The Juice Magazine, Issue #01, 15/09/10 Arts, Theatre, Literature and much more inside...
THANK YOU! Before we start we would like to thank the following people... Tim Smith, of Union 105, who designed the image for our front cover. Check out more of his work at http://3digits.wordpress.com/ Paul Barugh, whose ambiguous images of Leeds have been used alongside submissions throughout the magazine. Leeds Year of Volunteering Community Activity Grant, for funding our printing and launch night costs. The Roast, for hosting our launch night and all of our performers, Exhibitors and artists who are involved in making the night a success! Everyone who has joined the facebook group, followed us on twitter and blogger and anyone who has helped and advised us along the way! I would also like to thank Harvey Ascott, Lindsey Dew, Jenny Hall, Helen Jeffers and Katie Lee, in other words, The Juice team who have worked incredibly hard over the past months to produce this magazine! Just one final word to say how much we appreciate everyoneâ€™s hard work for our magazine, we appreciate everything youâ€™ve done. Without all of your time and efforts this could not have happened, so THANK YOU!
Dear Reader, I welcome you warmly to the first issue of The Juice! We were born out of a collective dislike of greasy water, ice rinks and the job centre, along with a genuine love of the art world. The theme for this issue was â€˜Part Time Job, Full Time Artistâ€™. Most of us here are keeping an artistic practice going with a part time job. Part of being creative and following an unconventional path in life often means you need a crutch to keep you going, and we wanted to create an arena for reassurance and to be reassured ourselves, that there are others out there, dealing with the same situations as us. This first issue is a testament to the dedication to art that exists so largely in our society. Inside of this brand new publication, which comes complete with the smell of freshly printed pages, you will find a wide breadth of exciting interviews and articles from our super hard working team here and also a collection of different, thought-provoking submissions from across the artistic field sent in by the public. I hope you enjoy flipping through our pages as much as we have enjoyed every step involved in creating them. Feel free to take this copy home with you, read it, pass it on and spread the good word. Lois Whitehead
TIME TO TELL ‘Embrace living You can’t win this race Not to enjoy it would be a disgrace create mass: a silver plate Time will expand It doesn’t care, if you don’t understand Create mass Don’t just be Like an ass chewing grass Create time to create beauty It’s always a pleasure, never a duty Create, a joyous smile Time will expand You’ll be lost for a while Life will be grand Life will be a treasure box To hold in your hand.’ Zelick Mendelovich
Image : Paul Barugh
“It’ll take you five years to make it as an artist.”
“If you have anything but a part time job you’re not fully committed to practising your art” A tutor in my third year, June 2009 The theme of this months issue is ‘Part time job, Full time Artist’ and I therefore wish to discuss what makes artists make it and others stay in the aforementioned uninspiring professions. After a lot of thought on this subject, being an issue which is very raw and close to my heart at the minute, I think it ultimately boils down to confidence. The unbrazened ability to put yourself out there and sell yourself. There is also a certain amount of luck but genies’ lamps and wishes aside this is something we have no power over. Confidence too, could be argued to be something we are born with rather than gain. You can fight against inner self-doubt but it is a constant battle. And self-deprecation is something ingrained in British culture. ‘Making it’ is selling your work to others, and making others want to show it and sell it to other people. What makes it saleable is the ability for others to see it’ originality, its innovation, its beauty or provocation. Art should in theory sell itself. In the big wide world, as any watcher of Dragons’ Den knows, any product, even the most ingenious, useful, economical, needs to have the right pitch. The right person behind it to continue to push it and show it to everyone. It is that ability that I believe makes Damien Hirst or Tracey Emin as big as they are. They are a Brand. Art does not have the advantage of a regular product as having an obvious specific function. Each piece is different, with its own narrative, reasoning and reason for being. So it needs a person alongside to show its magnificence and explain why it is absolutely and irrevocably the piece that person wants to exhibit or buy. And I can’t do that.
