down by the water front

Showroom Dummies : Women's Bodies, Representation and Conflicting Taboo's

 

 

Oh the irony…… I am taking a few moments to reflect on the recently opened exhibition by Jennifer Dalton “Cool Guys Like You”…..an exhibition that shows through drawings, graphs and photographic image a startling, and in these troubled times, seemingly irrelevant conclusion that most of the guests invited onto critical cultural and political tv daily's are in fact male.

In an open letter to the hosts Jennifer askes :

“….I assume you like to see yourselves as critical thinkers. Might it be possible to get a bit more critical about the internal and external forces that encourage all of us to think that men produce the best ideas and cultural products out there? I think it might…..”

“…..In 2010, the most lopsided show among you featured only 17.5% female guests. The most balanced among you still only featured 34% female guests. The rest of you are in between, but mostly huddled around the more lopsided end of that spectrum.

If I may be so bold, WTF?…”

 

Indeed.

I am in Spain, I am on a roof terrace taking some sun… so far so good you might say.  I am reclining on the roof of an apartment building that is barely occupied, apart from a few ex-pat retiree, saga-ready-sun-bathers.

I ponder Jennifer Daltons letter.

It is peaceful, no noise other than the gurgling of the pool. I have no bikini top on, I notice a few tuts…wondering the cause I look up, and as one lady leaves and walks past, she utters “appropriate clothing”. Given the baking poolside circumstances I then begin to ponder the meaning of the word appropriate. And, while her male friend passes by, who, if I’m not mistaken gives me a sideways leer which leaves me feeling decidedly uncomfortable, I ponder some more.

And, setting aside the fact that I had not suddenly developed a weird case of clothing tourette's. Nor indeed had donned a pair of hobnail boots for a poolside splash. I assumed the comment to be directed at my shameful inappropriate state of bikini bottoms only…. And hoped that they, and not I, had lost a few marbles in the heat.

I am in Spain, nothing surprises me, least of all an oxymoron of attitudes…so I took both with a huge pinch of salt.

 

So suitably distracted I began to address… sigh!… this obsession with women's bodies.

Specifically a cultural thing this was not. I was not on a remote beach in rural Africa or transgressing some obvious cultural opine. Nor out of *the usual context* of beach/poolside, distractingly flashing in the office or on the bus.

The scene was set in a country, for good or bad, who’s beach culture.. ahem …embraces the female form in all its glory. And a media that never fails to pass up a newsworthy moment to show a well formed pair of tits just to liven things up.

But taboo it seemingly still is.

 

Why is it women and their bodies are deemed justifiably to be co-owned by everyone else?.

Either simultaneously being ignored, objectified, or repulsed.

This goes deep into history. And deep into the female psyche.

 

And...Ok.. I’m going to leave breasts out of it for now, but, cop a feel of this ….

 

Not since the likes of the Emily Pankhurst protests, or Germaine Greer and Susan Sontag has the female mind and her body been talked about so much in the media and yet is still is not represented. Only misrepresented.

She is either over achieving in school by beating all the boys. Or over achieving in the home by still doing a juggling act with family and career… errrm… job (..was this ever only in the domain of the 80’s ?). Or failing her kids by not sending them 3 times a week to after school Nuclear Physics club.

I think a suitable term was coined way back in the 20’s… “nurse, cook and bottle washer”. Only now you can add a few helpful electrical appliances, offset by stressed out school runs and high achieve low pay day jobs, like teaching for example. And of course a good dollop of societal guilt.

 

Things have changed; we’ve come a long way from the sentiments of Some Like It Hot and even ‘80’s Tootsie. When a man gets inside the female form and mind by cross-dressing and confiding …..her metaphorically, into bed.

 

 

But when we still have Rhianna prancing about in her latest vid offering all the female gumption of a modern day Whitney in Body Guard…..errrm? …here comes that sigh.. again.

It seems the current nature of any general discussion about female value is not about taboo particularly anymore… but a free for all female bully fest. And that, as always, includes women's opinion on women.

 

This furore along with the quagmire status quo of media institutions, including film, with its actors, directors and writers. Hides the fact that women's presence, is seriously worrying ( count em! - Jennifer is right …).

 

So in this current media scape with its constant image stream. Another skewed projection is feeding the collective female psyche, already bolstered by previous generations and history.

 

The subject of women is a whole vast and sweeping category. And all gender has a whole host of intricacies'….

 

Judges and Politicians are at the legislative and policy coal face. But our perception of regularly represented women in media (and therefore society as a whole) is deceptively weak and wrong for such a large populous.

The back room boys and their elders are still, it seems, stultifying efforts of *achieving* women to front of house window dressing.

Apart from a few... people like Kirsty Walk who battles away weekly with a more often than not, male panel, and Stephanie Flanders wrestling with financial debate. Along with people like the retired Joan Bakewell (who had a run-in with the BBC contesting institutionalised chauvinism in the hiring process....).

This, along with put your feet up main stream film rarities like Julie Delpy’s directorial debut 2 days in Paris which was a pretty neat achievement given the romantic label…rather than a war. 

 

Informed media, whether online, on paper or big screen is still the main shaper of how we discuss, react and perceive ourselves.

The balance of women included in this area is still thin on the ground. And with this imbalance, are slow to be generally encouraged, hired….or educated.

A catch 22… A riddled endemic state.

A responsible? image-factory with a glass ceiling that could just as well read why bother.  Female presence in a media that shapes us is still usually first and foremost preened, smiley and fit, by default.…

30 something's, staving off their sell-by-date. A mixed message, voyeuristic projection.

 

The knock-on political tone and, in effect reality, is that cuts and policy are now also reflected in that disadvantaged imbalance.

What kind of example for a healthy, indeed I stress, a mentally healthy society is that.

 

 

 

 

 

 

 

 

 

   

 

 

 

Clone Me!.....Again

 

Original photograph copyright of Glenn E Friedman

 

Public Relations, Plagiarism, and Self Promotion

 

 

This is how the World Assembly of Public Relations defined PR in August 1978 :

"The art and social science of analysing trends, predicting their consequences, counselling organizational leaders, and implementing planned programs of action, which will serve both the organization and the public interest".

 

So..... In a world now where it’s OK to use PR to maintain and promote any image and in turn fight for that image when the image is perceived to be threatened or damaged by a plagiarizer.

 

Is shameless self-promotion …the only way to go ?

 

I have taken a couple of examples of recent, contested or problematic image/ownership rights in the arts. 

 

Photographer / Artist : Glen E. Friedman’s Run DMC photograph being re-worked by Mr Brainwash, street artist ; with the ruling that the original had been plagiarised and the re-works to be *removed* (possibility of being destroyed)

Photographer / Photographer ; with Janine Gordon contesting Ryan McGinley’s re-works ; thrown out of court as vagaries of specific body imagery could not be *owned*

Art / ownership ; Robert Smithson's Spiral Jetty land lease for this site specific land art and its continuing curation.

