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an independent art zine - by the ariists, for the artists.
Issue.05Feb / March 2006
Shes gone off on another tangentcreating a small, independent art zine.
tangent is a bi-monthly FREE publication produced with the intention of informing and amusing in bite-size chunks. Quick n Dirty, Black n White, each
issue contains contributions by and features on artists as well as arts listings in the South London area and beyond.
To get the skinny on how to submit writing and/or artwork contact:
Karen DAmicovia email: [email protected]
BearspaceICA BookshopThe Residence
Seven Seven ContemporaryThe South London Gallery
Space Station 65Studio Voltaire
In Nottingham:Moot Gallery
Further Afield:FluxFactory, New York
Sticky, Melbourne Torpedo, Oslo
Zekes Gallery, Montreal
Events News and PDFs available on the website:
all content karen damico 2006 unless otherwise noted. all contributing artists work in the form of text and /or images is used by permission and is copyright by the artist.
no stealing allowed; hey, make up your own ideas FFS! after all, we have.
inside (in no particular order)
[observe] Stand Assembly www.standassembly.org Nottingham (UK)
FluxFactory www.fluxfactory.org New York (USA)
2B1 www. 2b1studio.co.uk Deptford(UK)
Tom Sachs www. tomsachs.org
Zavier Ellis www. zavierellis.com
Asked & Answered www. zavierellis.com
Richard Ballinger [email protected]
Daryl Waller www. winterdrawings.com
Thoughts on a Grey Day www. karendamico.com
[inform] Arts Listings
Cover image:Karen DAmico; Burst Digital photograph, dimensions variable 2006
Zavier Ellis; Hell is Other People II Oil, pencil & collage on aluminium 8x12cm 2005
so, how badly do you want it?(to be an artist, that is.)
Thats the question, really. What Im interested in at the moment is what motivates us. How do we maintain our existencewithasenseofcredibilityandaccomplishmentincontemporary culture? What strategies are being used in ordertogetworkoutthereandseen?Whatdowesacrificein order to do that? Whats most important to us? Is it having a show, selling work, having a dealer, being snapped upbyagallery,fame,recognition,themakingprocess,completingabodyofwork,completingapieceofwork,beingable to maintain a studio, having peer recognition, getting artscouncilfunding...what?Whatdrivesandpropelsus,inthefaceofseeminglyinsurmountableodds,tofindwaystomaintain an art practice? And heres another question: in termsofcontemporaryartpractice,towhatdoweattributenotionsofvalueandsuccess?
With all this in mind, I spent the past couple months seekingoutandvisitingavarietyofartistsandspacesin an attempt to see what people are doing and thinking. Many enlightening and challenging discussions ensued, andastheprocessbegantounfold,itbecameprettyclearthatsuccessisarelativeterm.Whethertheparametersare on a grandiose or minuscule scale, though, I think its important to know what it means to you personally.
Choosing to be a contemporary artist at this point in history is an adventure. Sure, the best bit is, There Are No Rules! Buttheflipsideofthatis,ThereAreNoRules!Itsa
doubleedgedsword,particularlyifonehasambitionsofmakingalivingwagefromoneswork.I think you have to Want It and you have to Want It Badly.
Formostofus,itsabalancingactofmakingwork,findingways to get it seen, seeking out others that are interested in what were doing and somewhere in between that findingwaystopaytherentandfundourprojects,whichisnotusuallysynonymouswiththeaforementioned.Unsurprising,then,thatmanyofushavedayjobsinordertosurvive.UnlessoneisdiscoveredbythelikesofMr.Saatchi, it is a constant struggle to balance these issues, andevenifoneisfortunateenoughtobesnappedupbyacollector,itsnoguaranteeofanendlessgravytrain.Thatsaid,itcanbeahellofanopportunity,andmostcertainlyhelps.
ButifIknownothingelse,Idoknowthis:theonlywaytomakeanyofthosethingshappenisto,well, find ways to Make Them Happen.Oftenthatmeanscreatingyourownspaceorshoworevent.Itmeansbeingself-motivatedandmaybeevenabitpushy(butinthenicestpossibleway,ofcourse.) It means getting your butt out there to private views and events, seeing others work, talking with other artists,forgingconnectionsandfindingcommoninterests.Formostofus,itmeansworkingatadayjobinordertofundourexistence.
