Issue.05 Feb / March 2006
She’s gone off on another
tangent
creating a small, independent art ‘zine.
tangent is a bi-monthly FREE publication produced with the intention of informing and amusing in bite-size chunks. Quick ‘n Dirty, Black ‘n White, each issue contains contributions by and features on artists as well as arts listings in the South London area and beyond. To get the skinny on how to submit writing and/or artwork contact: Karen D’Amico via email: tangent.mail@mac.com
Stockists In London: Bearspace ICA Bookshop The Residence Seven Seven Contemporary The South London Gallery Space Station 65 Studio Voltaire Transition Gallery In Nottingham: Moot Gallery Further Afield: FluxFactory, New York Sticky, Melbourne Torpedo, Oslo Zeke’s Gallery, Montreal Events News and PDFs available on the website:
www.tangent.org.uk all content © karen d’amico 2006 unless otherwise noted. all contributing artists’ work in the form of text and /or images is used by permission and is copyright by the artist. no stealing allowed; hey, make up your own ideas FFS! after all, we have.
Zavier Ellis; ‘Hell is Other People II’ Oil, pencil & collage on aluminium 8x12cm 2005
inside
(in no particular order)
[observe] Stand Assembly www.standassembly.org Nottingham (UK)
Flux Factory New York (USA)
www. fluxfactory.org
2B1 Deptford (UK)
Tom Sachs
www. tomsachs.org
Zavier Ellis
www. zavierellis.com
Asked & Answered
www. zavierellis.com
Richard Ballinger
ballinger@blue-earth.co.uk
Daryl Waller
www. winterdrawings.com
www. 2b1studio.co.uk
[reflect]
Thoughts on a Grey Day
Cover image: Karen D’Amico; ‘Burst’ Digital photograph, dimensions variable 2006
[inform] Arts Listings
www. karendamico.com
so, how badly do you want it? (to be an artist, that is.) That’s the question, really. What I’m interested in at the moment is what motivates us. How do we maintain our existence with a sense of credibility and accomplishment in contemporary culture? What strategies are being used in order to get work out there and seen? What do we sacrifice in order to do that? What’s most important to us? Is it having a show, selling work, having a dealer, being snapped up by a gallery, fame, recognition, the ‘making’ process, completing a body of work, completing a piece of work, being able to maintain a studio, having peer recognition, getting arts council funding...what? What drives and propels us, in the face of seemingly insurmountable odds, to find ways to maintain an art practice? And here’s another question: in terms of contemporary art practice, to what do we attribute notions of ‘value’ and ‘success’? With all this in mind, I spent the past couple months seeking out and visiting a variety of artists and spaces in an attempt to see what people are doing and thinking. Many enlightening and challenging discussions ensued, and as the process began to unfold, it became pretty clear that ‘success’ is a relative term. Whether the parameters are on a grandiose or minuscule scale, though, I think it’s important to know what it means to you personally. Choosing to be a contemporary artist at this point in history is an adventure. Sure, the best bit is, “There Are No Rules!” But the flip side of that is, “There Are No Rules!” It’s a
double edged sword, particularly if one has ambitions of making a living wage from one’s work. I think you have to Want It and you have to Want It Badly. For most of us, it’s a balancing act of making work, finding ways to get it seen, seeking out others that are interested in what we’re doing and somewhere in between that finding ways to pay the rent and fund our projects, which is not usually synonymous with the aforementioned. Unsurprising, then, that many of us have ‘day jobs’ in order to survive. Unless one is discovered by the likes of Mr. Saatchi, it is a constant struggle to balance these issues, and even if one is fortunate enough to be snapped up by a collector, it’s no guarantee of an endless gravy train. That said, it can be a hell of an opportunity, and most certainly helps. But if I know nothing else, I do know this: the only way to make any of those things happen is to, well, find ways to Make Them Happen. Often that means creating your own space or show or event. It means being self-motivated and maybe even a bit pushy (but in the nicest possible way, of course.) It means getting your butt out there to private views and events, seeing others’ work, talking with other artists, forging connections and finding common interests. For most of us, it means working at a ‘day job’ in order to fund our existence. But probably the most important thing is that it means having an enormous amount of self-belief and determination, because without that, ain’t nothin’ gonna happen.