 

 

But first a little backdrop history:

 

The Music Industry set a precedent years ago having seen a mix of technological opportunity which enabled copying and sampling.

The realisation of the argument; to say that anything not left in its pure state is therefore plagiarised, on the surface, seems to have been rendered un-navigable with the rapid flux of internet connectivity today. Unless, of course (as always) you have enough time, money and clout to throw at it.

And true, knock-off pirated copying is still very much on the no-no agenda in all the arts. Artists need to get paid. End of.

Although I wish I could be more positive about this simplistic sentiment. There are so many middle men and Mr 20% involved in the promotion of artists, designers, photographers and their work, that altruism is probably only half the story in protecting the original work.

With artists also being protective of their intellectual property or brand from commercial sharks. And legislation leaning heavily toward an overall semblance of control in these *share it* times.

Couple this with social diversity; communities being so poor, having no infrastructure with any wider connective say-so. Or those who are so switched–on they find themselves in a democratic minefield of who is allowed to say what and when. Some fall foul of their on-line presence. Others manage to free-up and share information that otherwise would have been inaccessible to most.

No Doubt the internet, as a popular tool, has power. And so in the hands of so many, so relatively quickly, also makes it a moral, social and political soup.

 

 

This is an art blog so I am not drawing on wider (and deeper) issues like phone hacking or wiki-leaks and all that has churned up.

I have tried to bring together different aspect within the arts here:

A simple concept really; artist/designer/musician/photographer/writer/journalist has/makes an idea of something out of something and so *captures* it, puts some creative value on it, it can be accepted, rejected or copied!.

 

The arts having different nuances ; all having very different histories and with that subtleties in legislation over the years.

Different mediums of expression but I will use the word captured to refer to the finished piece. Whether it is fashion, photography film, art, music or writing.

 

 

And, I am using writing here purposely as the idea of the written word is possibly far more readily understood as a standard tool for capturing and furthering expression of an idea.

 

As with rip-offs, subsequent similar close-to-the-mark expressions can be seen as a blatant regurgitation or expression of a new idea.

PR uses journalism/writing as one medium to further promote an idea or object. Straight word- for– word regurgitation is now being abhorred (whether paid PR or not…)

But still using the same word format and possibly similar words differently to form another view or opinion, is accepted difference.

 

The difference of the captured expression is what marks it out as different.

So with that in mind….

 

The Music Industry >>

Considering the longevity of sampling and mixing within the music business (as opposed to art and even fashion with its rip-off culture now coming full circle sometimes throwing things up much more interesting than the original….)

The mix/music industry is now far more accepting of *sampling* as opposed to *stealing*.

>>The music industry initially resolved the copying issue mostly by making it acceptable to copy as long as a reference was given to the originator and so suing was curtailed to out and out rip-offs. In so the music industry became far more hypothetically in favour of unlimited free use as a means to an end.

An example of Music Industry PR in the 80’s- 90’s. The White Label (usually 12 inch dance music) was already put into clubs 3-6 months before the official artist was named with a release date.

An acceptable form of hype or PR which created demand and interest. The Buzz style of which has been embraced in fashion, film and art.

 

Fashion >>

Fashion has also had a long history of rip-off culture and subsequent suing. I could name not only high end brands (Asian sports shops emulating actual shop brand design is a current problem for original brands). Friends too with smaller outlets having their own designs copied and done differently (damage can be seen to be done to the original design's worth, if it is copied badly).

I know of at least one person who eventually gave up on this as the court cases began to take over and lasted years and cost too much. I think “sod him” was the ultimate term he used. He went on to make different designs (some of which …ahem… possibly had a similar nod to the rip-off merchants own…).

High end dress designer Roland Mouret, mentioned here before, while during a talk for Fashioning an Ethical Industry at the Fashion and Textile Museum London. Also expressed exasperation at his designs being ripped off literally as they hit his internet PR machine, way back in 2005. Battened-down secrecy was the only option, as he saw it then.

All was fair in love and war it seemed. But then things moved on in fashion….

Style Bubble’s recent article about Prada brogues and their ASOS counterparts points out that maybe the plagiarism issue in this case is much more about the lower end of High Fashion brands being affected by this done-differently and (slightly) cheaper design than any blatant damage to reputation rip-off issue. ASOS having used a different style and mood of colour mix (gold and silver).

 

Photography >>

Photography has a long history of *intellectual property rights just as in the film industry. The photograph technically belongs to the originator.

 

The case last week when a judge threw out a copyright infringement lawsuit against the artist Ryan McGinley. The lawsuit, brought by artist Janine Gordon, was about images that allegedly copied Ms. Gordon’s own photographs :

The judges conclusion…

“ The plaintiff’s apparent theory of infringement would assert copyright interests in virtually any figure with outstretched arms, an interracial kiss, or any nude female torso.”

 

 

Two practices converging :

Photography and Art >>

One example recently of two creative disciplines having met like this, is the recent photographer- suing- artist debacle over an original piece of photographic art work.

The original art-work-photograph of Glen E. Friedman’s Run DMC was upheld by a US judge as having been plagiarised by Thierry Guetta (Mr Brainwash) street artist.

It was seen as not being different enough from the original piece to warrant its own status as *art* coupled with possible value-damage to the original piece and its original status.

And there was another distracting, but important issue here as to whether this was also a Banksy/Guetta art joke ; * you can’t sue who you don’t know*. The idea being the identity of Theirry Guetta although real, is supposed to be close to Banksy’s own shadow.

 

 
 

Run DMC done again differently by Mr Brainwash photograph courtesy BoingBoing.net

and sampling Irony aside! this remake has been mosaicked with broken cd’s

 

 

Art >>

Spiral Jetty, just maybe has the crux of what is going on at the moment within the arts :

Greg Allen; a filmmaker, curator, art collector, web entrepreneur and a philanthropist and an artist in his own right is petitioning for the land lease which houses Roberts Smithson’s Spiral Jetty.

The basic story elaborated on by Felix Salmon's reuters blog…is that the land lease is up...and so up for grabs. Utah State Council is opening up the lease for bids and so Greg Allen is bidding (alongside other newcomers) and the original lease holders The Dia Foundation, who have looked after the work up until now.

 

Whatever the nuances of Allens intention the potential problem is clear:

The work is iconic and so attracts attention. The work was made from the land it sits on and the line between where it starts and where it ends cannot be easily drawn. It was made as a site specific piece and so was captured in this state. It is not replicable. It cannot be valued other than in terms of *public* consumption.

