Is It Art?

Art can be controversial. With the comment ‘That’s not art’ a common thing, especially in the face of modern art. But is it a fair comment? Well, it’s a matter of taste but I now have a theory: If something makes you ask ‘Is it art?’, then it is art, because it made you ask the question, it made you think. It’s also different from saying ‘that’s NOT art’.

Modern artist don’t have to draw, paint or even (controversial thing) have talent. Sure, they will have imagination, but they can just put their unmade bed in a gallery or all the names of people they have slept with (Tracey Emin) or pickle a shark and cut it in half (Damien Hirst, incidentally worth over £100 million, financially, one of the most successful artists in history). They can take black dummies and dress them as the SS in Nazi uniforms, complete with swastikas. (Jake and Dino Chapman) I remember watching a documentary on the Chapman brothers a few years ago and one of them, Jake or Dino, who knows?, walked around an art gallery and contemptuously pointed out a drawing of Will Smith that a talented artist had done, as it takes a lot of talent to draw well, and sneered ‘What is the point of that?’. Well, what wasn’t the point? It was someone drawing a portrait of a famous people. That is what art mostly was for centuries. It was good and it was, without a doubt, art.

Now, although it may seem like it, I am not attacking Emin, Hirst or the Chapman’s. I think they do have talent. Hirst particularly. They are different, avant garde. But can you be an artist without the talent to draw or paint? Evidently you can. From Duchamp’s urinal to Jackson Pollack’s splatter paintings art opinion has always been divided.

But I still think it takes more than putting something in an art gallery to make it art. And more importantly, I think it takes talent to make it good, and that is what it really comes down to: good art.

Winston Churchill once said: ‘Without tradition, art is a flock of sheep without a shepherd. Without innovation, it is a corpse.’

Science meets Art at the Enlightenment Cafe

An exciting and unique new theatrical project will be taking place from 31st May – 4th June in the vaults of the Old Vic Tunnels.

Presented by LAStheatre, the Enlightenment Café combines the beauty of science with the power and imagination of immersive performance in a place of exploration, where people from all walks of life can debate, play and laugh the night away.  Only the tedious will be off limits as The Enlightenment Café aims to provoke imagination and intrigue; scientists will demonstrate their art and artists will demonstrate their science.  Scientists in residence include Tim McInerny, Stuart Clarke and Alex Bellos.   This is an interactive adventure where new theories can be mooted as to why things are, how they got there and what will happen next. The Enlightenment Café will delve into topics ranging from astronomy to paleontology, from My Little Pony to zombies and from art to invention.

Doors to the Old Vic Tunnels will open every night at 7pm, and the evenings will be split into three sections: firstly, a period of immersive theatre and free exploration; secondly, stage pieces and panel discussions; and, finally, live music and entertainment. Each night will have a different theme and aesthetic but will all inspire, breaking away from the idea that science and facts can only be learnt in a lecture theatre or laboratory.

Times and tickets for all events at the Enlightenment Cafe can be found at http://www.eventbrite.com/event/3487295595. Tickets are priced at £15 with a booking fee of £1.55.  For more information about LAStheatre visit www.lastheatre.com.

Be Part of Art!

Have you ever wondered who the Mona Lisa was? Or perhaps imagined what it would be like to see your likeness on display in a gallery?

Next month, Gérard Rancinan is offering attendees at his Wonderful World exhibition the chance to be immortalised as part of the final composition in the series, which will be shot entirely on-site at the Londonewcastle Project Space.

Presented by The Future Tense in association with Opera Gallery and Londonewcastle, Wonderful World is the concluding part in Rancinan’s seven-year Trilogy of the Moderns.  Fresh from La Triennale di Milano, photographer Rancinan brings this revolution in three acts to a close, debuting the complete Wonderful World series to the UK public.

With galleries one and two housing the main exhibition of 15 large format works from Wonderful World, gallery three will feature a purpose-built set and studio, offering a voyeuristic glimpse behind the scenes of a fine art photo shoot. Repeat visits will reveal the organic nature of studio life – part art installation, part film set, part soap opera – as the shoot moves from concept, through production and postproduction, to the climactic unveiling of the finished work at a special reception on Wednesday 20th June.