richard ballinger ballinger@blue-earth.co.uk
The day I hung up my paint brushes, the same day I deconstructed a felt- tip pen A feeling of eureka and a sense of originality crept in, bringing a turning point in my own art work. Now I take my hand to any form of construction and installation, sometimes reverting back to a painterly out come. Other works are like invented puzzles, giving a overall impression of controlled chaos. The infrastructure is deconstructed and reconstructed to create an associated viewing. Generally the starting point of these ideas is topical, using education and politics as a debated format. The creative process softens the outcome with a sense of humour and irony. Top: One-way the only way 5000 toy cars + plastic models; 28’ x 14’ Bottom: x spot Acrylic poured in containers - construction; 60 x 60cm
The game Dominos & acrylic paint - construction; 78 x 70 cm
West Wild West’ Coloured pencils construction
In flight Sliced aircraft collectors card reassembled; 145 x 80 cm
5 damn good reasons!
(reflections on a recent conversation with Joy Garnett) 1. Art Stars raise the profile of contemporary art practice. This is usually done by making a piece of work that is Controversial and that Everyone Loves to Hate. Think of Hirst’s shark, Emin’s bed, and just about anything by the Chapman Brothers or Gilbert and George. 2. The give the rest of us permission to be Loud, Mouthy and Flamboyant should we so choose. Hey, if Tracey can wear Westwood and party with Paris Hilton, Grayson can wear a frock, and Gilbert and George can make eccentricity into an artform, why can’t you? 3. They also give the rest of us permission to be low key if we so choose. This is because they do enough for all of us in that ‘I’m Mad and I’m Bad and I’m Famous!’ department. Quite a relief, really. 4. They shake things up a bit. More often than not, this creates a dialogue about Issues That Matter and regardless of whether the public at large admits it, their work present us with an opportunity to Think About Stuff. 5. They are a reflection of the times we live in. Like MovieStars, PopStars and SportsStars, ArtStars often make ridiculous amounts of money. This, in turn, attributes economic value to art. This, in turn, means someone might actually buy that installation of yours at some point in time. This, in turn, means you have hope in the possibility of quitting your crap job and Doing Art Fulltime. And for most of us, isn’t that kind of the goal here?
asked & answered zavier ellis
when did you first know you wanted to be an artist? The first moment I remember was responding to some pencil drawings by my mother when I was very young. They were really sensitive and delicate, and I was in awe of how something like that could be realized. So I guess that’s when I realized I was really sensitive towards art, whether conscious or not. And from thereon I was always just really absorbed in art classes throughout my childhood and later education.
favourite material? I don’t have a favourite medium; I’m against any restrictions. I couldn’t make a choice between a Turrell ceiling cutout, a Picasso self-portrait, a Nauman sound installation and a McCarthy performance. For my own work I tend to work two dimensionally and the works are ‘paintings’ or ‘drawings’ on paper, board, aluminium, whatever seems appropriate for the idea. I have always been interested by the physicality of materials and supports. This currently involves a very expressive use of paint and collage of found posters and ephemera like pieces of Forever discarded boards, objects and street House paint on board 275x200cm ; 2005 signs. I’m currently working on a show based on the idea of ‘scale’, where I plan to make a broken, outsized painting, so I guess my ideas are progressing towards a more object based, sculptural type of painting.
Any heroes or villians? Picasso, Hitler, Christians. You can choose which are which.
Can you remember your first piece of work? Well, I remember the first painting that I made that I felt was fully resolved and achieved its full potential. It also unlocked a lot of possibilities for me. It was an expressively worked self portrait in oil on canvas, yellow background, domestic size, I was about 18. I still have it, its hanging in my mother and grandmother’s house in Windsor. I still rate it as a painting
10
Smartest thing you ever did in terms of your art practice? Doing an MA at City & Guilds.
Worst mistake in terms of your art practice? I have a feeling that’s still to come.
Best / worst bit about being an artist? Best: romanticism, idealism, extravagance, expression, freedom, other artists. Worst: romanticism, idealism, extravagance, expression, freedom, other artists.
What inspires? The street, signs, entropy, travelling, museums, music, words, books, other artists.
What shows have you seen recently? Martin Kippenberger Dan Flavin James Jessop & Stella Vine
Any words of wisdom to emerging artists? Be authentic; be self-critical; do an MA when the time is right; see shows; read lots; go to openings; don’t think you’re the bomb until you’ve proved it; work out your balance between critical and commercial; work out your territory; keep on moving.
