Artists & Illustrators - Art Student 2018

WHY ART SCHOOL STILL MATTERS

STUDIO SECRETS: FIND THE PERFECT SPACE

HOW TO SURVIVE LIFE AS AN ARTIST

Art Student EXHIBITIONS / IDEAS / COMPETITIONS

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THE WHITE PUBE’s guide to getting your own show PAUL WINSTANLEY on painting

CREATIVE INSPIRATION for the year ahead

Next Steps

Four ways to kick start your career AUTUMN 2018

THE IMPORTANCE OF QUALITY

"Portrait of Sean'' 55cm X 35 cm

NITRAM ASSORTMENT “An Important thing to think about when you are creating art is the materials that you are using. Professional materials, like Nitram, gives me more time to think about what I’m working on, instead of worrying about how those materials might affect the development of my work. This is why I choose Nitram. Nitram Charcoal has consistent quality and provides the richest darks I’ve ever seen in natural charcoal. I use B just for sketching, HB for overall tonal value and H for rendering and the finishing touches.”

The Nitram Assortment contains 2 x 5mm H, 2 x 5mm HB, 2 x 5mm B and 2 x 6mm B+ charcoal.

Vasile Marian is a Romanian Artist who studied at the Swedish Academy of Realist Art (SARA). His work invites viewers into his world of mystery. Vasile uses allegorical and symbolic motives to interpret and reshape his understanding of history and what drives it. Vasile also uses his art as a vehicle for story telling and creating new possibilities. https://www.instagram.com/mordicat/

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FINE ART CHARCOAL

ART STUDENT The Chelsea Magazine Company Ltd. Jubilee House, 2 Jubilee Place London SW3 3TQ Telephone: (020) 7349 3700 www.artistsandillustrators.co.uk

Contents

5 Why art school still matters The enduring importance of choosing a creative education

EDITORIAL Editor Sally Hales Art Editor Alicia Fernandes Digital Editor Natalie Milner

7 This autumn’s must-see masterpieces Where to seek some painterly inspiration

WITH THANKS TO

11 Next steps on the path to creativity Rosemary Waugh talks to four young artists about life after art school

Rosalind Ormiston, Rosemary Waugh, Mark Hampson, Nate Kitch

ADVERTISING Advertisement Manager Nima Azarian

16 You’ve got to be in it to win it Top art competitions for students

MANAGEMENT & PUBLISHING Managing Director Paul Dobson Deputy Managing Director Steve Ross Chief Financial Officer Vicki Gavin Publisher Steve Pill Senior Marketing Executive Drew Brown Circulation Manager Daniel Webb Director of Media James Dobson

18 How to get an exhibition The White Pube on landing a show 22 Artists on being artists Essential advice on how to thrive

Printed in England by William Gibbons Production All Points Media

25 Explore inspiring new books Boost your brain with five fantastic reads Art Student is published by the makers of Artists & Illustrators (ISSN 0269-4697), which is published every four weeks.

We cannot accept responsibility for loss of, or damage to, unsolicited material. We reserve the right to refuse or suspend advertisements, and regret we cannot guarantee the bona fides of advertisers. Readers should note that statements by contributors are not always representative of the publisher’s or editor’s opinion.

27 Beat the studio space crisis Find the perfect place to work 30 How I Painted In the City Paul Winstanley on how he thinks about his artworks

© The Chelsea Magazine Company Ltd., 2018.

All rights reserved.

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Thoughts

Why art school

I

All art students are undoubtedly creatively enhanced From the creators of Artists & Illustrators_ArtStudent 5

MARK HAMPSON

ABOVE Mark Hampson RIGHT His drawing Toni and Joanie [A 99 at 69] on Margate Beach

n an age when we can delight in an abundance of information received at speed from all corners of the world, allowing us access to tutorials, highresolution research materials, forums, correspondence courses and a labyrinth of art-based social networks, why would anyone choose to go to art school?

Are they a thing of the past? A weird, anachronistic hangover from a romantic, pre-digital age? No. Our contemporary art schools, at their best and informed by all the choices of the digital world, are thriving.

They are exciting bastions of maverick and lateral creative thinking.

Not everyone who goes to art school goes there to become an artist. When I went to art school 35 years ago, I did so to avoid getting a dead-end job with a vague idea that it would be fun. Today, art-school training offers tremendous transferable skills and a real chance of a valuable professional future. Art graduates confidently navigate diverse possibilities.