I can barely describe my I.T literacy on my C.V without sounding pompous if I put anything more effusive than ‘good’, so how can I say my artwork is good or better? At least I know I can turn on a computer and not go into a complete panic if it decides to do the opposite of what I want, but how can I have such faith in my competency at art? Friends and family have biased opinions, selling a piece is a boost but unfortunately I am not selling constantly. Because I don’t want to put my work out there. Because I, deep down, don’t really think it’s that good. A nice catch 22. I am probably an extreme example of a person with a deep lacking of self-confidence. But what I am trying to highlight is the need for extreme and unflappable confidence in order to be a successful artist. Not necessarily arrogance. Just the confidence a medical researcher has in discovering a drug that could help cancer sufferers and wants to tell everyone about it. Or a baker that has made some really tasty bread he wants everyone to try a piece of. Knowing what you have done is worth something, worth being seen, and importantly you wanting to show everyone that. So to us struggling with the showing, where is the hope? What can we do to help push us to put ourselves out there? I have no miracle answer, and am by no means in a situation to give any real advice. All I know is the excitement and momentum of working at university, or school, or college, when you’re surrounded by people with like minds and similar enthusiasm, bouncing ideas and giving feedback. Then you’re being thrust into the real world of jobseekers and no more studios and trying to draw on your own in your bedroom. So all the advice I can put out into the ether is this: get together with others, friends from your art world, and meet and make and make it regimented. Make a support group, collaborate, because it can be so hard on your own. Unless you are Damien or Tracey you don’t have to do it by yourself. Artists Anonymous, but not so anonymous if you can give each other the drive to put yourselves out there and try. Sincerely good luck. Jennifer Bradley
â€˜The girl in the image is playing with her demons which are represented by wolf finger puppets.â€™
Amanda Lewis talks to Helen Jeffers about her passion for dancing, jobs that motivated her to pursue her goals and her inspirations behind dancing. Amanda, 27, is a Dancer for Phoenix Dance Theatre. She was born and raised in Leeds and her work includes starring in the most recent Sanex advert and performing with Corinne BaileyRae at the Brit Awards. Amanda trained at the Northern School of Contemporary Dance (NSCD) and joined Phoenix Dance Theatre in 2009. HJ: What do you most enjoy about your job? AL: Performing. I also love training – looking after my body and keeping my mind very healthy and active. I’m constantly learning and it never ever stops. To be honest, if I did stop learning I’d be worried. Every day and every minute there is something in the studio, whether it’s the technicality to the movement or whether the pieces relate to me on an emotional level or being very physical. I’ve found out that I’ve got to be as open as I can be to adapt to different choreographers; being like a sponge, absorbing as much as information and advice as you can. The people I work with are very, very knowledgeable. HJ: Who or what inspired you to become a dancer? AL: Well I started doing Performing Arts and Drama at school and to be honest it was the only subject I was good at. Drama was the only subject where you weren’t allowed to be disruptive and this was ‘my lesson’. It was something that I enjoyed and I was able to express myself. From that I went to Thomas Danby College in Leeds and I did Dance once a week. My teacher who taught me Dance said “I really think you should audition for Northern School of Contemporary Dance.” But I wanted to be an actress, I dreamed of being on TV. I developed more of an interest in dance and the people I have worked with have always been very supportive and encouraging, which gave me confidence and self-belief. The interest developed from there. I auditioned at Northern [NSCD] and got through. Acting does relate to dance because you have to display various sorts of emotion. I started a Foundation course at Northern and then did a degree and an apprenticeship. My mum raised me and my brothers and sisters on her own and she was raised in Beeston. She never wanted any of us to go to school around there so I went to St Micheal’s College in Burley.
St Michael’s college had a really good reputation.I was surrounded by bad influences but I never found it hard. I loved spending time with my friends. Dancing has always been a part of life because I have always enjoyed and loved doing it; it’s never been a chore. HJ: What challenges have you faced along the way? AL: Studying and dance was not easy. To fund that, that I had to work part-time in the evenings and weekends. I’ve worked as a cashier, waitressing, bar work, pizza shop – I’ve done a lot. I would never miss Uni to work; it never got to that level. I have been fortunate to never have to do that in my career. You’ve got to look at the bigger picture and that’s what kept me going. HJ: What’s been your biggest achievement? AL: To be honest, to get to where I am today. The journey I have taken has had its ups and downs and I’m still going. HJ: Have you ever felt like giving up? AL: Yes. When I was studying I found the academic side really, really difficult. It was just a different level from everything I have ever had to go through and studying has never been a strength of mine; I have never had the confidence in writing assignments. I can’t even read a book without losing concentration. I am an active person so when I was studying, especially doing my degree and dissertation, it was a challenge. During my degree, one of my lecturers who taught me Dance and Education (David Senior) helped me every step of the way. He was a massive support on the academic side, particularly in the 3rd year. Sharon Watson from Phoenix has been a massive inspiration for me. I met her at the Northern School and she was my teacher, she’s a very inspiring and determined woman, I look up to her and I want to keep aspiring. She’s the Artistic Director at Phoenix. HJ: Finally, are there any words you would like to pass onto students and graduates? AL: I’ve got a hundred words to be honest. Be honest and true to yourself. Enjoy what you’re doing regardless of what you are pursuing, stay focused and try things that inspire you. Be determined, have a goal and work towards it. Most of all enjoy it. Thank you Amanda.
