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OPEN COMPETITIONS TO UP YOUR EXPOSURE

IN CONVERSATION WITH JIGGLE N JUICE

NEW ART PRODUCTS FOR YOUR WISH LIST

Art Student EXHIBITIONS / IDEAS / COMPETITIONS

F REE THE NEW RULES What does a post-pandemic art world look like? GOING OUT OUT The gallery shows to see IRL

NEXT BIG THING Grads on life after art school

AUTUMN 2021

THE RIPARIAN ZONE

“Great Blue and the Button Bush” 28”x20”x1”, Nitram Charcoal & paper sculpture on Courbet Super Fine Canvas

NITRAM LIQUID CHARCOAL “During a recent gallery show, the most common question I got about my charcoals on canvas was, “What are you using—how are you getting those textures?” The discovery of Nitram Liquid Charcoal took my artwork to a new fluid and expressive place. The ability to lay in organic textures and move them with water allowed me to “go with the flow”. Nitram Liquid Charcoal combines perfectly with dry charcoal as I build up the detail layers. My current body of work centers on the riparian zone, the vegetated strip of land along a waterway. Great blue herons and button bushes are just some of the subjects found in this fragile habitat. Witnessing first-hand the fragility of the environment, I have become an advocate through my artwork.” ~ Wendy Bale Water soluble

Learn how Wendy Bale used Nitram Liquid Charcoal on canvas in her large-scale artworks bound for the Crar y Art Galler y in Warren, PA. Go to: https://youtu.be/YJ7sv2l2Noo or scan the QR code to watch the video now! Wendy Bale is an artist and environmentalist in Jamestown, NY. known for hand-cut paper sculptures and charcoal drawings of wildlife. Her inspirations are the local waterways and regions of Western New York and the flora and fauna found there. After leaving behind her career as a creative director and designer for fashion catalogs, she rekindled her personal art career in 2019. Now, with time and inspiration, a full-time art career has flourished. “It is my goal to make connections with people through a mutual love of nature. Seeing someone light up at the sight of a favorite bird—or ask to learn more—is what it is all about for me.” www.wendybaleart1st.com

NITRAM

TM MC

www.nitramliquidcharcoal.com

FINE ART CHARCOAL

Contents

ART STUDENT The Chelsea Magazine Company Ltd. Jubilee House, 2 Jubilee Place London SW3 3TQ Telephone: (020) 7349 3700 www.artistsandillustrators.co.uk

EDITORIAL Group Editor Steve Pill Art Editor Andrea Lynch Editor Rebecca Bradbury

ADVERTISING Advertising Manager David Huntington Production All Points Media

PUBLISHING Chairman Paul Dobson Managing Director James Dobson Publisher Simon Temlett Chief Financial Oﬃcer Vicki Gavin EA to Chairman Sarah Porter Subs Marketing Manager Bret Weekes

Art Student is published by the makers of Artists & Illustrators (ISSN 0269-4697), which is published every four weeks. We cannot accept responsibility for loss of, or damage to, unsolicited material. We reserve the right to refuse or suspend advertisements, and regret we cannot guarantee the bona ﬁdes of advertisers. Readers should note that statements by contributors are not always representative of the publisher’s or editor’s opinion. © The Chelsea Magazine Company Ltd., 2021. All rights reserved.

4 Exhibitions From Francis Bacon to Sutapa Biswas, seven art shows worth shelling out for 10 New art materials Discover the latest product drops begging to be added to your supply kit 14 Post-pandemic art How has Covid-19 changed the artworld? We investigate its impact on artists, art institutions and collectors 17 Art books Five reads every aspiring artist should get their hands on this autumn 18 Q&A Arts collective Jiggle n Juice on critical discussion and student support 22 Open competitions Glory days await with these art prizes to enter over the next 12 months 25 Graduate spotlight Three recent art school leavers on their transition from art school to art industry

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exhibitions

Look sharp Discover seven upcoming art shows you need on your radar right now

RIGHT Francis Bacon, Study for Bullfight No. 1, 1969 4 ArtStudent_From the creators of Artists & Illustrators

Francis Bacon: Man and Beast 29 January 2021 to 17 April 2022 While debates on whether art is a means to the acquisition of a higher truth have raged for centuries, artistic maverick Francis Bacon thought he could get closer to understanding the true nature of humankind by watching the behaviour of animals – a theme that will be explored in this new exhibition. Spanning from the 1930s through to his final painting in 1991, the works going on show will all be raw expressions of Bacon’s anxiety and instinct, as he blurs the boundaries between humans and animals. The effect is a chilling reminder of our innate primal urges. Much of the painter’s iconic work provides a masterclass in how to marry figuration and abstraction. Also deserving of attention is his radical painterly technique. Observe how Bacon exploits the fluidity of oil paints and regularly opted for un-primed canvases for their coarse, textured effect. Royal Academy of Arts, London. www.royalacademy.org.uk

exhibitions

TATE © LUBAINA HIMID

Rules of Art? 23 October 2021 to 4 September 2022 The hierarchy of genres will not have escaped your notice. Even if you’re not familiar with the term, its impact is unavoidable – which is quite an impressive feat for a concept that originated in France more than 400 years ago. Led by the Académie Royale, artistic subjects were structured by importance, creating a ranking system still shaping Western art today. Yet another constant throughout the history of

art, however, has been a long line of rule breakers rebelling against such rigid notions and who will be celebrated in this new show. Notice how artists, from Rembrandt to Picasso, have shared a similar purpose: to push, subvert, question and reimagine what art can be. When you next come to create, maybe you’ll be inspired by these outliers. Well-behaved artists rarely make history, after all. National Museum Cardiff, Cardiff. www.museum.wales/cardiff

