Affordable Art Fair Hanging Day

                                                               Work going in the van…

                                                                     Ready to start….

                                                                  One wall done…

                                                                  Nearly finished….

                                                             All done – time to go home….

Affordable Art Fair Free Tickets

It’s October again and I have a stack of free tickets to give away for the Affordable Art Fair – it’s on from Thursday 25th to Sunday 28th October in Battersea Park.

When that large cardboard box full of tickets, maps and leaflets arrives in the studio, we all know it’s time for our annual collective panicking. Where’s my hanging plan? Have I got enough new work? Have you seen the framing gun? Have I got enough postcards? Where’s the roll of acetate? Who’s stolen the browsers?
And I’ve decided to add a new element to this fevered atmosphere by suddenly switching from my usual black frames to white. (Obviously because I felt I needed more stress….)

Anyway, the free tickets are for either the Charity PV evening (Wednesday 24th October) or the Gala PV evening (Thursday 25th October). The tickets will also get you in for free at any other time if you can’t make it on either of those nights.

Email me if you’d like one – and let me know your address and which day you’d prefer (or if you don’t mind because you’d like to come at the weekend…)

Artist or Philanthropist?

I’m often asked to donate work and it’s always for a good cause – support for the art department at a school, charities, an open access workshop, even the local art gallery.
Recently I was asked to donate a work for a charity art auction. I don’t know this organisation, they have never shown any interest in my work and yet they feel comfortable asking me to donate to them – for no reason except that they’re a charity. The problem with this is that artists never make much money and yet they’re always being asked to give up their art, time, materials, etc. for free.

For example, a demo or a talk will involve giving up a working day in the studio, in addition to the preparation time. I’m often told that, in lieu of a fee, I may make some sales – yes, possibly but in my experience most people aren’t there to buy work but to learn.

And when donating a piece to a charity auction, they often say it will raise your profile – well, not if I’m giving the work away for free. What gallery would be happy to work with someone who does that? And what if the artwork sells for less than the going price or even not at all? What does that say about you?

A colleague of mine donated a framed print to a fund-raising auction recently – it didn’t even raise the money that she’d spent on the frame. She’d have been better off selling the work for the full price, and donating some of the money back to the charity. And this all took place in a very prosperous part of London, with lots of well-heeled attendees.
And who was the lucky winner who got this work at a knocked down price? Well, clearly it was someone who could afford to buy the work at the full price. And yet the idea persists that the major donor in this scenario is the buyer of this bargain, and not my artist friend…

And what about the charity? All the people who work there are no doubt on a salary – are they being asked to donate a days income to the cause, like me? And I’m pretty sure that the marquee firm, the catering company and the printers of the catalogue or programme will all get their money. As usual, it seems that everyone associated with the event will get paid – just not the artist.

I know it’s difficult to say no when asked to contribute to a fundraising activity, but working in the studio provides me with my only source of income and if I’m not there, then my income suffers.
If it’s an organisation that I’m involved in, or a cause I am particularly sympathetic to, then of course I’m more than happy to help out.
But otherwise, I try to imagine that I’m a dental surgeon being asked to do a root canal treatment for free, and then I say sorry but no.
Just keep channeling that inner dentist…

 

New Exhibition – Where’s the Original?

We at London Printmakers are having a new exhibition at Bankside Gallery (next to Tate Modern). Here’s the blurb:

The spotlight is on a question so many people ask of a printmaker: WHERE’S THE ORIGINAL? And the answer is, there isn’t one! Printmakers, who create Etchings, Lithographs and Linocuts, work directly onto the printing surface, using drawings, sketches and even paintings for reference. This is not a method for reproduction of an original, but a “conversation with the medium”, a creative process that with time and expertise gives a unique result. 
This is an exhibition of professional artists showing limited edition prints, paintings and the sketches and reference drawings that inspired the works. These artists are: Karen Keogh; Carole Hensher; Susie Perring; Sonia Rollo; Trevor Price; Jazmin Velasco; Colin Moore; Gail Brodholt; Veta Gorner; Frank Kiely; Louise Davies and Mychael Barratt.

Anyway, it opens on the 5th September and the Private View is on Thursday 6th September 6-8. Please come along and say hello (and if you do feel the urge to buy something, please make sure it’s mine…)

Getting Ready For The New Show

There’s the usual mild panic in the studio (or in some cases, not so mild) as we’re busy getting ready for our new London Printmakers exhibition, which is opening next week at Bankside Gallery on London’s Southbank.
We’ve decided to call it ‘Where’s the Original?‘ as that’s a question all printmakers get asked. The idea is that we try to explain how the print itself is the original and that there is no other artwork (a painting, for example) from which the print has been taken.
It seemed like a good idea at the time but it’s been more difficult than I had anticipated, trying to provide an insight into how I arrive at the finished print, and then finding a way to display it on the walls of the gallery, in a clear and visually interesting manner.