But probably the most important thing is that it meanshavinganenormousamountofself-beliefanddetermination, because without that, aint nothin gonna happen.
richard [email protected]
The day I hung up my paint brushes, the same day I deconstructedafelt-tippenAfeelingofeureka
andasenseoforiginalitycrept in, bringing a turning
point in my own art work. Now I take my hand to any formofconstructionand
installation, sometimes reverting back to a
painterly out come. Other works are like invented puzzles, giving a overall impressionofcontrolled
chaos.Theinfrastructureis deconstructed and
reconstructed to create an associated viewing.
Generally the starting point oftheseideasistopical,
using education and politics asadebatedformat.Thecreativeprocesssoftens
theoutcomewithasenseofhumour and irony.
Top: One-way the only way5000 toy cars + plastic models; 28 x 14
Bottom: x spotAcrylic poured in containers - construction; 60 x 60cm
The gameDominos & acrylic paint - construction; 78 x 70 cm
West Wild WestColoured pencils - construction
In flight Sliced aircraft collectors card reassembled; 145 x 80 cm
1. Art Stars raise the profile of contemporary art practice. This is usually done by making a piece of work that is Controversial and that Everyone Loves
to Hate. Think of Hirsts shark, Emins bed, and just about anything by the Chapman Brothers or Gilbert and George.
2. The give the rest of us permission to be Loud, Mouthy and Flamboyant should we so choose. Hey, if Tracey can wear Westwood and party with Paris Hilton,
Grayson can wear a frock, and Gilbert and George can make eccentricity into an artform,
why cant you?
3. They also give the rest of us permission to be low key if we so choose. This is because they do enough for all of us in that Im Mad and Im Bad and Im Famous! department. Quite
a relief, really.
4. They shake things up a bit. More often than not, this creates a dialogue about Issues That Matter and regardless of whether the public at large admits it, their work present us with an opportunity to Think About Stuff.
5. They are a reflection of the times we live in. Like MovieStars, PopStars and SportsStars,
ArtStars often make ridiculous amounts of money. This, in turn, attributes economic value to art.
This, in turn, means someone might actually buy that installation of yours at some point
in time. This, in turn, means you have hope in the possibility of quitting your crap job and Doing Art Fulltime. And for most of us, isnt that kind of the goal here?
5 damn good reasons!(reflections on a recent conversation with Joy Garnett)
asked & answeredzavier ellis
when did you first know you wanted to be an artist?The first moment I remember was responding to some pencil drawings by my mother when I was very young. They were really sensitive and delicate, and I was in awe of how something like that could be realized. So I guess thats when I realized I was really sensitive towards art, whether conscious or not. And from thereon I was always just re-ally absorbed in art classes throughout my childhood and later education.
favourite material?I dont have a favourite medium; Im against any restrictions. I couldnt make a choice between a Turrell ceiling cut-out, a Picasso self-portrait, a Nauman sound installation and a McCarthy performance. For my own work I tend to work two dimensionally and the works are paintings or drawings on paper, board, aluminium, whatever seems appropriate for the idea. I have always been interested by the physicality of materials and supports. This currently involves a very expressive use of paint and collage of found posters and ephemera like pieces of discarded boards, objects and street signs. Im currently working on a show
based on the idea of scale, where I plan to make a broken, outsized painting, so I guess my ideas are progressing towards a more object based, sculptural type of painting.
Any heroes or villians?Picasso, Hitler, Christians. You can choose which are which.
Can you remember your first piece of work?Well, I remember the first painting that I made that I felt was fully resolved and achieved its full potential. It also unlocked a lot of possibilities for me. It was an expressively worked self portrait in oil on canvas, yellow background, domestic size, I was about 18. I still have it, its hanging in my mother and grandmothers house in Windsor. I still rate it as a painting
ForeverHouse paint on board 275x200cm ; 2005
Smartest thing you ever did in terms of your art practice?Doing an MA at City & Guilds.
Worst mistake in terms of your art practice?I have a feeling thats still to come.
Best / worst bit about being an artist?Best: romanticism, idealism, extravagance, expression, freedom, other artists.Worst: romanticism, idealism, extravagance, expression, freedom, other artists.
What inspires?The street, signs, entropy, travelling, museums, music, words, books, other artists.