ABOVE Maximilian Lenz, Spring , c. 1904 BELOW LEFT Lubaina Himid, Between the Two my Heart is Balanced, 1991

Lubaina Himid 25 November 2021 to 3 July 2022 If Lubaina Himid is not on your radar, rectify that immediately with this large-scale exhibition. Not only did the artist win the Turner Prize in 2017, but she was also awarded a CBE a year later, after more than 30 years of bold and witty work putting people of African descent at the centre of our shared cultural history. Shaping Himid’s art is her background in theatre design and life-long fascination with textiles. Pay attention to how these influences play out, from the performative potential of her installations and assemblages to the bold, intricately clothed subjects of her figurative work. Tate Modern, London. www.tate.org.uk From the creators of Artists & Illustrators_ArtStudent 5

exhibitions

Sutapa Biswas: Lumen 16 October 2021 to 30 January 2022 For tips on how to make a statement in the art world as an undergrad look to Sutapa Biswas. The Indian-born, Britisheducated conceptual artist first came to attention while she was studying at the University of Leeds thanks to her mixed media artwork, Housewives with Steak-knives [right], on display as part of this major upcoming solo show. Standing out in the 1980s due to its radical questioning of the limits of western art history, work from Biswas’s student days will be shown alongside her new film, Lumen, exploring migration, colonialism and family, among other themes. Whether it’s painting, photography, film or installation, this artist offers a prime example of how to subvert traditional narratives by disrupting the eye and expectations. Kettle’s Yard, Cambridge. www.kettlesyard.co.uk

PHOTO © TATE © THE ESTATE OF GILLIAN AYRES

The Expressive Mark 17 November 2021 to 2 April 2022 Think of abstract expressionism and the dripping canvases of Jackson Pollock are likely to come to mind. The painter and his New York City peers might have been at the epicentre of the movement, but playing a part in its development were some post-war British artists. Influenced by their US counterparts, the likes of Peter Lanyon, Roger Hilton and Gillian Ayres were inspired to work on a new scale and embrace the possibilities of abstraction, as this exhibition will explore. Notice the different mark-making on show and consider its infinite potential. For example, in his acrylic artwork, Albion, Irvin used expressive, visceral marks to portray his ideas and emotions, while the marks made with rags and brushes by Ayres in Distillation [left] explored themes such as space, colour and balance. Stanley & Audrey Burton Gallery, Leeds. www.library.leeds.ac.uk

6 ArtStudent_From the creators of Artists & Illustrators

ABOVE Sutapa Bitwas, Housewives with Steak-knives, 1983-5 LEFT Gillian Ayres, Distillation, 1957

RIGHT Anish Kapoor, Studio, 2019 FAR RIGHT Lucy McKenzie, Kingo in “Ruby” Housecoat, 2011

exhibitions

Lucy McKenzie 20 October 2021 to 13 March 2022 Nobody evades categorisation quite like Lucy McKenzie. Painter, collaborator and creator of high fashion (to name just a few), the oeuvre of this creative powerhouse is vast. Thankfully, this line-up of 80 plus works dating back to 1997 will provide an apt introduction. There is a lot to learn from her formidable painting skills. She single-handedly revived the old trompe l’oeil tradition by creating artworks so realistic they literally “deceive the eye” while on-point renderings of materials wow in her large-scale architectural works. Far-reaching in scope, too, are the themes explored. Whether it’s the iconography of sport, gender politics or post-war muralism, she strives to reshape how we order the modern world’s visual material. Tate Liverpool, Liverpool. www.tate.org.uk

Anish Kapoor: Painting 2 October 2021 to 13 February 2022 When you’re one of the most influential sculptors of your generation – step forward Royal Academician Sir Anish Kapoor – your painting practice will often be overlooked. But this is set to change thanks to a new exhibition that reveals how painting is at the very core of the acclaimed artist’s sculptural work. Showing oil paintings on canvas alongside floor-based works, this is a rare chance to see how a modern-day master blurs the boundaries between two mediums, as well as to get a glimpse into his studio practice. As a result, we’re called to reconsider what we think we know about public encounters with art. Modern Art Oxford, Oxford. www.modernartoxford.org.uk

Dates may change due to Covid-19 restrictions Always check gallery websites beforehand

From the creators of Artists & Illustrators_ArtStudent 7

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Promarker Now available in 189 colours and 49 sets, from subtle greys to intense, vibrant tones, Promarker is a must-have, professional quality addition to your marker collection. Each pen is twin-tipped, with a broad chisel nib that is great for quick visuals and filling in larger areas. Using the edges of the broad nib, a variety of different stroke widths can be achieved. The narrower fine bullet nib is ideal for more precise detailing and line work. The alcohol-based ink gives print-like streak-free results and they’re versatile too: Promarkers can be used on a variety of ink-resistant surfaces, including acetate, glass, plastic and even wood.