Top left: Murder in the Cathedral Oil, house paint & found material on board 275x200cm 2005 Top right: No Exit Oil, house paint & spray paint on board 275x200cm 2005 Bottom: Yes Oil on aluminium 8x12cm 2005
11
zavier ellis www.zavierellis.com (launching soon) www.re-title.com/artists/Zavier-Ellis.asp www.purelypainting.com (launching soon)
Lord of Life Acrylic, house paint & spray paint on board 200x200cm 2006
12
Top and Bottom: Installation Views
13
Artist Run Initiatives: three spaces January and early February saw me having a gander at three artist run initiatives, Stand Assembly in Snienton, Nottingham, Flux Factory in Long Island City, Queens, New York and 2b1 in Deptford, SE London. Quite naturally, each of these spaces is unique, with its own personality, individuality and intention, but they are all absolutely alike in that they each evolved out of a need to create an affordable, independently run space in which to make and show work.
A bit about the spaces Stand Assembly, Nottingham www.standassembly.org Begun in 2004 by a group of recent art school graduates, Stand Assembly has successfully injected itself into the Midlands art scene, causing quite a bit of interest in the process. Located in an old factory building in Snienton, its open plan design provides affordable studio space to 22 artists. Since its inception Stand Assembly has made its presence known, gaining publicity early on through the BBC and The
14
Stand Assembly
Moot Gallery
15
Artists Information Company, which recently awarded them a NAN bursary. In the short time it’s been around, the studio has held events and shows, most notably their launch event, ‘Somewhere To Go’, and will be participating in Sideshow, an upcoming, artist-led initiative developed to coincide with The British Art Show 6 that will be coming to Nottingham between 21 April - 25 June 2006. Alongside the studios and housed in the same building is Moot Gallery, a recently opened artist-led space. Though initiated and run by several of Stand Assembly’s artists, it is an independent entity whose ethos is to create opportunities for both national and international artists to make and show work, as well as provide the local area with a ‘sustained artist led resource’. Flux Factory, Long Island City, New York www.fluxfactory.org Originally begun in 1994 as a collective living space in an old spice factory in Williamsburg, New York City, Flux evolved over time into a site for art events and performances of all kinds. Having doubled in size in terms of people, it now houses 14 artists and moved to its present location in Long Island City, Queens in 2002. As with Stand Assembly and 2b1, Flux is located in an industrial warehouse-type building. In 16
Flux Factory
17
addition to the studio / living space, it houses an adjoining gallery space which, over the years, has been host to a series of well attended shows and events. Unlike the open plan Stand Assembly, each artist has their own individual space. There is also a workshop and an IT space, complete with high speed internet. Other common areas include a well equipped kitchen, living room/library, bathroom and laundry facilities. The running of the space itself is a collective affair and everything is shared, from cooking to shopping to cleaning the loo. 2b1 Studios, Deptford, London www.2b1studio.co.uk The smallest of the three spaces, 2b1 is an independent, artist-run, self - funded collective of six people. As with Flux and Stand Assembly, they were brought together by a need to establish an affordable, independent space in which to make work. One of the things that really impressed was the fact that this small group of people bothered to get together and produce a proper catalogue to represent themselves for the recent Deptford X and Arts Unwrapped events. The other was the fact that they found ways to successfully engage with their local art community. Unlike the other two, 2b1 doesn’t have a gallery space, and instead has forged connections with several
18
2b1 Studios
19
other art initiatives in the area in addition to holding events in the studio as well as other venues.
the odd observation...
A common thread running throughout each of these spaces was enthusiasm - for each others’ work within the respective groups, for the furthering of the aims and objectives of their studios and for promoting good, worthwhile contemporary art practice in general. It was inspiring and motivating to see how each of the three has managed to negotiate and sustain a sense of commitment and purpose with very little in the way of economic resources or support. A generosity of knowledge, skill and spirit is another common denominator. Within each of these spaces, there resides a myriad of skills and talents, ranging from administrative to PR to DIY to specialised technical know-how, with a whole lot in between. The ability and willingness to combine resources and effort, along with focus, dedication to an idea and just plain hard work has produced three vital, interesting and productive spaces. I only met a small representation of artists in each group but in walking through the spaces it was clear that they were well used and people were engaged with their work. What I saw was interesting and innovative and apart from the normal roller coaster ride we all seem 20
to experience as artists (you know, the “Yes, this is GREAT!” “Shit, this is CRAP!” thing we do), it appeared that people were having some fun with their work. I liked that a lot. Even better, each visit made me want to run back to my own studio and get stuck in. During my visits, many interesting discussions ensued and one of the themes that was touched on was that of forging cross-regional links, both nationally and internationally. From a UK perspective, there appears to be quite a lot more of this going on outside of the M25 than in, or so it seems to me. To be fair, I believe it’s partly to do with the fact that there is just so much going on in the Capital itself, and from what I observed, it’s the same in New York City (which everyone, of course, knows is the Real capital of America). The Deptford arts community, where 2B1 is based, is a case in point: It’s a bit off the Hoxton Trail, and yet within this small geographical area there are a number of studio groups, galleries and arts initiatives that have much to offer not only each other but also a wider audience. But just getting to that one piece of London to see a smattering of shows or events can prove to be difficult due to time constraints, never mind getting up and down the bloody country.