Some famously have become musicians,

writers, directors, comedians, tycoons and professional artists. Wherever their graduate destinations take them, all art students are undoubtedly creatively enhanced by the experience.

Primarily, you should go to art school to learn to think, to see and to interpret the world, and to open up the possibilities of your individual and idiosyncratic space.

They are places to meet like-minded, but also alternative-thinking, peers; places that allow you to experiment, try stuff out, make mistakes, to be challenged by history, theory and an arsenal of forms, media and materials. They allow a rare opportunity to inhabit new positions of thinking that ultimately allow art students to become something more or different.

Skills, techniques, visual languages, meanings and articulation are offered in abundance to those willing to learn from passionate tutors and lecturers who, most probably, will be artists informed through their own actions and experiences.

When I walk around the studios and workshops of the Royal Academy Schools, still thriving in their 250th year, and witness the diversity of artistic production our students generate, it confirms my belief in the vital importance of art schools’ practice-based culture, and the centrality of peer-group dialogue at its heart. There is no better or more exciting place I would rather be than an art school.

An exhibition, Shadow & Serpent, in the RA School’s Weston Studio features work from the RA’s collection and artworks by students, from 16 August to 10 October. www.royalacademy.org.uk/exhibition/ serpent-and-shadow

still matters

Artist MARK HAMPSON, head of fine art processes at the Royal Academy Schools, wouldn’t want to be anywhere else

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Must-see masterpieces Find out where you can see the greatest art ever made this autumn

Seated Female Nude, Elbows Resting on Right Knee

by Egon Schiele A protégé of artist Gustav Klimt, Schiele’s radical approach challenged scholars and progressives alike.

This drawing of an anonymous model is a striking example of his approach to the naked form. The strong outlines, expressive line, muscle and bone definition, and exposed genitalia forces the viewer to focus on his subject’s humanity.

See it in Klimt/Schiele from 4 November to 3 February 2019 at the Royal Academy of Arts, London W1J. www.royalacademy.org.uk

ABOVE Édouard Manet, A Bar at the FoliesBergère, 1882, oil on canvas, 96x130cm RIGHT Egon Schiele, Seated Female Nude, Elbows Resting on Right Knee, 1914, graphite, gouache on Japan paper, 48x32cm

THE ALBERTINA MUSEUM, VIENNA EXHIBITION ORGANISED BY THE ROYAL ACADEMY OF ARTS, LONDON AND THE ALBERTINA MUSEUM, VIENNA

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© THE SAMUEL COURTAULD TRUST, THE COURTAULD GALLERY, LONDON

VI S IT NG AMA ZI R KS A R T WO AND BE ED INSPIR

A Bar at the Folies-Bergère by Édouard Manet The Impressionist painter plays with the relationship between reality and illusion in this famous work.

The barmaid’s forlorn expression unsettled critics when it was first exhibited in 1882, as did the inaccuracy of her reflection in the mirror behind.

Her gaze hints at the cruel underbelly of glamorous 19th-century Paris. Manet knew this bar well.

See it in Courtauld Impressionists: From Manet to Cézanne from 17 September to 20 January 2019 at the National Gallery, London WC2. www. nationalgallery.org.uk

© MODERN ART INTERNATIONAL FOUNDATION (COURTESY MARÍA AND MANUEL REYERO)

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Self-Portrait on the Borderline Between Mexico and the United States by Frida Kahlo Heavily influenced by her ‘Mexicanidad’, or pride of being Mexican, Frida Kahlo paints herself in a surreal borderland between the United States and Mexico. An example of her vernacular style, it represents the four years she spent travelling the US with her husband Diego Rivera as he painted murals. She clings onto a Mexican flag and stands on a pedestal. Factories pollute the air and machinery mimics an army, contrasting with temples, fertility figures and plantlife.

See it in Frida Kahlo: Making Herself Up until 4 November at the V&A, London SW7. www.vam.ac.uk

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8 ArtStudent_From the creators of Artists & Illustrators

BELOW Edward BurneJones, Love Among the Ruins, 1870-3, watercolour, bodycolour and gum arabic on paper, 96x152cm

PRIVATE COLLECTION

Love Among the Ruins by Edward Burne-Jones This spectacular watercolour was once thought to be damaged beyond repair. It was ruined when a studio, carrying out a process for mass-production, mistook it for an oil painting. They thought it was impossible to achieve such detail in any other medium. The title is taken from Robert Browning’s 1855 poem of the same name, but it more likely refers to the artist’s doomed romance with model and muse Maria Zambaco.