Gemma Luz UFO
‘Often, when you get home from a hard day’s work, all you want to do is lie back and look to the stars. I noticed something quite beautiful and mysterious about the ceiling lights and photographed them. Being a Full time artist is a little like being on call, you respond to a creative moment no matter what time of the day.’
ABIGAIL HOLT Photographer: Abigail Holt, TPAH Photography Clothing Designer: Jenny Dixon Milliner: Beth Hirst, Couture Hats Make-up Artist: Gemma Lowther Models: Katey Walsh and Zoe Jobling
Abigail Holt is a graduate from the Batley School of Art and Design, studying contemporary photography. She is extremely interested in fashion and is focusing her work on local designers. This shoot in her third year was based around the theme of ‘locality’ through the selection of her designers, models, and make-up artists. Clothing designer Jenny Dixon has her work on sale in a range of boutiques in Leeds and Harrogate. Abigail is hoping to be able to turn her passion into her job. She hopes to get on board with designers and other creatives, initially in collaboration but then hopefully moving into commissioned work, which will help to make her passion for fashion photography a working career. You can see more of Abigail’s work at www.TPAHphotography.co.uk.
How We gonna Pay Rent? Lindsey Dew
Image : Paul Barugh
For those who make a career out of creating art, earning a suitable living is hardly straight forward. It means striking a balance between pursuing artistic ideals and bringing home the bacon. Or in more desperate times, the spam. A bohemian life, depicted in Rent, takes this balance to extremes. This alternative lifestyle prioritises self-expression and rejects the pursuit of material gain. (Yep that includes flat screen TVs and hair straighteners.) Mod-cons aside, many artists find the notion of creating without commercial pressures attractive. Rent is a modern adaptation of Pucinni’s opera, “La Boheme”, a story about impoverished nineteenth century Parisians afflicted with Tuberculosis. Writer, Jonathan Larson, keeps the idealism of Pucinni’s characters and places them in contemporary New York, interchanging TB with today’s incurable equivalent, AIDS. Amongst the diverse mix of characters are drug addicts, a stripper, a lesbian couple and a transvestite and together they argue, cheat and make up. This all adds to the human dimension and helps the audience engage with their struggles.
Living in the shadow of disease intensifies their determination to live in the moment. Poetically put by HIV positive Mimi, “I trust my soul, my only goal is just to be”. Others nurture a burning desire to create significant art before it’s too late, desperate to leave a legacy to compensate for a life cut short. Refusing to conform to mainstream commercial life comes at some cost, as they struggle to afford food, healthcare and rent. Despite living in some dire conditions the young artists display an extraordinary passion for life and love, which makes their responsibility-free lives look appealing. When contrasted with Larson’s portrayal of conventional, capitalist living the Bohemian life looks like a utopia. The character Benny is the landlord of the tenement and represents the aspirational middle-class workforce. Once a fellow bohemian, he married into money and now seems too busy appeasing his investors to remember his previous ideals. The number “La Vie Boheme” depicts a noisy, raucous celebration of bohemian life complete with singing and dancing on tables. By comparison, Benny’s formal social engagement with other smartly dressed businessmen appears stuffy and constrained. Apparently these ‘business’ types just don’t know how to have a good time. Although Larson didn’t live a strictly Bohemian lifestyle, he certainly compromised on financial security for his art. While writing Rent, Larson supported himself by working as a part-time waitor. He was probably no stranger to the breadline. This did at least allow Larson to work freely to fulfill his ambition to write the contemporary musical that “speaks to the MTV generation”. Plus his experiences of impoverished living in New York are expressed in Rent, with many of the characters based on people he actually knew. Rent is no fairy tale. The show does not shy away from exploring the gritty issues of living with disease and without a financial safety net. Nevertheless Rent is an optimistic story promoting the importance of love, togetherness and staying true to yourself. The Bohemian lifestyle is certainly not easily achievable. (And possibly not even desirable given the sacrifice involved). But perhaps maintaining your artistic integrity and living for the present are principles for aspiring artists to strive for.Tragically (and ironically) Larson died suddenly on the day of the final rehearsal of Rent, aged just 35. The success of Rent lives on.