21
On a positive, the recent Arts Unwrapped event this past December was a good initiative. As a sort of Art Trail, open studios and related events were held concurrently all over London over a few weeks, and although it was perhaps impossible to attend everything, there were lots of opportunities for artists all over South London to connect, collaborate and participate in events. I do think there is still a tendency to ignore or overlook the many thriving arts communities further afield. There is still a feeling of ‘London’ and ‘Everywhere Else’ (i.e., Nottingham), just as in New York there is ‘NYC’ and ‘Everywhere Else’ (i.e., Queens), however arrogant that may be. I’d like to think that over time, spaces like Stand Assembly, Flux and others like them will be responsible for diminishing that attitude, as there is a lot to be gained from developing relationships both within and outside of one’s local arts community. The bottom line, though, is this: if you want something to happen, you have to find ways to make it happen, and the people in these three spaces have done just that.
22
tom sachs www.tomsachs.org
It isn’t every day I meet someone I respect and admire who also happens to be a bit famous, so when the opportunity arose to visit Tom Sachs in his studio, well, was I gonna pass it by? Not bloody likely. Alas, in the short time I was there, I think I managed to make a complete arse of myself. It was sort of like the time I met Ryan Giggs at JD Sports in Croydon back in the ‘90’s around the time they won the treble, only that time I was absolutely speechless, big stupid grin on my face, unable to utter even a simple ‘hello’ as I shook his hand, and this time I couldn’t shut myself up. It was like a bad dream, hearing myself babbling on, sounding vaguely incoherent and somewhat syncophantic. Pathetic, really. Like any good New Yorker, there’s an air of impatience and urgency about Sachs and I rather suspect he doesn’t suffer fools gladly (though he was quite gracious with moi.) and upon reflection, that experience taught me a little something about perception and self-belief. The thing was, from the moment we met, this guy took me at face value, as a fellow artist, and was not at all interested in hearing about how much I admired him and his work. If anything, the idea of ‘fan-dom’ appeared to be a complete turn off to him. Ahh, well. Hindsight is a wonderful thing.
Taking a brief pause: Sacks and assistants Brent and Jeremy in his studio, January, 2006 23
We talked briefly about the notion of success and one of the things he said was that he felt that success was being able to make work, and to be able to continue to make work. More tellingly though, was the comment that he had always considered himself successful, even before he became known, because he had always been able to find a way to make work. There’s a lot to be said for that. The notion of bricolage being a cornerstone of his practice, Sachs invents, modifies and builds a lot of his tools in order to realise his ideas. The studio itself looks like a DIY Mad Scientist’s dream - loads of stuff everywhere (the odd Hello Kitty piece perched on a shelf notwitstanding) and though it looked terribly chaotic due to the sheer volume, everyone seemed to know where everything was and what they were supposed to be doing. And god, were they busy. It was a hive of activity. I came away with two lasting impressions. The first was the degree of commitment this man has to his art practice. He is absolutely driven, consumed by and immersed in what he does. He loves what he does, full stop. The second was the air of mutual respect between Tom and his assistants, four of whom I met when I was there. Sachs showed a genuine interest in and support of, other people’s ideas and their own work. There wasn’t any La-DeDa Artiste Attitude, no ‘Oi, minion, get me that hammer!’ Instead, there was a lot of enthusiasm from everyone involved for the project at hand. Everyone was focused, committed and part of the bigger picture. In the course of conversation with these people it was apparent that everyone valued what the other had to offer. Unsurprisingly, really: it was All About The Work.
24
“As an artist, how do you define success?” Tangent posed this question to a range of artists in an attempt to See What People Think. Here then, in no particular order, are their responses, along with weblinks where appropriate: Daryl Waller, London www.winterdrawings.com
When people compliment me on my work it always feels as if they’re talking to someone else. I tend to feel as if I’m part of the audience instead of the person who has actually created the work. I suppose it’s wrong to say it all feels like divine intervention because I’m an atheist. But the whole process of drawing is not something that feels of this world to me.
