Artists & Illustrators Art Student Autumn 2016

THE SMART WAY TO MARKET YOUR ART ONLINE

HOW TO BUILD A TRAVELLING STUDIO

A GUERRILLA GIRLS’ GUIDE TO CHANGING THE ART WORLD

Art Student

F RGAEZIE NE MA

TIME TO LET YOUR CREATIVITY FLOW...

THE BEST NEW ART MATERIALS, COMPETITIONS AND AUTUMN EXHIBITIONS

! e s o o l Let

AUTUMN 2016

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

EDITORIAL

contents THE SMART WAY TO MARKET YOUR ART ONLINE

Editor Katie McCabe Art Editor Alicia Fernandes Digital Editor Natalie Milner

HOW TO BUILD A TRAVELLING STUDIO

A GUERRILLA GIRLS’ GUIDE TO CHANGING THE ART WORLD

Art Student

WITH THANKS TO Estelle Lovatt, Rosalind Ormiston, Louise Hagger and Katya Barton

10 Make a splash Our guide to the best new art materials 12 Social circle How to market your art online

ADVERTISING Advertisement Manager Jack Shannon

MANAGEMENT & PUBLISHING Managing Director Paul Dobson Deputy Managing Director Steve Ross Finance Director Vicki Gavin Publisher Steve Pill Circulations Executive Drew Brown Digital Media Manager James Dobson Brand Manager Chatty Dobson

TIME TO LET YOUR CREATIVITY FLOW...

THE BEST NEW ART MATERIALS, COMPETITIONS AND AUTUMN EXHIBITIONS

F RGAEZINEE MA

Let loose!

Printed in England by William Gibbons Production All Points Media ArtStudent Cover_draft5.indd 1

AUTUMN 2016

16 A closer look Critic Michael Glover on Kazimir Malevich 19 Guerrilla Girls The ongoing story of an activist art group 22 Best foot forward How Footfall Art created a roving gallery

02/09/2016 15:07

Cover photo: Louise Hagger.

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5 Autumn showcase The best art exhibitions around the UK

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25 Winner’s game The top art competitions for students 27 Art on wheels Hit the road with a travelling studio 30 Pagemaster 5 books to inspire any art student

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HARRY SHUNK AND JÁNOS KENDER, YVES KLEIN’S LEAP INTO THE VOID, FONTENAY-AUX ROSES, FRANCE, 1960; © YVES KLEIN, ADAGP, PARIS AND DACS, LONDON 2016. COLLABORATION HARRY SHUNK AND JÁNOS KENDER © J. PAUL GETTY TRUST. GETTY RESEARCH INSTITUTE, LOS ANGELES (2014.R.20)

autumn SHOWS

exhibitions

It’s not too late to dive into the best art shows of 2016

From the creators of Artists & Illustrators_ArtStudent 5

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Paula Rego Marlborough Fine Arts, London 28 September – 12 November Although she hails from Portugal, Paula Rego is part of a school of great British figurative painting; yet her strange, ethereal approach to the human form is completely distinct from her contemporaries, Hockney and Frank Auerbach.

Her large-scale pastel series

E D ITO R ’S P IC K

CENTRE POMPIDOU, PARIS. MUSÉE NATIONAL D’ART MODERNE CENTRE POMPIDOU, PARIS. MUSÉE NATIONAL D’ART MODERNE / CENTRE DE CRÉATION INDUSTRIELLE LEGS DE M. GEORGES SALLES EN 1967 (N° INV. :AM 4393 P) © SUCCESSION PICASSO/DACS LONDON, 2016

THE MUSEUM OF MODERN ART, NEW YORK. GIFT OF BLANCHETTE HOOKER ROCKEFELLER, 1995. © 2016 THE WILLEM DE KOONING FOUNDATION / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK AND DACS, LONDON

ABOVE Pablo Picasso, Woman in a Hat (Olga), 1935, oil on canvas, 60x50cm

© PAULA REGO, COURTESY MARLBOROUGH FINE ART, LONDON

Picasso Portraits National Portrait Gallery, London 6 October – 5 February 2017 To say Picasso was a precocious teenager is something of an understatement. From the age of 13, his sketches were already making his artist-father envious.

By 14, he was accepted to the Barcelona School of Fine Arts and began producing realist portraits that were almost on par with the works of Goya and Velázquez. But the constraints of academic painting never sat well with Pablo.

A new exhibition at the National Portrait Gallery will look at the evolution of Picasso’s painting from his neoclassical portraits to his cubist works. The show will house 80 paintings, many of which have never been exhibited in the UK. These portraits of Picasso’s friends, family and lovers offer a window into his life, and his extraordinary ability to move from one artistic style to another. www.npg.org.uk

Dancing Ostriches, soon to go on display at Marlborough Fine Arts, was inspired by a scene of the same name in Disney’s Fantasia. In this homage, the dancers are growing older, they are fed up and long past the point of fretting over elegance. Rego’s pastels warp perceptions of beauty, treating the subjects with humour and grotesque exaggerations.

