Art Student 2014

Autumn 2014 THE RISE AND RISE of BArtholomew BeAl wArhol or kiefer? 9 Top ExHIbITIoNS To SEE kuRT bEERS oN THE pAinters of tomorrow + 17 Art priZes to enter | Q&A with koreA’s lee BUl ClAssiCAl Vs ContemporArY | new Art proDUCt iDeAs

Cover: Bartholomew Beal, The Man with Three Staves, 2014, oil on canvas, 77x60cm. See page 17. bartholomewbeal.co.uk

contents Nine to see The pick of the autumn blockbusters

Tomorrow’s world Kurt Beers on the future of painting ART STUDENT

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WITH THANKS TO Kurt Beers

Where did it all go right?

Bartholomew Beal’s incredible rise

Traditional vs contemporary Two painters with contrasting styles

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For your studio A wishlist of artistic awesomeness

Open season 17 student competitions worth entering

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horst P horst, Muriel Maxwell - American Vogue Cover, 1 July 1939

nine to see Escape the studio for inspiration as Steve Pill selects the autumn’s best exhibitions

From the creators of Artists & Illustrators_ArtStudent 5

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autumn exhibitions

horst: photographer late turner: of style painting set free 6 September – 4 January 2015 V&A, London So good he named himself twice, Horst P Horst was one of the 20th century’s most stylish and inventive photographers.

Born Horst Paul Albert Bohrmann in 1906, he joined Vogue in 1931 and quickly established himself as the magazine’s lead photographer. Horst manipulated shadows and light to striking effect in a string of editorial shots and always insisted on the highest standards, working with early large-format cameras and even colour film to create images every bit as cutting edge as the couture clothing contained within them.

Horst had an enviable blackbook, having studied with architect Le Corbusier, snapped clothes for Coco Chanel and produced portraits of everyone from Marlene Dietrich to Jackie Onassis. V&A delves into the Condé Nast print archives to highlight plenty of classic Vogue shots, as well as unearthing Horst’s private notebooks and letters in a bid to explore his restlessly creative approach. www.vam.ac.uk

10 September – 25 January 2015 Tate Britain, London As Mike Leigh’s new biopic Mr Turner hits cinemas in October and this latest collection opens at Tate, interest in JMW Turner remains stratospheric some 163 years after his death.

So what’s the fuss about? The artist’s later works are his most visionary, exploring mythological themes or the technological developments of the Industrial age with a questing, experimental verve. Turner also remains the benchmark for the stereotype of artist-as-misunderstood-genius, given his struggle for recognition in later years as he pursued an aesthetic that bordered on the abstract a century ahead of time.

A word of warning: while this is a remarkable collection that includes rarely-seen watercolours brought together for the first time, £14.50 for a corporate-sponsored concessionary ticket is pretty steep given that many of the key oils are normally free to see in the National Gallery’s permanent collection. www.tate.org.uk

reality: modern and contemporary british painting

27 September – 1 March 2015 Sainsbury Centre for Visual Arts, Norwich

what is real?

14 October – 4 January 2015 Hayward Gallery, London In one of those strange coincidences, two major group exhibitions simultaneously tackle notions of objectivity, actuality and existence this autumn. Norfolk’s vision of Reality is a more painterly one, collecting together 50 prime examples of work engaged with everyday subjects.

In an odd twist, Reality is curated by the artist Chris Stevens, who has seen fit to slip in his own work alongside more celebrated pieces by Lucian Freud, David Hockney and Dame Paula Rego.

It’s something of a ballsy move but it will add a personal touch to a collection that he acknowledges is “a group of artists who have been a major influence on my personal development as a painter.”

Meanwhile, over on the South Bank, Hayward Gallery director Ralph Rugoff maintains his reputation for delivering entertaining, populist and slightly kitsch group shows (Psycho Buildings, Light Show, Walking In My Mind, etc.) with What Is Real?, an exhibition that promises “art informed by science fiction… and the effects of the internet on our lives”.

We’re guessing this means plenty of outré abstract paintings and immersive installations, rather than pencil drawings of Darth Vader or performance art re-enactments of cute cat videos and “Charlie Bit My Finger” – although, with Hayward Gallery, anything is possible. www.scva.ac.uk www.hayward-gallery.org.uk

© CAroline WAlker

transmitting andy warhol

Caroline Walker, Consulting the Oracle

7 November – 8 February 2015 Tate Liverpool It can sometimes feel like Andy Warhol’s artworks are more commonplace in galleries than the household brands that he often painted, but in fact this is the first major solo exhibition of his work to ever visit the North of England.