See it in Edward Burne-Jones from 24 October to 24 February 2019 at Tate Britain, London SW1. www.tate.org.uk

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COLLECTION: NATIONAL GALLERIES OF SCOTLAND, PURCHASED 1963

LEFT Frida Kahlo, Self-portrait on the Border Between Mexico and the United States, 1932 BELOW Henri de Toulouse-Lautrec, Jane Avril, 1899, print, lithograph in coloured inks on paper, 56x36cm

Jane Avril

by Henri de ToulouseLautrec Thought to have been inspired by a publicity photograph of Moulin Rouge dancer Jane Avril, taken by Paul Sescau around 1890, it captures her dancing style.

The fluid colour transitions across the snake motif were achieved using a single lithographic stone with yellow and blue ink applied with one roller. ToulouseLautrec worked on the poster with one of his favourite printers and drinking partners, Henri Stern.

See it in Pin-Ups: Toulouse-Lautrec and the Art of Celebrity from 6 October to 20 January 2019 at the Scottish National Gallery, Edinburgh. www.nationalgalleries.org

MAKE REPRODUCTIONS OF YOUR ARTWORKS ART STUDENTS GET 15% OFF

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Next Steps Next Steps

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Life after art school might feel overwhelming but there are many ways to keep your career moving in the right direction. Rosemary Waugh talks to four artists to find out what they did next‌

Residency

Bartholomew Beal After graduating from Wimbledon College of Arts, the painter won the Jonathan Vickers residency and worked towards a solo show at Derby Museum and Art Gallery.

He's since won the Landmark Fine Art Award and been a finalist for the Signature Art and Threadneedle Prizes What was your experience of art school like?

It was brilliant at Wimbledon.

Being surrounded by other painters on the fine art course meant you started questioning and justifying your own work, and were inspired to go down new aisles. There was a constant undertone of competition.

What were your next steps after graduating?

THIS IMAGE Madame Sosostris, oil on canvas, 50x40cm

BARTHOLOMEW BEAL

I was lucky to find a ninemonth residency in Derby, which was well funded and meant I could maintain the drive and excitement of my degree show. Then I was picked up by the Fine Art Society in London as the youngest artist it had shown since it opened in 1876.

What has helped you the most in your early career?

The Derby residency educated me in committing to a solo show of 20 to 25

paintings, which work as a set and I am proud of.

In difficult moments of your working life, what keeps you going?

When my painting stumbles or I feel overloaded, I spend mornings in galleries. After seeing some of my favourite paintings I run to my studio with new ambition.

What advice would you give to art students?

Try everything and apply to everything. After painting only portraits, I decided I would stay away from the figure for a year. Looking into colour and light, and the technicalities of paint, changed my approach.

What does the future hold?

I have my fourth Fine Art Society show in 2019, so I’m putting everything into that. www.bartholomewbeal. co.uk >

From the creators of Artists & Illustrators_ArtStudent 11

What was your experience of art school?

It was good, in the sense you’re left to yourself to paint. But I felt I didn’t learn much about painting techniques. I then went to the Florence Academy of Art for two weeks and that was a massive step in my painting career because they taught me how to mix skin tones and draw from life.

It was intensive and tiring.

When did you decide you were going to be an artist?

Art is something I was surrounded by as a kid. While at university I took on commissions and started feeling people were interested in what I was doing. It was then I thought this was something I wanted to do professionally.

How did it feel to win the BP Portrait Young Artist Award?

It was surreal. I’ve had people emailing me about commissions and purchasing things. It’s made a huge difference. It is a dream come true, and I think it will help my career.

What advice would you give to young artists just starting out?

Atelier school

Ania Hobson

What does the future hold?

I’d like to exhibit internationally.

