What my Initial thoughts are on Joining the BA Fine Art course for 2020-2021 ? …
For me the BA fine art course is fairly fast pace with lots of interesting components covering a broad range of medias and topics including oil painting, etching, Online research and working out how grants and networking is conducted.
this progressive learning on not only practical techniques for using art material but the business side of art and organising finances also intrigues me greatly cause of my understanding that the artist can be talented but it’s also about the networking organisation and funds that plays a role in the process just as much as the artists practice does.
On this part of my blog my thoughts on the course is that overall …
I’m feeling positive cause of how much i have found engagement with the course fun and inspiring for my ideas and gaining knowledge about how galleries work that i didn’t know as much prior to my degree starting when i was in foundation year the year prior to 2020.
All weeks during the hole year just 3 or 4 posts on the MDX contemporary art talks for Wednesday afternoons.
- The first art talk i found interesting was the one with Gregory Sholette from New York United states because his work makes me think of the concept or idea of dystopian art work with the theme linking to the art galleries he’s been to and artists he’s met such as the work of Les Kurbas at the State Centre for Theatre Arts, I Imaginary Archive gallery 126 and Francis Bacon’s Studio (1986) all of them with the same themed common denominator being dystopian and disjointed.
2. The second art talk that i was interested in was the one given by Michael Norton from Amsterdam because of how he builds up the upcoming artists by providing a platform for them to advance and broaden there practical skills and knowledge also to help them on becoming financially stable.
The link to arts admin is down below.
3. The third art talk i found intreating was the one given by Andrea Luka Zimmerman because of the films she has produced films include Art angel produced here for life (2019), Erase and forget (2017) premiering at Berlin film festival and nominated for the original documentary award.
Other intreating films she has produced are The last biscuit short from 2005, The ramp short film 2010, Towards estate 2012, Civil rights Tyneside Cinema short 2017, Onions in the plug hole Short 2018 and Lower streets, a nights Journey (Tintype) (Short 2016)
Other intreating films she has produced are The last biscuit short from 2005, The ramp short film 2010, Towards estate 2012, Civil rights Tyneside Cinema short 2017, Onions in the plug hole Short 2018 and Lower streets, a nights Journey (Tintype) (Short 2016) an last but not least her film Estate, a Reverie initial release date January 2015.
Reference link to Andrea Luka Zimmerman is down below.
https://filmlondon.org.uk/profile/andrea-luka-zimmerman.
I have also done artist research for art based on tomb stones and car logo designs, and have included some print making galleries and artists that have produced print artwork over the years.
1st gallery i found when undergoing my research was the Southbank Printmakers.
The Southbank Printmakers gallery has gaged my interest cause of some of the artists that have done art shows the likes of witch include.
Roy Tonkin he does most of his print on paper using a technique called the Mono type process.
Term 1 week 4 what is my ideal studio working space?
In my mind the ideal studio working space i would be looking for would be a simple sized space with decent leg room and even flooring, made out of Porcelain tile or hard wood since these specific types of surfaces provide smoothness for walking on also allowing the artist to feel safe when producing work or working on the floor of my space.
The studio space i would be envisaging for myself would also have a wooden craft and tool station that i could use for engraving or welding cause the materials i work with are usually rugged and of a malleable nature so a decently sized work station along with my desk would be a necessity when it comes to my practical work.
The lighting of my work space would be a graduated lighting system allowing for dimness and more control over how i would won’t my spaces visibility to have instead of a studio space made up with the standard mechanisms of an on and off switch that doesn’t give you the option to control the amount of light emitted in a room at once.
From week 5 term 1 my research on the artist organisation (A.C.E) Art councils England.
How does Art councils England give grants to Artists and how do grants get managed despite despite the effects of Covid-19?
The grants for A.C.E are organised through an open process and not just for artists, the organisation operates from 2 strands for grants the first one is project grants, the first one is project grants were the money comes through Lottery funding not just open for artists but for any creative practitioner or for anyone that wonts to do any creative activity.
Artists can use the benefits of Lottery funding as an individual and as a organisation as both work when it comes to the first stand for grants.
The second strand for way A.C.E uses funding to give grants is through developing your practice for creative practitioners artists included and with this specific way you can apply to develop your own practice were by if you won’t to learn something new or focus on a period of research that the artist is doing by A.C.E investing in the individual as a creative practitioner.
Due to the pandemic at around march 2020 art councils England had to close project grants and they had to stop running the developing your creative practice method for a few months between march to July 2020 during this time A.C.E opened some emergency funding, the emergency funding was pot in place to respond to respond to the issues and problems caused by the pandemic.
Unfortunately because of Cov-19 it has left a lot of art organisations resorting to closing there doors and a lot of artists unfortunately have lost their contracts and were unable to do there normal creative jobs and activities they were used to doing meaning the emergency funding was a backup used to respond or give a solution through these difficult times, A.C.E have 2 sets of grants one for the individual for up to £2,500 and the other one is for artists organisations.
From July 2020 A.C.E reopened the scheme for project grants and A.C.E understand that due to the pandemic things have changed, so now the way project grants are being funded has changed because the money distributed comes through lottery funding and usually the lottery funding would be supplied through public benefits or public related activities being a must, because of the pandemic not making it easy for Art councils England to provide contracts in person A.C.E have had to relax that way of doing things.
A.C.E have had to come up with a different idea for contacting artists asking the practitioners involved that as long as long as the project can promise something new or can provide future opportunities for engagement, this idea is expected by Art councils England so for example it might be that the artist might be doing a period of research and development for now but in the future the artist or art practitioner might be doing something related to creative public activities or shows.
Before the Pandemic before being able to apply for project grants at A.C.E you had to do this though having a 10% for match funding that would have been either cash contribution or through a different form of income, for example if your an artist and you won’t to work within a gallery and you won’t to pot it on an exhibition or show the gallery may just give you a space in kine so through this method they won’t charge you for it, but the specific space has a value lets say for example your showing your space for 2 weeks lets say, then the value would be the visual benefit of having your work showcased to the audience viewing your work for 2 weeks with the public paying to see it, with the gallery in question making £2,000 on profit margins for showcasing the artists work in this valued space for 2 weeks, so this is what is meant for saying the Practitioner or Artist pays in kine.