Nevertheless, audiences will hardly be unfamiliar with this 100-strong collection of screenprints, paintings, films and sketches that will include his iconic renditions of Marilyn Monroe. www.tate.org.uk/liverpool From the creators of Artists & Illustrators_ArtStudent 7

autumn exhibitions

imran qureshi

Imran Qureshi, Blessings Upon the Land of My Love

anselm kiefer

8 ArtStudent_From the creators of Artists & Illustrators

generation

Until 25 January 2015 Scottish National Gallery of Modern Art, Edinburgh GENERATION is one of the most ambitious exhibition programmes in recent times, with more than 100 artists chosen to represent the best Scottish art of the last 25 years. If you don’t have time to trawl all 60 venues, head straight to the SNGMA to see works by David Shrigley, Alison Watt and more. www.generationartscotland.org Victoria Morton, Dirty Burning

egon schiele: the radical nude

23 October – 18 January 2015 Courtauld Gallery, London While Gustav Klimt was busy gilding his rather fond portraits of fin de siècle Austrian women, fellow countryman Egon Schiele was casting a far more caustic eye over the human form.

This promising display will posit 1910 as his breakthrough year when a change in style and a more psychologically probing approach caused outraged audiences to label his chalk-and-gouache studies as ‘pornographic’. A century on, audiences will likely wonder what all the fuss was about. Nevertheless, the works remain among the most raw and expressive depictions of the human form in the history of art. www.courtauld.ac.uk/gallery

© Imran QureshI, Courtesy CorvI-mora and Ikon; morton: © the artIst. Courtesy of the artIst and the natIonal GallerIes of sCotland

27 September – 14 December Royal Academy of Arts, London Despite only being an honorary Royal Academician, the 69-year-old German painter gets the full-on David Hockney and Anish Kapoor treatment with the chance to take over the main galleries of the Academy this autumn.

Remarkably, this is the UK’s first full retrospective of the artist’s work so it will act as an introduction for some. Kiefer has never been afraid to tackle the darker parts of his country’s history. Paintings and photographs that feature the buildings of Hitler’s architect Albert Speer or attempts to diffuse the potency of the Nazi salute will provide the requisite ammunition for the right-wing tabloids to get agitated about, but such a simple reading overlooks the fundamental truths at the core of his work. Embracing poetry, philosophy, religions and myths, he has produced some of the most thoughtful, tactile and experimental painted works of the last 40 years. New large-scale paintings created for this exhibition promise to be das Tüpfelchen auf dem i. www.royalacademy.org.uk

19 November – 25 January 2015 Ikon, Birmingham As funding cuts for the arts become more and more severe, galleries and artists are sadly more reliant than ever on corporate sponsorship to help realise their visions.

Time was when titling your exhibition simply Deutsche Bank: “Artist of the Year” would have been tantamount to career suicide, whereas today Pakistani artist Imran Qureshi can be forgiven for adopting the title for his first major UK exhibition – particularly given the bank’s commitment to honouring artists that address social issues.

Qureshi was schooled at the National College of Arts in Lahore, a one of a kind institution that regularly receives 20,000 applications for just 150 places. He was one of only a dozen students accepted on the miniature painting course, where he studied a variety of traditional Middle Eastern and South Asian styles. The artist has since applied these techniques to contemporary concerns, from gender equality to international politics.

Qureshi has established his global reputation via a string of biennial appearances, including the awe-inspiring They shimmer still in Sydney in 2012.

What at first glance looked like blood spattered across the stairs of an old dry dock was in fact a series of intricately painted watercolour flowers. That ability to wrong-foot an audience while tackling weighty themes makes this show one of autumn’s most tantalising prospects. www.ikon-gallery.org

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08/06/2014 15:16

CourteSy the ArtiSt

T

he forthcoming book 100 Painters of Tomorrow is the culmination of a major new project to find the most exciting, up-and-coming painters at work today.

Published this September, it introduces the work of a global cast of painters selected by an international adjudication panel that featured some of the most prominent names in contemporary art, including painter Cecily Brown, Vitamin P author Barry Schwabsky and Tokyo Museum of Contemporary Art’s chief curator Yuko Hasegawa among others.

The goal was to present an intelligent snapshot of the best new – and in many cases completely undiscovered and underrepresented – painting talent from across the world.

Gathered through an open call for submissions that drew over 4,300 applications from a total of 105 countries (37 of which are represented in the book), the included work spans an extraordinary range of styles and techniques, from abstraction to figuration, minimalism to magical realism, and straight oil-oncanvas to mixed-media and installation-based painting.

As director of Beers Contemporary, I noticed a void in the market for an intelligent and extensive survey of some of the most exciting and emerging painters at work today.