So renders it practically and artistically immoveable aside from the elements taking over.

 

Whichever area of the arts we are looking at, the point here isnt about theft or using anothers property to form the expression on.

 

 

The written word shows how it captures expression;

A word is understood in its singular original form and meaning. A building block.

Words can be rearranged to express different meaning and subtly so.

 

Cloning is cloning, as is regurgitation, however badly or well done. It has its place.

 

PR is a delicate and fine art these days and with it brand ownership similarly so.

Social media with all the potentials of the social graph being realised has provided a PR’s wet dream.

The captured image/design/ music/art/written word today is no less its own entity.

It is though being (un altruistically) contested more than before as to who actually owns *it*, and therefore owns its right to exist.

 

Artists take a collective creative chill pill, its going to get a whole lot rougher...

 

An Education - Mind The Gap

 

 

An Education - Mind The Gap

Frieze Art Fair has had another successful media paraded few days. An art fair I remember in Dazed’s fashion pages this time last year being described as a phenomena from its inception a mere 7 years ago.

 

Initially it started out as an Arts Council funded project in 2003 with former editors of Frieze magazine Amanda Sharp and Matthew Slotover. And very much to its credit has grown to become an event on London’s to-do-list-calendar straddling the bounds of high octane art commerce with new *unknown* stuff, along with media and tourist attraction revenue. Apparently this year, according to Dazed, the “celebrity filled traffic jam” of former years was no longer. Leaving more space for contemplative, slower paced and reasoned buying.

Well, as long as the artists are getting a look-in and a serious run for their money all the better (I’m saying somewhat simplistically).

I am going to try really hard to keep a cynical note out of this as I truly believe that platforms such as Frieze for all the run-away-commercialism of late have at least put art and artists in the public arena – if not always received in a good way.

 

Frieze Art Fair 2010 The Guardian Video Link Here: Doing The Fair For Free

 

I am though just a tiny bit reminded about the lack of real accessibility. In the light of there not being much wriggle room for gainful artistic employment after leaving the dogma of education at any level. With all the glitzy-ness of art fairs and the aspirational endeavours taken on by artists to afford to be in these spaces.

The acting profession – well known for not having a massive presence in education. Has built up an apprenticeship style; learn as you go along and build your career within the theatre environment. But this method now too has a different allure:

 
Good Actors no doubt have drawing power of audiences and salaries to indicate that, and although quality and remuneration (for a career worked hard for) is a deserved reward (not least because the starting pay is so low?). But as with Footballers the desire to be that top star – and not spend time in the crowd scenes learning. Instant genius, instant gratification, instant celebrity seems a preferred career path.
 

In general the artistic-arts don’t have any formal structure like this, outside education. Basically you are on your own; to go buy a set of pencils or whatever and good luck. Pretty similar to authors.

In the film An Education Nick Hornby’s screenplay – on the mid-teen years of journalist/writer Lynn Barber  - showed an incredibly relevant insight into educational aspirations, creative passions and money.

Ok spoiler alert here! :

The young and highly intelligent Jenny (Lynn) was being encouraged – mainly by her Dad - to reach Oxford University. This being early 1960’s post war Britain, and although not unheard of, females gaining entry to Oxford were not generally the rule. Jenny’s Dad reasoned she spend as much time as possible doing homework and tick all the right boxes for Oxford acceptability with hobbies like playing the Cello and joining a youth orchestra etc.,. Her life was structured accordingly.

 

The rub being...

She met a street-wise philanthropist who, fascinated, engaged with her intelligent and inquisitive personality by taking her on a highly cultural, but alternative view of the world as she knew it. Also enamouring her father along the way by conning him into thinking that he was an old Oxford-onian who could introduce his daughter to the inner circle of Oxford life.  Jenny's father was heard to say in agreement “after all its not what you know, it’s who you know”; much to Jenny's disbelief.

In short she threw up the chance to go to Oxford and embarked on a brief sojourn into London’s high life of cultural fun and the offer of marriage – only to be bitterly disappointed when she discovered her gentleman friend was in fact a married man – who certainly wasn’t about to become anything other.

Jenny went back to her headmistress with regret and swore she would re-do the year she had flunked. Only to be refused. She searched out her English teacher whom she had seen as the epitome of all the hard work, and as she saw it, the boring graduate after-life possibilities for a woman; her teacher took her in gave her private tuition – and happy ever after Lynn went to Oxford and became a real life eminent writer.

Lynn and others like her whether they have become famous writers, well-recognised writers, actors, artists or whatever, have had the opportunity to realise their thoughts through mentors in and outside of education. And arguably the relatively unglamorous life follow-on.

So too, on these lines I have been drawn to the recent Basquiat film The Radiant Child about his life at the height of his *fame*. Which, even though the film takes an inverted look at this, shows how the general hype purporting these facts as another poor-boy-done-good (and then bad) is still lapped up. The laissez-faire acceptability as inevitable almost makes me want to retch, yes it is good, yes it does show hope for *unknown* artists, or indeed anyone doing well out of adversity.

But sometimes aside from the genuine life affirming all-things-are-possible, I think of this as some kind of self appeasing and patronising rhetoric to either offset guilt or cloud the issue that artists, as a rule don’t have a steady track - never mind a fast track to being recognised, errrrr valued.

One thing’s for sure while post education open-doors for artists remain in limited supply (and have done well before the recession started). The difference between doing a piece of art and being *An Artist* ie; one who has been generally accepted as deserving of the term – usually in the form of a prestigious acquisition. I still feel there is way too huge a gap between the doing and being.

And just to emphasise - I was drawn to a (Frieze Art) collector Valeria Napoleone, who only collects women artists:

In The Guardian interview with Vanessa Thorpe

"I didn't start my collection because I felt there was an imbalance, but there was and there is," she says. "I don't know if I help or not, but it is a fantastic journey. I collect the artists I collect because they are great artists and the list of women artists that I still want to buy is very long."

So aside from these very valid points not least, having no clue by looking at the work of knowing it was made by a female even after the name had been distinguished. Unfortunately that cynical-lead-weight feeling began to drop down like a ton of bricks on reading the words:

“For Napoleone, contemporary art was an escape from the strictures of a conventionally well-heeled lifestyle and she now uses her power and expertise to promote and encourage women artists.”
"I think about my home when I buy," she admits. "I need to be able to live with the work. I like large pieces and I have quite large installations, but they should always be manageable in size."

Vanessa Thorpe went on to describe Valeria;

“The daughter of a wealthy northern Italian industrialist, Napoleone is sent images of key artworks in advance of the fair in case she wants to arrange an early viewing. All her favourite British galleries, which include Greengrassi in south London and Hollybush Gardens in east London, send her coveted invitations to their morning previews at the start of the fair. They know her tastes by now, but she is not convinced that it is an identifiably female sensibility.”