So because of the Pandemic according to A.C.E they don’t have the need utilise the grants through way of 10% match funding so they have consciously made the decision to relax that as well so galleries are working around the financial strain by using the pay in kind method virtually through tickets and view number ratings to stay a float.
How do online galleries work and does being online make a difference from the current lockdown now in tier 4 and tier 4+ compared to when previous lockdowns were enforced?.
because of the Pandemic a lot of galleries had to close there doors with some managing to open temporally during different tiers and some haven’t for for different reasons with a lot of times being that some galleries have small spaces and even with the social distancing laws reopening, and because of financial reasons playing a role also making it so that consequently lots of artists moved online.
This way of doing things has been actually positive according to A.C.E because it means the practitioners and galleries are still able to engage with there audiences through a different format so they can do different programs that are more varied compared to going physically like before covid and it works for different audiences for example younger people since millennials and generation-z find it easier to engage online.
Compared to the older generation that belong to a different age bracket, because Art councils England when it comes to Art programs for the older generation would prove more challenging, also cause that age bracket may be more set in there ways and less able to adapt to the current situation as well as maybe having slow Wifi or any wifi at all possibly, so in this new way being unable to access Wifi or being elderly from a different generation may serve as a barrier in these unusual times.
This new way of doing things has benefited Art councils England also in the sense that it means that the practitioners and artists are still able to engage with there audiences through a different format being online this idea would be very helpful for A.C.E since it would allow for wider engagement with the ability for an artist or practitioner to show the work produced allover the world, so this can create a lot more opportunities for galleries in general for the ones using or that have Local remit and reach by taking there programs online have much greater reach to audiences cause anyone from anywhere in the country or from around the world can engage with that program if they wont to so it can create opportunities with wider being a massive plus point.
The Pandemic also forces you to think differently in terms of how you work with artists and how you work with audiences during this time so it docent always haft to be in person.
Elaborated question on the previous question.
What are the pros and cons of producing work during covid-19 compared to Pre-Covid in person?
The first thing i have noticed when it comes to doing work during the virus people have been using online platforms to reach people galleries and artists included, this has meant that the galleries have had access to more people potentially but at the same time for people that have no access to laptops, tablets or PC”s this has created barriers for some people being unable to engage with online art programs, it has also been proving to be more of a barrier when galleries have tried to engage with people from longer distances for example people living on the outskirts of London or other cities like Manchester due to poor wifi, along with the current situation effecting especially older people who would be less able when it comes to online viewing platforms or shows.
During covid a lot of venues and spaces have had access issues being not very accessible because they may have physical access issues such as steps in order to get to that venue with other barriers along with it so by the galleries taking there programs online more people who have physical access issues can engage with the galleries program because the viewers are watching from the comfort of home.
So this is another thing to consider when weighing the pros and cons.
A lot of times for people also who have child care issues who can’t attend exhibitions or talks because because they are giving time because they have child care responsibilities but when it is online you can watch with out the need to worry about your child so covid does actually serve as a positive for mothers and fathers from this stand point of being able to watch without the worry.
So going forward post Pandemic obviously this has made people think about all these things and how they can increase their reach beyond the walls of their galleries space.
Along with this viewers from abroad like the US and EU example would be able to view galleries also online with the venue making money off online tickets being sold however this method may not translate to spontaneous income, since not all galleries have taken this approach as most have had free programs online to also be able to not only have people from other countries view work but to also increase the insinuative for viewer numbers along with increasing the galleries profile, if the galleries have a highly effective local reach and remit it can all of a sudden allow the galleries to engage with people from all over the world, making the possibilities have no limits so then in this way when viewing abroad or across the globe the barriers have become almost non-existent.
With this positive force of increased reach in viewership this does not come with a minus attached to it as these lockdowns have impacted the incomes especially with the galleries that have coffee shops and restaurants etc.
Why is this so ?
Because they are not earning money at this time because of the trail and non essential work have been closed thanks to covid along with the fluctuation of Tier restrictions meaning some smaller galleries have had retail open and close only frustrating people who have those jobs within galleries more since one week they can and then the rules change keeping them out of work and out of pocket.
Although besides the frustration of this the virus has reduced other costs around travelling and flying in or out so this would make everyone in the arts sector think more about a lot of things more post Pandemic as well as during the outbreak.
Follow up on the studio in your pocket task week 6 term 1.
I-Phones vs brick phones.
Sony Ericsson vs smart phones.
What are the pros and cons ?
Are smart phones better then I-phones or is the basic phones used for primarily just calls and SMS popularised in the 80’s and 90’s Ect truly better?
When it coms to Smart phones they have sharp video qualities and impressive photographic distortion software with this in mind it can easily outdo the amount of amenities or attractiveness that play in its favour when compared to the brick phone also known as burner phone or disposable phone.
With this in mind as a massive differentiator the thing is.
For the upside of smart phones being able to go the extra mile in storage space and being able to download apps to increase your storage space and with it having better visuals comes a pitfall being battery life and limited space capacity.
What pitfalls can the smart phones have against a burner phone or 80’s-90’s device?
The batterie life.
Since smart phones run of a batteries known as Lithium this is something of concern when it comes to over charging when your your power is low along with smartphone technology having a short barrie life window compared to Brick phones such as Nokia 3310’s and Sony Ericsson having a batterie life of 2 or 3 days so you spend less time charging and don’t have the stress of your device overheating at the same time.
A lot of young people including some millennials don’t know what life was like fully cut off from smart phone technology.
The freedom that comes with having more awareness around your environment not being so heavy plugged into a fake shot term money making system with social media and apps.
Not only does this difference in battery life play a key differentiator but also in the way that people of an older generation who may choose to stick with the 2g and 3g phones see life and interactions differently in more of a simple and meaningful sense of freedom and control over ones self something that is not as strong in people in the generation z and some of the millennial circles.
When it comes to having situational awareness and social interactions however with covid it has helped people still keep contact through FaceTime and has given people a platform to gain resources online through companies like Amazon, Aldi and Zilere.com etc.