What shows have you seen recently?Martin KippenbergerDan FlavinJames Jessop & Stella Vine
Any words of wisdom to emerging artists?Be authentic; be self-critical; do an MA when the time is right; see shows; read lots; go to openings; dont think youre the bomb until youve proved it; work out your balance between critical and commercial; work out your territory; keep on moving.
Top left: Murder in the CathedralOil, house paint & found material on board 275x200cm 2005
Top right: No ExitOil, house paint & spray paint on board 275x200cm 2005
Bottom: YesOil on aluminium 8x12cm 2005
Lord of LifeAcrylic, house paint & spray paint on board 200x200cm
zavier elliswww.zavierellis.com (launching soon)www.re-title.com/artists/Zavier-Ellis.aspwww.purelypainting.com (launching soon)
Top and Bottom: Installation Views
January and early February saw me having a gander at three artist run initiatives, Stand Assembly in Snienton, Nottingham, Flux Factory in Long Island City, Queens, New York and 2b1 in Deptford, SE London. Quite naturally, each of these spaces is unique, with its own personality, individuality and intention, but they are all absolutely alike in that they each evolved out of a need to create an affordable, independently run space in which to make and show work.
A bit about the spacesStand Assembly, Nottinghamwww.standassembly.orgBegun in 2004 by a group of recent art school graduates, Stand Assembly has successfully injected itself into the Midlands art scene, causing quite a bit of interest in the process. Located in an old factory building in Snienton, its open plan design provides affordable studio space to 22 artists. Since its inception Stand Assembly has made its presence known, gaining publicity early on through the BBC and The
Artist Run Initiatives:three spaces
Artists Information Company, which recently awarded them a NAN bursary. In the short time its been around, the studio has held events and shows, most notably their launch event, Somewhere To Go, and will be participating in Sideshow, an upcoming, artist-led initiative developed to coincide with The British Art Show 6 that will be coming to Nottingham between 21 April - 25 June 2006.
Alongside the studios and housed in the same building is Moot Gallery, a recently opened artist-led space. Though initiated and run by several of Stand Assemblys artists, it is an independent entity whose ethos is to create opportunities for both national and international artists to make and show work, as well as provide the local area with a sustained artist led resource.
Flux Factory, Long Island City, New Yorkwww.fluxfactory.orgOriginally begun in 1994 as a collective living space in an old spice factory in Williamsburg, New York City, Flux evolved over time into a site for art events and performances of all kinds. Having doubled in size in terms of people, it now houses 14 artists and moved to its present location in Long Island City, Queens in 2002.
As with Stand Assembly and 2b1, Flux is located in an industrial warehouse-type building. In
addition to the studio / living space, it houses an adjoining gallery space which, over the years, has been host to a series of well attended shows and events. Unlike the open plan Stand Assembly, each artist has their own individual space. There is also a workshop and an IT space, complete with high speed internet. Other common areas include a well equipped kitchen, living room/library, bathroom and laundry facilities. The running of the space itself is a collective affair and everything is shared, from cooking to shopping to cleaning the loo.
2b1 Studios, Deptford, Londonwww.2b1studio.co.ukThe smallest of the three spaces, 2b1 is an independent, artist-run, self - funded collective of six people. As with Flux and Stand Assembly, they were brought together by a need to establish an affordable, independent space in which to make work.
One of the things that really impressed was the fact that this small group of people bothered to get together and produce a proper catalogue to represent themselves for the recent Deptford X and Arts Unwrapped events. The other was the fact that they found ways to successfully engage with their local art community. Unlike the other two, 2b1 doesnt have a gallery space, and instead has forged connections with several
other art initiatives in the area in addition to holding events in the studio as well as other venues.
the odd observation...A common thread running throughout each of these spaces was enthusiasm - for each others work within the respective groups, for the furthering of the aims and objectives of their studios and for promoting good, worthwhile contemporary art practice in general. It was inspiring and motivating to see how each of the three has managed to negotiate and sustain a sense of commitment and purpose with very little in the way of economic resources or support.
A generosity of knowledge, skill and spirit is another common denominator. Within each of these spaces, there resides a myriad of skills and talents, ranging from administrative to PR to DIY to specialised technical know-how, with a whole lot in between. The ability and willingness to combine resources and effort, along with focus, dedication to an idea and just plain hard work has produced three vital, interesting and productive spaces.