Down and Out in Leeds (with inspiration from the popular novel Down and Out in Paris and London by George Orwell) I don’t often like to compare myself to great men, obviously with the exception of Dizzee Rascal. However, on reading Down and Out, I came to realise that Orwell’s chômage experience brings out a number of issues relevant to job seeking while living on a low budget in our own fair city. When one has no wage, in this town the first port of call is the Jobcentre. Most people will use the Jobcentre at some point in their lives, whether it is for advice or to claim benefits. In recession-hit times, this number is obviously higher, with many of our readers (and most of our staff) having visited. Orwell tells of the 1920s Parisian alternative to benefits in his experience at the pawn shops. To set the scene, a man is shouted ‘as though calling a dog’ up to the counter, before being sent away with the information that his underwear is worth absolutely nothing. Those on Jobseeker’s can certainly empathise with the attitude of being summoned to a desk for a less than heartening conversation. Although I had nothing but good service at Park Place, I often hear of rude clerks dismissing my peers as though they are little more than dogs. Orwell left with a less than hefty payment for his clothes, just as you do when signing on. We must give thanks that at least our shirts remain on our backs. It is difficult to remove oneself from the government’s apron strings when there are many obstructions to finding suitable employment. One of Orwell’s problems centres on having to walk everywhere. This limits the amount of job hunting he can do in one day. I am fortunate enough to have internet at my humble abode, which certainly cuts down on this. However, I can certainly empathise with the costs of public transport, unable to use the ever-increasing extortionate bus service due to disgust at the tariff.
Walking is a lengthy process when you have several places to go, and I am obviously unable to afford a car. This reduces the jobs available to me, as I am limited to daytime hours and the very local area, just as Orwell was. His luck does eventually improve. However, when Orwell is honest about the possibility of another job to his prospective employer, he faces losing the vital stopgap. The key to maintaining a constant flow of work, it appears, is to lie or withhold facts. His Russian friend Boris knows this well, and has few reservations in making it clear to his protégé. Being forced to work to stay alive, Orwell then had little opportunity to find more suitable employment. This is a position many people can relate to. Having finally found full time work, there are few hours left in the day when it is feasible to look for a more appropriate job. Working minimum wage definitely sustains a life, but allows little room to think about buying property or indulging in artistic tendencies. As Orwell observes, in the case of the plongeurs, their wages would never allow them to marry. This left some workers in the same 78 hour week jobs for their whole working lives, such as the charwoman at the Hôtel X. There is ultimately something to be said for being genuinely ‘down and out’. As Orwell describes, a feeling of relief arises from the lack of pressure associated with budgeting those last few centimes. I realise I am somewhat better off than Orwell. However, relatively speaking, in moving home and working my way through minimum wage jobs, I am in my own way down and out. I can only see life improving from this moment. That said, the lack of pressure in working a dead end job with few prospects often allows my soul to ultimately relax. Thought about larger issues diminishes. Worries about career prospects that I had while studying are pushed into the background. Being down and out is almost fun. Katie Lee
Image : Paul Barugh
Where we’ll be over the next 3 months... September 11th - 19th Saltaire Arts Trail, Saltaire 17th - Barenaked Ladies - 02 Academy, Leeds 21st - Two Door Cinema Club - LMUSU, Leeds 25th - ‘A Life in Art’ Rolf Harris - Sheffield SmartArt Gallery, Sheffield 27th - MGMT - 02 Academy, Leeds 29th - Wakefield Art Walk, Wakefield October 1st - 17th - Ilkley Literature Festival, Ilkley 2nd & 3rd - Smart Productions Photo and Exhibition Swap - Leftbank, Leeds 6th - The Magic Numbers - Irish Centre, Leeds 7th - Ade Edmundson & The Bad Shepherds - Brudenell Social Club, Leeds 8th - Light Night in Leeds 11th - The Pits & the Pendulums - National Coal Mining Museum, Wakefield 16th - 13th November - Crash - West Yorkshire Playhouse, Leeds The Mill @ Scott Hall is a newly refurbished business centre specifically designed for small businesses with 2 to 7 people. There is also a meeting room available for hire at just £15/hour +VAT for up to 10. 0777 245 7270 Here at New Retro UK we love vintage clothes and want to show you the endless looks and styles you can create yourself using clobber from our fantastic clothing range. You can find us at Birds Yard on Kirkgate in Leeds. All pieces will be available purchase online so stay tuned. http://newretroukblog.com http://twitter.com/newretrouk Let AB Gardens take on the challenge of designing your garden. Annabel Bridge can work with you to completely overhaul your garden. Aiming to give you the garden of your dreams, tailored to your own style and tastes be it contemporary or traditional. Choosing AB Gardens ensures your garden is in good hands with everything from design and construction to planting and maintenance under control. 07977 047466 firstname.lastname@example.org www.abgardens.co.uk At Form Bespoke Jewellers we are experts in hand making engagement and wedding rings and have a real passion for working with customers to create something truly individual.