The colours are formulated using the finest professional quality dyes. It’s this formulation that makes the colour apply evenly, giving the user supremely smooth, consistent coverage. With Promarker, it’s easy to achieve a flawless ‘print quality’ finish when colouring by hand. And because the ink is translucent, they’re ideal for layering to create even more colours. It’s possible to overlay different Promarker colours to produce new colours, and depending on how wet the ink is, smooth transitions can be achieved. A special colourless Promarker Blender is part of the range, which can be used to soften and merge colours together.

As well as being perfect for blending and layering together, you can also intermix Promarker’s with other products, such as Winsor & Newton Fineliners and Studio Collection Pencils. For the best results, use Promarker in conjunction with Winsor & Newton Bleedproof Paper.

A DV E R T I S I N G F E AT U R E

Promarker Brush A versatile twin-tipped illustrator’s marker featuring a broad nib and a highly durable brush nib that provides both fluid strokes and precise line control in 72 colours. The bullet shaped brush nib is made from a composite twin material that has fantastic wear properties, a harder inner core and a softer outer layer enables the user to create a variety of strokes. Simply by varying the angle and downward pressure on the brush nib, the line width can be accurately controlled. The broad nib at the other end of the marker has a chisel shape, which is great for quick visuals and filling in larger areas.

Promarker Neon Bring vibrancy and illuminance to your work. Perfect for adding highlights, definition and texture to your designs there are six brilliant tones to choose from. Made from pigmented fluorescent water-based ink, you can use them on their own or to add highlights to other Promarker™ colours or in mixed media work.

Promarker Metallic Metallics are the new neutrals, as seen across industries such as fashion, beauty and interior design. These intense, shimmering tones are easy to blend with water to create further metallic effects. Like the neon markers they are made from water-based pigmented ink, with six colours to choose from.

Promarker Watercolour Winsor & Newton Promarker Watercolour is a twin-tipped marker that makes the perfect tool for on the go painting with highly pigmented watercolours. The water-based pigmented ink in these markers allow you the flexibility to come back to your work at any time, as you can reactivate the ink with water, even when dry. And thanks to the high-quality pigments, your work will not fade.

art products

Wishlist essentials

A new term calls for new art materials. Here is our pick of the latest must-try products to hit the shelves

Cos Colours Any product that puts the environment ﬁrst is a winner in our eyes and that’s why we’ve fallen for Cos Colours. Created by Ameenah Begum when she was still an art student, these shimmery, zero waste watercolours are upcycled from unwanted cosmetics making every single palette unique. www.coswatercolours.com

SoFlat Acrylics If you like your paint glare-free, you are going to love these new, velvety-smooth acrylic colours developed by the team at Golden. Thanks to a unique formulation, brushstrokes are minimised in return for uninterrupted ﬁelds of rich, matt colour. Pick from 40 diﬀerent hues. www.goldenpaints.com

10 ArtStudent_From the creators of Artists & Illustrators

Derwent Shade and Tone Mixed Media Set If you want to experiment with shade and tone, try this newly curated set of natural paint colours and pencils. Compact and portable, the 12 pans come with everything you need to paint on the go while the Derwent Drawing, Onyx and Graphic B pencils are ideal for expressive sketching and form drawing, and can also be used over the paints to add interest. www.derwentart.com

Edding 5400 Acrylic 3D Double Liner Mix up your materials with the latest invention from Edding – a liner with two diﬀerent-sized tips and highly pigmented, artist quality paint within. Use the 26 colours in the range to add details, highlights

and other innovative eﬀects to your acrylic paintings or simply use alone. www.edding.com

Pith Sketchbooks Another newly launched, eco-friendly enterprise we can’t stop talking about is Pith. Hitting the stationery scene last year, the brand uses sustainable paper and recycled board across its range of high-quality sketchbooks and pledges to plant a tree for every product ordered through its website. www.pithsupply.com

AKADEMIE Aquarell This mix of 12 half pans complete with Instagramable tin will be on every watercolour artist’s lust-after list. But hurry, as this limited edition set from top paint manufacturer

art products

Schmincke won’t be around for long once it arrives in shops this autumn. www.schmincke.de/en

Cass Art Palette Knife Set Students on a budget can’t go wrong with the aﬀordable yet dependable Cass Art Collection. Among the latest launches are these versatile palette knifes. Made from ﬂexible polished carbon steel, the set is an essential art kit addition. www.cassart.co.uk

Zest-It Cold Wax Paints To celebrate 25 years as a go-to brand for paint mediums and solvents, Zest-It has released 25 hues of cold wax paints. They can be used with knifes or brushes, and 15 new colours will join the line-up soon. www.zest-it.com

Pitt Graphite Matt Set Try out the world’s first 14B graphite pencil by getting your hands on this just-launched tin of eight pencils and other drawing accessories from Faber-Castell’s new Pitt Graphite Matt range. Designed to reduce the light reflections on paper (goodbye shiny laydowns), the set offers a superior drawing experience. www.faber-castell.co.uk