A vital resource that would have not been possible with a Nokia 3310 or Sony phones.
Durability and life span. Smart phones or Burner devices?
When it comes to damage control from this aspect much like the battery life comparison mentioned earlier.
The Brick phones like Sony and Nokia 3310’s can survive more and take more than their fair share of abuse with the call and SMS device unscathed.
compared to the Smart phone were just a simple drop can make for a cracked screen or broken camera as these phones are made with a high price but were unfortunately not built to withstand the challenges faced by accidents or human clumsiness.
Week 7 my research into galleries i found using the A.C.E map and also online galleries spaces in this current situation in lockdown and restrictions.
When using the Art councils England map i have found 2 or 3 art galleries of interest being.
- Helix Arts Ltd, Discipline : Combined arts they make an income total investment of approximately £433,368.00 this one is specifically a National portfolio organisation that works with other organisations in a partnership to create activities and give opportunities and activities to participate in.
Helix arts Ltd work across a broad range of art forms including but not limited too.
Visual Art filmmaking creative writing, Graphic design, Animation, Street dance, Music and DJ’ing along with Photography, Drama and textiles, the organisation works with people from all ages and people across the board.
Reference link to Helix Ltd.
https://www.helixarts.com/about.php
2. North Lincolnshire Council 2020-2021 Visual Arts centre.
Why did i choose North Lincolnshire as one of of the galleries that i used to A.C.E map to find?
The reason why i chose the visual art centre of North Lincolnshire council is because they have intreating online workshops that are highly interactive and easy to access some of these workshops include.
A victorian themed Christmas pop-up card video tutorial for £3 per ticket with times being at 10 AM Saturday 5th of December to the 8pm Saturday 19th of December.
Using pottery Creating clay owls online workshop this is a good workshop cause it has been organised and planned well with it being run safely with North Lincolnshire Arts Centre generously providing you with materials.
The arts centre welcomes people of all ages to join and take part in this workshop making it the perfect family activity to do together you would book your place for the clay Owls class through the Eventbrite page for workshops and would get materials provided through the same service.
Reference link to North Lincolnshire Council 2020-2021 Visual Art Centre.
20-21 Visual Arts Centre
http://www.2021visualartscentre.co.uk
The third Art gallery i found of interest was the Grizedale Arts gallery witch has its discipline in Visual Arts.
The gallery have made an investment of approximately £790,784.00 they are a national Portfolio organisation.
This organisation has connections around the area of Grizedale such as.
Coniston Institution and Lawson Park.
The Grizedales communication office has its administrative organisation is healed, the organisation also has another place called Lawson park that has been the head quarters and residency base for Grizedale since 2009.
Reference link to Information for Grizedale Arts organisation.
https://www.grizedale.org/places/
The fourth Art gallery I found using the A.C.E map that interests me is The Voluntary Art network, its discipline is not specified and the gallery makes a total investment of 663,308.00, It is classified as a Sector support organisation.
The Voluntary Arts network was created in 1999 to provide a voice universally for voluntary Art across the UK and the Republic of Ireland.
Reference links for the Voluntary Arts Organisation:
https://www.artscouncil.org.uk/art-leadership/voluntary-arts
FNA-1430 Leon’s Art show.
Title: Social Isolation and corrupt government bodies.
My theme is: Human Incarceration, Solitary confinement and genocide.
The first one I’ve found during my research was one I attended in the past called the Frieze London, in regent’s park.
The artist I found when looking over the galleries from my past that stood out the most was Josh Kline, with his art work titled Unemployed Journalist (Dave) unveiled to the public on Oct 4th 2016, going for $100,000 or £73,304.00 at the FRIEZE exhibition.
Unemployed Journalist (Dave) From back.
Unemployed Journalist (Dave) from side view.
Unemployed Journalist (Dave) from areal view.
Unemployed Journalist (Dave) 2nd pic from Areal view.
Unemployed Journalist (Dave) fully exposed frontal view.
reference link for extra information:
https://www.alamy.com/london-uk-4th-oct-2018-art-work- davejournalist-by-josh-kline-2016-that-costs-100000-at-the-preview- of-the-frieze-art-fair-2018-london-uk-credit-nastia-malamy-live- news-image221228249.html
( Josh Kline, Serpentine gallerie, 2016 3D printed plaster )
reference link : https://elephant.art/work-trends-serpentine-
galleries-epic-marathon/
The Second Artist I felt had a strong link to my theme was the Artists Ai WaiWai, with his work being at the R.A Royal Academy on the 24th of October 2015, being another gallery that I visited in the past of a sculptured representation of Ai WaiWai’s imprisonment visually representing to the public Solitary confinement.
He was arrested at Beijing capital international Airport on the 3rd of April due to having been accused of economic crimes, he was then subsequently detained for 81 days without charge.
( Front of the R.A )
The third artist I’ve found that produces work that relates to my theme is Tim walkers work at the V&A with his wonderful things exhibition.
5th of November 2019
5th of November 2019
5th of November 2019
5th of November 2019
5th of November 2019
reference link:
https://www.dazeddigital.com/fashion/gallery/27984/0/tim-walker- wonderful-things-exhibition
My fourth artist I have found that ties to my theme is an artist by the name of Zdzisław Beksiński a polish photographer, Painter, Drawer and sculptor born February 24th 1929 in Sanjok Poland and died in 2005, Zdzislaw Beksinski has had his work exhibited at The gallery of Zdzislaw Beksinski MH Sanok Poland.
His paintings were referred by him specifically as being Baroque or Gothic and are known as dystopian surrealism when it comes to his photography drawing and paint work.
reference link: http://muzeum.sanok.pl/en/wystawy-stale/galeria-zdzislawa-beksinskiego
Zdzislaw Beksinski from gathering my research has shown that as an artist he tends to reject the idea of titling his work cause he would rather let the people or viewer interpret the work he creates rather than him as the artist hinting or suggesting what the meaning behind his paintings would be.
Along with him adopting the idea of mysteriousness through leaving his work untitled on the outset when it comes to how he presents his paintings, sketches and work in general.