Through the gallery, I’d become privy to the frustrations of many young painters with whom I have worked; there rarely seemed to be opportunities that accommodated painters, and if there were, these opportunities were often too close-minded or narrow in scope: often these were too institutionalised; appealed only to more established artists; offered a single lump monetary sum and therefore

André hemer, Auto Tone (inexplicable things that hipsters say)

tomorrow’s world

An ambitious new project is attempting to uncover fresh artistic talent from around the globe. Gallery director Kurt Beers explains the aims of the project – and reveals what it tells us about the state of painting in the 21st century > From the creators of Artists & Illustrators_ArtStudent 11

Ryan Mosley, Dance of the Nobleman

we live in a culture of ubiquity and immediacy: everything, all the time, all at once. how does any one person or body of work rise above the cloud of information? or those with new perspectives who have been largely unrecognised so far.

As a result, each of the included artists exhibit a passion, technical ability, and what I like to think of as a sense of wonderment. I am always on the look out for Lukasz Stoklosa, Sanssouci

12 ArtStudent_From the creators of Artists & Illustrators

something new, something exciting, something technically brilliant and undiscovered. Something that makes you stop in your tracks and go ‘wow’. Even through the last of the 4,300 applicants, there would be the work of an artist that

would come through and prove that the media still had the ability to provoke, surprise, and excite. After a long day of adjudication, particularly when we felt disillusioned by certain lacklustre entrants, an application would arise that would simply blow us all away. We would leap out of our seats and think, “Yes! This is what it’s all about!”

In an era of technological advancements and conceptual art, I am keen to comment on the idea of the ‘death of painting’ and feel passionately that the entire notion that painting has somehow reached its pinnacle or dissipated into futility is ridiculous. For more than two centuries we have been warned of the supposedly imminent death of painting. But unlike so many other media or even those trends that arise within particular disciplines, what we continue to see is that painting proves – over and over again – to be the most compelling, seductive and surprising of all the disciplines.

Art can often suffer from a case of ‘The Emperor’s New Clothes’, and I think that what the book has achieved with such great success is a sense of comprehension but also possibility.

Gregor Muir, the director of London’s Institute of Contemporary Art, wrote the introduction for the book, and he and I actually disagree quite fundamentally on the future of contemporary painting. He will argue that painting’s future is the ostensible ‘anti-painting’ with its troubadours being Christopher Wool, for example, or relative newcomers like David Ostrowski and Oscar Murillo, where anti-aesthetic pervades; for some artists, the thought that painting has to move so far away from representational (or form of

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eked out other deserving candidates; or erred too drastically in favour of conceptualised painting, or conversely, painting that was all too expectantly conventional. I’ve often said that opportunity leads to exposure: you can be the best artist in the world, but if you’re working in a vacuum and no one is exposed to your work, none of that matters.

Furthermore, I grew weary of art that felt dispassionate and distanced the viewer instead of seducing them with a unique perspective. In order to open up the submission process and allow for anyone to apply, the eligibility requirements were left rather open-ended, and whether or not one was eligible came down to the artist’s own discretion. I believe a lot of extremely talented artists are at work today, but a number of these artists are not filtered through the ‘established channels’, be that graduate school, representation, or even exhibition history. It was our intention all along to discover, as well as acknowledge and address, those already doing wonderful things.

My intention was to allow the ‘unknown’ artist to have equal opportunity, a notion supported by the publishers at Thames & Hudson, who fully embraced the idea of publishing a book that transcends the expectant who’s who of the art world.

Included are some painters like Ryan Mosley or Anj Smith, who are making a noteworthy buzz in an international art scene. Others, like Canadian Andrew Salgado (whom I have represented for the past six years) have surprisingly fresh perspectives and are beginning to accumulate large international followings.

The book also introduces a vast array of completely ‘new’ talent, including artists from underrepresented countries

Spotting potential

CourteSy the ArtiSt

Jenny Kemp, Decodelia

any kind) is a scary idea. But I don’t believe that this is the only path to forge ahead. I’m more inclined to believe that such artists illustrate a type of phenomenological movement in which certain artists rise to the forefront of a particular trend, movement or manifesto.

They are (for lack of a better

word) the ‘poster-boys’ of a certain time and movement.

Do I think they are talented artists? Yes, in some respects.

But do they represent in all certainty the future of painting? In this regard, I disagree. To say there is any one overriding direction or course for a particular

medium is short-sighted, and I also think that in five, 10, 15 years this type of commentary is apt to look dated, thin, and even somewhat naïve. When I moved to the UK from Canada in 2007, there was a different kind of painting that was ‘on trend’; I dubbed it the ‘London Aesthetic’, and now, seven

years on, few of these painters are still held to such high regard.