The thing that makes being an artist so worthwhile to me is fostering friendships and encouraging independence, keeping things creative for myself and everyone else. This is the most important thing to me, far more than getting popular or being recognized as an artist. I’m lucky that my chosen profession happens to give me a certain amount of freedom in my life, something which I hold very dear.
A good day at the drawing board makes me feel wildly successful. I don’t need an audience, it’s just me and my pencil - friends for life.
Richard Ballinger, Cornwall
Always find a need to push the boundaries, search and experiment with ideas and most importantly never stop producing.
Tom Sachs, New York www.tomsachs.org
Andrew Collard, London www.2b1studio.co.uk
Success is love.
Obvious really: http://en.wikipedia.org/wiki/Jean_Jacoby
Success is freedom!
Nicola Morrison, London
Henry Ward , London www.2b1studio.co.uk
Marja-Leena-Rathje, Vancouver www.marja-leena-rathje.info/main.php
I think that success is defined by the elation momentarily felt upon completion of a painting. Despite the knowledge that the same painting, revisited the next morning, will be a disappointment. I feel most successful in that ‘four in the morning, everything just came together, this is what painting is about’ moments.
This is a surprisingly tough question! As a mature established? artist, in terms of my own art practice, I feel my work is a success in achieving my goals of creating work that satisfies me, that I think is good, and that is continually growing and developing in technique and in thought. I think most people who know my work seem to agree. Yet, I would also say in terms of fame or fortune, it’s not successful. I haven’t worked very hard at marketing, just not my thing! I’m resigned to that and fairly happy anyway.
Kathy Norrish, London
I suppose I’ve never experienced success on a grand or even moderate scale. For me success is that feeling of wanting to leap out of bed in the morning to look at what I’ve created the day before. This doesn’t happen very often because as we all know we’re rarely satisfied with what we do. However there have been moments where I’ve stood in front of something I’ve painted or drawn and wondered how it is that I’m able to create such things. It puts a spring in my step.
Ivan Pope, Brighton http://blog.ivanpope.com/ Oh, that imposter. Success is making some more work. Deep and close to me, it sometimes just ‘is’ and it makes me very happy. Further out it’s an aim to change everything.
25
Carol Es, Los Angeles www.esart.com/blog/
Carlos Cortes, London www.cpartists.com/carloscortes/
Defining success for me really depends on the particular day because I am mostly an unstable and fickle basket case.
For me success as an artist means to be able to create something that communicates, something that leaves an impression, that can make people act or feel in a different way. It would be a great success if this can be achieved as something that will last and will relate to other people in the future.
Today I was rejected from a gallery in Brooklyn that I had really high hopes for, so at the moment I feel depressed and as if I am going to throw up at any moment. It’s days like today when I feel like nothing ever happens for me, but deep down I know this is not actually true. Like success, the shitty moments too shall pass.
The “Venus of Willendorf” could be a good example. I look at that primitive sculpture and I think I can understand something of the world in which those human beings lived, I feel that we are still pretty much the same, thousands of years later. And this despite of the author’s name being unknown.
There are many times when I feel accomplished and successful, and that is probably when I am most happy with the art I’ve produced. Satisfaction (for me, synonymous with success) is not something I feel most of the time, but I have had my share. Success, satisfaction, Failure, and nausea are all transient feelings, because what work I feel excited about today can be an embarrassment tomorrow (See? fickle!). I think the trick is to embrace the temporary moments of self-worth and fulfillingness when they come as if they are going to last an eternity -- since there really is no such thing as the past or the future. Personally, that’s a concept I have a very hard time mastering when it comes to success, as failure seems to last a lifetime. Now if I can only switch the negative for the positive.... I Think I need much more therapy than previously thought.
Money and your name featured in a magazine are not necessarily the measure of your artistic talent, nor should they be the main reason behind any creative enterprise.
Karen D’Amico, London www.karendamico.com When I go home feeling pleased and satisfied with what I’ve done after a day in the studio, I feel wildly successful because there’s deep satisfaction in that. The other stuff, getting my work out and seen for instance, feels successful to me, though I see it as more a form of validation, and it’s fleeting. But I think validation is important because it encourages. Ultimately, I make stuff in order to somehow communicate an idea or thought in a visual way, so when that happens, when someone ‘gets’ it, I think that’s the best success.