” A mother of three, Napoleone is married to Gregorio Napoleone, the partner in a private equity firm, and they live in an expensive enclave in south-west London. When she buys, it is to some extent a question of domestic interior design and not just public patronage.”


Ok, so let me get this right; a feel for women artists and buying art to escape the stifling conservative life of London’s exclusive few.

Excuse me while I try and erase this image of Tilda Swinton in I Am Love.

Is this another well endowed from every angle (I can’t say bored in this day and age) though no doubt well educated, ahem, woman buying art (with a cause?) and people taking notice of the critical direction .

And that her genuine love and passion is what it’s all about. Indeed, otherwise why do it.

 
Cynicism aside, I am sure hers is a good and genuine passion, enabled by a good academic background.

And really, what's not to love about that.

 

Shame isn’t it though, that more of your nominally educated don’t also have the clout, other than the occasional poor-boy-done-good, to say something similar in this manner.

 

   
What was that phrase – money talks? – in general I think, yes.

 

 

Back next Thursday 11th......

When I will also be visiting Cuadros Gallery's exhibition at Nottingham's Antenna Building:

Passionate about art?

Keen to discover some of Britain's finest artists? 

Interested in adding an affordable original to your collection?

Then join us on 11th November 2010 from 6pm for an exclusive art event to celebrate Antenna’s partnership with Hockley-based Cuadros, one of the foremost contemporary galleries in the midlands.

We’ll be filling two floors of Antenna with a stunning collection of contemporary art and entertainment, showcasing everything from up and coming talent to modern day masters. This is a unique opportunity for art lovers and collectors to meet many of the artists.

In addition, they’ll be the opportunity to sample the very best from Antenna's award-winning restaurant and bar – with canapés and celebration fizz. 

All artwork will be available to buy on the evening with experts from Cuadros on hand to add insight and provide advice. 

To RSVP or for more details email steve@antenna.uk.com

 

 

Benvenuti Al Sud

 

Welcome To The South

 

 

Film Festivities have been in abundance all around the globe, not least the current BFI in London. But one film which has just been released, and as far as I can tell has not heralded any actual awards, is selling tickets hand over fist; the Italian film Benvenuti Al Sud.......more importantly the storyline of which was destined to strike a chord, I think, with many......

 

I have a trip in the offing (well early next year) and was exploring the idea of taking the train with a couple of friends. This is to a village in Southern Spain and, as my friends are from the area known as Southern Spain they were keen to join in. But the actual conversation we had was more on the lines of me trying to describe and then pulling out a map of exactly where it was I was about to go – they being from the city of Seville which is further south than the village I am visiting so the familiarity was vague. Even my attempt to define the area by province (Almeria) met with Oh yes! then blank faces with any subsequent detail. The description east of Granada and south east of Madrid and directly south of Murcia would have probably created a clearer understanding. Phew!.

View Larger Map

 

With Spain being a relatively big country and fitting into the polemics of north and south in a sort of skewed way on the map - this was always going to be difficult to determine by compass based reference. And, also like many European countries that has had its fair share of *border crossings of the invasion kind* not to mention the added autonomous provinces and regions that define and line the Spanish psyche - was also going to add extra detail into the mix.

No different in principle to any other country’s regions really, but in the interest of clarity:

So, there is Cataluña in the north headed by Barcelona and all things Barcelonan – north of that Girona with Port Bou at its uppermost, which is in many ways more French than some towns over the border. The Basque region, Pays de Vasco and Navarra in the north west enclaves, and proud too, with the Basque area seeking complete autonomy. Cantabria, Asturias and Galicia in the north and west on the pacific coast and then to the south of Extremadura, Andalucía. Which never fails to astonish me wherever I am that this only has bearing on how far south of north you are at any given time for you to be deemed in the south. With due respect to my friend's confusion and my non-map-reading-skills the village I am going to is not that well known unless familiar with the smaller area of Almeria and the fact there are a LOT of villages in Spain.

So when the location was finally understood, they went on to explain how, because of transport they tend to route north through Madrid or out to Galicia (for hols, University etc) and that even a few kilometres further north east their accents are misunderstood – hence them also having difficulty with my broken and heavy I-picked-up-an-accent-on-the-way Spanish. Seville people are used, they said, to the Spanish making fun of their accent.

Seville in the south

On the stereotype list Bea said it equated with country yokels, the uneducated and unrefined, a sort of rival snobbery that I admit I have also seen broken down into miniscule territorial discussions on most of my visits to the mainland.

No different to the UK really, for example Nottingham is still getting stick from Sheffield about Robin Hood’s origins or is that the other way round? either way anything north of London still seems to be the backwater of the UK. And all points in between up for rivalry akin to what can only be described in terms of *football team status*; mini bickering when it suits, usually trumpeted by the local paper.

Mojacar and the Valley of The Pyramids (and Rio Aguas) 

The village I am visiting has a neighbouring fishing village and is separated by the Rio Aguas (which is spectacularly famous for being san aguas as the area is officially semi-desert). But the Rio is The Line by which the two villages define themselves. The local Mexican Cantina describes itself as having The Best Food This Side of The Rio Aguas – a bit of a play on ‘Ol Mexico themes there but the *difference* does exist to play that card. The accents are fairly thick (ie; leaving the French tinged Cataluñan and getting progressively thicker and more guttural the further south you go), and the villagers seem to add extra ummpf in emphasis when mentioning the other village; sort of spat out in an almost guttural sounding dismissal. Of course they are not out and out rivals but the local politicians don’t half get some stick from the other’s village.

I totally got what Bea and her friend were saying about their accent acceptance – and the typical Sevillian  - which they dismissed with so much *as if we care* we have pride in our city and our accents. Possibly with the subtext of poncy northern snobs etc., etc.,..

So I was pleased to see the storyline for the film Benvenuti Al Sud (Welcome to The South) which was released in Italy this month, pleased, not least because it’s a comedy. It follows on, and unashamedly copies from the French film Bienvenue chez les Ch'tis (Welcome to The Sticks ) of two years ago. This time with a northerner having to leave all things known-and-used-to and venture into the unknown South, complete with weird country rituals, odd food, eating habits, and general not-like-us-ness. And all the comic farcical stuff that I imagine could be reaped from that.

Apparently the Box Office has gone bonkers and the tickets have over sold Inception and all the major players in Italian cinema at the moment – a bit like the original French home-grown self parodying hit Les Visiteurs in 1993 ; the one when Jean Reno is a medieval knight and time travels into the future, and aside from the hilarious newfangled-ness of culture is shocked to find French gentry having *normal* jobs and no servants. Full of stuff the French psyche has had in bucket loads. A bit like, I suppose, the touristy view of the UK seen as tea shops (well actually they are literally springing up like a rash at the mo) but the Royal stuff, the red phone boxes and all those quaint things that you only find in episodes of Midsomer Murders or Hugh Grant films.