Untitled
Untitled
Untitled
Surrealist painting Zdzisław Beksinski: Untitled
Zdzisław Beksinski painting: Untitled
Reference links for more Info:
https://culture.pl/en/article/the-cursed-paintings-of-zdzislaw-beksinski
Second semester work from January to march 2021 week by week.
Home work extension to creating your own studio task date work was set 27th of January.
Title: “The eye is not satisfied with Seeing”
When it comes to the subject title “The eye is not satisfied with seeing” this makes me think of the idea of using the 5 senses against what people primarily find attractive or gravitate towards.
Where would the show be for the theme “The eye is not satisfied with seeing” /who would be in it?
For my theme the eye is not satisfied with seeing i would have the show be located in Camden town because of the area having connections to counter culture and free thinking.
The artists i would include in my show for the eye is not satisfied with seeing would be Edward Munch thanks to his style of work most notably “Scream” and Zdzisław Beksinski the the nightmare artists collection of paintings.
Reference link.
Zdzislaw Beksinski the nightmare artist references link.
Special Report On ZDZISLAW BEKSINSKI
How long would your show be on for and what would the work look like?
The length of time my Show wold be on for would be from January 25th and end on March 3rd, and the type of work that would be on display would include the idea of horror and morbid imagery through a series of painting sketches and Sculptural art.
What kind of publication would you have?
The kind of publication i would have would be the viewers of my show that would buy my books and music that links to my theme as a means of profit along with the display of the art already making profit off tickets.
What kind of event would you have, would the events be interactive and how many floors or rooms would your show have?
The kind of event i would have for this show “The eye is not satisfied with seeing” would be dark rooms with chilling music and fog lights with dim lighting and dusty flooring.
The event would be counted as interactive with the fog and dimly lit lights and music with the interior of my show made up with 45 rooms in total making up the entire show with work by various painters and sculptures.
With this idea of having the 5 senses rejecting what someone would find attractive or beautiful this brings 5+ artists and galleries to mind for the type of show i would have on in congruence to the theme “The eye is not satisfied with seeing” Southwark Art gallery in Camberwell London, The Tate Britain, The Tate Modern Southwark England United Kingdom, Camden Arts Centre, Camden United Kingdom, The Frieze Art show in 2016 and 2017 and The Westminster arts gallery in 2019.
I have images from each gallery i have visited along with the artworks from artists i feel link to my theme “The Eye is not satisfied with seeing” plus references links to most of them.
- Southwark England gallery visited in 2018
First image.
Second image.
Third image.
Fourth image.
Fifth image.
Reference links to the Southwark Art gallery and the Artist Bedwyr Williams Artwork fuck*** Inbred Welsh Sheep shagger 2018.
https://www.southlondongallery.org/exhibitions/the-place-is-here/
http://evansiapoe.blogspot.com/2018/11/that-joke-isnt-funny-anymorethe-uneasy.html
The second gallery i have found that links to my theme is the Art gallery of Westminster England since it has a lot of Installation art that can frighten gallery visitors with ease.
First image.
Second image.
Refrence link for more information on the artist Sylvie fleury and Hypnotic poison.
First image.
Second image.
Third image.
Fourth image.
Reference link to Helen Gorill “Girl with the Pearl earring and Tattoos 1665.
Dated 2019.
Reference link for Helen Gorrill.
First image.
Art installation work that had no name tag or date from Westminster art gallery London UK.
15th of May 2019.
First image.
Art installation work that had no name tag or date from Westminster art gallery London UK.
15th of May 2019.
First image.
Stairs to ground floor of Westminster Art gallery London.
15th of May, 2019.
Along with the Westminster arts gallery I have also found the Tate Britain arts gallery.
First image.
Second image.
Wolfgang Suschitzky. 1912-2016
Title of work, Charing cross road foyles, 1936.
Medium used, Photograph, gelatin, Silver print on paper.
First image.
Second image.
Artist, Alfred Gilbert. 1854-1934.
Date work was created and title, Mourning Angel 1877.
First image.
Second image.
Third image.
Fourth image.
The third Art gallery i have visited multiple times is the Tate Modern Art gallery that has a lot of visually distorted art that i feel can confuse the visitors of the Tate cause of the questionable art installations and sculptures being exhibited.
First image.
Second image.
Third image.
Fourth image.
Otto Gribel 1895-1972.
Title of Artwork, Two women.
Zwei Frauen, 1924.
First image.
Second image.
Third image.
Fourth image.
Fifth image.
Name of artist, Paul Klee, 1879-1940.
Comedy Comodie.
Water colour and oil paint on paper.
Dated 1921.
First image.
Second image.
Third image.
Fourth image.
Fifth image.
Sixth image.
Seventh image.
eighth image.
Ninth image.
Tenth image.
Eleventh image.
Twelfth image.
Alexander calder Tate modern sculpture descriptions and some artworks from each room.
All dated 2019 may.
First image.
Name for Installation artwork left untitled Tate Modern Southwark October 26th 2018.
Second image from the Tate modern.
Salvador Dali’s Lobster telephone Tate Modern October 26th 2018.
Third image from the Tate modern.
Reference link to Salvador Dali’s Lobster telephone.
https://www.tate.org.uk/art/artworks/dali-lobster-telephone-t03257
Fourth image from the Tate modern.
Installation Art Tate Modern, Southwark, 26th of October 2018.
Installation Art left untitled
Fifth image from the Tate modern.
Tate modern artwork by Mark Rothko, 26th of October 2018.
Referance link to Mark Rothko Tate modern work from 2018.
https://www.tate.org.uk/visit/tate-modern/display/in-the-studio/mark-rothko
https://www.tate.org.uk/visit/tate-modern
The fourth Art gallery that i find links to my practice is Camden arts Centre because of how the art is alternative and predominately installation based that looks visually distorted to make the mind question the information being shown as if to suggest the feeling of being lost or confused for answers.
First image from Camden arts centre.
Camden Arts centre, 22nd of November 2018.
Second image from Camden arts centre.
Third image from Camden arts centre.
Camden Arts centre England United Kingdom, May 11th 2019.
Frances Bloomfield Petite Fissure 1, 3D Collage “Dream Box”
Reference link to Frances Bloomfield Dream Box 2019 :
https://www.francesbloomfield.com/about
Fourth image from Camden arts centre.