The ultimate thinking here is one of inclusion. Why choose?

How can anyone whittle down thousands of years of paint exploration into one single niche, thereby discrediting all other modes of creation?

From the creators of Artists & Illustrators_ArtStudent 13

>

Those that read the book will also notice my discussion on the ‘unconventional conventional’ – a trend in which artists are using the tools, history and language of the medium to completely reinvent the wheel. For me, this is a far more interesting exploration of the media and speaks to how our society works today. As a trend it’s vague, because how can anyone pinpoint where we are going? But I believe these ‘unconventional conventional’ artists exhibit the potential for longevity and the ability to

make work that still matters in 10 or 20 years, not just represent the phenomenon.

I believe the main concern of artists today is this fear of relevance. We live in a culture of ubiquity and immediacy: everything, all the time, all at once. In this regard, how does any one person or body of work rise above the cloud of information to actually register – and last – cognitively? Painting in particular is a medium that doesn’t reproduce well through documentation in print, or the horrible jpeg.

A painting is a living entity: it has three-dimensions, it smells, it has an aura, a presence. So a successful painter today must create work that documents well enough to provoke people to want to revisit it in the flesh – and, in doing so, it has to transcend and inspire.

All artists, particularly painters, will find this the struggle moving forward.

This generation, unlike those that

came before it, however, can use these social media channels to their advantage.

100 Painters of Tomorrow

by Kurt Beers is published on 22 September by Thames & Hudson, RRP £35. The exhibition, Beware Wet Paint, runs from 24 September to 16 November at the ICA, London, and 28 November to 17 January 2015 at Beers Contemporary, London. www.100painters oftomorrow.com

Andrew Salgado, Waiting

CourteSy the ArtiSt, BeerS ContemporAry And oSkAr proCtor

14 ArtStudent_From the creators of Artists & Illustrators

advertorial

competition Art in Action and Wesley-Barrell have joined forces to offer students the chance to win cash prizes and gain huge exposure for their talents

W

esley-Barrell is a family-run business making upholstered furniture using traditional craft skills in their Oxfordshire workshops.

The Wesley-Barrell biannual Craft Awards were introduced in 2006 to encourage, support and recognise the wealth of craft talent that exists in the UK. Since their inception the Wesley-Barrell Awards has become established as an important event in the craft calendar boasting a history of spotting the rising stars of the craft world. Wesley-Barrell is delighted to join forces with Art in Action in a new initiative sponsoring a student competition open to all art school students across all disciplines of art and craft.

what is Art in Action?

Inspired by the simple fact that people are fascinated when artists and craftsmen demonstrate their skills and discuss their work, Art in Action was born.

On average 25,000 visitors come over four days to learn, to buy and enjoy, exhibitions, classes and performances of 400 demonstrating artists. Founded in

1977, the festival takes place in the grounds of Waterperry House, Oxfordshire. Artists come from many disciplines including painting, sculpture, printmaking, ceramics, calligraphy, illustration, glass, metalwork, jewellery, textiles, woodwork and more.

Art in Action is one of the longest running festivals of fine art and master craftsmanship in the UK. One of its unique features is that artists and craftsmen not only exhibit their work, but also demonstrate and discuss their skills. Therefore, visitors get the rare opportunity to witness the creative process first hand.

Staffed by over 600 volunteers each day, Art in Action is often described by demonstrators and visitors as “unique, inspirational and uplifting”.

how to enter

The Wesley-Barrell and Art in Action Art Student Competition is open to all UK art school and college students. All art and craft disciplines are eligible. A digital image (min. 300dpi) of your entry should be submitted to Art in Action by 1 April

2015. Full details of the entry process will be listed on www.artinaction.org.uk from 1 November 2014.

the prize

The judging committee will select a shortlist of 10 students who will be asked to present their work at the Art in Action studios for the final decision.

Three winners will be selected, each of whom will receive a £500 prize and will be granted a place in the Newcomers Section at Art in Action 2015 (16-19 July) to demonstrate their art or craft over the four days of the show. They will also be able to sell their work or take commissions.

volunteer!

Art in Action is delighted to offer opportunities to art students during the festival to work alongside artists from a wide range of disciplines, observing them at work and discovering more about what it takes to have a successful career in a world of arts.

For more information about volunteering at next year’s event (16-19 July 2015), please go to our website www.artinaction.org.uk and click the ‘Volunteer’ button.

From the creators of Artists & Illustrators_ArtStudent 15

BArtholomew BeAl, courteSy of the fine Art Society

L

eaving the comfort of your art college studio can be one of the scariest tasks you face during your entire foundation or BA. One recent graduate who has made the leap from degree show to high-end Mayfair gallery with ridiculous ease, however, is Bartholomew Beal.