 

 

A typical idylic scene used in Midsomer Murders
 

 

 

I like the idea that fun can be got from this and that it has country-wide appeal (well Southern Italy is beautiful from a screen location point of view) I suppose the Nottingham/Sheffield equivalent would have to be a bit more ummm gritty, rainy and, well, Mike Leigh – in fact he’s probably already done one; but you’d probably only get the joke if a) you were from the north and b) steeped in gritty rainyness....Anyway.....

   
Benvenuti Al Sud Trailer

 

I speak more Spanish than Italian (I get a bit confused between the two cos I’m still learning) but I sort of get the idea that the central character who lives in Lombardy dreams of being a wealthy Milano film director and tries desperately to get transferred there through work. But the wanna-be-Milano gets transferred from Lombardy to Napoli - Castellabate in the south instead. And looking at the trailer does he eventually rescue the day by splashing a few denaro’s around? ummmm rich northerner being benevolent to the southerners he has just now befriended? nope I won’t be cynical it looks a pretty funny film.....and will have to wait as usual – why is the UK so slow with release dates for European film?

 
Anyway this kind of all-round-appeal-funny parody is refreshing.  And without the *heavy* politics surrounding the divides of rich and poor (one of the irritants for these type of stigmas me thinks) it covers most bases on the difference scale. And Italy certainly has that; I think a reference was made to the fact that because the film is so successful it shows that Italians can overcome things like Northern League separatism. And sure, that phenomenon is no less introverted in most countries rich-poor areas wherever you go.

I just like the idea of difference being out-in-the-fresh-air-open to jokes and laughter. Being embraced rather than force fed an idea of unity from a political to do list (not that the truer idea of unity ever gets a fair airing from those quarters either).

 
And so I plan to visit Deep Southern Spain (if you are south of Murcia that is), and after the New Year, so hopefully will be around for the Moro’s y Cristiano’s festival which is nestled into the rich calendar of all things festive.
The last one I watched, after the formal day out, best-dressed-for-church bit was out of the way, was destined for a wee bit of bias on the side of the Moors along with some adaptational tweaking on the side of the Christians;  as most of the boys had opted to be a Moor – ‘cos they had cooler costumes and massive swords – ahhhh you can’t beat a bit of reverse psychological rivalry!. 

 

 

I know this is 10 mins but it sort of gives the idea of the whole involvement thing - Mojacar 2009

 

 

 

 

And back next Thursday 28th with some enigma! shhhhhhhh!

 

Top Ranking

 

 

 

There is a new event coming up after the successful #Class held earlier in the year, for Jennifer Dalton and William Powhida when Winkleman Gallery joins Seven at Miami Art Fair this December for a three day event entitled #Rank:

 In Jennifer's words;

"William Powhida and I have received the green light to host #Rank
Miami, taking place during the Miami art fairs this December 1-4.
Building on the ideas and energy of the #Class events last winter (if
you don't know what we're talking about see
http://www.hashtagclass.com/class/class-statement/), we will host three
days of non-gala events, non-curated performances and non-hierarchical
discussions on the topic of the class structures of the art world, with
a super-special focus on the art fair experience. Events will be held at
Ed Winkleman's space at SEVEN, in the Wynwood district of Miami (more
info at seven-miami.blogspot.com). #Rank Miami will be just three short
days, but we're going to cram as much art fair antimatter in there as
possible."

 

 

This, and a few other things like the huge public funding cuts to the Arts in the UK which are about to happen, got me thinking about rank and stereotypical assumptions which sort the pecking order of society's relevant needs.

 

 

Oxford Definition of Rank:

Arrange in rank; Classify, give certain grade to, take precedence of, have rank or place, have senior position among members of hierarchy. Place in scale; position in hierarchy, grade of advancement; distinct social class, grade of dignity. High social position, members of nobility or gentry; to pull rank, to make unfair use of one’s seniority. Rank and Fashion; high society.
(a necessary definition cliché here, not a filler!)

 

 

And Stereotypes as addressed in my last post I Paid My Taxes For That?! ;

 
Art has its myths and lies that are perpetuated as facts.
 

Public perception of three broad categories of say, Science, Money (the art of dealing with it; Socially through Public Spending, through Banking, Accounting, to Hedge Funds) and The Arts. Are seen through a simplified public lens and ranked accordingly.

Science has made itself universally tangible. It is needed and the majority of people get that. Even if it isn't clear what science does exactly. The *mad professor* image still exists but we know he does exciting things and we get to use them. Stuff doesn't get made without it - even rockets.

Money is universally tangible as either a necessity or a necessary evil, a thing that we need in order to do stuff. We are hooked, if not totally sold. The banker until recently was stereotypically envisaged as a suited, trustworthy methodical man (if not nickel and dime, penny pinching with it). Now they are propped up by the taxpayer their image is slightly different.

Art is seemingly still dispensable, except by those who *get it*. Art is not wholly accepted as a necessity whether evil or not. The typical image of an artist is probably paint spattered, disorganised, otherwise-occupied, even with an air of self indulgent narcissism and getting paid extortionate amounts for putting cows in tanks (is always a good one). Never mind the extortionate amounts coming from tax-payers money.



So........

I have been trying to fathom ranking in general with regard to how we as society rank certain things in order of importance and again within those categories.
 

Philosophically without having an order of things I suppose we have freefall or can make no sense of our surroundings, no benchmarks. But also in tandem with it is a mechanism for segregation, and places for elitism to flourish as an overriding factor.
 

Rank is there in the personal everyday from what takes pride of place to what goes into the recycling bin.
 

Rank or Order is there in the expanded universe ; stuff gets bigger, stuff explodes, stuff gets smaller. Even if it’s randomly happening.
 

How do we engage a sense of order or priority of importance without that tipping point of exclusivity?
 

Is the meaning of equal epitomised in a word only? Is it destined for the psychobabble-loony-bin of happy bunny idealism? 

 

We all have a want of things, to aspire to things :
.........Ever renewing desires ; not an entitlement to have or to own. Deserving of yes, but not getting pissed off if you don’t get that desire........ A semi-quote from the film Before Sunset – which was chock full of aspirational ethical type equality lines, which made a brilliant feel good film; and really everything about it was brilliantly written and acted. But looking at it from the angle of rank and class, and with the backdrop of near the perfect lifestyle choices of middle class arty-boho stereotypes, was a tad removed from reality - but then it was a film and one a lot would aspire to the notion of !.

Before Sunset - all ranked out - near perfect matching of the minds, and they are given a second chance

 
Aspirational is also an expression of taking pleasure in something.