I only met a small representation of artists in each group but in walking through the spaces it was clear that they were well used and people were engaged with their work. What I saw was interesting and innovative and apart from the normal roller coaster ride we all seem
to experience as artists (you know, the Yes, this is GREAT! Shit, this is CRAP! thing we do), it appeared that people were having some fun with their work. I liked that a lot. Even better, each visit made me want to run back to my own studio and get stuck in.
During my visits, many interesting discussions ensued and one of the themes that was touched on was that of forging cross-regional links, both nationally and internationally. From a UK perspective, there appears to be quite a lot more of this going on outside of the M25 than in, or so it seems to me. To be fair, I believe its partly to do with the fact that there is just so much going on in the Capital itself, and from what I observed, its the same in New York City (which everyone, of course, knows is the Real capital of America).
The Deptford arts community, where 2B1 is based, is a case in point: Its a bit off the Hoxton Trail, and yet within this small geographical area there are a number of studio groups, galleries and arts initiatives that have much to offer not only each other but also a wider audience. But just getting to that one piece of London to see a smattering of shows or events can prove to be difficult due to time constraints, never mind getting up and down the bloody country.
On a positive, the recent Arts Unwrapped event this past December was a good initiative. As a sort of Art Trail, open studios and related events were held concurrently all over London over a few weeks, and although it was perhaps impossible to attend everything, there were lots of opportunities for artists all over South London to connect, collaborate and participate in events.
I do think there is still a tendency to ignore or overlook the many thriving arts communities further afield. There is still a feeling of London and Everywhere Else (i.e., Nottingham), just as in New York there is NYC and Everywhere Else (i.e., Queens), however arrogant that may be. Id like to think that over time, spaces like Stand Assembly, Flux and others like them will be responsible for diminishing that attitude, as there is a lot to be gained from developing relationships both within and outside of ones local arts community.
The bottom line, though, is this: if you want something to happen, you have to find ways to make it happen, and the people in these three spaces have done just that.
Taking a brief pause: Sacks and assistants Brent and Jeremy in his studio, January, 2006
It isnt every day I meet someone I respect and admire who also happens to be a bit famous,sowhentheopportunityarosetovisitTomSachsinhisstudio,well,wasI gonna pass it by? Not bloody likely. Alas, in the short time I was there, I think Imanagedtomakeacompletearseofmyself.ItwassortoflikethetimeImetRyanGiggsatJDSportsinCroydonbackinthe90saroundthetimetheywonthetreble,onlythattimeIwasabsolutelyspeechless,bigstupidgrinonmyface,unabletoutterevenasimplehelloasIshookhishand,andthistimeIcouldntshutmyselfup. Itwas likeabaddream,hearingmyselfbabblingon, soundingvaguely incoherent and somewhat syncophantic. Pathetic, really.
LikeanygoodNewYorker,theresanairofimpatienceandurgencyaboutSachsandIrathersuspecthedoesntsufferfoolsgladly(thoughhewasquitegraciouswith moi.) anduponreflection,thatexperiencetaughtmealittlesomethingaboutperceptionandself-belief.Thethingwas,fromthemomentwemet,thisguytookmeatfacevalue,asafellowartist,andwasnotatallinterestedinhearingabouthowmuchIadmiredhimandhiswork.Ifanything,theideaoffan-domappearedtobeacompleteturnofftohim.
Wetalkedbrieflyaboutthenotionofsuccessandoneofthethingshesaidwasthathefeltthatsuccesswasbeingabletomakework, and to be able to continue to make work. More tellingly though,wasthecommentthathehadalwaysconsideredhimselfsuccessful,evenbeforehebecameknown,becausehehadalwaysbeenabletofindawaytomakework.Theresalottobesaidforthat.
Thenotionofbricolagebeingacornerstoneofhispractice,Sachsinvents,modifiesandbuildsalotofhistoolsinordertorealisehisideas.ThestudioitselflookslikeaDIYMadScientistsdream-loadsofstuffeverywhere(theoddHelloKittypieceperchedonashelfnotwitstanding)andthoughitlookedterriblychaoticdueto the sheer volume, everyone seemed to know where everything was and what they were supposed to be doing. And god, were they busy.Itwasahiveofactivity.