Earlier this summer, the 25-year-old figurative painter presented A Heap of Broken Images at The Fine Art Society in New Bond Street, which made him the youngest artist to stage a solo exhibition there in the gallery’s 140-year history. Prior to this, the Saudi Royal Family and Standard Chartered Bank have both bought his work, while art critic Edward Lucie-Smith believes that Beal “has a seductive sparkle that has been absent from painting for too long” – and this from a man who has written entire books on Old Masters such as Rubens and Fantin-Latour.

Despite all of this dizzying acclaim, the artist cites his Jonathan Vickers Fine Art Award win as his biggest break to date. Established by Foundation Derbyshire, the biannual award comes with an £18,000 bursary, a solo exhibition at Derby Museum and Art Gallery and a mentored studio residency.

“I had a year of pressurefree painting in the calm atmosphere of Derby,” says Beal, who took inspiration from the stories and traditions of the Amber Valley locals.

“I spent that year developing my own style and coming up with some initial tactics and approaches that run through most of my paintings.”

In truth, the artist had been quietly, methodically honing his approach for years. Born in Cheltenham in 1989 to two English teachers, a young Bartholomew – or ‘Barley’ for short – would follow his parents around with his

right? where did it all go

In the two years since leaving art college, Bartholomew Beal has enjoyed fulfilling residencies, staged major exhibitions and found numerous famous fans. Here’s how he did it…

Words: Steve Pill

Bartholomew Beal, The Drowned Sailor

sketchbook. He has a vivid memory of watching his grandmother paint portraits but otherwise his family had little interest in art, with his three older brothers working

in “forensic accountancy, toys and baked beans”.

Undeterred, Barley completed his foundation year at the University of Gloucestershire before

enrolling on a BA in Fine Art at Wimbledon College of Art in 2009. The artist enjoyed the “endless conversations” with his fellow students but regrets not having broadened his

From the creators of Artists & Illustrators_ArtStudent 17

>

Bartholomew Beal, A Heap of Broken Images

barley has the vision, work ethic and business nous to put him at the forefront of the next generation of painters he could build upon after the Derby residency.

Picking up the thread again for A Heap of Broken Images, Barley this time took inspiration from TS Eliot’s The Waste Land. “It is a poem dripping with references and hints, but all made in so few

18 ArtStudent_From the creators of Artists & Illustrators

words that it is still up to the reader to make most of the decisions. This is one of the things I love most about painting: it doesn’t have to explain it all; while colours, shapes, figures and lines might be there to lead you somewhere, the final

decisions are slightly different in the mind of each viewer.”

The exhibition was a success and, having signed up with manager Jason ColchinCarter of Isis Phoenix Arts, Barley is now free to focus on putting in long hours at his East London studio: “Jason will take on the responsibility for hunting down the next prospect, while I make the paintings to try and deserve it!”

Whatever the future holds, Barley clearly has the right combination of artistic vision, painterly chops, work ethic and business nous to put him at the forefront of the next generation of British painters. www.bartholomewbeal.co.uk

BArtholomew BeAl, courteSy of the fine Art Society

skillset and attempting printmaking and sculpture while he had the chance.

“Several times I have come up with ideas for a print, but my lack of experience has halted any progress,” he says.

Painting preoccupied him instead, with a visit to the studio of his tutor Nelson Diplexcito being particularly influential. “He explained his approach to painting: having piles of paintings on the go at once, keeping each piece energetic and spontaneous, and staying away from it becoming more brown-grey and over-considered.”

Barley certainly took that advice to heart for his degree show, scrubbing great fields of colour into pictures such as I Bathe Myself in Strangeness and That Open Field. With their shimmering colours and distorted figures, there were echoes of Francis Bacon to several pieces but they also provided enough of an original foundation for which

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Isabella WatlIng …on the benefits of embracing tradition

A

t 24, Isabella Watling has already been included in two BP Portrait Award exhibitions and secured herself a sweet gig as a visiting tutor at the Charles H Cecil Studios in Florence, where she enrolled at the age of 18.

She’s fast becoming the poster girl for atelier training and flying the flag for classical techniques in the 21st century. “There’s a truth to your pictures because you’re painting from life and you pick the features or elements of the sitter that best portray them, rather than becoming stuck on insignificant details,” reveals Isabella. “I’m interested in how light lifts off certain characteristics to best depict a personality and an atmosphere but I’ve seen from teaching others that this style of painting and sight-sizing your subject allows a lot of scope for different styles too.”

Isabella is influenced by some of the world’s greatest artists, from Velázquez, to Titian, and strictly adheres to the processes and materials that they used.