At her Marlborough show, the ‘Ostriches’ will be joined by Rego’s first tapestry, Eagles Daughter. www.marlboroughlondon.com

TOP LEFT Willem de Kooning, Woman II, 1952, Oil, enamel and charcoal on canvas, 149.9x109.3cm ABOVE Paula Rego, Dancing Ostriches from Disney’s Fantasia, 1995, pastel on paper mounted on aluminium, 150x150cm

Abstract Expressionism 24 September – 2 January 2017 Royal Academy, London Having emerged from the shadow of two World Wars and the Great Depression, in the 1950s, New York evolved into a hotbed of creativity and change. Beat poets and avant-garde artists sought to escape the ‘age of anxiety’, and channel negative experiences into their art.

The Abstract Expressionism exhibition at the Royal Academy puts a magnifying glass over this this seismic shift in American art, when Jackson Pollock and Willem de Kooning used their large-scale canvases to dominate New York’s hottest galleries.

See the ‘action paintings’ of Pollock with paint dripped onto the canvas, and observe the gestural colour experiments of Mark Rothko and Clyfford Still.

This brilliantly curated display offers a long-overdue exploration into the first great American art movement. www.royalacademy.org.uk >

From the creators of Artists & Illustrators_ArtStudent 7

EXHIBITIONS

Flesh: Skin and Surface York Art Gallery, York 23 Sep 2016 – 19 Mar 2017 The representation of flesh in art can take many forms: a political

RIGHT Name, Artwork, Info details RIGHT Name, Artwork, Info details RIGHT Name, Artwork, Info details

NORTON MUSEUM OF ART, WEST PALM BEACH, FLORIDA, PURCHASE, ACQUIRED THROUGH THE GENEROSITY OF JIM AND IRENE KARP, 2016.178 © NJIDEKA AKUNYILI CROSBY

William Kentridge: Thick Time Whitechapel Gallery, London 21 September 2016 – 15 January 2017 South African artist William Kentridge is a skilled draughtsman, working mainly in charcoal. But every so often, he ventures into a world of multi-sensory art, erasing his markings in stop motion films.

For the artist’s solo show, Whitechapel Gallery have chosen to dive right into Kentridge’s unpredictable world with a display of two of his key immersive audio-visual installations, The Refusal of Time (2012) and O Sentimental Machine (2015).

The latter offers a critique of Russian revolutionary Leon Trotsky’s notion that people are ‘sentimental but programmable machines’. Visitors will also be treated to the artist’s ‘flip-book film’ Second-hand Reading (2013) and a series of tapestries based on Kentridge’s works for the opera production of Shostakovich’s surrealist satire, The Nose.

Kentridge’s stop motion films echo Charlie Chaplin, using the best of silent film techniques to deconstruct and re-present his artworks. www.whitechapelgallery.org

Portals Victoria Miro Gallery, London 4 October – 5 November In her first European solo exhibition, Njideka Akunyili Crosby will present a completely new body of work using her distinctive layering techniques. Njideka uses a mix of painting, drawing and photo-transfer media to create portraits with evocative African patterns that draw on personal, political and historical experience. www.victoria-miro.com

statement, a form of abstraction, a depiction of new life, or death. At York Art Gallery, a collection of artworks spanning hundreds of years will explore the artistic significance of flesh, from the glorious to the gruesome.

See how the paintings of Rembrandt depict the human body in carefully curated light, while Francis Bacon twists his subjects’ skin and surface beyond all recognition.

The work of the iconoclastic feminist photographer Jo Spence will be on display alongside contemporary pieces from artists including Bruce Nauman, Jenny Saville and Sarah Lucas. www.yorkartgallery.org.uk

8 ArtStudent_From the creators of Artists & Illustrators

COURTESY WILLIAM KENTRIDGE, MARIAN GOODMAN GALLERY, GOODMAN GALLERY AND LIA RUMMA GALLERY

DON’ T MISS !

ABOVE Njideka Akunyili Crosby, Super Blue Omo, acrylic, transfers, coloured pencils, collage on paper, 213.4x274.3cm LEFT Screenshot from O Sentimental Machine, 2015,

by William Kentridge

Yves Klein Tate Liverpool 21 October 2016 – 5 March 2017 Even if you’ve never seen one of his works, hearing the name Yves Klein will bring one colour to mind: his depthless ultramarine pigment, International Klein Blue (IKB).

Before his death from a heart attack at the age of just 34, Klein became a celebrity of the post-war era. He traversed artistic disciplines, working in performance art, theatre, film and music. Among other works, the Tate Liverpool exhibition will include the Anthropometry paintings, created when Klein choreographed nude models to act as living paintbrushes.