In the end, I decided to frame up a working drawing (above) and a series of printing stages (below), neither of which I’m entirely happy to inflict on anyone. Still, someone always has to suffer in the name of Art and it might as well be the viewer…..

Cleaning the Studio

 Well, I’ve had an exceptionally busy summer so far, what with one thing and another, and I’ll admit that some things have been neglected (this blog would top the list, after a social life, sleep, and fun.)

 And the studio is looking a bit of a mess – I’m sure it won’t look so bad if I go down the other end.

                    Nope, not much improvement – perhaps a little light housework is in order…..

This is my admin corner – but somehow it’s been overrun by creeping printmaking essentials/rubbish.

       To say nothing of the creeping drink cans – but at least they’re organic, I think virtuously….

        Perhaps I’ll make a start in the inks department – it is looking a little disorderly, after all…..

         That’s better – I’m wondering if the hoarding of empty ink tubes is just a little pointless?

A big sack of waste paper for the recycling bins – let’s hope the bottom doesn’t fall out when I lift it…

             And here you have it – a clean, tidy, organised space – and that’s it for another five years…

A Busy Summer….

  Not much time for blogging this month…
 Rows of prints drying in the studio……

                                             Piles of finished prints ready for signing………

                                           One hundred postal tubes in the studio and ready to use ….

Meet the Artist(s)

Here is the usual small number of pitiful photos of the Meet the Artist session yesterday with Angie Lewin.

Despite being on what felt like the hottest day in a decade, it was pretty busy – great to meet such lovely people….

 

Oh dear, matching tops – we must remember to consult on our wardrobes next time.
Thank goodness I made a last minute change from jeans to white trousers, otherwise it would have been really embarrassing…..

Angie discussing Brenda Hartill‘s collographs with some visitors. That’s one of life’s great pleasures, discussing another artist’s methods – how did she do that?

And that’s it – I’m off to the Royal Academy Summer Show for Varnishing Day soon and I really must remember to take lots of photos….

The RA Summer Show – Like It or Loath It?

Each year, I really enjoy reading the reviews of the RA Summer Exhibition – there’s nothing like it for polarizing opinion amongst the art critics. Here are a few from last year’s show (2011).
Jonathan Jones in the Guardian says this:
‘I have a modest proposal to put to the Royal Academy. Every summer, there is a strange imbalance in its galleries. The vast salons on the main floor are given over to the RA summer exhibition. Superannuated sculptors, paltry painters and a ragtag of would-be titans have their day, for months. The public comes, for its sins. Critics try to find the good in it, and retch and redden in the courtyard, disgusted by this rite of mediocrity’. 
And again:
‘in future, the Royal Academy should cram its entire summer exhibition into the Sackler Galleries. They must admit the truth: there is barely enough worthwhile art in the summer exhibition to fill this cramped attic space. They could either select the handful of moderately good works and hang them – it would be a nice, spacious little exhibit – or just leave everything stacked and heaped around the floor, and let people sort it through as if at a jumble sale.’ 
Do you get the impression he’s not too keen? Read the whole article here
A review by Brian Sewell in the London Evening Standard takes the traditional view:
‘If the Academy has ever demonstrated anything in its Summer Exhibitions, it is that when large works and small are crowded together the “rhetoric of the small” is based on logic, judgment, purpose and clarity, while the large depend on size for their effect – an old trick of art in the service of tyrannical politics. Were I a collector I’d go first to the Small Weston Room (known to my generation as the Small South Room) and look with a keen eye at the paintings crowded there.’
And:
 ‘I have always felt sorry for the handful of skilled professional print makers exhibiting in the Academy, swamped by the bagatelles of amateurs and filthy rich painter-Academicians who, at the peak of their game, need neither the notice nor the cash.’ 
See the whole article here 
And Alistair Sooke takes a reasonable view in the Telegraph (imagine!): 
“Today, suspicion persists that it remains a safe haven for traditional painters who take the “common-sense” view that a picture of a tree must resemble a tree. Yet it strikes me that denigrating the Summer Exhibition is a peculiarly self-flagellating British trait. Nobody could claim that it is cool, or cutting edge. But it is the largest open-submission contemporary art exhibition in the world: this year, the hanging committee vetted more than 12,000 entries from 27 countries.”
See the rest here
I guess we can all make up our own minds in a few days – it opens on the 4th June…..