She begins with a linen canvas primed with rabbit skin glue and then grinds her own paints so that she can control the oil content. Even her medium is old-school, comprising of an equal mix of Canada balsam (a form of tree sap), linseed oil and turpentine. In fact, the most modern instrument Isabella uses is the mirror: “It feels authentic to do it this way and I hope we can hold onto these traditions.

That’s not to say we should make a pastiche of the Old Masters’ works but we should be inspired by their techniques because they’re timeless.”

During her six-year spell in Florence, Isabella lived and breathed the atelier method but had few opportunities to peruse the work of contemporary artists.

This is something she hopes to change, especially as she has recently relocated to London. “I’ve been in my own bubble in Italy for so long, but it’s now time to reconnect with the present world.”

Luckily for the young portrait painter, London is the perfect place. Only time will tell if the likes of Marlene Dumas, showing at Tate Modern in 2015, will have the same impact on Isabella’s future portraits as Velázquez and co.

20 ArtStudent_From the creators of Artists & Illustrators

Isabella Watling, Gino and Cristiano

tradItIonal vs

Finding a balance between respecting the Old Masters Two successful recent graduates tell

Charlie SChaffer

Charlie Schaffer, Antonio

…on finding new avenues to explore

C

ConTemporary

and breaking new ground is a tricky line to establish.

Terri Eaton how they found their niche

harlie Schaffer doesn’t play by the rules. That’s not to say he’s a rebel without a cause because he has a very important cause – to create meaningful portraits – but the idea of following a formula when painting gives this University of Brighton graduate the heebie-jeebies.

“Having to obey a set process would be very uncomfortable for me because I see everyone and every day so differently,” admits the 22-year-old, who was awarded the Young Artist Award at the Lynn Painter-Stainers Prize 2014.

“I paint people because it’s one of the few opportunities where you can sit with an individual and get to know them on a frank and personal level. After months of sittings, the painting is almost a byproduct of the bond you establish.”

Charlie thanks his tutors for giving him free reign to explore his own style with little interference and he now has the confidence to trust his instincts.

“I allow my paintings to happen organically, not least because it keeps me interested,” reveals Charlie, who counts Francis Bacon and Mark Rothko among his influences. “Each stroke represents a moment in the experience as a whole.”

Charlie’s choice of palette also plays an important role in his paintings and it’s usually a person’s personality or mannerisms that will suggest a shade to him. “It oftens feels as though the painting grows out of a colour. Antonio (pictured left) is Italian and he’s got olive skin so I was sure his background should be green,” he explains.

As well as colour, Charlie recognises an intensity in many of his pictures, and tips his hat to Lucian Freud’s art for showing him the ways of a powerful portrait.

“You look at his creations and you can sense the weight and flesh of this living thing whereas I see certain older portraits and there’s a flatness to them that makes me question whether it was an actual person at all.”

While Charlie enjoys admiring the work of others, he gets the biggest kicks from painting to the beat of his own drum, even if he’s never quite sure where each new picture will take him. _AS

From the creators of Artists & Illustrators_ArtStudent 21

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open season As colleges and universities return for the new academic year, a host of art societies and bursary providers are gearing up to splash the cash. We’ve picked out 17 great opportunities worth considering in the next 12 months Words: Steve Pill

Ignacio Estudillo Pérez, Mamá (Juana Pérez) Winner of the BP Young Artist Prize 2014

The associaTion of illusTraTors new TalenT award In terms of profile, the AOI Illustration Awards is the biggie, as its annual exhibition tour regularly attracts 40,000 visitors. The new talent section is designed for third-year undergrads, post-grads and illustrators out of college for two years or less.

Deadline: Details for 2015 will be posted online in November 2014 Find out more: www.aoiimages.com

Bulldog porTraiT Bursary As well as the £5,000 cash injection, this competitive bursary for young artists also includes the opportunity to receive mentoring from members of the Royal Society of Portrait Painters – a vital, hands-on education for promising young talents.

Deadline: May 2015 (date tbc) Apply online: www.registrationmallgalleries.org.uk

Bp young arTisT prize Perhaps the one British painting prize with a truly international reach, the BP Portrait Award continues to attract visitors and entrants from around the globe. 28-year-old Spanish artist Ignacio Estudillo Pérez won this year’s £7,000 Young Artist Prize, open to artists aged 18 to 30 who enter the main award.

Deadline: February 2015 (date tbc) Find out more: www.npg.org.uk

The de laszlo foundaTion prize The Royal Society of Portrait Painters’ Annual Exhibition 2015 will run from 16 April to 10 May at London’s Mall Galleries. The de Laszlo Foundation Prize is given to the best portrait in the show by an artist aged 35 or under. It comes with a £3,000 cash prize and a shiny silver medal too.