Icameawaywithtwolastingimpressions.Thefirstwasthedegreeofcommitmentthismanhastohisartpractice.Heisabsolutelydriven, consumed by and immersed in what he does. He loves whathedoes,fullstop.
lotofenthusiasmfromeveryoneinvolvedfortheprojectathand.Everyone was focused,committedandpartofthebigger picture. In the course ofconversationwith these people it was apparent that everyone valued what the otherhadtooffer.Unsurprisingly, really: it was All About The Work.
Daryl Waller, Londonwww.winterdrawings.comThe thing that makes being an artist so worthwhile to me is fostering friendships and encouraging independence, keeping things creative for myself and everyone else. This is the most important thing to me, far more than getting popular or being recognized as an artist. Im lucky that my chosen profession happens to give me a certain amount of freedom in my life, something which I hold very dear.
Richard Ballinger, CornwallAlways find a need to push the boundaries, search and experiment with ideas and most importantly never stop producing.
Andrew Collard, London www.2b1studio.co.ukObvious really: http://en.wikipedia.org/wiki/Jean_Jacoby
Henry Ward , London www.2b1studio.co.ukI think that success is defined by the elation momentarily felt upon completion of a painting. Despite the knowledge that the same painting, revisited the next morning, will be a disappointment. I feel most successful in that four in the morning, everything just came together, this is what painting is about moments.
Kathy Norrish, London I suppose Ive never experienced success on a grand or even moderate scale. For me success is that feeling of wanting to leap out of bed in the morning to look at what Ive created the day before. This doesnt happen very often because as we all know were rarely satisfied with what we do. However there have been moments where Ive stood in front of something Ive painted or drawn and wondered how it is that Im able to create such things. It puts a spring in my step.
When people compliment me on my work it always feels as if theyre talking to someone else. I tend to feel as if Im part of the audience instead of the person who has actually created the work. I suppose its wrong to say it all feels like divine intervention because Im an atheist. But the whole process of drawing is not something that feels of this world to me.
A good day at the drawing board makes me feel wildly successful. I dont need an audience, its just me and my pencil - friends for life.
Tom Sachs, New Yorkwww.tomsachs.orgSuccess is love.
Nicola Morrison, LondonSuccess is freedom!
Marja-Leena-Rathje, Vancouverwww.marja-leena-rathje.info/main.phpThis is a surprisingly tough question!
As a mature established? artist, in terms of my own art practice, I feel my work is a success in achieving my goals of creating work that satisfies me, that I think is good, and that is continually growing and developing in technique and in thought. I think most people who know my work seem to agree. Yet, I would also say in terms of fame or fortune, its not successful. I havent worked very hard at marketing, just not my thing! Im resigned to that and fairly happy anyway.
Ivan Pope, Brighton http://blog.ivanpope.com/Oh, that imposter.Success is making some more work. Deep and close to me, it sometimes just is and it makes me very happy. Further out its an aim to change everything.
As an artist, how do you define success? Tangent posed this question to a range of artists in an attempt to See What People Think. Here then, in no particular order, are their responses, along with weblinks where appropriate:
Carol Es, Los Angeleswww.esart.com/blog/ Defining success for me really depends on the particular day because I am mostly an unstable and fickle basket case.
Today I was rejected from a gallery in Brooklyn that I had really high hopes for, so at the moment I feel depressed and as if I am going to throw up at any moment. Its days like today when I feel like nothing ever happens for me, but deep down I know this is not actually true. Like success, the shitty moments too shall pass.
There are many times when I feel accomplished and successful, and that is probably when I am most happy with the art Ive produced. Satisfaction (for me, synonymous with success) is not something I feel most of the time, but I have had my share. Success, satisfaction, Failure, and nausea are all transient feelings, because what work I feel excited about today can be an embarrassment tomorrow (See? fickle!). I think the trick is to embrace the temporary moments of self-worth and fulfillingness when they come as if they are going to last an eternity -- since there really is no such thing as the past or the future. Personally, thats a concept I have a very hard time mastering when it comes to success, as failure seems to last a lifetime. Now if I can only switch the negative for the positive.... I Think I need much more therapy than previously thought.
Russell Herron, Londonwww.re-title.com/artists/russell-herron.aspI used to think I had an answer to this, but, now, I dont know. It seems to me, now, that I dont think of things in terms of success or failure anymore: everything is just what it is.