Was he a great artist, or a skilled showman with a knack for capturing the zeitgeist? Perhaps this show will offer the answer. www.tate.org.uk as

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From the creators of Artists & Illustrators_ArtStudent 11

self promotion

play the market Estelle Lovatt offers a beginner’s guide to marketing your art, from social media to approaching the press. Illustrations: Bett Norris 12 ArtStudent_From the creators of Artists & Illustrators

ou’re an emerging artist who wants to be a professional earning a decent amount of money from your art. Your studio is filled with finished works, now how to move them from there to your social media platforms, to be viewed and hopefully sold?

In the past, potential buyers had to come to you, visiting a gallery space or the walls of your local coffee shop. Only through the expensive mass-posting of press releases could art be brought to the client. Now, you can optimise a press release by using keywords and phrases most relevant to you.

When approaching journalists, use these keywords in a punchy headline and throughout the text, making every single word count.

You’d be surprised what works, I couldn’t resist looking up one man who sent me a press release signing himself off as, ‘The World’s Most Adorable Art Critic’. Even David Bowie used a press release to launch the ‘biography’ of fictional artist Nat Tate; the book, written by William Boyd, was an elaborate art hoax.

Most journalists will be bombarded with emails, but it’s still the best means of contact – phone calls can feel intrusive without an introduction, so make your work stand out in your initial message, or try to catch their attention on social media first.

Your art needs to be seen to be bought and quite frankly art sales, like any other product, is simply a numbers game. The more exposure, the more sales. So you’ll need to think like a businessperson; that means building up your social media. Social media can be challenging to an artist because what artists do is so personal. Thankfully some images speak for themselves, so always photograph your artwork, and make sure it looks as professional as possible.

Y

Make a splash Don’t be afraid to make big statements: promote, market and advertise yourself as an artist

through Facebook, Twitter and Instagram. Of course there are others, including Pinterest, Google Plus, YouTube, LinkedIn, Vine and Vimeo. Different platforms reach different audiences; many make the mistake of signing up to everything, but it’s better to concentrate on those that best fit your artistic style. There’s no value in being a jack of all trades if you’re a jack with three followers who hasn’t Tweeted since 2011.

you more space to explain who you are; your art philosophy and influences. Discuss what your work is about, how you make new art; talk about your processes, your concepts, obstacles and thoughts.

This allows readers to connect with you; and if there’s one thing the internet loves, it’s a behindthe-curtain story. “Social Media provides an artist with immediate feedback from their fans and a means for communicating directly

Quite frankly art sales, like any other product, is a numbers game and that means building up your social media If you enjoying sharing your painting process online, try Instagram, if you’re into art debate, join the conversation on Twitter.

Let’s get digital First thing’s first, create a webpage for your art. Content is fuel, so optimise it by including your CV, biography and artist’s statement.

Talk about exhibitions you’re in, competitions, art fairs, open studios, group shows, awards you’ve won and previous commissions (but don’t mention clients by name without permission). Offer a Newsletter to keep up communications with potential buyers.

Regular blogs can be difficult to maintain, but this feature will give

with their audience, providing an unprecedented means by which artists can communicate directly with collectors,” says Kathryn Roberts, creator of The Art Selling Optimization Sequence.

Click to buy Link and upload your artwork to online galleries. Sally Vaughan, co-founder and director of the online platform for figurative artists, Go Figurative, says “artists understand and use social media to communicate concepts, generate and germinate ideas, garner feedback, build a following and share with peers, and to sell.” If you want to be seen, have plenty of art to show and sell. Make sure everyone is able to buy something >

From the creators of Artists & Illustrators_ArtStudent 13

SELF PROMOTION

irrespective of how little they have to spend – this is how Tracey Emin made a living as an emerging artist, selling t-shirts and ashtrays.

Perhaps barter or trade your art for goods or services; it worked for Picasso – when he couldn’t pay for his food he’d exchange a meal for a drawing on a restaurant serviette.

Share and share again When used productively, a Facebook page will encourage others to share your work – introducing it to new audiences.

Don’t be tempted to post the same content as you have on your website or blog, give a little extra, an incentive to ‘like’ your page.

Post your best work on your website gallery, and use your Facebook page and Instagram to post sketches and works-inprogress so that your fans can feel more involved. Promote new shows or openings, and share pictures of the event when it’s still fresh in people’s minds.

People respond to video storytelling, so get started with a YouTube channel where viewers can watch as you discuss your artwork and creative process.

Try sharing practical information about your painting techniques;

The circle Social marketing helps the artist build a picture of who they are, what they do and what they stand for with their art. So feel free to tell your followers what you are currently working on; you could even comment on the current events and how they are affecting your painting.

Nigella Lawson engages with her

It’s a matter of repetition, of constantly, consistently and creatively putting on these tiny social ‘performances’ you could even film a time-lapse video of your artwork being made.