Russell Herron, London www.re-title.com/artists/russell-herron.asp I used to think I had an answer to this, but, now, I don’t know. It seems to me, now, that I don’t think of things in terms of success or failure anymore: everything is just what it is.
Eleanor Whitney, New York www.riffrag.org/ To me success means being able to make work how you want to make it and having that work able to reach the audience you want it to, however broad or small. I consider a project successful when it inspires or touches someone enough for them to share with me their thoughts on the project and pushes them to think or create in a new direction.
So, the short answer to your question is, I don’t define it at all.
Kristofer Paetau, Berlin www.paetau.com In purely artistic terms I would define success with longevity (of the artistic work) and influence (of the work and the artist on coming generations).
Alex Stevenson, Nottingham www.alexanderstevenson.com/
Jonathan Waring, Nottingham www.standassembly.org
To have an idea that other people take seriously(ie. not just your mates), that they will support because they know that your competence matches your creativity and enthusiasm. Generally that you feel appreciated.
Success: the accomplishment of an aim or purpose.
Annie Kevans, London www.anniekevans.com
Owen Eric Wood, Montreal
Success is personally defined by one’s goals. For me, I have a number of goals for my art practice - to complete a project, to generate an idea, to be accepted into a show, to have my own show, to sell, to sell more, to express a message to someone who sees my work, etc. The journey consists of a series of isolated successes. I think what’s most important for me is the satisfaction that someone was touched by something I made - preferably a non-artist. This happened in the Artivistic festival when a woman told me how she could relate to my project because of its depiction of a disconnected couple, and more so a gay couple, as her finance left her to be with a man.
Success for me means regularly producing new work that doesn’t make you want to run away and weep with shame.
Brent Owens, New York www.brentowens.net Success...Well, I don’t know yet. I think perhaps it’s best defined as being able to do what you want with your life; being in the “right” place. Sometimes that means serving others and I suppose sometimes it means serving yourself. I think it’s different for everyone. Money is fine, but so is anything else that allows you to do as you feel that you should. I know that answer is nebulous, but I think the notion of success is as well.
26
phosphorescent painting, invited people to stand against it while a spotlight charged the canvas. When the light went off and they stepped away their shadows were left in a glowing pale green colour field. At the private view this exploration became a hilarious rumpus with a fairground feel to it. When I see light in someone’s eyes while they’re asking me about a piece...then I know I’ve cracked it!
My struggle lies more with the use of the term “artist,” which I still do not use to describe myself, instead opting for “I make art.” In addition to your question, I think it would be equally interesting to ask, “as an artist, how do you define failure?” Again, I think this is personal, so I can only answer for myself. Failure occurs when someone looks at one of my projects and they fail to understand the concept I’m trying to communicate. I feel that if a viewer cannot understand a work of art, then the artist has failed, taking into account of course that the viewer must make a legitimate effort to be engaged and that no one is likely to interpret every specific intention of the artist. I have failed many times, such as with a video/sculpture installation about laughter that included the voice of my friend who was talking to me to make me laugh. The mistake was that I didn’t originally intend for his voice to be included, and therefore didn’t incorporate him into the piece visually. The result was that his voice was interpreted as foreboding, controlling and dominating, which is opposite of my intent.
Nigel Cox, London www.nigelcox.com I view success as a multifaceted beast that is never sated. It consists of various elements and stages of growth in what one might view as success. These include Artistic, Critical, Commercial and Financial success. The beast never stops growing and always demands more from the artist. Is today’s success truly success? For me the answer is yes and no. Yes I have achieved elements of what I perceived as success and no it is not my ultimate success but purely a step in my development that lead to my next set of goals.
Failures are important though. Some people say we learn more from being told what we do well, by I feel I learn the most when I fall flat on my face. I guess it depends on how secure you are with your insecurities.
I believe that success is rarely ultimately achieved and only glimpsed in an evolving journey. My psyche includes a mixture of curiosity, confidence and doubt, which lead to experimentation and development, opening new doors and presenting new goals.
Sarah Kent, London
I like that question because it’s the one that brings the essence of practice into focus...
Today, my goals for success are high . . . to be a renowned artist selling technically amazing, critically acclaimed, paintings at huge prices and never keeping up with demand. However if/when I achieve this I am certain that my new goals and their related success will be harder to achieve, further away and most unexpected.