Jackson’s Indian Ink By working directly with the makers, Jackson’s own line of ﬁne art materials features top quality products that don’t break the bank. One of its newest launches is this Indian ink, ideal for students and professionals. Able to be diluted, it’s suitable for line-and-wash work. www.jacksonsart.com

Sakura Pigma Micron ﬁne liners You can never have too many pens, especially when they feature the waterproof, fade-resistant and quick drying properties of Pigma ink. Illustrators and artists who love to sketch will be pleased to hear two new nib sizes (60mm and 70mm) have expanded the range. www.royaltalens.com Red Dot Collection This year Rosemary & Co has been celebrating the launch of its new synthetic paintbrush range. Said to feature all the qualities of natural hair, these vegan- and purse-friendly tools, suitable for all mediums, mark a milestone in brush-making and for artists who care about the planet. www.rosemaryandco.com From the creators of Artists & Illustrators_ArtStudent 11

post-pandemic art

Time for change The global pandemic might not be behind us just yet, but rising from the rubble of destruction and despair is a new way of doing and dealing art. Journalist and Gatekeeper magazine co-founder Natascha Ng reports on how these changes are already impacting the artworld

ew industries have been lucky enough to remain unscathed by the pandemic, but while some have stuttered and stagnated, the artworld has seen a number of changes – which are arguably for the better. Not least because an elitist environment, in which a few market controllers held the monopoly, has been exchanged for a culture of goodwill and collaboration. The transformation came from within, as artists banded together, creating initiatives, events and economic models to support their peers and communities when hardship hit all over the globe. One of the most influential initiatives within the artworld to arise during the pandemic was the Artist Support Pledge (ASP). Artist Matthew Burrows started the hashtag-based movement on Instagram during the first lockdown back in March 2020. Based on a culture of generosity, the open movement connects “communities committed to an equitable and sustainable economy for artists and makers”.

It works like this: creatives post images of their artwork on Instagram, using the hashtag #artistsupportpledge and adding general details about the piece, as well as a price (no more than £200). The initiative then relies on the honesty of artists to repay £200 for every £1,000 made back into the system by purchasing someone else’s work. Matthew explains where the idea came from: “On 16th March, I had to cancel two forthcoming workshops, as well as a solo show, due to Covid-19. It seemed that every message I received was regarding exhibitions closing, galleries closing, work ending. “I felt a wave of desperation, acknowledging that this was going to be really bad for artists. I thought I’ve got this culture of trust and generosity and this network; I can use the people in that to support one another. It had to be an economy, a means to financially support each other. It was just a matter of coming up with an economic formula that worked – a low price entry and an

act of generosity through paying back into the system.” Community-focused and open to all, ASP now operates on a global scale and in January 2021, Matthew estimated the scheme had generated £70 million in sales. “Sharing economies are at the forefront of economic thinking so it’s prescient that ASP’s impact has caught on,” the artist explained in an interview with Wallpaper magazine. “Fundamentally ASP is a movement which operates through cultural values for the good of the many and not merely the few.”

New wave collectors

Equally, ASP has sparked a growth in entry-level collectors. You could argue that the growth in emerging artists influenced the increase of new art buyers, but it’s like asking which came first, the chicken or the egg. What is certain is the move away from a top-down industry that creates a winner’s market. Ultimately, it’s a movement towards a more sustainable, circular model that makes art more accessible to both artists and art

OPPOSITE PAGE Honor Freeman illustrates for Gatekeeper magazine

From the creators of Artists & Illustrators_ArtStudent 13

post-pandemic art

"ASP is a movement towards a circular, more sustainable model that makes art more accessible to artists and art lovers" lovers. There have been first-time buyers, who previously did not have such prolific and accessible opportunities to purchase art. Another change sparked by the pandemic, for both the everyday art lover and established collector, was a heightened awareness of our place and space. It felt like there was a shift in the way art was valued by society, with works being recognised beyond their financial investment, which, in turn, has inspired more collectors to create collections that they genuinely love.

Added value

Through a series of podcasts, the Collect Wisely campaign, set up and run by Sean Kelly since 2018, continues to look at how the pandemic has influenced the way we collect. Collect Wisely’s aim is to question the increasing preoccupation with short-term monetary interests, to refocus the dialogue around the core values of art, artists and collecting, and inspire future generations to make meaningful investments in culture. In episode 22 of the Collect Wisely podcast, released on 27 October 2020, Sean speaks to Jon Gray. As the co-founder of Bronx-based collective Ghetto Gastro, an initiative that ignites conversations about race, class, and inclusion via the medium of food, Jon recognises the value of art as communication: “I think of myself as a custodian. You know because, collecting, seems like such a colonial concept. However, I think if I’m taking care of works and preserving works for the next generation, I’m a custodian 14 ArtStudent_From the creators of Artists & Illustrators

because it’s like when I’m gone, someone else is going to need to take care of it.” Sharing a similar line of thought was director of The New Art Gallery Walsall, Stephen Snoddy. He recognised the importance of preserving the works that arose from the pandemic and, as a result, led the gallery in the collation of a time capsule collection through an open call to local artists. In Stephen’s own words, the capsule aims to leave a “legacy for future generations to document the events of the past year”. The capsule is a beautiful representation of how people individually lived through the pandemic and symbolic of arts’ wider power during a crisis. Iulia Cabacenco, a 16-year-old student from Moldova encapsulated this in a blog post she wrote for UNICEF: “Art will survive through every disaster and people will survive along with it. The energy of creation will never exhaust, and it is what helps to balance the ball during the time of destruction. Coronavirus gave birth to countless maybe not professional but wonderful artworks. You can be an artist if you have a story to tell. COVID-19 is a new experience for all of us and every “survivor” has something to say.” A prime example of this is the #PortraitsForNHSHeroes initiative, which not only captured those dealing with the brunt of the pandemic’s destruction, but also helped bring people together to celebrate those frontline workers. This proves the importance of art as an individual outlet, as well as a means of generating community.