As pages and channels look similar, it’s important to brand yours as ‘yours’ by personally customising it. This improves visibility and helps your page stand out. Or, if you prefer to stay off camera altogether, experiment with a podcast; get a charismatic group of artists in a room to discuss the burning topics of the day, and press record.

Using social media to market your art cannot, and will not, solve all your artistic problems, but it’ll share your art with more people, and help them find out what you have to offer.

followers by sharing what she eats for breakfast each day. Why not post your favourite artist or artwork of the day? There’s no shortage of sources, including gallery and museum sites, the highly recommended Google Art Project, and personal websites of artists. But remember to always credit your source when sharing.

Like and link to other artists’ websites, comment on their artwork to strike up a conversation; network, in every sense of the word. The artist you’re linking to may just give you a shout-out too. Offer to write a guest post – your top art tips or an art tutorial for someone else’s

14 ArtStudent_From the creators of Artists & Illustrators

Blog. If they publish your write-up, they’ll give you a link back to your site, and if they have healthy traffic, you can expect people to find their way to your site.

Social media is all about building an audience; it’s a gradual process and it means providing fresh content on a regular basis to give those followers a reason to come back to you.

Even if you’re a traditional artist in your medium, you’ve also got to be a digital artist in your actions to stay afloat. “Every artist can benefit from using social media. If your work isn’t online, it doesn’t exist,” says the photographer and visual artist Cristina Schek adding, “You make the work and you have to share it with the world. Of course, the levels of exposure an artist receives – how well we hashtag and what time we post according to mainstream traffic times – is what measures how successful public response is.

“It takes a bit of skill to use social media tools properly; it’s a matter of repetition, of constantly, consistently and creatively putting on tiny social ‘performances’. And the same as with your art, time translates to skill.” as You can find Estelle on Twitter, Instagram and YouTube. www.estellelovatt.com

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great works

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ar t in

s cu

Art Critic Michael Glover takes a closer look at Carpenter by 20th-century painter Kazimir Malevich oes the delicate, fanciful, figurative nature of the painting on this page represent an act of self-betrayal? It is certainly a turning back. Kazimir Malevich seemed to throw down a gage in 1915, when he made his Black Square paintings. That all-over-blackness was an act without compromise, a no-turning-back moment.

Painting as a process of imitation was dead.

Long live the new, austere, non-representational art! And yet, some years later he turned back – as [Italian artist] Giorgio de Chirico was to do also.

And he turned back, in part, to what he already knew. The Russian peasantry. And, as he aged – he died in 1935, just six years after he had made this work – he seems even more regressively figurative in his manner of using paint.

What then is happening here? Here is a carpenter, a maker with his hands. He holds an axe, a chisel. This man is Russia. This man is at the heart of things. The wood which he works is on the move, slipping sideways, part-worked, coming into being as an architectural structure of a certain Russian timelessness. See that ornamental window behind him? And yet this carpenter is being seen through the eyes of the stylisations of the modern, all those paintings by Picasso, Matisse and others that Malevich had seen in the Moscow homes of two great collectors, Morozov and Shchukin, earlier in the century, and the later experiments of the so-called Cubo-Futurists.

Malevich was in the thick of all that.

And so after blackness and the negation of the world of imitation, colour returns, and shapeliness, in excitable abundance. Blue trees, a pink, cruciform path, red hands. Its giddy, dreamlike dislocation from the reality of all that we see puts us in mind of a line snatched from a poem by Wallace Stevens called Disillusionment of Ten O’ Clock, written just three years before this painting was made, which speaks of the old sailor who ‘catches tigers in red weather’.

We ask ourselves what sort of creature this is, what level of other-reality it is rooted in. Is it a mannequin, a poupée, a talisman, an amulet, an icon? All those things and more? It is a fantasia on 16 ArtStudent_From the creators of Artists & Illustrators

KAZIMIR MALEVICH, CARPENTER, 1928, OIL ON CANVAS, 70X44CM, THE STATE RUSSIAN MUSEUM, ST PETERSBURG, RUSSIA

D

This is an extract from Great Works: Encounters with Art by Michael Glover, Prestel, £22.50, out 19 September

a dying theme during an era when the sheer brutality of the great collectivist experiment was beginning to transform the nature of life on the land in Stalin’s Soviet Union forever. And so it is wistful then? Yes, but not narrowly so. Wistful for Futurism as much as it is wistful for the man who might once have proudly commanded the regular sight-lines – Christ-evoking in the cruciformity of those paths – of his own verst of land.