Fifth image from Camden arts centre.
Camden arts centre.
Camden England United kingdom May 11th 2019.
Muse by Oliver Lannado Title Muse.
Techniques used Congwten Keyboards.
reference link to Camden Arts centre.
5. The freeze art fair 2016, 2017 and 2019.
First image from the freeze art fair.
Second image from the freeze art fair.
September 1st the freeze Art fair 2017.
Name of artist: Ugo Rondinone Summer moon 2011.
Material used: Cast enamel and White Enamel.
Third image from the freeze art fair.
Description of the fourth image from the freeze art fair.
The freeze art fair.
The 1st of September 2017 the freeze.
Name of artist: Tony Cragg
Title of work: Stroke.
Material used cast Bronze.
Fifth image from the freeze art fair.
Description of the fifth image from the freeze art fair.
Freeze art fair 1st of September 2017.
date work was first created 2016
Artwork left untitled.
Name of artist: Takuro Kuwata.
Sixth image from the freeze art fair.
Standing figure with wheel.
Brief description for the sixth image from the freeze art fair.
The freeze art fair 2017.
Regents park September 1st.
Artwork was established in 1990.
Title of work: Standing figure with wheel.
Seventh image from the freeze art fair.
Vulcan 1999 by Eduardo Paolozzi.
Brief description of his work.
The freeze art fair.
July 29th 2017.
Date artwork was created 1999.
The freeze art fair.
Eighth image from the freeze art fair.
KAWS Final days 2013 by Galerie Perrotin.
Brief description of his work.
The freeze art fair.
The freeze 2017 1st of September.
Material used: Afromosia Wood and Galerie Perrotin.
Ninth image from the freeze art fair.
Endless column by Hank Willies Thomas.
Brief description of artists work.
The freeze art fair 2017 1st of September.
Name of Artist: Hank Willies Thomas.
Title of artwork: Endless column.
Tenth image from the freeze art fair.
Lupin Tower by Arne Quinze displayed 2020.
Brief description for the lupin tower.
The freeze Art fair.
Name of artist: Arne Quinze.
Material used Coloured Aluminium.
Title of work Lupin Tower.
Photo taken in person October 2020, Artwork originally from the Maruani mercier gallery.
Reference link to the Maruani mercier.
Reference link to the Lupin Tower by Arne Quinze.
https://www.arnequinze.com/art-and-exhibitions/frieze-documentary
Eleventh image from the freeze art fair.
Gran elephant created in 2008 by Miquel Barce.
Brief description.
Freeze art fair 2017 1st of September.
Name of artist Miguel Barce.
Material used Bronze paint.
Artwork Originally from the Acquavella Galleries.
Reference link to the gallery for more information:
https://www.acquavellagalleries.com
Twelfth image from the freeze art fair.
Untitled (Seven Qube) 2016 by John Wallbank.
Brief description for the (Seven Qube).
The freeze art fair, September 1st 2017.
Artist John Wallbank.
Title of work, Untitled (Sewn Cube)
Material used for artwork Sewn cube.
Date work was created and materials used, 2016, Resign fibreglass.
6. The Tate Britain gallery 2019.
First image from the Tate Britain.
Second image from the Tate Britain.
An athlete wrestling with a Python by Auguste Rodin.
Reference links to the statue and artist.
Angelo Colarossi and son
Referenced from the Tate Britain Website.
https://www.tate.org.uk/whats-on/tate-britain/exhibition/sculpture-victorious
Extra Reference link explaining the Sculpture by Auguste Rodin.
https://en.wikipedia.org/wiki/Angelo_Colarossi
The Tate Britain art gallery 2019 November 4th.
Reference link to the Tate Britain art gallery.
https://www.tate.org.uk/visit/tate-britain
Homework from the 3rd of February second semester to use the time out article for Virtual tours for museums and galleries from across the globe.
The first gallery i found using the http://www.timeout.com website was The Broad, Los Angles Virtual arts gallery.
The Broad Los Angles Virtual gallery.
First image.
The Yayoi Kusama Infinity mirrored room looked unusual as a form of installation art witch is what drew my attention first, and according to the Time out gallery website The broad was one of the first institution to take its collections of art content online, through intreating and creative ways for example through live streams of the infinity room that according the Time out website gave a revolving view of the installation for Yayoi Kusama’s Infinity Mirrored room.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
First image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Second image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Third image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Fourth image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Fifth image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Sixth image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Seventh image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Eighth image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Ninth image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Tenth image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Eleventh image.
Yayoi Kusama Infinity Mirrored room from the virtual arts gallery the Broad Los Angles.
Twelfth image.
Yayoi Kusama’s Infinity Mirrored room.
Reference links for Images and the http://www.Time out website.
Museum of broken relationships Zagreb and Los Angeles.
Through using the time out website the Zagreb and Los Angeles Virtual arts gallery caught my attention Virtual arts gallery caught my attention because of how the gallery has a lot of unusual and intreating collections including a series of signs made from license plates and a collection of belly button lint.
Brief description for the museum of broken dreams.
Twenty seven year old crust.
First image.
Empty bag of fortune cookies.
Second image.
A hairdryer from the collection at the Museium of broken dreams.
Third image.
Drawing by a stranger on a train from the museum of broken dreams.
Fourth image.
Forgotten me doll.
Fifth image from the collection at the Museum of broken dreams.
Reference link for the museum of broken relationships.
https://brokenships.com/explore
Soloman R. Guggenheim museum.
Located in Upper east side New York.
Home page for the Guggenheim museum New York.
The thing i found intreating about the Solomain R. Guggenheim museum was that the artwork appeared unique and alternative for installation art and paintings specifically.
The gallery has an average charging rate with $25 for students and seniors of 65+ and students with valid I.D $18.
Map for the Guggenheim Museum New York.
Ticket prices for the Guggenheim museum New York.
Reference link to the Solomon R. Guggenheim Museum.
https://www.timeout.com/newyork/museums/solomon-r-guggenheim-museum
Artworks and collectios from the museum include.
First image.
Cereal created in 2002 by Richard Prince.