So, the short answer to your question is, I dont define it at all.
Kristofer Paetau, Berlinwww.paetau.comIn purely artistic terms I would define success with longevity (of the artistic work) and influence (of the work and the artist on coming generations).
Jonathan Waring, Nottinghamwww.standassembly.orgSuccess: the accomplishment of an aim or purpose.
Annie Kevans, Londonwww.anniekevans.comSuccess for me means regularly producing new work that doesnt make you want to run away and weep with shame.
Brent Owens, New Yorkwww.brentowens.netSuccess...Well, I dont know yet. I think perhaps its best defined as being able to do what you want with your life; being in the right place. Sometimes that means serving others and I suppose sometimes it means serving yourself. I think its different for everyone. Money is fine, but so is anything else that allows you to do as you feel that you should. I know that answer is nebulous, but I think the notion of success is as well.
Carlos Cortes, Londonwww.cpartists.com/carloscortes/For me success as an artist means to be able to create something that communicates, something that leaves an impression, that can make people act or feel in a different way. It would be a great success if this can be achieved as something that will last and will relate to other people in the future.
The Venus of Willendorf could be a good example. I look at that primitive sculpture and I think I can understand something of the world in which those human beings lived, I feel that we are still pretty much the same, thousands of years later. And this despite of the authors name being unknown.
Money and your name featured in a magazine are not necessarily the measure of your artistic talent, nor should they be the main reason behind any creative enterprise.
Karen DAmico, Londonwww.karendamico.comWhen I go home feeling pleased and satisfied with what Ive done after a day in the studio, I feel wildly successful because theres deep satisfaction in that. The other stuff, getting my work out and seen for instance, feels successful to me, though I see it as more a form of validation, and its fleeting. But I think validation is important because it encourages. Ultimately, I make stuff in order to somehow communicate an idea or thought in a visual way, so when that happens, when someone gets it, I think thats the best success.
Eleanor Whitney, New Yorkwww.riffrag.org/To me success means being able to make work how you want to make it and having that work able to reach the audience you want it to, however broad or small. I consider a project successful when it inspires or touches someone enough for them to share with me their thoughts on the project and pushes them to think or create in a new direction.
Alex Stevenson, Nottinghamwww.alexanderstevenson.com/To have an idea that other people take seriously(ie. not just your mates), that they will support because they know that your competence matches your creativity and enthusiasm. Generally that you feel appreciated.
Owen Eric Wood, MontrealSuccess is personally defined by ones goals. For me, I have a number of goals for my art practice - to complete a project, to generate an idea, to be accepted into a show, to have my own show, to sell, to sell more, to express a message to someone who sees my work, etc. The journey consists of a series of isolated successes. I think whats most important for me is the satisfaction that someone was touched by something I made - preferably a non-artist. This happened in the Artivistic festival when a woman told me how she could relate to my project because of its depiction of a disconnected couple, and more so a gay couple, as her finance left her to be with a man.
My struggle lies more with the use of the term artist, which I still do not use to describe myself, instead opting for I make art.
In addition to your question, I think it would be equally interesting to ask, as an artist, how do you define failure? Again, I think this is personal, so I can only answer for myself. Failure occurs when someone looks at one of my projects and they fail to understand the concept Im trying to communicate. I feel that if a viewer cannot understand a work of art, then the artist has failed, taking into account of course that the viewer must make a legitimate effort to be engaged and that no one is likely to interpret every specific intention of the artist. I have failed many times, such as with a video/sculpture installation about laughter that included the voice of my friend who was talking to me to make me laugh. The mistake was that I didnt originally intend for his voice to be included, and therefore didnt incorporate him into the piece visually. The result was that his voice was interpreted as foreboding, controlling and dominating, which is opposite of my intent.
Failures are important though. Some people say we learn more from being told what we do well, by I feel I learn the most when I fall flat on my face. I guess it depends on how secure you are with your insecurities.
Sarah Kent, LondonI like that question because its the one that brings the essence of practice into focus...