Graduates unite

For art students graduating into a pandemic and stripped of their final year shows, building communities through shared experiences was integral for survival, as what awaited was an industry dramatically stripped of funding and opportunities. End-of-degree showcases are not only a celebration of three years of hard work, but also an chance to make a formal entrance into the art market. As a result, Sad Grads (@sadgrads2020), an Instagram page set up by 2020 graduate Jody Mulvey, captured the disappointing support universities provided leavers. Alongside campaigning for art schools to deliver graduate shows, the platform also collaborated to support emerging artists. Similarly, myself and artist Lucy Alves saw the problematic nature of the art market for graduates and other artists at the start of their

post-pandemic art

careers. Graduating into the ﬁrst lockdown, we launched Gatekeeper magazine – a bi-annual publication which aims to investigate the commercial art market, creating conversations about where and how the system could progress to help emerging artists bargain their way into a healthier system. Collaborating with Sad Grads, Gatekeeper created a series of posts providing easy-to-digest advice and tools for recent art school leavers. These ranged from demystifying tax for selfemployed artists to explaing the transferable skills students gain from an arts degree. Gatekeeper has continued to work with other ideologically aligned initiatives, such as BigRat. Studio. Launched in June 2020 by graduates Molly Stredwick and Elliot Ash, BigRat.Studio provides an online space to celebrate and showcase emerging artists. While galleries often feel intimidating,

BigRat.Studio creates an accessible and inviting way to experience art with unique online events oﬀering a fun, playful space for viewers. As galleries begin to re-open, there is evidence of another shift. Before the pandemic, a portion of consumers and artists were simply facilitators of the elitist art market, leaving an exclusive circle of collectors, gallerists and museum directors to gatekeep. The removal of the gatekeeper and third parties during the continual bouts of lockdown has given artists back

their agency – and they are not going to give it up easily. Hopefully in the future, even fewer artworks will be sacriﬁced to private ownership and diminished to just their economic worth. Artists over the past 18 months, who have challenged the status quo with initiatives based on collaboration, inclusivity and circularity, are our future. What they have achieved throughout the global pandemic should install excitement and inspiration for the next generation and beyond. www.gatekeepermagazine.com

"The removal of the gatekeeper during continual bouts of lockdown has given artists back their agency"

CLOCKWISE FROM LEFT Matthew Burrows, founder of ASP; Liberty by Charlotte Moore forms part of the New Art Gallery’s capsule collection; Dr Will Hunter by Jane Clatworthy; another NHS portrait by Nick Richard; screenshots from two BigRat.Studio virtual events

From the creators of Artists & Illustrators_ArtStudent 15

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Inspiring new art books

Every art student should investigate these titles in 2021

1000 Years of Joys and Sorrows: A Memoir by Ai Weiwei Out on 4 November, this hotly anticipated memoir arrives 10 years after the idea was ﬁrst conceived by the artist and activist while being secretly detained for 81 days by the Chinese government. As he unravels the experiences that have fuelled both his creative career and political beliefs, Ai Weiwei celebrates the legacy of his father, the poet Ai Qing, and provides a portrait of modern China. Read for a deep dive into the inﬂuences and practices of an art world superstar. Vintage, £25. www.penguin.co.uk

What Artists Wear by Charlie Porter Described as “a kind of punk cousin to John Berger’s Ways of Seeing”, this gleeful read provides a journey through the iconic outﬁts worn by artists. From Yves Klein’s

spotless tailoring to the kaleidoscopic costumes of Yayoi Kusama to Andy Warhol’s signature denim, style luminary Charlie Porter picks out the magical details that reveal a new way of understanding artists. With generous photographic spreads, it’s not only an ode to the creatives we love but also an entreaty to ﬁnd greater pleasure and possibility in the clothes we wear. Penguin, £14.99. www.penguin.co.uk

Women in the Picture: Women, Art and the Power of Looking by Catherine McCormack Art historian with attitude Catherine McCormack calls us to look again at some of the world’s much-loved artworks in this impassioned plea to free women from stifling archetypes. Not only does the book reconsider art history classics, from Titian and Botticelli to the Pre-Raphaelites and Picasso, it also shows how the likes of Berthe Morisot, Judy Chicago, Kara Walker and Beyoncé have offered new ways of thinking about women. Understanding how females have been objectified throughout

thousands of years of art is key to challenging the male-centric images that still persist in today’s culture. Icon Books, £12.99. www.iconbooks.com

Spring Cannot Be Cancelled: David Hockney in Normandy by Martin Gayford and David Hockney This joyful and uplifting manifesto aﬃrming art’s capacity to divert and inspire is based on a wealth of new conversations between Hockney and his long-time friend and collaborator, art critic Martin Gayford. The exchanges are illustrated by the paintings and drawings Hockney created while spending lockdown in 2020 at his Normandy farmhouse. One of the greatest artists alive today, the octogenarian has much to teach us about how to see, as well as how to live. Thames & Hudson, £25. www.thamesand hudson.com

Bright Stars: Great Artists Who Died Too Young by Kate Bryan Most artists had decades to hone their craft, win over the critics and forge their reputation, but that’s not the case for the 30 artists in this book.