Second image showing the collection displayed at the Guggenheim museum New York.
Second image from the Guggenheim virtual website showcasing recent acquisitions.
Blogs of the Guggenheim vertual arts gallery.
Publications of the Guggenheim virtual arts gallery.
Reference links to the online collection of the Guggenheim museum.
https://www.guggenheim-bilbao.eus/en/the-collection
Reference link to the virtual gallery.
From the Wednesday talk series.
First session of Second term by Doug fishbone from New York for the proffesional practice FNA-1430.
Date work was set 17th of February 2021 what were your thoughts on the first lecture with Doug from New York ?
The first lecture with Doug fishbone professional practice FNA-1430.
Material that will be covered during the fourth coming lectures.
Week by week layout for 1430 professional practice with Doug Fishbone.
First image what will be covered in the first session.
Week two What will be covered in the second session.
Third image third session for proffesional practice.
Fourth image for what will be coverd for the fourth session.
Fifth image what will be covered in the fifth session for 1430 professional practice.
Image seven week seven proffesional practice forgot to take a recording of week six.
Techniques to use for pitching your ideas or when writing artist statements to make profit off your work and professional practice shared in the lecture.
What i have learnt in this part of the lecture is the various ways to communicate your ideas via pitching and how doing this can channel the attention of adduces that are listening along with how each method comes with its own confidence when communicating ideas and themes from the individual artists to the people viewing the pitch and how using these way of communicating can also impact the way the artist in question would write there ideas .
Referance links to some of the techniques shown in the examples above.
https://dictionary.cambridge.org/dictionary/english/pitch
https://www.litcharts.com/literary-devices-and-terms/aporia
The Art of Pitching Your Ideas
What i though about the first lecture on learning how to pitch ideas to audiences.
I felt that during the first lecture that i gained more understanding of how the professional practice world works not just from the uk but internationally along with learning the idea of hustling and how this can develop your practice financially though business transactions in the art-world.
I felt that during the first lecture that i gained more understanding of how the professional practice world works not just from the uk but internationally along with learning the idea of hustling and how this can develop your practice financially though business transactions in the art-world.
During this part of the lecture i have learnt that expecting rejection is a better way of thinking in the fantail side of the art world because it allows for the artist wonting to make profit think with realism instead of being overly optimistic and being met with disappointment.
What i have taken from this is that if an artist changes there thinking then the likely hood of making profit via hussaling gets increased because if you cell or contact more then 2 or 3 art galleries you get more chances of making a deal.
Tips from Doug’s lecture on how to organise financial business and networking.
What i have learnt from this part of the lecture is that if a good idea is framed well then like what i have stated before if buisness contacts for hussaling your art have been made with or then 4 or 5 delears or galleries then the chances of making profit increases, i have also learnt from this part of the lecture that being confident about how you’d cell your ideas can be a key differance in the likelihood of making profit and being rejected.
Tips writing short and punchy descriptions shown in Doug’s lecture.
This part of the lecture allowed me to see how if you cell your ideas by not being as full on with the art termanology then the general message of your work when pitiching to art galleries or delears actually increases the attention your ideas attract rather then take away thanks to less being more and how being clear about what your ideas represent can further your advantages for being more financhially secure.
Along with this i have also learnt that by making your work more visual focused and less text heavy this can serve as an extra advantage financially along with making your artwork interactive again serving as more of a visually ppealing proposition for dealers or galleries to buy or showcase your work.
Advice for being clear and relaxed when pitching so more people feel relaxed and on the same level as you when speaking about your art or what you do.
From this part of the first lecture i have learnt that when pitching your ideas to galleries or to art organisations to make sure that the information you provide them with isn’t explained to harshly with more of a calm and calculated way of pitching in a more clear and concise way so that the audience has clarity for what’s is beings propositioned or pitched so they don’t lose interest or get scared away.
Honest advice for exposing your process or ideas to others for receiving criticism and criticise yourself in a realistic and honest way.
What i have learnt from this part of the lecture is that being open minded in the business side of the art world can influnce your ideas to reach more then one person thanks to being unafraid to shared you get the chance t collalborate with other artists ideas that are being piched were an artists who’s first time piching or hustling can gain more knowledge to adapt the idea of how to cell and make profit of there work.
Along with gaming an increase in confidence when explaining ideas to audiences thanks to expecting reaction whilst at the same time being open minded to how others who have been in the business of pitching and hustling longer and learning from them to make yourself better and more established.
Advice shown in Doug’s lecture on how to use networking in an effective way.
What i have learnt from this part of the lecture is that using the networks you have after working for a couple of years and establishing a buisness footing that going back and adapting yourself by asking for help and being open minded can again be a way of increaing your chances of a successful pitching for your ideas.
Advise shown in the lecture for self expectations and questioning your own choices in the professional practice art world.
What i have learnt in this part of the lecture is that going back to the idea of having thinking that is realistic and clear when pitching your ideas to galleries or organisations and dealers helps to to find alternative ways of surviving in a business hustling sense since this can allow you to increase your online market revenue to boost your profit ratings.
Art facts NFT website for artist rankings shown in the lecture.
From this part of the lecture i have learnt abut the idea of using ArtFacts.NFT for tacking the profit an established artist makes for an income or salary per year along with Artists rankings this website has also shown to be helpful allowing you to learn about insight trends within the Art World helping academic lecturers art collectors and gallery visitors broaden the exposer to the various ways art keep changing as time moves on.
Reference link to ArtFacts.NFT
What i have learnt from this part of the lecture is that not everything is realistic within the art world but anything is possible if you work hard and have planned in advance to make things happen or make profit as long as a planned has been made about how to navigate your own way or surviving as an established artists the options you have are endless provided you have found the appropriate connections along the way.
What i have learnt from this part of the lecture is that you should try as an artist wonting to make profit to try to be clear and down to earth with the goals that you have set for yourself to not get your own expectations to get in your way in a sense allowing yourself to not be your own worst enemy.
What i have learnt about this part of the lecture is that if an artist won’t to make profit from there work though pitching then simplifying the message with the key bits of knowledge would be an advantage when pitching to talk about your ideas to an audience and when writing if given the same consideration of importance then it makes the way you would pitch the ideas more effective increasing the intreat in your work and the amount of profit made as a net result.