It is a part re-staging of Malevich’s own past, and a reaffirmation of a belief in that past – his painting The Scyther (1912) is markedly similar to the Carpenter in the elongation of the face, the tube-like legs and arms, for example. The great difference is this: the carpenter has been robbed of the powers to express himself through the mouth. Other late paintings of peasants show them with faces entirely featureless. This is therefore also a portrait of the death of dissent. as

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he feisty show Guerrilla Girls: Is it Even Worse in Europe?, at the Whitechapel Gallery, London, is one of four major Guerrilla Girls projects happening across Europe from August this year. Each show is bursting with newsworthy commentary on the art world, scathingly and humorously delivered by the radical New York-based feminist collective.

In 2015, as part of their 30th anniversary, the Guerrilla Girls sent questionnaires to more than 400 museum directors of public and private museums and cultural institutions in Europe.

The questions related to each institution’s representation of artists who are female, or gender nonconforming, or from Africa, Asia, South Asia, and South America. At its core, their research asked one key question: ‘Are museums today presenting a diverse history of contemporary art, or the history of money and power?’

T

PHOTO: ANDREW HINDRAKER, COURTESY THE GUERRILLA GIRLS ICON: CREATED BY ROBERT SALAZAR FROM NOUN PROJECT

o N

In 1985, the Guerrilla Girls launched an activist group to shine a light on the lack of diversity in the art world. More than 30 years on, the fight is far from over, says Rosalind Ormiston

ABOVE Members of the anonymous Guerrilla Girls group

At the Whitechapel Gallery, through their display, the Guerrilla Girls will present statistics based on the questionnaire; 300 institutions failed to respond to it, an amazing statistic in itself, and one that will be highlighted in the show.

“They will not be let off the hook”, states ‘Frida Kahlo’, one the group’s founding members. Like the rest of the Guerrilla Girls, ‘Frida’ has remained anonymous since the group’s inception.

The questionnaire’s gathered statistics inform a new work commissioned by the gallery, and created by the group for its façade, to coincide with the Whitechapel show of archive material.

In 1985, the Guerrilla Girls formed their collective of female artists and art-world professionals, promoting themselves as ‘the conscience of the art world’, to shame museums and galleries in New York for the lack of diversity in their collections. Mixing humour with a strong missive, they took aim at public museums and > From the creators of Artists & Illustrators_ArtStudent 19

COURTESY OF THE GUERRILLA GIRLS

commercial galleries, asking: what percentage of their collection was created by a female artist?

Using a poster campaign to publicise the lack of female artists’ works on show, or solo shows by female artists, one provocatively asked ‘Do women have to be naked to get into the Met. museum?’ Combined with the visual effect of the naked body of Ingres’ La Grande Odalisque (1814, Louvre), superimposed with a gorilla mask, and holding a fan with a delicately phallic handle, it highlighted that while a high percentage of the nude paintings in the Metropolitan Museum of Art, New York were of females, less than four per cent of the art was created by women. The sensational public reaction to the artwork, posted up all over New York city, established the Guerrilla Girls as the group that would go on to expose sexism, racism and corruption in art, music, film and politics.

Today, founding members Frida Kahlo and Käthe Kollwitz, and Guerrilla Girls’ activists around the globe, continue to question the “white male, money-dominated” art world. In particular, Kahlo states that today it is tokenism that is the problem, “We didn’t realise in 1980 that tokenism would be such an overused device in the art world to present the illusion of diversity: one show by a woman artist, one show by a trans artist, one show by an artist of colour and you think that whole issue is taken care of. And we found that is actually as much part of the problem as it is a solution. We also didn’t really realise that there would be a glass ceiling beyond which diverse artists are rarely allowed to go.”

So how can the conversation be moved forward? Kahlo believes it is not just about male-female representation, or economic privilege, she considers that you cannot write, or exhibit the history of art without the global representation of all artists, “diversity is essential to show the accurate story of who we are.”

20 ArtStudent_From the creators of Artists & Illustrators

Tokenism is such an overused device to present the illusion of diversity in art

ABOVE LEFT Guerrilla Girls, DO WOMEN STILL HAVE TO BE NAKED TO GET INTO THE MET. MUSEUM?, 2012 ABOVE RIGHT Guerrilla Girls, Dear Art Collector, 2015

To achieve their aim, the Guerrilla Girls have made it okay to count artists by various criteria, including ethnicity, gender, and global location, to attract attention to statistics, and highlight the rich flourishing of art through its global culture. Their message may be ignored by some museum directors and billionaire art collectors, but it has been heard.

In June, Frances Morris, director of Tate Modern in London re-launched the gallery with a new extension. The overriding point made was that 50 per cent of the art now on display was created by female artists. In October, the Guerrilla Girls will open a ‘complaints department’ there, a four-day project in Tate Exchange.

For art students today, Kahlo says there are many art worlds to join, “not just the art world that is about selling expensive art works to wealthy people in fancy galleries [...] there is a whole art world about changing the world, social practice, using your skills and your imagination to work for good in the world, for changing things.