Deadline: 9 January 2015 (submissions open 6 October 2014) Apply online: www.registrationmallgalleries.org.uk

© IgnAcIo EStudIllo PérEz

derwenT arT prize Part of the £12,000 prize fund at the Cumberland Pencil Company’s annual award for pencil artists includes a £500 Young Artist Award for under 25s.

Representational art dominates the

>

From the creators of Artists & Illustrators_ArtStudent 25

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David Shepherd Wildlife Foundation - Wildlife Artist of the Year 2015

CALL FOR ENTRIES

Young & Wild

Open to artists aged 17-25 £10,000 top prize

Any media, any style including 3D Special reduced entry fee £10 Shortlisted work will be exhibited for sale at the Mall Galleries, London June 2015 Entry from now until February 2015 For details see www.davidshepherd.org or call 01483 272323

Find us on twitter @DSWFWildlifeArt and Facebook DSWF Wildlife Artist of theYear

Image courtesy of Emily Lamb

The David Shepherd Wildlife Foundation is a UK registered charity (1106893) Working to save endangered mammals in the wild

art competitions

Penguin Design AwArD Celebrate 80 years since the first Penguin paperback was released by designing your own adult fiction cover.

The overall winner will enjoy a four-week placement in the iconic publisher’s design studio. The Puffin Children’s Prize offers the same placement for books aimed at a younger audience.

Deadline: Details for 2015 will be posted online in October 2014 Find out more: www.penguin.co.uk

The Phyllis roberTs AwArD Established in memory of the late artist, this £2,000 award is designed to give a financial leg up to young oil painters under 35. Alice Hall scooped the 2013 prize at last year’s Royal Institute of Oil Painters annual exhibition for Falmouth Dock, pictured.

Deadline: 9 October 2014 Apply online: www.registrationmallgalleries.org.uk Alice Hall, Falmouth Dock Winner of the Phyllis Roberts Award 2013

shortlist but there is a surprisingly diverse range of works rewarded each year.

Deadline: Details for 2015 will be posted online in September 2014 Find out more: www.derwent-artprize.com

JerwooD DrAwing Prize As it enters its 21st year, this is the UK’s longest-running drawing competition.

Of the 1,794 drawings previously shortlisted, there is always a strong focus on innovative or practice-led pieces so there is plenty of scope for experimentation here with two £2,000 student awards up for grabs.

Deadline: Competition opens April 2015 Find out more: www.jerwoodvisualarts.org

nATionAl oPen ArT comPeTiTion 2015 This open submission has been getting bigger each year, with the 2014 touring exhibition currently taking in London’s Somerset House and Chichester’s Pallant House. The Emerging Artist of the Year Award offers added incentive for students and recent graduates.

Deadline: Registration opens 1 January 2015 Find out more: www.thenationalopenartcompetition.com

rbA rome scholArshiP If you can demonstrate a decent standard of draughtsmanship, you could be eligible for a four-week stint at the British School in Rome. Thanks to a generous bequest in memory of former RBA artist Marianne von Werther, flights and half-board accommodation are also provided.

Deadline: 31 December 2014 Find out more: www.royalsocietyofbritishartists.org.uk

royAl AcADemy summer exhibiTion Or ‘the largest open submission exhibition in the world’. If the hanging committee selects your work from the 12,000 submissions, you could be eligible for a British Institution Award – a series of £1,000 prizes given to student exhibitors.

Deadline: February 2015 (date tbc) Find out more: summer.royalacademy.org.uk

royAl socieTy of PAinTer-PrinTmAkers The Gwen May Recent Graduates Scholarship Award gives two successful printmaking candidates a £1,000 bursary and a two-year associate membership to the society. Meanwhile, the Anthony > From the creators of Artists & Illustrators_ArtStudent 27

art competitions Dawson Young Printmaker Award rewards print artists under 30 with £2,500 of prizes.

Deadline: 31 October 2014 Find out more: www.banksidegallery.com

Royal ScottiSh academy open exhibition This Edinburgh-based show offers plenty of incentives to students and graduates.

The RSA Guthrie Award for an outstanding painting by a Scottish artist under 35 comes with £750 cash, while four other awards that are geared to younger artists total an extra £1,000 in prize money too.

Deadline: 19 October 2014 Apply online: www.regroyalscottishacademy.org

SignatuRe aRt pRize Degreeart.com is the brains behind this one, an annual prize for students or recent graduates in five categories: painting, photography, sculpture, printmaking and drawing. Prizes are announced at a gala event in March 2015 and include a year’s representation by the website and cold hard cash money.