From art heavyweights Vincent van Gogh and Jean Michel Basquiat to those left out of history books, such as Amrita Sher-Gil and Charlotte Salomon, the life and legacy of the creative masters we lost too soon are examined by art expert and Sky Arts presenter Kate Bryan. With each artist comes a unique story about how lives full of talent and tragedy were turned into brilliant legacies that still inﬂuence and inspire our art today. It’s a reminder all great artists are immortal. Frances Lincoln, £16.99. www.quarto knows.com

From the creators of Artists & Illustrators_ArtStudent 17

Freshly squeezed Best friends Shae Guava and Georgia Tooke might be thousands of miles apart, but together they've launched Jiggle n Juice, an art platform with a revolutionary approach to critical conversation and showcasing creativity. Interview: Rebecca Bradbury

18 ArtStudent_From the creators of Artists & Illustrators

How did you two meet? SG: We met at Gray’s School of Art [in Aberdeen] in 2019 where I was studying, and Georgia was carrying out her semester aboard. GT: It was then that we started planning to collab. Even though I’m now back in Canada and there’s an eight-hour time difference, we still managed to launch Jiggle n Juice together back in 2020 at the start of the pandemic.

Where did the idea to launch Jiggle n Juice come from? SG: We both felt our art school education was lacking in advice on how to actually be an artist. I left school thinking, I don’t really know what I’m doing next, and I don’t know how to make art my full-time job. It’s interesting because Georgia and I went to totally different art schools, we only crossed over for a matter of

Q&A

"We both felt our art school was lacking in advice on how to actually be an artist" months before she went back to Canada, but we both experienced these same problems. So that’s why we formed Jiggle n Juice, to start filling in the gaps.

How are you demystifying this gap between art school and industry? GT: We both felt woefully underprepared when it came to bringing our work to an audience, so we offer support documents explaining the “business” side of being an artist. We cover topics like how to write an artist’s statement, price a work and make a creative contract. We hope to help recent grads and early career artists make those first steps in their professional development.

ABOVE Shae‘s personal work; RIGHT Georgia’s practice involves collating unusual found objects

In what other ways are the structures of traditional art institutions failing? SG: I think the whole nature of the artworld needs to change for people to be able to make a sustainable career out of art. I was told I’d have to move to London if I wanted to make it, but why should you have to be in a certain place? Why should you have to know a certain person? Why should you have to be a certain class? GT: There are so many outdated structures in the artworld. The first that comes to mind is hierarchy. Hierarchy goes hand in hand with capitalism, colonialism, patriarchy and racism. We are beginning to see a shift in the artworld, but it’s not nearly fast or radical enough. That’s why we’re committed to accessibility, by uplifting all

creative voices and providing all of our content for free.

What sort of voices are missing from the artworld? GT: It felt like at art school we were always given the same 50 modern artists to look at and only getting half the story. BIPOC and LGBTQ+ artists are not in most of the

traditional art history books but have had a huge impact on arts and culture. If you can include artists of all different backgrounds in your research, you’ll have a deeper, much more meaningful understanding of the artworld. SG: All my tutors at Gray’s were male and the same few female artists seemed to be put in a box From the creators of Artists & Illustrators_ArtStudent 19

Q&A

with other students. All of my art projects have come about because of some sort of conversation and when graduates no longer have a studio to go to, the chance for this sort of connection disappears. So we’re hoping Jiggle n Juice can continue conversations like these. GT: If there wasn’t any critical discussion, nothing would ever change. It’s crucial for challenging systems of power, and possibly one of my favourite things that art can do for society is to make people, feel, think and act.

What has been your favourite Jawbreaker episode so far?

"We hope we can help recent grads and early career artists make those first steps in their professional development" and brought out time and time again. That’s why we launched our “In Conversation With…” section, as a way for people to hear artists with diﬀerent voices and practices.

ABOVE Shae creates Jiggle n Juice graphics, which feeds into her own practice

Your Jawbreaker YouTube series is a platform for critical discussion. Why are these conversations important? SG: When the pandemic ﬁrst hit, I realised the importance of being in the studio and having discussions

20 ArtStudent_From the creators of Artists & Illustrators

GT: That’s a tough one! I’ve really enjoyed all our convos. I would say it’s a three-way tie between Feminists Discuss What’s Wrong with “Feminist” Art and Corruption in the Art World from season one and The Grotesque & The Gutwrenching in season two. SG: I like the ones where we compare and contrast a particular artist. We both have similar opinions, but when it comes to Rachel Whitbread, Georgia loves her, and I don’t so much. So, we picked her to discuss. You don’t have to like an artist because they’re famous or your tutor says you should, and I think it’s good to talk about that.