To celebrate the completion of Trilogy of the Moderns, The Future Tense will publish a new print edition by Gérard Rancinan. Limited to a signed edition of 20 + 4 Artist Proofs, the work will be available only to those attending the show. A pop-up store will also sell related merchandise including the supporting books.

Wonderful World will open to the public at a launch reception from 6.30pm on Thursday 7th June 2012 (part of East London’s First Thursday late night art openings) and will remain on view until Sunday 24th June 2012.  Photoshoot auditions will be held on Saturday 9 and Sunday 10 June, from 11 am to 6pm, with the shoot itself being on Monday 11 June.

Wonderful World runs from 7 – 24 June 2012 at Londonewcastle Project Space, 28 Redchurch Street, London E2 7DP:  Tuesday to Saturday, 11am-7pm; Sunday, Noon-6pm; closed on Monday.  There will be an artist signing on 16 June from 12 – 1.30 pm; curator-guided tours on 17 June at 12, 2 and 4pm; and an unveiling reception on 17 June from 6.30 – 9.30 pm.  For more information visit the artist’s website at www.rancinan.com.

 

Kathryn Thomas Original Oil Paintings Exhibition

 

 

Shining a light on Kathryn Thomas Original Oil Paintings

 

Established artist Kathryn Thomas is celebrating the launch of her new collection by hosting her longest exhibition, ‘Kathryn Thomas Shining Lights 2012’, from Sunday May 6 to Monday June 4 in Poole, Dorset.

 

Every day for a whole month, Kathryn’s studio will be open from 11.00am to 7.00pm, for the public to experience her new body of work. Inspired by a variety of natural light shows across the coastline of Poole and translated through natural oil paints on to high quality linen, ‘Shining Lights’ comprises over 30 interpretations of the changing light and its impact upon the land, sea and sky.

 

The artwork of Kathryn Thomas adorns the walls of collectors all across the world from Iceland to Australia, but this is the first time in her 25-year career that Kathryn has created an entire collection inspired by one location.

 

Kathryn Thomas explains: “Since relocating from Bristol to Poole, I’ve become fascinated by the stunning surroundings of my new environment and I’m excited about the challenge of conveying these sometimes majestic sometimes quiet sights through my art to a new audience. On a universal level, through painting I hope to encourage people to be aware of the power of nature and to realise our fleeting relationship with this planet.”

 

Though inspired by the Dorset coastline, the seascape or setting of her paintings will not be easily recognisable. Kathryn strives to surprise through her constantly evolving techniques of application – building layer upon layer to enhance depth and translucency – making the image appear different each time the viewer looks at it, depending on their mood or perspective. Kathryn will be at the studio throughout the exhibition to answer queries, share thoughts and listen to opinions regarding her new collection.

 

Kathryn adds: “I am looking forward to sharing the next stage of my career with the public through the ‘Shining Lights’ exhibition this spring.”

 

Exhibition : Kathryn Thomas Shining Lights 2012

Date: From Sunday 6th May to Monday 4th June 2012,

Time: Daily from 11.00am to 7.00pm

Address: The Studio, West Quay House, 4 West Quay Road, Poole, Dorset, BH15 1HT

Costs: Admission is free

I Make, Therefore I Am by Gillian Montegrande

There are many things we can say about the failings and ills of our society, but the most worrying are
the apathy and abstinence from positive and proactive input from certain sectors. Many have
become spectators of life rather than participants; television for example, in the form of reality
shows creates confusion between fame and achievement and because of its accessible nature and
selective (edited) exposure of facts, gives the false impression that such things are easily gained
without the investment of learning, effort or struggle. As a result viewers, particularly but not
exclusively the young, find themselves disconnected and struggling to find a purpose in a world that
does not match their expectations.

What to do?