Artist-Led Hot 100.
Image 1
Image 2
Image 3
This part of the lecture showed me that there is a website called “Artist-Led Hot 100” that is a website geared towards showing the top 100 places for art from all over the uk this serves as another way of ranking places or areas containing art galleries along with the website i previously referenced ArtFacts.NET.
Reference link for Artist-Led Hot 100.
Click to access ARTIST-LED-HOT-100-v.2.pdf
The Painter of light Kinkade Maude.
First image.
Second image.
In this part of the lecture i have seen this painting created by the artist Thomas kinkade Maude the painter of light who has earned 100 million dollars from his painting depiction of a house with the sun glowing down from above the artist was born in 1958 and passed away in 2012.
Reference links to the painter of light Kinkade Maude.
https://www.theguardian.com/artanddesign/2012/may/09/thomas-kinkade-dark-death-painter
https://www.parkwestgallery.com/behind-the-artist-thomas-kinkade/
https://www.latimes.com/archives/la-xpm-2006-mar-05-fi-kinkade5-story.html
How to persuade people to join in on your creative ideas.
What i have learnt from this part of the lecture is that if you have a group of students who have a similar practice then you can form group project and get more estblished alumni envolved in helping the means to gain profit or establishe yourself ahead of time to be able to make it easier for you to get more of a feel for when you leave univeristy so you’ll be more prepared ahead of time rather then getting a shock when your times up with higher education.
I feel this is a good way to form a plan B, or C cause if you have more then one plan then you have more realistic options cause you’d have more options to go down rather then only having one way and this also males you feel more confident that you’ll be sucessful in your area of interests within the art world from an astblished perspective.
Doug fishbone for the professional practice FNA-1430 second session 24th of February 2021 second term.
Subject for what was discussed during the lecture.
The different ways of pitching ideas, how to write with confidence when it comes to artist statements and how to write simple cv’s with confidence when you apply for creative internships or jobs in general etc.
A couple of artists statement examples from the lecture.
Example one.
Example two.
My first point for the artist statements.
In these two artist statements from what i saw from this lecture and in my opinion the shorter statement works better thanks to it coming off as more punchy and clear making it more effective for what has been explained to be understood by people from all over thanks to the rule less is more and reduced art speak.
My second point for the artist statements.
For the first art statement being that the topic was to do with installation art it explained more and because of this made me see it as more long winded i found, making the understanding of what was written take more energy and i feel that most people would rather take less energy to work out what is being said rather then taking longer to read through or understand so less arts Jargon is better for statements even tho falling for coming across as more sophisticated when writing is tempting when it comes to statements or writing in general.
My third point for the artist statements compared.
I feel that by reading these two artist statements it has shown me that longer art speak or Jargon has its value more for essay writing then initial statements of intent cause simple is always viewed for carrying more weight when it comes to writing about who you are as an artist or when verbally pitching since whats right for one thing or section when it comes to writing is not a one size fits all approach to solve everything i feel is what i learnt during the first half of this lecture.
Tips and pointers for art statements from the second lecture with Doug Fishbone.
First Image for pointers.
Second Image for pointers.
What i have learned from this section to do with tips for statements is that using a punchy opening sentence is something used to break the ice when trying to communicate an idea or concept for art that to me is a way of showing a trailer to the artwork or practice you have so giving a taste or brief description can be seen to be given more weight.
The pointers for being more clear and precise with making your work more visually engaging shows me that if you structure what you wont to say about your work in order to pitch it with using simplified language then it shows the quality of your work off more for example using 3 sophisticated short words with a lot of common words can make a verbal presentation more engaging and interesting especially if the work by itself has a lot of visual detail with less importance on the longer intellectual words and phrases.
The fourth tip in Doug’s lecture i felt was a more clear way to have people understand the work they see with more language being focused on simplifying the visual nature of the work to make for a more punchy pitch in written form that i felt to be more effective then using more art speak or jargon that can be left more for essays or art biographies.
When it comes to proof reading i can see this tip helping in different ways such as giving feeb back for improving the structure quality and layout or how something is written to sharpen the content more so that when an arts organisation or internship service see the statement its at its best thanks to the written work changing hands more then maybe two or three times since criticism is a positive force if its genuine and keeping it short and minimal can also play to work to the written statements advantage since most people would be able to get the message for the art your showcasing.
Techniques from Doug Fishbones lecture for my process explanation when pitching an idea.
What i have learnt from this part of the lecture is that following a clear structure is as important as having a visually appealing pice of artwork so both should be given equal wight along with having effective research relevant to the theme of the work in question pot together in a clear way with less use of art speak and more short and punchy paragraphs instead.
What i learnt from them and how this can impact how i explain my work through the professional practice art world?
What i have learnt from this part of the second lecture is that the explanation used to explain why and how you make the work you do is as important as the message behind the work you create as long as the knowledge explained is pitched in a clear and concise way so that everyone hearing your process can get a faster understanding since the people who you explain it to wouldn’t wont to take a while to figure out why or how something is done from how someone on the outside would see your work looking in this is something i found very helpful during the lecture cause it shows me that its possible to anticipate what others peoples interpretations of the work you produce would be in more of an accurate why so you can preempt what peoples ideas or feedback would be of your writing or visual work before hand.
First image from Doug’s lecture for writing about your professional practice to others.
What i have learnt from this part of the lecture is that using quality research is an extra point of importance and i feel should go through a refining process so that the research is also made clear so it matches the statement or pitch shortened down to specific areas most relevant to the pitch or statement since less is more when pitching or writing statements and i feel this can impact the way i would talk about my work since it would allow me to naturally refine my research and writing at the same time.
Doug fishbones lecture second half Wednesday 24th of February 2021.
What i have learnt in the second half of Doug fishbones lecture is how to structure writing CV’s and how to use elevator pitching when communicating your ideas or theme to audiences who view your work and ways to make it visually appealing with enough detail combined with a simple message for a confident verbal explanation.
How to write an effective CV
First example from the second lecture.
Second example from the second lecture.