 Non-aspirational can be a sign of indifference to, or lack of pleasure from something.

Also to have once aspired and then to lose that through being denied can be frustrating.

 
Mainly, a sense of worth becomes the benchmark of rank – so however that is apportioned – through money value or through societies general acknowledgment seems to become the order of acceptance.
 

Can one thing become more acceptable than another just with demand?.

Without going too deep, the XFactor format gives a clue; society is given a democratic notion helped along by a few simple pointers which in turn = votes.
 

Which can then be turned into stuff of practical worth = trade and making money as the general rule of thumb.

But equally things evolve and become liked or accepted by general absorption and so they become of general worth = fashion or zeitgeist.
 

This can also be turned to stuff of practical worth = trade and making money.

 

No real insight there then, or perhaps when these things are aired there always seems a sense of ever decreasing circles.

 

 

But.... rank and order can be so easily turned into an exclusion mechanism, that while the stuff of inclusion has a perceived sense of worth, the stuff of exclusion is alienated or not good enough. And by the same token this can also be an aspirational trigger, provided that the opportunity is there.

The kind of stuff politicians will wax lyrical about for eons, but then completely miss the mark in policy.

 

 

So I set myself down a few clichéd assumptions that can possibly colour our sense of rank and order in an attempt to eliminate the myths and lies surrounding rank specifically in the art world. Which can give them added kudos by sometimes backing them up :
 

Convenient half-truths or clichéd *facts* that perpetuate a possible confused or false idea of arts worth through public image.

The Worth of Art as Ranked Through Stereotype Clichés

 

( and just as a taster for the idea - I have to include this clip of ohhh so many cliched art moments in Ab-Fab's wonderful take on the art world when Edina goes to Buy Some Art - I know I'm posting this vid again! - but so true - couldn't resist it! )

 

 

In your view how do you see these ideas as held true in the wider public imagination ; in order of Relevance, Quasi-Relevance and Obsolete.
       

 

In Clichés, Stereotypes, Assumption, and Images

       
Artists are seen as:

 

• Victim            

• Overpaid celebrity              

• Narcissistic               

• Famous/infamous attention seekers

• Sensationalists

• The tortured soul

• Suffering for art

• Tragic/romantic                           

• Artists as an amoral bunch

• Ego-driven

• Artists are lefty-liberal softies

• Artists are weird

• Art and artists have a psychological cause

• Artists are suffering some sort of trauma

• Bohemian-Hipsters

• Black sheep

• Gifted

• Genius

• Misogynist /fail at interpersonal relationships

• Attract *immoral* relationships

• Self aggrandising

• Introvert

• Talent level only starts with ability to paint/draw reality

• Artist ability to show a *truth* has been compromised by the art market

 

Art is seen as :

• Full of *creative* celebrities who cannot produce true art

• Full of Art magazines that are more like hot-topic-picks of Dazed or Vogue

• Not true when having an idea and delegating

• Not true when using technology

• Not true when using CAD

• Not true when manifested into another practice

• Modern Art is a folly

• Full of things a five year old could do

• Arty crafty art is not art

• Not a proper job

• Offensive

• A Private Club

• Full of art-speak-babble

• True art is only affordable by the wealthy

• True art is only appreciated by those in the know

• Beauty is lost in Contemporary Art

• Owning art is a statement of worth

• A Fashion accessory

• Owning art is a self indulgent pastime

• Art for art’s sake is a narcissistic luxury

• Not an educational subject of worth

• For the people

• Not for the people

• Art market rules are run by a clique few

• Art patronage = subjugated art

• Subjugated art is compliant with *the system*

• Costly public art is overrated

• Public art is underrated

• Art patronage is a manipulator of image and fact

• Festivals are touting/business sponsorship events and are not about art

• Art fairs as touting/business sponsorship events are not about art

 

Would be interesting to do a mini survey /cross section just to see which of these actually seem to define art and artists image today.

Would be even better if it could include other ideas of cliche and stereotype !

Perhaps with some feed back from this I will be able to post a more interactive survey later !

 

more on this....

 

 

And Stop Press!

 

Soon to be arriving is The British Art Show at Nottingham Contemporary ! :

 

British Art Show 7

In the Days of the Comet

23 Oct 2010 - 09 Jan 2011

Charles Avery, Karla Black, Becky Beasley, Juliette Blightman, Duncan Campbell, Varda Caivano, Spartacus Chetwynd, Steven Claydon, Matthew Darbyshire, Milena Dragicevic, Luke Fowler, Michael Fullerton, Alasdair Gray, Brian Griffiths, Ian Kiaer, Anja Kirschner and David Panos, Sarah Lucas, Christian Marclay, Simon Martin Nathaniel Mellors, Haroon Mirza, David Noonan, Otolith Group, Mick Peter, Gail Pickering, Olivia Plender, Elizabeth Price, Cullinan Richards, Karin Ruggaber, Edgar Schmitz, Maaike Schoorel, George Shaw, Wolfgang Tillmans, Sue Tompkins, Phoebe Unwin, Tris Vonna-Michell, Emily Wardill, Keith Wilson

The British Art Show is held every five years, presenting new and recent works by contemporary artists based in Britain. This major exhibition is a unique opportunity for an overview of the concerns of art today. A Hayward Touring exhibition, it is opening for the first time in Nottingham and will be shown in three venues – Nottingham Contemporary, New Art Exchange and Nottingham Castle.

British Art Show 7 pays particular attention to the ways that artists use history to illuminate the present. Thirty nine artists have been invited for their significant contribution to British (and often international) art since 2005. More than half of the selected artists are showing new works, including painting, sculpture, drawing, installation, video, film and performance.

 

And!.................

I have been down to see my old friend Neil again at his shop Xample in Hockley. Always with a smile and  always with plenty to tell he is currently involved so intensely "I may self combust" he told me. With his very own designs from a special group nurtured under Xample’s wing, now featured in a show coming at the end of October held amid the pretty neat architecture of The Elite Building, Nottingham courtesy of Gatecrasher Club.

 

Xample Future Retro, Stoney Street, Nottingham ( down in Hockley Village )

The designs are based around feminine and sensuous ideas and shapes, and so subtly highlighting a feeling for shape and form that also by default shows how far down the ragged road to *ruin* women’s identity and fashion has taken of late; Neil touched on the idea of turn-of-the-last-century and the empowering shapes and forms that took hold with women’s emancipation as the base for his designs, to the present with its seemingly dried out remnants of a natural feminine allure, alluded to only by the base credentials of sexy = tart (not that there is anything wrong with a bit of sexy). But Neil pointed out it is more the saturated nature of this which is the norm that kinda equates with a one dimensional licentiousness. Blanded out by its uniformity and so has become a sort of lapdancer-chic meets its nemesis.