While there is no ‘one-size-fits-all’ solution there are, in my opinion, things that can be done to
provide these people once more with a sense of doing, being and purpose; to feel that their
existence is justified just.

What better way to show evidence of our existence and identity (apart from creating children), than
to leave behind a tangible object created by hand?

Today the media is full to bursting, of programmes and articles dedicated to the tangible handmade
achievements of the past, such as the Antiques Road Show, Victorian/Edwardian Farm and most
recently, Handmade in Britain (to name but a few), where experts extol the virtues of craftsmen and
craftsmanship. They talk about the detail, the design, the skill, the workmanship and the fact that
many of these items are still in working use, literally hundreds of years later.

These antique objects and artefacts were as a result of ‘skilled manual labour’ the bi product of
which was being usefully occupied. There was a time when the term ‘manual labour’ meant and
(maybe in some eyes) still does mean today, demeaning, soulless work. However, we have forgotten
(or choose to ignore) that manual labour, although sometimes hard, was also associated with an
honest day’s work and more often than not there was something tangible to show for the efforts
expended at the end of the day. In that time, it is possible, even likely, that when such a person put
their head on the pillow at night, tired and aching, they did not realise the significance and
importance of their exertions and maybe would not have been aware that they were satisfying an
innate need to be manually as well as mentally occupied.

Today, not only is very little built to last but also few people expect things to last, in their constant search for ‘the next thing’, this ‘have it all and having it now’ approach has been of no help and indeed has caused the financial mess the planet now finds itself in.

Nevertheless, there are some who are fully aware of the significance of such noble exertions, which I
repeat; we celebrate on a regular basis. Manual occupation is still one of the best ways to satisfy this primeval need and that there is nothing wrong in going to bed tired and aching, knowing that the
day has been used to its full with something to show at the end of it. Some have become obsessed
with jumping the gun, to get to the destination without going on the journey, let alone enjoying it!
The concept of physical struggle is now perceived as bad, to the extent that we are desperately
trying to eliminate it (in the western world at least), to our cost. The advancement of human
knowledge and discovery has done much to improve the plight of humanity but it has also done
much to take away the privilege of physical occupation and endeavour. Many children, from
underprivileged and privileged backgrounds alike, with their parents’ blessing are very ready, to
replace hands-on experiences, with virtual ones; the gaming industry was worth $105 billion in
August 2010.

But physical exertion, endeavour, struggle even, is still to this day, necessary in every human life.
When that is not present, an emotional as well as physical vacuum is created, which as we all know,
must be filled. Are our lives any “easier” today? I doubt it. We’ve simply replaced physical struggle
with mental anxiety.

Art, Craft and Manual Production satisfy that need on every level.

When making, a process is gone-through, which uses pretty much all of our faculties:
Desire and/or need; concept; design; sourcing of materials; establishing the strengths and
weaknesses of both material and maker and then through trial, error and ingenuity working with or
around those attributes and limitations, to finally be confronted with something that is real, knowing
that so much of oneself has gone into the very fibre of the work.

But there are obstacles in the form of modern-day fears and insecurities that currently pervade
every aspect of modern life which is so readily passed on to our children. They are no longer allowed
or encouraged to go out, to discover the world around them, in order that they might take risks, to
discover how things work, how they themselves work and how the two work together. They no
longer have the opportunity or are encouraged (as previous generations were) to find discarded raw
materials such as pieces of wood or old bicycle parts, to transform into go-carts or wooden boats,
that really do work. Making is as much a way of discovering how they work as how the world around
them works. We need to restore this human right to them and making – structured or otherwise, can
do that.

Using our hands to create things of beauty, use or both; using the raw materials we find around us,
where a battle of wills ensues between maker and material, grappling and tussling with that
material, until a truce – a compromise and understanding is achieved and something beautiful
emerges. It is this struggle that helps define us as human beings and we need this affirmation, pretty
much on a daily basis, to keep us sane and healthy.