The first example i have used from the lecture is the one used for applying for things related to art for example MFA’s, MA’s or placements.
During the second lecture from the two examples i have used above the first CV specifically to art related lines of work or MA’s, this example had a longer layout base for structure and came across as more of a similar layout that you would find for the indexes of books rather then a standard CV for Jobs in general.
The second example i have used from the lecture is the one used for applying for most Jobs including art related.
I feel that the second art statement came across as more punchy and less structured like a book index or glossary page with it being structured in more of a simple way i can see the second example across the board being the better option thanks to the content being more organised and with the second example for CV’s being more short and to the point i can see more weight given to choosing it over the first one.
Doug Fishbones last lecture for FNA-1430 professional practice Wednesday 3rd of march 2021.
First image taken from Doug’s lecture is about art Journalism and what its role is within the art world.
What i have learnt from this section of Doug’s lecture is that art Journalism can be used to amplify an artists work in more of a broader way to reach more people and gain more attention from high commodity art organisations and institutions globally that can make it easier for an artist within the world of professional practice and networking.
The second image from Doug’s lecture is about art press.
How can it help and how does it not ? …
And how does it impact artists within their professional practice ? ..
What i have learnt from this part of Doug’s lecture is that art press is used to make social commentary of art work much like how the news report stories on events allover the world.
This way of reporting or using social commentary to explore and artists professional practice has pros and cons such as if the press or social commentary being made is pessimistic then this can lower the market value of the artists practice so the individual artist earns less however on the flip side if the press commentary or reports is positive then the artist can increase the profit being made and attention the artwork would produce to become more of an influential force rather then detracting or making people show a lack of interest.
The third image from Doug’s lecture is about a website called http://www.artmontly.co.uk
First image.
I found this part of Doug’s lecture informative and helpful for providing information to make looking at research more specific and exciting since finding art catalogues you can see artists that may not be as well known or that don’t get much attention from the press that may give you new ideas if there work is similar to yours and is still successful despite the lack of press attention for example another version of Banksy perhaps.
Art monthely second image.
reference link to the Art monthly website.
The fourth image from Doug’s lecture is about The art newspaper international edition.
This website shown in Doug’s lecture is a very helpful resource to find art news and event updates for show and galleries that i feel can help aspiring artists within the creative community broaden there knowledge of how to gain more success through networking and exploring new concepts or ways to gain public influence or attention.
Reference link to the Art newspaper website.
https://www.theartnewspaper.com/
The fifth image from Doug’s lecture is to do with a website called http://www.widewalls.co.uk.
Wide Walls website.
This website shown in Doug’s lecture help artists find artworks done by people from all around the globe along with Art venues, events, magazines plus auctions this i feel can help aspiring artists also since this website would offer a way to earn cash whilst still early on in ones career.
Reference link to the http://www.widewalls.co.uk website.
https://www.widewalls.ch/art-venues
The sixth image from Doug’s lecture is about a website called http://www.artsyvanguard.com.
In this part of Doug’s lecture i have learnt that the website called http://www.artsyvanguard.com is a website that shared information on the most unique artists year by year to update aspiring artists and the public on new artists and new movement and trends that keep changing all the time.
Reference link to the Artsy-vanguard website shared in Doug’s lecture.
https://www.artsy.net/feature/the-artsy-vanguard-2020
The next three image from Doug’s lecture is about the website http://www.Artquest.com.
First image.
Second image.
In this secton of the art-quest website the dictionary section allows art practitioners to be able to access more in-depth resources such as Art spaces, Training and skills, Press and publicity and Studio facilities etc.
This can be used for artsts and practitionsers to learn about ways of ganing profit faster and help find more effective spaces to display work and help practitoners have more effective networking opportunities.
Third image.
In this second of Doug’s lecture i have learnt that the website Artwuest.com can be useful for providing funding from abroad and resarch funding that help aspiring artrsts and established access opportunities through easier means spending less and gaining more for helping art practitionoers navigate more effectively.
Reference link for the Art-quest website shown in Doug’s lecture.
The next image i found intreating from Doug’s lecture is information about the Art councils engalnd website.
First image.
From this section of Doug’s lecture i learnt abut how art councils England help artists create opportunities for Job along with how art practitioners and aspiring artists alike can get weekly updates on news and art events along with how this specific website advocates for providing young artists with opportunities for work experience and apprenticeships so skills can be gained arilier on in there carrer that doesn’t have the added pressure of getting paid or not.
Reference link for the arts councils England website shown in Doug’s lecture.
https://www.artscouncil.org.uk
Quote from Doug’s last lecture.
By Cyril Connolly.
Reference link.
https://www.brainyquote.com/quotes/cyril_connolly_111468
FNA 1430 Doug Fishbones lecture date 03/17/2021.
First image.
From this part of the lecture what i have learnt is how to successfully create a clear and simplified practice that shows alternative ways on how you can make profit off sharing your ideas to the public.
Second Image.
What i have learnt from this part of the lecture is the options for galleries and organisations that aspiring artists can use to help themselves navigate through the financial side of the art world.
Third image.
What i have learnt from this section of the lecture is the different options available for artist outlets for people to collaborate with each other to make profit.
Fourth image.
What i have learnt from this section of Doug Fishbone’s lecture is the different options available for ways to engage the public in an artists work and what each section means section by section.
Conclusion to my blog for the FNA-1430 professional practice.
For this year with the FNA-1430 professional practice i have felt this module has broadened my understanding of the commercial side of art and how using other techniques to make profit can help the artist not only financially but to also make more connections to institutions and galleries across the board.
I have also noticed that since this module for the 1430 professional practice is about the professional practice side of art i have valued the Flexibility of how the different art talks have also helped me gain more knowledge on how to access different resources such as art catalogs online exhibitions and how Artist housing and accommodation works something that i didn’t know that much on before the FNA-1430 professional practice module for this year.
Overall for this section of my course i feel that the knowledge i have gained over this year has helped me understand how business in art works and how using the skills can help an artist further themselves and there careers goals and aspirations through knowing who you know and making positive use of the specific practice or filed of interest the artist gravitates towards.
Experiences
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2005 – 2008
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