November 4th - 21st - Leeds International Film Festival , Leeds 3rd - 7th - Sheffield Documentary Festival, Sheffield 9th - 13th - Checkout Girls - Theatre Royal, Wakefield 9th - 13th - Bradford Animation Festival, Bradford 12th - Bipolar Ringmaster (Without a Circus) - Yorkshire Dance, Leeds 14th - Broken Social Scene - Stylus, Leeds 27th - Gogol Bordello - Refectory, Leeds The Mustard Pot offers fine ales, great British food, local friends and good times in beautiful, cosy and vibrant surroundings. 20 Stainbeck Lane, LS7 3QY. 0113 2695699 Lynne Swarbrick Counselling welcomes new clients. Services include counselling, life-coaching, professional and clinical counsellor supervision, and group work. In and around Brighouse in West Yorkshire. www.twodoves.co.uk email@example.com 01484717380
Insight for Wellbeing offers a range of meditation courses, including evenings, days and weekends, for beginners and more advanced practitioners. To learn more about our courses please visit www.insightforwellbeing.co.uk firstname.lastname@example.org 0790 813 2256. We love printing great design work and helping new businesses with fantastic stationery pack offers, leaflets, brochures, banners, web sites and promo cards. Speak to Dean or Dally for details on 0113 240 9822 or email email@example.com Charisma Blinds Is a personalised Made to Measure, Supply & Fit service for Domestic and Commercial customers. 0113 2287193 www.charismablindswetherby.co.uk TURN A WALK INTO A WORKOUT Burns 20-40% more calories than regular walking Works the whole body,Ideal for the over 50s, Sociable and Fun Great for neck, shoulders and backs, Affordable, Can be done anywhere! For details of our classes call Tony Pattison on 07957 569229 or email firstname.lastname@example.org Accurate, lifelike portraiture in oils on canvas by David Keighley at Portrtaits.org.uk
The Science of Art “zn+1 = zn2 + c” This forms the Mandelbrot set for certain values of c. It is a mathematical equation which results in a beautiful pattern of repetition and has links in chaos theory. The pattern produced could easily be described as an artwork: it is aesthetically pleasing and contains a vast body of theory before it. But Mandelbrot didn’t set out to create something to be hung in a gallery, he was chasing the idea behind his mathematical theory and almost accidently created art. The questions we are asking you, can art be accidental? Do formula and equation play a part in creating work? Is there a Science of Art? If you pour paint onto a canvas, you can predict the way it will run, but the power of the unknown allows for a random, chance occurrence. Think structure vs. the creative license. Many artists use pre-existing formulas for their work (consciously or unconsciously), but is true art something that develops something unquantifiable? Or can art be explained away by a scientific theory? This open brief is what we are hoping you will respond to. We are looking for submissions from artists, writers, photographers, illustrators, designers and anyone creative, who can respond to this brief. Our only stipulation on this brief is that you must be living, studying or working in West Yorkshire. Also please be aware that we are only printing in black and white, so any images need to be appropriate for this medium. All submissions should be sent to email@example.com We can’t guarantee that we’ll use every submission, but we will endeavour to where we can. And we will always keep you in mind for future submissions. If you don’t feel you have anything to contribute but you would like to know more about us then please feel free to get in touch as well.