One of your support documents is on how to find your niche. Is this something you've both struggled with? SG: Oh my god, I struggled so much with ﬁnding my own niche.

Today we’re overloaded with images on social media and online, so it’s hard to feel like you’re coming up with something that hasn’t been done before. I really struggled with this in my third year and was trying so hard to think of something original to do. My advice is to have conﬁdence in yourself and do something you enjoy. If you wake up every day wanting to get to work, then you’ve picked the right thing. Your work should make you happy.

What are the key issues affecting art graduates today? SG: The pandemic has had a really big impact. Now the class of 2021 has graduated, there are almost double the number of graduates looking for opportunities and funding. There are some positives, like I’ve become part of online communities that have helped me ﬁnd work. Hopefully one day we’ll be the “artworld” and it will be a much more inclusive space.

What does the future look like for Jiggle n Juice? SG: In the short term we hope to put on another digital exhibition and expand upon our support materials. How to have your own exhibition and how to write grant proposals will be ready soon. GT: Long term, we’d love to become a one-stop shop for all creatives looking for guidance and support in their professional careers and a space for critical discussion on art and the artworld. www.jigglenjuicecollective.com

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open competitions

Winning Ways If you want to grow as an artist and gain valuable exposure for your work, entering an open call is a no-brainer. Here are the prizes to pencil in your diary

RIGHT Divyuze by Maree Hughes, placed second at the Derwent Art Prize 2020

The Signature Art Prize Deadline: December 2021 (tbc) Artists currently studying or those who have graduated within the past three years can enter this prize for the chance to win a month-long residency and gallery representation.

www.signatureartprize.com Ashurst Emerging Artist Prize Deadline: January 2022 (tbc) A prize fund of £10,500 is expected to be available as part of this law firm-sponsored competition. Art material vouchers, mentoring opportunities and the chance to exhibit in London are among the prizes usually on offer, too.

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DON’T MISS!

Derwent Art Prize Deadline: 4 January 2022 Celebrating a decade-long run in 2022, this showcase of the best artwork created in pencil, pastel and charcoal is back with £12,500 worth of prizes. Selected entries will be shown at the OXO Gallery in London.

www.derwentart.com Woon Foundation Art Prize Deadline: February 2022 (tbc) A Northumbria University graduate funds this prize to assist the next generation of artists. First prize is a £20,000 fellowship with a 12-month studio space. Runner-up cash prizes are available too. Open to all final year undergraduate fine art students.

The Leathersellers’ Prize Deadline: March 2022 (tbc) Part of the Royal Institute of Painters in Water Colour’s annual exhibition, this £1,000 award goes to an artist aged from 18 to 35. Works in all water-soluble mediums are welcome.

www.mallgalleries.org.uk Hermione Hammond Drawing Award Deadline: April 2022 (tbc)

welcome bigger artworks and more finalists in 2022. The winner gets a cash prize and other benefits.

www.hollybushpaintingprize.com Trinity Buoy Wharf Drawing Prize Deadline: June 2022 (tbc) Sixty-five drawings are expected to be selected for the annual exhibition of this long-running competition. Among the cash prizes is £2,000 for the winner of the Student Award.

Emerging artists aged 35 and under are eligible to win this £2,000 prize, available as part of the New English Art Club’s annual exhibition held at Mall Galleries, London.

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The de Laszlo Foundation Prize Deadline: February 2022 (tbc)

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An artist 35 years and under will take home this medal of excellence and £1,500 for painting the best work from life, as part of the Royal Society of British Artists’ annual exhibition.

Holly Bush Emerging Woman Painter Prize Deadline: 16 May 2022

Returning for a third year to celebrate all things Wales, this prize is open to British and international artists alike. Among the cash prizes and awards available is a Young Artist Prize for entrants 25 years and under.

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A move to Lauderdale House in London means this prize dedicated to championing women artists can

Wales Contemporary / Cymru Gyfoes Deadline: Summer 2022 (tbc)

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OPPOSITE PAGE Odette Farrell’s Pembroke Dock Ginkgo, exhibited at Cymru Gyfoes

From the creators of Artists & Illustrators_ArtStudent 23

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24 ArtStudent_From the creators of Artists & Illustrators

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graduate spotlight

ABOVE Beth Simcock, The Bathers, 2021

The future's bright Three recent graduates reflect on their time at art school and how they have transitioned to life as working artists

From the creators of Artists & Illustrators_ArtStudent 25

graduate spotlight What are the benefits of entering art competitions? The competition format can help artists reach new audiences. It’s also useful to receive impartial feedback from somebody who is unfamiliar with your practice. The Platform Graduate Award, specifically, has given me the chance to exhibit at an influential institution [Modern Art Oxford] very early on in my career. So far, this has been invaluable.

What has helped you the most since graduating? Making deliberate space to paint and write at home has meant that I can continue to work outside of a formal art school structure and hold myself accountable. Maintaining contact with people whose work I find interesting is important too, and I try to see and read everything I’m recommended. I take constant notes so I can always return to things later.

Can you tell me about your latest body of work?

Beth Simcock Ruskin School of Art graduate and winner of this year's Platform Graduate Award discusses the importance of competitions, community and creating a narrative What was art school like?