   
And these designs are soooooo different, ahhhhh ! the enigma of it all........!

Sneak Preview details; get there early Saturday 23rd October from 6.30pm onwards at The Elite Building, Nottingham. The music's going to be a bit different from the normal gatecrasher sound - bit of an enigma there too! but if anything is to go by whats played in the shop then It Will Be Good!

View Larger Map  

Will be posting from the event !

 

 

And back next Thursday 21st
 
 

Lives of Artists Series Two : The Independent Film Maker

 

 

The Independent Film Maker

 

Russell Noon

 

I‘ve spoken with Russell quite a few times recently about film and all things related.  The first time I met him he was also very much enthusing about a new practically self funded film project he was joining, in Sheffield with a friend David Frederickson, called The Wizard and The Werewolf. This was back in Ohhhh October November time last year, and as I remember, he was very keen to get started and extra-keen to make the whole thing happen.

Lighthouse Scene from The Wizard and The Werewolf : Ian Attfield and Sam Jarvis (Actors)

This project, as with all films of this type are beset from the start with production costs; not least finding locations that are accessible (and appropriate) without having to stump up or hire (a super money-spinning technique that I think many councils have acquired of late!)  - maybe in the hopeful event of bigger production enterprises stumbling upon super-fantastic locations with their no doubt massive expense budgets aka Hollywood-style (I am being a bit facetious here).

But I believe, for example if you wanted to film on the London Underground your hire-a-carriage/station-rate would be practically the same whether from Hollywood or Borhamwood. If you could afford it, you would more than likely hire for a cost-minimising five minutes and do in one take; not 35 re-takes!.
(Ok, obviously some people are happy to get involved and to have their location/business or whatever *on screen*, so it’s not all pay-pay).

And, although I think I caught Russell in moment of, well, shock really (or concern) for want of better words; as this post has a back drop of the Film Council Cut. His reflections could not help but be dominated by this even though his positive-drive is so very much on the get-on-with-it, get-it-done tip.



The point being, Russell’s enthusiasm for what he does is very indicative of film making and the people who become involved in general. The get up and go, the make it happen. Something all creative’s feel; the passion and energy to create.

And so, when the goal posts were altered quite considerably a couple of weeks ago by the proposed Film Council Cut. He and many others in film (and arts in general) were aware of this being more than a game changer, and a precedent for all other areas, whether arts related or not.
I’ll take the time to mention here as it is so much of a lynch-pin issue. Even though no doubt many are divided about its worthiness and workableness.
But the intended axing of the Film Council is not just a blow in itself but I also believe a below the belt blow for arts decision making generally.

Arts Councils, can be very ummm well full of artists which can render them biased towards certain issues and topics – so the argument that I heard on R4 news about them (the Film Council) being *a total waste of space*, including their massive salaries and apparently ego’s to boot, as they are too into box ticking and too into their *own agendas* and so leaving out perfectly worthy films.
Hmmmm ...Improve the base of decision makers and their decisions perhaps? not rid entirely? is fairly obvious no? that however *biased* the decisions for funding - I know who I would prefer, over a bunch of government ministers (of any political bias) taking them instead, even with their carefully chosen industry advisers.

It is, in my view very dodgy ground, Arts Councils have been a much needed buffer zone between the policy makers and creative’s.

One question; Do we really need politicians to be one tick box away from yey-or-nay-saying certain film projects?.
I’m not going to get overly Stalinesque here but it doesn’t sound good. If only from the point that ministers are not usually creative types, let alone have in depth knowledge of different arts practices.

So I totally got what Russell was saying when he wanted to tell me about his route through the past couple of years and the sudden impact, of the cut.

He pointed out that it wasn’t the fact that the money was needed for other, rightfully, more urgent areas such as the NHS.
But (and I think I understood this right) the fact that dis-enabling of small film fund projects (like the FC enables) regardless of the vagaries promised to the British Film Institute of elastoplast *powers*, would create creative black holes. Being filled by those only able to convince that they would make (extra) good return on private investment backing. Usually the bums on seats method which, however popular, does little to encourage the new:

Russell described how he saw his own work and the creative side of film making in the current climate;

“I guess one of the reasons I find this so difficult to articulate is because I don't see myself as an artist. At least not an artist who is solely responsible for his work. The making of a film is a collaborative process and though it might be a single person’s vision and script, it takes the time of a large creative collective to make the film you see on the screen.

And therein lies the problem...

It is easy to become disillusioned when trying to create your little piece of cinema:
Because unfortunately all 'films' come hand in hand with the 'film industry' and this is one of the most difficult industries to navigate and become known in. In fact so many people with stronger ideas than myself have fallen by the wayside, it is often a surprise to me that we make cinema in this country at all.

I feel that I should mention the closure of the UK Film Council at this point; it is people like myself who will suffer most from this. Their investment in short films and first time features will be sorely missed by many new film makers. It has become increasingly difficult to raise funds for any film that won’t make its money back and this decision will not make it any easier. I hope this is giving an idea of the uphill struggle we all face...

So I guess the question is why do it at all?

The answer, for me at least, is easy.  The chance to create the essence and character of human life and place it in a world of pure imagination and pit it against impossible odds. And then to sit amongst an audience who experiences their hardships and joys along with them, that's a thing that very few people can say they've done.

If only it were that easy...”

Wizard and Werewolf Scene: Russell Noon (Writer Director) David Frederickson, Kia Pegg, Riley Newbold (Actors)

I guess expression will always find a way, though the possibility of an unbiased and experienced organisation aiding a body of work like a film with its very real coordination and collaborative production costs (whether a short or full length) and the difference of being able to enter into a burgeoning (UK) industry on the back of that film, a cv if you like, is palpable in the absence of anything coherently replacing it.
Film as a creative practice is not encouraged as much as say art and design or even music in basic education – yet it is the bread and butter of all visual media and deeply ingrained in storytelling culture:
A beginning, a middle and an end, all things in between – get your audience’s attention within the first few moments/minutes etc., and chances are you’ve got them for the duration.
Technology has also gone some way to bring down the expense of materials with software and technique-know-how and the possibility of *editing in the bedroom* and or *on the hoof*, and yes! still the expensive DVD cameras and lighting. But it’s not in the realms of fantasy finance as was.

Night time street view : The Wizard and The Werewolf

Outside of BA & MA’s, basic education in film has been largely left to people with Film Council funding, and organisations like the Broadway Cinema, Leicester’s Phoenix and Sheffield’s Showroom, for example, typically connected with locally funded film education centres. My guess here is that the shock waves are going to go much deeper. And this as a medium will be prone toward an exclusive who-can-afford-it creative style.

But......