For me the big success is felt when I see and hear people engaging with something that I’ve made... questioning it...looking for its meaning...testing it. Some of my recent work has been interactive and this makes its success that bit more visible to me. One piece, a large
Failure and Success Or the keys to failing publicly and spectacularly and also to succeeding privately and in a discreet manner
Carlos Cortes; ‘Failure and Success’ Found objects, acrylic paint, board and accompanying text; 2002
27
Lars Vilhelmsen, Denmark www.larsvilhelmsen.org/
Success Office Free conversation and counselling - Success office, co-operation 2001 The 31st of December – the last day of the year. Free conversation office, piece of advice how you can have a success in your life.
Elaine L Arkell, London
Amanda Dumas-Hernandes www.amandadumas.com
(letter to John XXXXXXX): Dear John
My notion of success is constantly changing...with every mountain I climb to the top of there is a larger one in the horizon. My present view of success or what I am currently aspiring too is a big fat gallery solo show in NYC and/or London...major musuem acquisitions...features in art mags. My philosophy is aim high and maybe I’ll hit something...hopefully not myself.
EARTH,AIR WIND AND FIRE- ENERGY I spoke to you last week about a framed painting (5’x4’) that I was encouraged to take into Templar House, High Holborn, HQ of London Electricity PLC. At that time I was still an employee at City Road, EC1, in Customer Services, Residential Billing, I would think this was some time in 1992/3. I was assured the painting was to be hung in Templar House. It was painted in acrylics, in a style reminiscent of Graham Sutherland, both in gesture and handling.
Libby Rosof, Philedelphia www.fallonandrosof.com I collaborate with Roberta Fallon on all art work, giving small bits of our art away in person on the street or via email or the internet).
In the meantime I have studied and graduated from the highly prestigious Art Institution, Central St Martins College of Art and Design, London, WC1., now part of the London Arts University.
Success is the moment when someone we give something to responds with pleasure, and pauses in their busy day to appreciate our gesture and our work.
In spite of disability, I am a professional artist, I make and regularly my show art. I have been asked to contribute work to a forthcoming show in New York.
Given what our art is, money is a non-issue. But we love when it does arrive; it does feel like some sort of affirmation.
I have work in private collection both in the U.K. and abroad. I would like to locate this painting as I believe it remains an interesting part of my practice and will have accrued some value. Looking forward ! to hearing from you.
28
daryl waller www.winterdrawings.com
Live at the Witch Trials © Daryl Waller
“Everything is Healing Nicely” new work by Daryl Waller at the Coningsby Gallery 25 March - 1 April Private View: Tuesday 28th March www.coningsbygallery.com
29
Thoughts on a Grey Day what currency do you trade in? An ongoing theme in my life seems to be Explaining What I Do. I guess it’s a good thing I went to art college because they were very big on teaching us the importance of Explaining Our Ideas. In retrospect, of course, I see the value in having had one’s ideas interrogated and scrutinised to the nth degree, though it has to be said, it made me more than a little crazy at the time. But it’s important to know what you’re about and to be able to string a coherent sentence or two together when talking about your work, especially to someone who isn’t involved in the arts. Now it seems that’s the easy bit. What I find more problematic is the money question. It goes something like this: ‘What do you do?’ ‘I’m an artist.’ ‘Ohh, are you a painter?’ (Why, in this day and age, do so many people just assume that if someone’s an artist they must automatically be a painter?) This is usually answered in one of two ways - the short version is, ‘No, I do photography’ or the long version, which is a bit more accurate, depending on the level of interest. Then the kicker: ‘So, do you sell your work?’ A fair question. Inevitably, it comes down to how one perceives value and because our society measures success mainly in terms of economic value, it’s assumed that if you make a piece of work and it’s good, then someone should want to buy it. The question then becomes, what happens if they don’t? Is it then perceived as having no value? For most of us, there are lots of economies at stake, not just the money thing, and we trade in a variety of currencies. The currency of clarity - when someone connects immediately with your idea, for instance. The currency of peer recognition - a good turnout and nice feedback on the work at a private view, or getting gallery representation or Arts Council funding for a project. The currency of feeling satisfied with a piece of work, or just being able to carry on making work. And so on.