For me the big success is felt when I see and hear people engaging with something that Ive made... questioning it...looking for its meaning...testing it. Some of my recent work has been interactive and this makes its success that bit more visible to me. One piece, a large
phosphorescent painting, invited people to stand against it while a spotlight charged the canvas. When the light went off and they stepped away their shadows were left in a glowing pale green colour field. At the private view this exploration became a hilarious rumpus with a fairground feel to it. When I see light in someones eyes while theyre asking me about a piece...then I know Ive cracked it!
Nigel Cox, Londonwww.nigelcox.comI view success as a multifaceted beast that is never sated. It consists of various elements and stages of growth in what one might view as success. These include Artistic, Critical, Commercial and Financial success. The beast never stops growing and always demands more from the artist.
Is todays success truly success?
For me the answer is yes and no. Yes I have achieved elements of what I perceived as success and no it is not my ultimate success but purely a step in my development that lead to my next set of goals.
I believe that success is rarely ultimately achieved and only glimpsed in an evolving journey. My psyche includes a mixture of curiosity, confidence and doubt, which lead to experimentation and development, opening new doors and presenting new goals.
Today, my goals for success are high . . . to be a renowned artist selling technically amazing, critically acclaimed, paintings at huge prices and never keeping up with demand. However if/when I achieve this I am certain that my new goals and their related success will be harder to achieve, further away and most unexpected.
Carlos Cortes; Failure and Success Found objects, acrylic paint, board and accompanying text; 2002
Failure and SuccessOr the keys to failing publicly and spectacularly and also to succeeding privately and in a discreet manner
Elaine L Arkell, London(letter to John XXXXXXX):
EARTH,AIR WIND AND FIRE- ENERGY
I spoke to you last week about a framed painting (5x4) that I was encouraged to take into Templar House, High Holborn, HQ of London Electricity PLC. At that time I was still an employee at City Road, EC1, in Customer Services, Residential Billing, I would think this was some time in 1992/3. I was assured the painting was to be hung in Templar House. It was painted in acrylics, in a style reminiscent of Graham Sutherland, both in gesture and handling.
In the meantime I have studied and graduated from the highly prestigious Art Institution, Central St Martins College of Art and Design, London, WC1., now part of the London Arts University.
In spite of disability, I am a professional artist, I make and regularly my show art. I have been asked to contribute work to a forthcoming show in New York.
I have work in private collection both in the U.K. and abroad.
I would like to locate this painting as I believe it remains an interesting part of my practice and will have accrued some value.
Looking forward ! to hearing from you.
Amanda Dumas-Hernandeswww.amandadumas.comMy notion of success is constantly changing...with every mountain I climb to the top of there is a larger one in the horizon. My present view of success or what I am currently aspiring too is a big fat gallery solo show in NYC and/or London...major musuem acquisitions...features in art mags. My philosophy is aim high and maybe Ill hit something...hopefully not myself.
Libby Rosof, Philedelphiawww.fallonandrosof.comI collaborate with Roberta Fallon on all art work, giving small bits of our art away in person on the street or via email or the internet).
Success is the moment when someone we give something to responds with pleasure, and pauses in their busy day to appreciate our gesture and our work.
Given what our art is, money is a non-issue. But we love when it does arrive; it does feel like some sort of affirmation.
Success OfficeFree conversation and counselling - Success office, co-operation 2001The 31st of December the last day of the year.Free conversation office, piece of advice how you can have a success in your life.
Lars Vilhelmsen, Denmarkwww.larsvilhelmsen.org/
Everything is Healing Nicelynew work by Daryl Waller at the Coningsby Gallery
25 March - 1 April
Private View: Tuesday 28th March
Live at the Witch Trials Daryl Waller
Thoughts on a Grey Day
what currency do you trade in?AnongoingthemeinmylifeseemstobeExplainingWhatIDo.Iguessitsa
good thing I went to art college because they were very big on teaching us the
having had ones ideas interrogated and scrutinised to the nth degree, though it
has to be said, it made me more than a little crazy at the time. But its important
to know what youre about and to be able to string a coherent sentence or two
together when talking about your work, especially to someone who isnt involved
in the arts.
question. It goes something like this:
So, do you sell your work?
having no value?
work. And so on.