The film industry is tough, script and screenwriting is tough (in conception and then convincing people). Any funding available is also tough to reach. The film establishment – much like the art market- with its gatekeepers of critics, collectors and buyers – is tough.
To get your project from the writers hand into DVD and on screen takes a monumental effort in collaboration, requiring negotiation of all of the above.
You can see why the writers’ strike a couple of years ago worked in principle; without the (creative) writers in the first place you have nothing; the whole industry in would-be collapse.
This industry is well used to dealing, right from the get-go with the *sharks* and *cigar toting* big-wigs. I believe also that the people involved in the industry in the wider sense will find ways of keeping the newness coming; from a purely practical stance, as an industry it surely has to.

Beach Scene : The Wizard and The Werewolf

Just because the Council is disbanded does not mean the people involved and those down the line are too, it just makes their jobs or rather passions more difficult. But as Russell said; “The chance to create an essence and character of human life and place it in a world of pure imagination and pit it against impossible odds. And then to sit amongst an audience who experiences their hardships and joys along with them, that's a thing that very few people can say they've done.”
This is why it will happen


And currently Russell is doubly or is this triple-y? Involved with another project Tyrannosaur;
“This is a film that I'm working on at the moment for a company called Warp, but I'm a Production Assistant doing it for the money.”
(Russell’s bar work helps give the continuity)

But, and I think he would agree here; Russell is still involved within the industry itself, even if doing for the money. The day job of Production Assistant, as with a lot of creative’s trying to enable or facilitate their less-saleable works, is definitely one way of keeping in touch while working on newer ideas.

And I’d hazard a guess that Russell is never one to be easily compromised cos, enthusiasm brimming, he totally caught that creative will-do-buzz talking about his future plans;

“I'm hoping to have The Wizard and the Werewolf finished by October and will be holding a screening locally as well as entering it into various film fests. I'm also hoping to make my first short available online."

So watch this space!



Yes indeed! And so much more creative power to you and your crew!

I will be pre-posting the film short aswell as the screening news and venues for The Wizard and The Werewolf.

And I will also be returning to this area, to see how small start film projects and the people who are passionate and help facilitate are resolving (or not) issues brought about by the sudden change.

More on this later!

 

 

And! back with more once-a-week look at Lives of Artists on Thursday 2nd September with Jennifer Dalton who gives some very interesting insights into being an artist who lives and works in New York.

 

 

Lives of Artists Series Two

 

 

So after a rainy/sunny/sunny/rainy hiatus I’m leaving my brolly in the porch (for now!) and I'm back with a brand new series of Lives of Artists.

I have been hugely impressed and inspired by the tenacity and enthusiasm from the artists on board so far. And this next series proves no-less impassioned.

And so first up with his timely and positive contribution is from Independent film maker Russell Noon.

Part of Russells latest film : Lighthouse Scene from The Wizard and The Werewolf ; Ian Attfield and Sam Jarvis (Actors)

I say timely because while he was typing away on his keyboard joining in this series, the news broke about the closure of the UK Film Council. Without going into too much detail here about monies, funding and necessities like the NHS (very true). I am more than a wee bit gob-smacked at the thinking behind any council’s closure especially the arts, so this can’t help but create a woah!!!-stop-and-take-stock moment.

To hear more on this and Russell's thoughts along with his new independent film venture The Wizard and The Werewolf, which was filmed in the North of England and based in Sheffield; tune into the first in the series starting this Thursday 26th in a once-a-week-look at Lives of Artists.

Amongst the other artists who will be sharing their views and ideas on how they keep their own creative processes going with the impact of day jobs (please note; I'm saying the word job with tentative reassurance here), location, the different types of creative-business opportunities already in place or inspired by the artists themselves  -  and there are some pretty novel ideas! - there are some varied and interesting insights emerging. All of them tuned into what its like to be a creative today:  

Also included is Jennifer Dalton who first arrived on my metaphorical radar a few months ago when I noticed a blurb in an ArtNet tweet mentioning a project being launched called #class to be held at Ed Winklemans gallery in New York; the brief being all about artists and the chasm of social, and economic divides which could alienate or excluded large groups of artists outside art-centric cities such as the one Jennifer lives in, New York. The project was a huge success (as mentioned in previous posts!) in its ability to cut through those areas of gender, class, location and gatekeeper style exclusivity, through informed, positive and lively debates.

Are Times of Recession Good for Art? part of Jennifer Dalton is a Scientist - Not!

Smack Melon Gallery NY, March-April 2008

Jen and William (Powhida) amongst others put a lot of impassioned effort into the making of that project which is why I went straight to her when I initially started thinking of doing these posts about artists and how the reality of their lives impacted on creating their work.

So, Russell and Jen (who's latest here called Making Sense is at Flag Art Foundation) will be joined by;

Beyond the Valley the entrepreneurial St Martin’s Graduate’s fashion outlet-come-gallery-space in London’s Soho, 5 years on from inception.

Beyond The Valley's Newburgh Street, W1 (Soho) shop and gallery space

 

Fresh from degree photographer Zoe Boundry who is enthusiastic but at the same time anticipatory and pragmatic about her future.

Zoe Boundry's Summerfield's series

 

Sarah Turner’s innovative start-up in Nottingham recycling plastic bottles; an eco artist & designer making beautiful products from waste materials.  Her latest creations are decorative lighting products made from waste plastic drinks bottles. The bottles are collected from cafes and households then they are cleaned and sandblasted.  With some clever cutting they are then transformed into decorative forms, totally unrecognisable from their original state.

One of Sarah Turners lighting designs

And a new gallery owner also in Nottingham at Cuadros who has, after being involved in London's commercial art scene for 10 years started his own small outlet with a view to nurturing the artists he finds; having a direction which is artist driven rather than market led.

George Thornton's Cuadros Gallery in Hockley Nottingham

 

Along with these are more artists, including Errol, a Nottingham musician who has recently changed his music style and set up his own business selling insurance so he can work his studio time around that. An artist who designs theatre-sets as his day job. And Norwegian sculptor Gunnar Fretheim, who lectures at Trondheim's Art and Media Studies to keep family and art/work in balance along with the ideas he generates with his students. These and many more artists in the mix.......

 

 

Starting this Thursday 26th August with Russell Noon, Independent Film Maker

 

 

Hiatus Time!

 

Taking a bit of a hiatus over the next week(ish) and will be back starting with a brand new series of Lives of Artists.
I’m looking forward to this cos there are some really interesting people onboard with different and enlightening ways of how they manage to show their creativity.

So enjoy the rain/sun hopefully in equal proportions to your holiday/work /whatever status ie; rain’s fine when you’re not in it!

And I will back on Wednesday 18th August with some interesting stories!

 

Hasta!!