If we know this then why can making not become once more an integral part of our society and the
way we (parents and teachers) teach our children? What happened to Woodwork, Metalwork,
Needlework, Home Economics in the classroom? The old adage, “The only way to learn how to do
something is to do it” has never been more true. It is in the classroom and at home where we need
to start again, showing little children that those appendages called hands have a direct link to the
wellbeing of their mind and psyche as well as their sense of place and belonging. Today, a three year
old child has far more idea of what to do with a computer game controller than he does with
Plasticine, Playdoh, Lego or Crayons. I fear that the prophetic vision depicted in the (ironically)
computer-generated animation Wall-E, is much closer than we think!

If such a vision is to be believed, then we may be further down that path than is comfortable to
admit. I would argue that the recent inner city riots have been carried out by people who have come
to believe that there is no point in having a go at anything because it “won’t work” or at least they
have not been shown that it could. Some of us know it can work and that trying is part of the fun,
adventure and fulfilment. These unfortunate people are afraid to take the risk of discovering how to
do something that may or may not have a positive outcome, but from which they can learn and
improve. Instead they do something, which achieves instant gratification with the least effort and
ironically they feel more secure in doing because they are sure of the outcome. You throw a brick
through a window; you know what’s going to happen! But that is all that is ever going to happen- no
wonder frustration and violence are never far away. With making, there is always new territory to be
discovered, in the skill and in oneself.

If we could only pass on to others that sense of achievement and what it feels like to stare upon the
tangible and positive result of one’s own useful endeavours, then it will go at least some way to
improving the lot of individuals who currently have no hope.

Gillian Montegrande

Founder of Made by Hands of Britain

COWLEY MANOR & COUTTS TO CREATE SCULPTURE AWARD WITH THE ROYAL COLLEGE OF ART

COWLEY MANOR & COUTTS PARTNER TO CREATE SCULPTURE AWARD WITH THE ROYAL COLLEGE OF ART

Sculpture exhibition open to public: 3 May to 30 September 2012

London: Cheltenham’s infamous Cowley Manor and Private Bank Coutts have partnered to create a unique and inspiring sculpture competition for post graduates from the Royal College of Art. Of the 27 submitted concepts, eight have been awarded funding to bring their designs to life. The sculptures will then go on to be displayed at Cowley Manor from 3rd May through to 30 September, with the winning sculpture taking up permanent residence in the 55 acre grounds of the manors grade II listed gardens.

With an alumni boasting Tracey Emin, James Dyson, Philip Treacy and Erdem as well as David Hockney and Aston Martin designer Marek Reichman, the world-famous Royal College of Art’s post graduates are tipped for success. The winner of the award is being announced at an event to launch the exhibition in the grounds of Cowley Manor on 2nd May.

The sculptures, based on the brief: ‘Cowley Manor and its rich history, grounds and reputed contemporary design’ in the exhibition include:

o Ben Fowlers – 8ft tall wire ‘Tornado’;
o Claire Poulter – Underwater Mirrored balls;
o Cradeaux Alexander – garden plaques with a twist;
o Emma Alonze – Carrot trousers cast in brass;
o Lauren Kelly – brightly coloured geometric sculptures;
o Lucy Tomlins – Concrete Country in Blue – 2.5 metre concrete stile;
o Wonwoo Lee – 3 metre steel sign interpretation titled ‘Hey’; and
o Zoe Paul – 2.4m wide Palace of Aegae sculpted rock.

The judging panel includes many art collectors, artists and entrepreneurs hand-selected by Cowley Manor and Coutts from across Gloucestershire. With many millions of people expected to descend on the UK over the summer for the Jubilee and Olympics, and many of these expected to visit the world-known beautiful British Cotswolds, the unique exhibition is the perfect day out or mini-break hotspot just 70 minutes out of London.

Christine Wadley, Client Partner for Coutts in Cheltenham commented: “Coutts has a long-standing history of championing the creative industries, and have looked after many clients from within the art and design world for many decades. Today we recognise and support British design excellent in order to aid growth and foster future British talent. This partnership with Cowley and the RCA is further evidence of that.”