Deadline: 14 December 2014 Find out more: www.signatureartprize.com

V&a Student illuStRatoR of the yeaR While the V&A Illustration Awards largely reward professionals, there is a category dedicated to art college submissions.

University of Westminster’s Grace Russell won in 2014 for her beautiful and rather abstract interpretation of Robert MacFarlane’s book The Wild Places.

Deadline: Competition opens November 2014 Find out more: www.vam.ac.uk

the young & Wild aWaRd Though traditional in its artistic outlook, the David Shepherd Wildlife Foundation supports a range of conservation projects and attracts prominent young talents like Emily Lamb and Natalie Mascall. The Foundation’s annual awards include this prize for artists aged 17 to 25.

Deadline: January 2015 (date tbc) Find out more: www.davidshepherd.org/way 28 ArtStudent_From the creators of Artists & Illustrators

the zSuzSi Roboz pRize This brand new £5,000 prize has been provided by the Zsuzsi Roboz Trust, set up to honour the late Hungarian artist.

It will be presented annually at the Pastel Society’s open exhibition to a young artist under 35 who demonstrates good traditional draughtsmanship skills.

Pastels, charcoal, pencil, conté, sanguine and other dry media are all acceptable.

Deadline: 5 December 2014 Apply online: www.registrationmallgalleries.org.uk

Gwenyth Fugard, Untitled 6 Winner of the painting category Signature Art Prize 2013-’14 Grace Russell, The Wild Places Winner of the student category V&A Illustration Awards

CALL FOR ENTRIES

For information and inspiration visit: www.mallgalleries.org.uk

OPEN ART EXHIBITIONS 2015 PLUS AWARDS, PRIZES AND BURSARIES

FBA call for entries Art Student.indd 1

08/09/2014 14:09

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How did you enjoy your time at university? And what was the focus of your study?

I majored in sculpture at Hongik University. However, I was more interested in the performance arts at the time.

I participated in an experimental modern theatre group, which influenced the early period of my work.

lee bul

10 minutes with…

How important was the Venice Biennale in terms of establishing your international reputation?

It definitely helped, especially since I was awarded an ‘Honourable Mention’.

However, I wasn’t so much concerned about the award or reputation – it was more important for me to be sharing my works with international viewers.

Given the complex nature of your installations, how does a new work typically begin?

For me the whole process begins with putting even rough or vague ideas down on paper so that it has some sort of form and it’s visualised.

This then leads to more drawings, variations and developments – from quick sketches to more fleshed-out compositions with detail and colour – as I explore those initial set of ideas, thinking about how and whether they could be realised in three dimensions. At this stage, I research and test a variety of materials, and create maquettes or computer models in order to anticipate

30 ArtStudent_From the creators of Artists & Illustrators

How important is viewer interaction to the validity or success of your works?

In most cases, I try not to think about how the audience would react during the process of making the work.

However, the relationship is still important since it invites the audience to uncover various narratives and allegories through their own interpretation of the work.

Could you point to one work in the show that best sums up your interests as an artist?

The works are supposed to be seen and understood in relation to each other so it’s hard to pick one; all the works are equally significant. It’s more useful to view them in

Lee Bul, Excavation

a broader context on a continuum with my works exploring modernity and architectural ideas, as an examination of our faith in the idea of greater progress, towards perfection.

Which other lesser-known Korean artists would you recommend to UK audiences?

There are many great Korean artists so I couldn’t list all of them. Instead, here is a list of my friends whose work I respect: Bae Young-whan, Ham Jin, Noori Lee, Paik Hyun-jin and Young-hae Chang Heavy Industries.

What do you know now that you wish you’d known at the age of 21?

I now realise that the world won’t change easily. At the age of 21, I used to think I could possibly change the world. Also, now I know making art won’t give me a concrete answer or solution to the fundamental questions I have about the world. _AS Photo: Kim Jae-won. Courtesy studio Lee BuL and iKon; Photo: PatriCK Gries. Courtesy the artist and Fondation Cartier Pour L’art ContemPorain, Paris and iKon

Born in 1964, Bul is one of Asia’s most prominent contemporary artists. She represented Korea at the 48th Venice Biennale and exhibits regularly across the world.

A first major UK exhibition of her work, including drawings, videos and installations, runs until 9 November at Birmingham’s Ikon

How did you go about establishing yourself as an artist after university?

After graduation, I worked as a member of an artist-run organisation called Museum.

My colleagues and I formed the group while we were still students. I participated in many group exhibitions presenting experimental works throughout South Korea.

any possible technical issues.

It’s also important to consider the provided budget.

After creating drawings and maquettes, and testing materials, I finally decide on the design that would be most suitable for the given space.

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