ABOVE Beth Simcock, Lakeside II, 2021

For me, it was a transitional experience. For the first time, I had several years dedicated to focusing on a craft, and it was exciting to meet other people who worked and thought creatively. Oxford University sometimes felt like an unlikely place to be practising as an artist, but I really valued being part of a small

26 ArtStudent_From the creators of Artists & Illustrators

I recently completed The Zodiac, which is a series of 12 acrylic paintings on show at Modern Art Oxford, as part of the Platform Graduate Award. The canvases fit together into one large figuration, but each square also exists independently from the others. Narrative has always been important to me. I often say my paintings are like a tapestry, but they could also be thought of as being like frescoes or graphic novels. When one painting runs into another, they start to become almost literary, and I’m always seeking out those intersections between word and image.

What are your art ambitions? and close-knit department at the Ruskin School of Art.

How did the global pandemic impact your practice? As workshops had to close, I lost the community that comes from co-existing in a studio with your peers. It was also often difficult to translate my largest paintings into the format of a Zoom-call critique.

I hope to make art that holds a cross-section of experience and so gets close to something that simulates life. Ideally it will be able to join the local, particular and small with the large and esoteric. I like it when somebody tells me they understood something in my work, even if what they see was not part of my original intention. www.bethsimcock.co.uk

Ellie Lonsdale

Ranked as an illustrator to watch by the AOI, the Falmouth Art School graduate reveals how she's become a freelancer in her field What did you enjoy the most about art school? The people! It was so energising being around other creatives with unique perspectives. I can’t not mention the printmaking studio either. Learning the technical processes and fundamentals has really informed my understanding of image making, particularly how to be patient with the formation of an illustration.

How did you set yourself up after graduating? A massive part has been adjusting to a new schedule. I’ve been balancing commissions with part-time work, so I’ve found it really helpful to establish some boundaries in my working hours. I signed up as an AOI member too, which helps me feel engaged with the creative community.

What has been your proudest achievement so far? Being featured in the AOI’s 10 UK Illustration Graduates to Watch in 2021 list was a real surprise. After a year of being mostly isolated due to the Covid-19 regulations, seeing my work alongside so many other creatives gave me a massive sense of solidarity. Receiving my first commission was definitely a highlight too!

What projects have you worked on since graduating? I’m currently working on a couple of book cover illustrations for the publishers, Farshore. Narrativebased illustration is a core part of my practice as I’m fascinated by modes of visual storytelling, so it’s great to work on a commission that resonates with this.

"Treat each brief as a chance to experiment and find out what works for you" I’ve also led nature-inspired art workshops with a primary school and have been developing a landscape etching commission.

What advice would you give to current art students? I’d say have fun and don’t put too much pressure on yourself to make every image perfect. I think it’s more important to treat each brief as a chance to experiment and find out what works for you. With the presence of social media platforms like Instagram, it can be so easy to get wrapped up in a

perfectionist mindset, when mistakes can be really valuable.

What does the future hold? Starting a personal sequential narrative project is on the cards. I’m fascinated by alternative publishing and would love to create a small run of handbound zines or books. I’m also planning a move to Brighton where I hope to develop my career as a freelance illustrator and get involved with some more community-based projects. www.ellielonsdale.co.uk

ABOVE Ellie Lonsdale, Emergence, 2021

From the creators of Artists & Illustrators_ArtStudent 27

graduate spotlight

Charlotte Cuny After graduating from Central Saint Martins, this French-born, London-based fine artist is continuing her practice thanks to overseas residencies and artist-led collaborations What was your time at Central Saint Martins like? It was very challenging. Previously I’d studied for a MA in painting at Arts² in Mons [in Belgium], but there’s a different way of thinking in the UK, it’s more pragmatic. Although when I began studying in London, there was a sense of infinite possibilities. I was able to experiment with mediums I had never used before, like etching and lithography.

What were your steps after graduating?

ABOVE Charlotte Cuny, Alps, 2021

The first thing was to have a big break. I needed time to integrate everything that had happened over the course of my time studying. I’ve continued to work

28 ArtStudent_From the creators of Artists & Illustrators

part-time in a bookshop while keeping up my painting practice.

What is one thing you know now which you wish you had known in Freshers Week? Actually, nothing. Like when you start to read a good book, you don’t want to know in advance what will happen.

How can students prepare for life after art school? The best advice is to keep working on your art when university ends. In an ideal world this means having a studio, as well as the time and space to dedicate to it. But even without a studio, it’s still possible to keep practising and dreaming about your work.

Can you tell me more about being part of Slash Arts? Slash Arts is an artist-run gallery created by Simon Hodgkinson, a student who was in the year above me at Central Saint Martins. There are now 25 artists involved and together we organise physical and online exhibitions, workshops and crits. It’s a very dynamic and collaborative organisation to be involved with; I really appreciate the sense of community and support it provides.

Do you have any art residencies coming up? I applied to an open call to be an artist in residence at Tangent Projects in Barcelona and recently found out I’ve got a place. It starts early next year and for three months I’ll be able to fully focus on my painting. I’m looking forward to meeting new artists, discovering other practices, and painting in Barcelona, which will influence my work for sure. Follow Charlotte on Instagram @CunyCharlotte

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