Peter Frankopan, owner and founder of ‘A Curious Group of Hotels’ including Cowley Manor commented: “In its 10th year, Cowley Manor has long been in support of emerging British talent with many original works of art, textiles and bespoke furniture created by British artists, artisans and craftsman displayed throughout the manor and its 30 bedrooms. By partnering with Coutts, the future support and awareness of young artists trained at the Royal College of Art has been made possible.”

Steve Bunn, RCA Sculpture Tutor said: “Having the opportunity to work with Coutts and Cowley Manor on this exhibition has been a fantastic experience for our students. Site specific art like this is a great way to showcase the work of some very talented young artists.”

Hotel residents, restaurant guests and picnic-goers will be able to enjoy the exhibition at Cowley Manor, Cowley, Gloucestershire, GL53 9NL. Many of the pieces will be available for private sale with the proceeds going towards the young artists.

The exhibition, featuring all of the post graduate first and second year student submissions, will open on

Thursday 3 May and run through to 30 September.

#couttscowley

BAG A FUTURE MASTERPIECE FOR A BARGAIN!

An incredible opportunity to buy affordable art specially chosen by experienced art critics
and be on TV

This is your chance to see and buy the work of some of the country’s best amateur and professional artists.  From thousands of applicants, the judges from the BBC2 TV series ‘Show Me the Monet’ have selected the very best artworks to appear in a one-off exhibition and sale that takes place in the capital next month (12-14 April 2012).

Hosted at the Mall Galleries, in London’s West End, the exhibition will showcase work from 36 specifically selected artists. The work includes photography, sculpture, ceramics and paintings and were chosen by the BBC2 Show me the Monet judges Charlotte Mullins, David Lee and Roy Bolton. These experienced art critics and connoisseurs have selected the very best artworks from thousands of entries to the popular TV series and amongst them could be a future masterpiece!

The exhibition will take place on Thursday 12th April from 10am – 6pm, Friday 13th April from 10am to 5pm and Saturday 14th April from 10am – 6pm. With the huge increase in the interest in affordable art, this is the perfect opportunity to get involved and with guide prices starting at around £300, you could bag yourself a bargain.

On Thursday 12th and Friday 13th April you can buy any of the work on show by sealed bid. This means that no-one will know what anyone has bid until the big reveal to the artists on Saturday 14th. Buyers may offer more or less than the guide price and the highest offer above the guide will automatically win the work. If no offers come in above the guide price then the artist will decide whether they still wish to sell their work to the highest bidder.

Be on TV! On Saturday 14th April from 10am-6pm, Show Me the Monet presenter, Chris Hollins (BBC Breakfast, Cash in the Attic, Watchdog), will reveal to artists whether or not their art has sold and if so, for how much.   This will be filmed for inclusion in the series so come along and be part of the action as Chris reveals the news (whether it is good or bad!) to the artists.  Please note that it will not be possible to bid to buy any artwork on the Saturday.

Numbers are limited for the filming on Saturday 14th so two hour entry slots must be pre-booked.  Please email us with your preferred entry time: 10am, 12 noon, 2pm or 4pm and include your name and telephone number. 

Email: exhibition@luckydaytv.co.uk (maximum 4 tickets per person).
Venue:  The Mall Galleries, The Mall, London, SW1 (near Admiralty Arch)
When:
Thursday 12th April 2012, 10am – 6pm, NO TICKET REQUIRED
Friday 13th April 2012, 10am – 5pm, NO TICKET REQUIRED
Saturday 14th April 2012, 10am – 6pm, PRE-BOOK BY EMAIL

ADMISSION IS FREE ON ALL DAYS

We Face Forward: Art from West Africa Today

We Face Forward: Art from West Africa Today

Manchester celebrates London 2012 Festival

2 June to 16 September 2012

· City-wide exhibition of leading contemporary artists from West Africa

· Major new installations commissioned for galleries and parks

· Concerts with many world-renowned musicians, including AfroCubism

· Further exhibitions of fashion, photography, football and storytelling

· African art bus to tour creative activities around Greater Manchester

We Face Forward is a season of contemporary art and music from West Africa, celebrated across Manchester’s galleries, museums, music venues and public spaces, from 2 June to 16 September as part of London 2012 Festival.