Having someone want to buy your work is a great form of validation, in addition to the fact that it’s good for paying bills and stuff. But it isn’t the only one and that’s an important thing to remember. 30
catch: Arts Publications
Anxiety Culture [an] magazine Arty Magazine Found Magazine Leisure Centre Publish and Be Damned Rant Magazine rifRAG Smoke: a london peculuiar
Weblinks
Artangel Artinliverpool Artquest Arts Council England Art South Central Eyebeam Fallon & Rosoff Happy Famous Artists Kollabor8 Newsgrist Re-Title Rhizome Stunned Theory.Org Wooster Collective
Listings
galleries, weblinks, etc.
www.anxietyculture.com/ www.a-n.co.uk www.artymagazine.com www.foundmagazine.com www.leisurecentre.org.uk www.publishandbedamned.org www.rant-magazine.com www.riffrag.org/ www.shink.dircon.co.uk/smoke.htm www.artangel.org.uk www.artinliverpool.com/blog www.artquest.org.uk www.artscouncil.org.uk/ www.artsouthcentral.org.uk www.eyebeam.org www.fallonandrosof.com/artblog.html www.happyfamousartists.blogspot.com http://kollabor8.toegristle.com/ www.newsgrist.typepad.com/underbelly/weblogs/index.html www.re-title.com www.rhizome.org www.stunned.org www.theory.org www.woostercollective.com/
Galleries / Studios / Resources UK 198 Gallery (SE24) 2B1 Bearspace (SE8) Cafe’ Gallery Projects (SE16) Castlefield Gallery (M15) Cell Project Space (E2) Clapham Art Gallery (SW4) Gasworks (SE11) Hames Levack (W1) Hayward Gallery (SE1) inIVA (EC2) ICA (SW1) Moot Gallery (Nottingham NG3) MOT (E8) Photographers Gallery (WC2) Photofusion (SW9) SevenSeven (E8) South London Gallery (SE5) Space Station 65 (SE22) Space Studios (E8) Spectacle (Birmingham B16) Stand Assembly (NG3) Standpoint (N1) Studio Voltaire (SW4) Transmission (Glasgow The Residence(E9) Surface Gallery (NG1) Tate Modern (SE1) Transition Gallery (E9) The Wyer Gallery (SW11)
www.198gallery.co.uk www.2b1studio.co.uk www.thebear.tv/bearspace/ www.cafegalleryprojects.com www.castlefieldgallery.co.uk www.cell.org.uk www.claphamartgallery.com www.gasworks.org.uk www.hameslevack.com www.hayward.org.uk www.iniva.org www.ica.org.uk www.mootgallery.org www.motinternational.org www.photonet.org.uk www.photofusion.org www.sevenseven.org.uk/ www.southlondongallery.org www.spacestationsixtyfive.com www.spacestudios.org.uk www.spectacle-gallery.co.uk/ www.standassembly.org www.pauperspublications.com/gallery.html www.studiovoltaire.org www.transmissiongallery.org/ www.residence-gallery.com www.surfacegallery.org/index.html www.tate.org.uk www.transitiongallery.co.uk www.thewyergallery.co.uk
020 7978 8309 - 020 8691 2085 020 7237 1230 0161 832 8034 020 7241 3600 020 7720 0955 020 7582 6848 020 7493 7775 020 7921 0813 020 7729 9616 020 7930 3647 07786 257213 020 7923 9561 020 7831 1772 020 7738 5774 078 0816 6215 020 7703 6120 020 8693 5995 020 8525 4330 020 7729 5272 020 7622 1294 0141 552 4813 020 8986 8866 0115 934 8435 020 7887 8000 020 8533 7843 020 7223 8433
Further Afield Flux Factory (New York) Location 1 (New York) Printed Matter (New York) White Column (New York) Focus Gallery (San Francisco)
www.fluxfactory.org/ www.location1.org www.printedmatter.org www.whitecolumns.org -
1 (718) 707 3362 1 (212) 334 3347 1 (212) 925 0325 1 (212) 924 4214 1 (415) 567-9067
Platform Artists Group (Sydney) Sticky (Melbourne) The Invisible Inc. (Sydney)
www.platform.org.au www.platform.org.au/sticky.html www.theinvisibleinc.org.au
+61 3 9654 8559 +61 3 9654 8559 -
Torpedo Artbooks (Oslo)
www.torpedobok.no/
+47 48231217
Zeke’s Gallery (Montreal)
www.zekesgallery.blogspot.com
1 (514) 288-2233
31
appear arise arrive be born begin be present become apparent become known become visible blow in bob up break free break out break through breeze in bud change into check in clock in come forth come out come up commence crop up dawn derive develop egress emanate emerge evolve exhale expand exude flow germinate glimmer grow gush happen initiate issue kick off loom make appearance make tick materialize mature metamorphose originate pass into proceed from radiate result from send forth spurt steam stem surface take off transpire turn into unfold
issue 6 out sometime in april