Having someone want to buy your work is agreatformofvalidation,inadditiontothefactthatitsgoodforpayingbillsandstuff.Butitisnttheonlyone
and thats an important thing to remember.
catch: Arts Listingsgalleries, weblinks, etc.Publications
Anxiety Culture www.anxietyculture.com/ [an] magazine www.a-n.co.uk Arty Magazine www.artymagazine.comFound Magazine www.foundmagazine.comLeisure Centre www.leisurecentre.org.ukPublish and Be Damned www.publishandbedamned.orgRant Magazine www.rant-magazine.comrifRAG www.riffrag.org/Smoke: a london peculuiar www.shink.dircon.co.uk/smoke.htm
WeblinksArtangel www.artangel.org.ukArtinliverpool www.artinliverpool.com/blogArtquest www.artquest.org.ukArts Council England www.artscouncil.org.uk/ Art South Central www.artsouthcentral.org.ukEyebeam www.eyebeam.orgFallon & Rosoff www.fallonandrosof.com/artblog.htmlHappy Famous Artists www.happyfamousartists.blogspot.comKollabor8 http://kollabor8.toegristle.com/Newsgrist www.newsgrist.typepad.com/underbelly/weblogs/index.htmlRe-Title www.re-title.comRhizome www.rhizome.orgStunned www.stunned.org Theory.Org www.theory.orgWooster Collective www.woostercollective.com/
Galleries / Studios / ResourcesUK198 Gallery (SE24) www.198gallery.co.uk 020 7978 83092B1 www.2b1studio.co.uk - Bearspace (SE8) www.thebear.tv/bearspace/ 020 8691 2085Cafe Gallery Projects (SE16) www.cafegalleryprojects.com 020 7237 1230Castlefield Gallery (M15) www.castlefieldgallery.co.uk 0161 832 8034Cell Project Space (E2) www.cell.org.uk 020 7241 3600Clapham Art Gallery (SW4) www.claphamartgallery.com 020 7720 0955Gasworks (SE11) www.gasworks.org.uk 020 7582 6848Hames Levack (W1) www.hameslevack.com 020 7493 7775Hayward Gallery (SE1) www.hayward.org.uk 020 7921 0813inIVA (EC2) www.iniva.org 020 7729 9616ICA (SW1) www.ica.org.uk 020 7930 3647Moot Gallery (Nottingham NG3) www.mootgallery.org 07786 257213 MOT (E8) www.motinternational.org 020 7923 9561Photographers Gallery (WC2) www.photonet.org.uk 020 7831 1772Photofusion (SW9) www.photofusion.org 020 7738 5774SevenSeven (E8) www.sevenseven.org.uk/ 078 0816 6215South London Gallery (SE5) www.southlondongallery.org 020 7703 6120Space Station 65 (SE22) www.spacestationsixtyfive.com 020 8693 5995Space Studios (E8) www.spacestudios.org.uk 020 8525 4330 Spectacle (Birmingham B16) www.spectacle-gallery.co.uk/ -Stand Assembly (NG3) www.standassembly.org -Standpoint (N1) www.pauperspublications.com/gallery.html 020 7729 5272Studio Voltaire (SW4) www.studiovoltaire.org 020 7622 1294Transmission (Glasgow www.transmissiongallery.org/ 0141 552 4813The Residence(E9) www.residence-gallery.com 020 8986 8866Surface Gallery (NG1) www.surfacegallery.org/index.html 0115 934 8435Tate Modern (SE1) www.tate.org.uk 020 7887 8000Transition Gallery (E9) www.transitiongallery.co.uk 020 8533 7843The Wyer Gallery (SW11) www.thewyergallery.co.uk 020 7223 8433
Further AfieldFlux Factory (New York) www.fluxfactory.org/ 1 (718) 707 3362Location 1 (New York) www.location1.org 1 (212) 334 3347 Printed Matter (New York) www.printedmatter.org 1 (212) 925 0325White Column (New York) www.whitecolumns.org 1 (212) 924 4214Focus Gallery (San Francisco) - 1 (415) 567-9067
Platform Artists Group (Sydney) www.platform.org.au +61 3 9654 8559 Sticky (Melbourne) www.platform.org.au/sticky.html +61 3 9654 8559The Invisible Inc. (Sydney) www.theinvisibleinc.org.au -
Torpedo Artbooks (Oslo) www.torpedobok.no/ +47 48231217
Zekes Gallery (Montreal) www.zekesgallery.blogspot.com 1 (514) 288-2233
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issue 6 out sometime in april