That is really an option now.” The Guerrilla Girls, 30 years on, still lead the way. as The Guerrilla Girls: Is it Even Worse in Europe? exhibition will run at The Whitechapel Gallery, London from 1 October – 5 March 2017. www.whitechapelgallery.org

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public art

window of

opportunity

In need of a chance to showcase her work, art graduate Hannah Luxton created Footfall Art, a roving gallery that exhibits work in the windows of commercial businesses, discovers Katie McCabe

ow many times a day do you walk down the street with your eyes fixed on your smartphone? For some of us, the only thing that can motivate a skyward glance is the chance of ensnaring a Pokémon from the top of a nearby car. In our disregard for street browsing, who knows what we’re missing: a hidden bar, a new restaurant or maybe – the work of the next great British painter.

In 2013, artist Hannah Luxton decided to take the concept of ‘public art’ into her own hands, and offer a distraction from the iPhone screen.

She came up with Footfall Art, a project that showcases curated exhibitions in the windows of commercial buildings. Part gallery, part street art, Footfall Art is all about access – a chance for emerging artists to reach people who otherwise may never see their work, and for passersby to experience it on their own terms.

The idea came about while she was working in a cocktail bar in Bermondsey, London, and had just graduated from an MA in Fine Art at Slade School of Fine Art. After speaking to a local business owner, Robert McDermott, he suggested that she set up a pop-up art show in his office windows. Hannah jumped at the opportunity; she came up with the name, created a logo and registered the web domain before presenting her proposal – Robert gave her free rein, and even covered the cost of a professional hanging system for the art.

Footfall Art has just completed its most recent residency at the Camden People’s Theatre in London, but Hannah has hopes to return for a second display in the winter. This lack of a fixed postcode is part of the spontaneous charm, but to try and put down digital roots and gain more exposure, Hannah aims to link up with enterprises like ArtAttack (an app for sharing and selling artwork) and South London Art Map, who have supported the Footfall since its Bermondsey days.

Like most grass roots projects, the selection of

H

OPPOSITE PAGE Preparing the window for an exhibition at Footfall Art’s latest space ABOVE LEFT Hannah Luxton at work in her studio ABOVE RIGHT The artist poses with her work RIGHT The rotating Footfall Art exhibition; pictured here is an installation of work by sculptor Olivia Bax

It helps to have a strong portfolio of artists that you plan to exhibit

artists grew organically; it began with those Hannah had known at Slade and set off a chain reaction of recommendations. Some of the 17 artists from that first show in Bermondsey have gone on to become great successes; Lee Marshall and Linda Hemmersbach are both exhibiting at this year’s John Moores Painting Prize.

For those who want to curate a window gallery of their own, Hannah’s advice is to make it easy for a business to say yes. “Have a strong concept and ethos of why you want to do it and a portfolio of artists you’d want to exhibit; show that you have a good online presence that you can tap into and suggest different places you would approach to promote the project,” she says.

Outside life as a curator, Hannah creates her own work at her studio in Tannery Arts in Bermondsey, taking inspiration from nature to paint minimalist landscapes, “I make a lot of motifs that I repeat: triangle-shaped mountains and evocative shapes that I put together in quite spatial paintings,” she says. Like Footfall Art’s installations, the shapes on her canvas are “interventions in real space,” if you don’t pay attention, you might just miss them. as Find out more at www.footfallart.tumblr.com and www.hannahluxton.com From the creators of Artists & Illustrators_ArtStudent 23

Untitled-18 1

30/03/2016 15:15

prizes

in for the win The exposure and respect that comes with winning an art competition is not to be sniffed at – but an additional cash prize couldn’t hurt. Here are some of the best fine art awards and open exhibitions for students

BP YOUNG ARTISTS AWARD 2017 Submissions open: November 2016 As part of the famous BP Portrait Award 2017, artists aged from 18 to 30 are automatically considered for this prize worth £7,000. The winning entry for 2016 was from young British artist Jamie Coreth, with oil painting Dad Sculpting Me. www.npg.org.uk/bp

THE DE LASZLO FOUNDATION PRIZE Submissions deadline: 9 December 2016 Part of The Royal Society of British Artists prize, the winner for this under-35s category will take away a £1,500 award for the best painting from life. www.mallgalleries.org.uk/ call-for-entries DERWENT ART PRIZE Submissions open: January 2017 (tbc) This high-profile competition rewards excellence in artworks created in pencil (or water soluble, pastel, graphite or charcoal pencils) and there’s a Young Artist Award of £500 for under-25s up for grabs. www.derwent-artprize.co.uk THE ALFRED TEDDY SMITH AND ZSUZSI ROBOZ AWARD (PS) Submissions deadline: 4 November 2016 This under-35s prize of £5,000 is awarded to an artist for traditional skills used in an original way. Artworks using pastels, oil pastels, charcoal, pencil, conté, sanguine, or any dry media are all accepted. www.mallgalleries.org.uk/ call-for-entries