The exhibitions, concerts, events and community activities recognise both the historic and contemporary links between Manchester and the various countries that make up West Africa. They will explore ideas of economic and cultural exchange, environment and sustainability, and the place of tradition in contemporary culture.

The core of the season is a city-wide exhibition of contemporary art from the region, the first major collaboration between Manchester Art Gallery, Whitworth Art Gallery and Gallery of Costume, Platt Hall. It will feature painting, photography, textiles, sculpture, video and sound work from a wide range of internationally acclaimed artists, including Georges Adéagbo, Meschac Gaba, Romuald Hazoumè and George Osodi. The exhibition will also be the first major display in the UK of work by emerging artists such as Lucy Azubuike, Emeka Ogboh, Charles Okereke, Nyani Quarmyne and Victoria Udondian.

New, large-scale installations have been commissioned from Barthélémy Toguo at Manchester Art Gallery, and from Pascale Marthine Tayou at Whitworth Art Gallery.

The Gallery of Costume will show work by three esteemed Malian photographers, Malick Sidibé, Abderramane Sakaly and Soungalo Malé, whose archives are being preserved by the National Museum of Mali. Their extraordinary studio and social portraits will be shown alongside West African dress from the gallery collection, photographs by Hamidou Maiga and contemporary fashion pieces from British-Nigerian designer Duro Oluwu.

A music programme, curated by Band on the Wall and The Manchester Museum, will feature world-renowned acts including: AfroCubism (the new international supergroup formed by Eliades Ochoa of Buena Vista Social Club and Toumani Diabaté); a multi-media concert by Niger supergroup The Endless Journey (Mamane Barka and Etran Finatawa); Angelique Kidjo; Jaliba Kuyateh; Kanda Bongo Man and many more to be confirmed. Taking place in music venues and galleries across the city, the season will open with AfroCubism at Bridgewater Hall on Sunday 3 June.

Exhibitions and events will also take place at The Manchester Museum and the National Football Museum. The city is hosting nine football matches during the 2012 Olympics and the National Football Museum will present African artists for whom football gives a means to explore protest, politics and social engagement.

The Manchester Museum is working with the African Caribbean Carers Group to present a re-interpretation of the Anansi spider stories using the Museum’s natural history and anthropology collections. The programme will be launched with Big Saturday: Manchester Anansi Spider on Saturday 2 June where the story will be performed by the Men’s Room community group, working in partnership with the Royal Exchange Theatre Company.

A summer-long creative programme will engage with a range of people right across Greater Manchester. Modelled on the highly decorated taxi-buses that ferry people across Dakar, Accra and Bamako, an art bus will take creative activities out beyond the participating galleries and parks to other locations across the city.

To draw the different locations together, artist Meschac Gaba has been commissioned to design an artwork which incorporates the flags of all the West African nations. This colourful motif will be on display at participating galleries and venues.

The title for the season is taken from a speech by Ghana’s first president, Kwame Nkrumah, made in 1960. Stating his resistance to Cold War super powers, Nkrumah’s full quote is “We face neither East nor West: we face forward.” The festival takes its direction from Nkrumah’s statement of independence, deriving inspiration from his sense of West African cultural dynamism.

Dr Maria Balshaw, Director of Whitworth Art Gallery and Manchester City Galleries, said: “Manchester’s connections to West Africa are part of its industrial and trading history. This exhibition brings the dynamism of West African art today to Manchester, as the world comes to the UK for the Olympics.”

Ruth Mackenzie, Director, London 2012 Festival, said: “I am particularly delighted that this exceptional exhibition of art from West Africa will be part of the London 2012 Festival programme bringing once in a lifetime opportunities to experience culture to people across the north west.”

www.wefaceforward.org