need a studio – so that increases costs, so I need to work more to pay for it, but have less time to spend in there! Eventually I hope it will pay for itself.

Do you work in a gallery or maintain a part time job?

I work at Jerwood Space part time and worked at the National Gallery until recently.

The paintings submitted to Bloomberg New Contemporaries will almost be a year old, by the time the exhibition opens, what are your thoughts and these paintings now and what are their relation to the works you are producing today?

Some of the paintings in the show were made at the end of my degree and represent the focus of a very intense studio-time, so they are quite important and I think about them often. Pink Black Pink is one of the most confident paintings I’ve made. I’m very much still exploring the grounds in which they operate, though I understand it better now.

Pink Black Pink, 2009

What’s an average day in your studio?

I try to keep lots of paintings on the go (10-20 or more) so that I don’t get bogged down in the appearance of any particular painting. I expect a fair few to fail- which usually comes from overworking. I tend to go from one to the next, putting things away after I’ve worked on them. The less confident I feel, the longer I spend on each so on a really good day I could work on up to 10 paintings.

What type of paint (oil, acrylic) do you use and why?

I mostly use oil as it is so flexible and sometimes un-predictable. I use a lot of transparent colours which oil is very suited for. I do also use acrylic but usually for the more predictable priming and under-painting. If I’m not painting, my favourite medium is colouring pencils and paper.

Hellion II, 2009

Your statement discusses your paintings relation to “historical notions of depth relating to the flat painting surface and depth that we relate to visual experience” was there a particular painting or text which sparked your playful exploration?

My exploration was really fuelled by an interest in the range of ways that painters have represented visual space across history; from Masaccio to the trompe l’oeil of Gijsbrechts and still life painters such as Claesz, Cotan and Morandi, to de Hooch and Vermeer to Francis Bacon, Mary Heilmann and Phoebe Unwin.

I’m also interested in the way that photography and moving image represents visual space and how it changes our first hand experience of looking.

Day In, 2010

What was your relation to painting objects during your time at Wimbledon?

At Wimbledon I made quite a few paintings and photographs which described still life objects. Eventually I found that the objects got in the way; they were always charged with associations. I wanted to explore the space of the canvas or photograph rather than create an image.

How do you name your paintings?

I start with a sort of word association game and go from there.

Obstacle No. 2 2010

What does the sub-title of the exhibition “painting between representation and abstraction” mean to you?

For a while I’ve felt uncomfortable with using these terms – I don’t find it so useful to be defined as ‘representational’ or ‘abstract’, so being somewhere in-between sounds about right.

Had you met any artists before deciding to be one?

A family friend is a photographer who works in Hong Kong, taking pictures of the landscape. I always thought it was amazing that anyone could do something so beautiful for a job.

What was it like to study at Wimbledon?

Very supportive with a real sense of community. I loved being in a green and quite residential part of London.

Watch Me, 2010

Favourite contemporary painters?

Lots! I enjoyed Caragh Thuring’s recent exhibition at Thomas Dane gallery and Robert Holyheads show at Karsten Schubert.

How did you become to be involved in Transition Gallery’s exhibition Fade Away?

Alli Sharma curated the exhibition. Its great to be included in such an amazing selection of paintings.

Alice Browne’s paintings will be on display as part of Bloomberg New Contemporaries 2010 at the ICA until January 23rd 2011 and Transition Gallery’s Group Show: Fade Away until the 24th December, 2010.

Categories ,A Foundation, ,Alice Browne, ,Fade Away, ,ica, ,jerwood space, ,National gallery, ,New Contemporaries, ,oil, ,painting, ,Still Life, ,Transition Gallery, ,Wimbledon college of art

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