KRISTIAN EVJU, PUNCHCARD, PENCIL ON PAPER, 50X50CM

LYNN PAINTER-STAINERS PRIZE 2017 Submissions deadline: 19 December 2016 This annual award encourages creative representational painting and drawing. There’s a hefty prize pot of £30,000 including a Young Artists Award for under-25s of £4,000. www.lynnpainter stainersprize.org.uk

RSA OPEN EXHIBITION 2017 Submissions open: Still tbc, check webiste for details The Royal Scottish Academy’s annual show offers prizes suitable for under-35s including the RSA Latimer Awards (for Scottish artists) and RSA Meyer Oppenheim Prize. www.royalscottish academy.org

ABOVE Kristian Evju’s Punchcard is on the Jerwood Drawing Prize 2016 shortlist BELOW Jamie Coreth, Dad Sculpting Me, oil on canvas, 100x120cm

JERWOOD DRAWING PRIZE 2017 Submissions: May to June 2017 (tbc) A prestigious exhibition celebrating the breadth of contemporary drawing made from a range of different mediums. There are four cash prizes awarded each year: First Prize of £8,000, Second Prize of £5,000 and two Student Awards of £2,000 each. www.jerwoodvisualarts.org

ARTISTS & ILLUSTRATORS ARTISTS OF THE YEAR 2017 COMPETITION Submission deadline: 3 November 2016 Artists & Illustrators magazine’s annual competition offers a chance to win £10,000 worth of art prizes. First Prize is £1,000 and representation from Thackeray Gallery, London. www.artistsand illustrators.co.uk/2017 From the creators of Artists & Illustrators_ArtStudent 25

My personal work has been greatly impacted by my learning and continues to progress.

I can honestly say that enrolling withbythe was the decisions My personal work has been greatly impacted myOCA learning andbest continues to My personal work has been greatly impacted by my learning and continues to Iprogress. have everI can made.

Sandy Kendal honestly say that enrolling with the OCA was the best decisions progress. I can honestly say that enrolling with the OCA was the best decisions I have ever made. Sandy Kendal I have ever made. Sandy Kendal

travel

road

show

When faced with unaffordable flat rental prices, artist George Lloyd-Jones decided to create a travelling Boonrig Studio, and take his art on the road. Words: Katie McCabe. Photos: Katya Barton So George, tell us how the Boonrig Studio came about?

I graduated from the University of Brighton two years ago, and I was trying to figure out how I was going to rent a studio and a house, which is obviously quite hard to do and still get enough time to make paintings. The quickest way to save money was to stay at my parents’ house and focus for a year, and I ended up coming up with a mobile studio idea.

The original plan was to get a van to live in. Then the van idea grew and grew in my head, and I ended up with a lorry

that had a studio I could take anywhere.

I was working on a building site at the time, saving money; I learned a lot of [renovation] tricks. I ended up buying the lorry in August last year, and started the conversion, which took four months.

Then it was time to set off!

What state was the lorry in before you started doing it up?

It was just an aluminium box. The engine is good, but it was basically a huge box with a lot of leaks and bits of floor we needed to replace. The Internet was a

fantastic resource, which is why I made a page on my own website with a run through of what we did. I found a lot of free information, and I wanted to put some back out there from what I had learned. If anyone is doing their own conversion and wants to get in contact, they can.

You did much of the conversion yourself, were there any incidents?

It was quite scary cutting the holes for the windows, because you’re cutting this great big hole on the side of the lorry > From the creators of Artists & Illustrators_ArtStudent 27

15 Sept –— Sept –— 2715 Nov 2016

27 Nov 2016

#TomEllis #TomEllis FREE EXHIBITION

FREE EXHIBITION

THE MIDDLE THE MIDDLE Tom Ellis at the Wallace Collection

Tom Ellis at the Wallace Collection

PREVIOUS PAGE George with his girlfriend, artist Nettle Grellier CLOCKWISE FROM TOP LEFT The Boonrig in its full glory; George and Nettle at work; inside the mobile studio; George poses with one of his paintings

and wondering whether it’s going to fit or not or whether you’ve done it too big.

One morning it was very stormy and the storm blew the door off its hinges. That was a pretty bad day! But now we’ve made it [to Barcelona].

How many people are involved in the project?

It’s just [my girlfriend] Nettle and I, but we try and incorporate other people into it. That’s something we want to do more of, to make it available for other people’s use. We did a studio sale in December, and we had three other artists using it as a kind of shop front. It was nice to share what we have.

“We print woodcuts by driving over them, the truck is like a portable etching press” Is building a mobile studio something you would recommend?

Yeah, I think so. Everyone can do it in their own way, even if it’s just for living, or maybe it’s just for a studio space. It’s possible, and it’s nothing you can’t learn to do. We’ve found it a great experience so far, and I don’t think it is coming to an end anytime soon.

Does it help you meet and collaborate with other artists?

Definitely. Just being able to go to another town and do an exhibition with current work at minimal cost is pretty amazing. I don’t think I would have been able to do a show here in Barcelona without flying everything here and back.

You can follow your nose a bit more when you’re mobile.

What advice would you give to somebody attempting a similar project?

Don’t be scared of larger vehicles. A lot of people said to me, “why don’t you start with something small and if you like it you can go for something bigger?” But I think, just go big to begin with. Figure

out what you want it for. Make sure you have a purpose, and it should come together. If it’s for a live/work studio, it’s important that it is as spacious as possible.

Try and keep it clear, it can get messy pretty quickly, especially if two people are working there.

What’s your work like at the moment?

I do a lot of smaller stuff with crayons, woodcuts and printmaking. We print the woodcuts by driving over them with the truck; it’s like a portable etching press. I also work in oil on canvas; anything we can get our hands on!

Where do you think you’d be now if you hadn’t created the Boonrig?

I’d be finding different spaces I think; that’s something artists do really well.

Something I want to do in the future is to find a warehouse, and keep the truck as a larger studio for a number of people. You could live in your vehicle of choice, and travel around, but also have a bigger studio for bigger work.

What’s it like for you as a painter, sleeping beside your latest work?

For me, I don’t find that such a problem, I see the truck as an extension of my brain; all of my things are around me. I think Nettle finds it difficult; she turns her paintings around in the evenings sometimes. You have to be careful you don’t get caught out and run down, as that can happen quite quickly. But it’s a small price to pay to be able to move my studio. as Find out more about George and Nettle’s travelling studio at www.boonrig.weebly.com From the creators of Artists & Illustrators_ArtStudent 29

Against Interpretation and Other Essays by Susan Sontag Penguin Modern Classics Enduring criticism is part of life for any working artist, but no writer articulated the problematic world of art interpretation quite like Susan Sontag.

In her 1966 essay, Against Interpretation Sontag plays with the concept of high and low art in different forms, from the novel, to painting to cinema.

To her, Science Fiction is “the purest form of spectacle”.

She claims that the value of interpretation is to make works of art more real to the viewer, rather than tell us what it means.

Though published 50 years ago, the book’s calls for more open, emotional and erotic interpretations of art beyond the cliques of the intelligentsia are as relevant as ever.

that will inspire any art student

Playing to the Gallery,

by Grayson Perry Particular Books As a contemporary artist, Grayson Perry works at the coalface of culture, and he’s a rare breed in that he’s dedicated to the making of – as well as the pontificating about – art.

Playing to the Gallery is a polished version of Perry’s 2013 BBC Reith Lectures, unpicking the complex compendium he has come to know as ‘the art world’.

Like an experienced cabby, Perry navigates the reader through an art system he’s driven through for more than 35 years, pointing out the wrong’uns along the way. Ever the optimist, he is firm in his belief that a life in art is not preordained for a select part of society. As he says, “even I, an Essex transvestite potter, have been let in by the art world mafia”.

30 ArtStudent_From the creators of Artists & Illustrators

Philip Guston: Collected Writings, Lectures, and Conversations (Documents of Twentieth-Century Art)

by Philip Guston University of California Press Philip Guston’s avant-garde abstract and figurative paintings both intrigued and repulsed audiences in the 1960s, but he is perhaps better known for his musings on the art world, than his own work.

Guston was a natural orator, and his lectures on painting were considered legendary.

This collection of dialogues shows his gift for storytelling as he weaves his perception of art with the writings of Kafka and Beckett.

Even when he is speaking subjectively, Guston provides a whole new vocabulary for discussing art.

The Practice and Science of Drawing by Harold Speed Dover Publications There are countless instructional books for drawing nowadays, but few capture the essence of good draughtsmanship like the classic writings of Harold Speed.

An English oil painter and life drawer, Speed studied at the Royal Academy Studios in the late 19th century, and won the gold medal for life school studies in 1890.

His writings continue to be referenced by artists and graphic designers today.

The book may be a little text heavy, and has some irksome Victorian phrasing, but it is punctuated by beautiful pencil studies from the likes of Leonardo da Vinci and Botticelli.

The Letters of Vincent van Gogh, by Vincent van Gogh, edited by Ronald de Leeuw Penguin Classics Whether or not his paintings speak to you, the exquisite narrative in Van Gogh’s writing will resonate.

In his 800-some letters to his brother Theo and other family members, we follow Van Gogh as he tries to figure out what to do with his life, discovers art, and grapples with his own demons.

The language he uses to describe the process of painting is nothing short of poetry.

Francis Bacon is just one artist who adored Van Gogh’s letters.

Who knows who they’ll inspire next.

ILLUSTRATION BY NINA COSFORD @NINACOSFORD

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