There’s no set road and you have to take each day as it comes. Just keep producing paintings that will keep people interested. www.aniahobson.com

ANIA HOBSON

This year’s winner of the BP Portrait Award Young Artist prize completed a degree in fine art at Ipswich University, and then studied at Prince's Drawing School in London, followed by the Florence Academy of Art

Entering competitions is a great way to build a CV. Even getting pre-selected is a great way to get noticed. I made the mistake of thinking: “I’ll make some business cards and I’ll go into galleries.” But I found out it’s galleries who approach the artist.

Social media is good as well. It’s about getting your work out there and pushing it, and yourself.

Next steps

Postgraduate study

Chloe Ong

LEFT Girl in a Big Coat, oil, 90x70cm RIGHT Chloe Ong BELOW Liquid Space, oil on canvas, 220x200cm

The 2018 winner of the Lynn Painter-Stainers Prize Young Artist Award is a student at Slade School of Fine Art studying for a MFA in fine art. The Singaporean artist's next move involves a residency and solo exhibition at Studio Kura in Fukuoka, Japan What was your experience of art school like?

Most art schools in the UK require the students to be very independent. So it helps to be confident and have a strong passion, but also to have a direction or goal since the structure can sometimes give too much freedom.

It is important to not give up and continue to make a lot of work. You need to get a studio and start planning for exhibitions. Maintain a strong network of people who support and motivate you. Also, financial planning can be annoying but it is crucial in order to have enough funds to pay the rent and keep making work. www.chloeongjy.com >

How does winning prizes help to boost your career?

I am honoured to have received the prestigious award. It means a lot to me and has helped expose my work to different audience groups. The prize also gave me financial support for materials and to further my studies.

What made you decide to do a masters degree?

I decided to take a postgraduate course to continue the momentum I had when I was an undergraduate.

It is natural to feel drained after graduation and for people to take a break afterwards. But I am very fortunate to have lovely studiomates. It is a supportive community and we are always motivating each other.

What has been the proudest career moment to date?

CHLOE ONG

I don’t think I can sum up my experience in a single moment.

I think there is so much going on in the art world now, there are so many fairs and exhibitions. I am grateful people remember my works and stay around to watch a young artist like me grow.

What advice would you give to students about to graduate?

From the creators of Artists & Illustrators_ArtStudent 13

Next steps Professional illustrator

Cat O'Neil In 2018, she won the prestigious V&A Illustration Award for Editorial Illustration. Since graduating from Edinburgh College of Art, she has created work for publications including the New York Times and the Economist

What was your experience of art school like?

I had a really enjoyable time. It’s worth learning as many skills as possible, doing workshops in everything. I gained useful experience illustrating student newspapers and magazines. It boils down to this: be present.

ABOVE Cat’s V&A best editorial illustration award-winning RSA Benefits, for French newspaper Libération

Not really. You can’t predict what opportunities come up, but you can establish a conducive environment. I know talented artists who aren’t working professionally because the business side is of no interest. You need a degree of tenacity.

What does it mean to win the V&A Illustration Award for

14 ArtStudent_From the creators of Artists & Illustrators

The best reward for illustration is getting to work as an illustrator.

But the recognition is wonderful, mostly because my family can celebrate with me. I don’t believe in big breaks, but winning awards is amazing validation.

What has kept you going in difficult moments?

My family and fiancé. There have been difficult moments, around money and work-life balance. It’s important to develop an innate confidence in your work. I can’t express verbally how much I love illustration, but I don’t have to as actions speak for themselves.

What advice would you give to illustration students?

Be prepared to work very hard. It is a fantastic job, but you have to

sacrifice certain things. Choosing to be freelance is unstable.

What does the future hold?

Who knows. That’s part of the excitement. I have just moved to Glasgow so my first task is setting up my studio. I would like to be involved with or create an illustration community. Once I’m settled I’ll see what exciting things are happening in Scotland. www.catoneil.com

Illustration is a fantastic job, but you have to sacrifice certain things

CAT O’NEIL

If you knew then what you know now, would you have taken different steps?

best editorial illustration?

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Inspiration XXXXXXXDDDD MASSIMILIANO PIRONTI

Art prizes

Entering competitions is a fantastic way to boost your profile. Many even come with awards especially for young artists. Here are some of the most exciting

Art prizes

LYNN PAINTER-STAINERS PRIZE Deadline: December Under-25s can compete for the £4,000 Young Art Award while under-30s can try for the £5,000 Brian Botting Prize for an outstanding representation of the human figure. www.lynnpainterstainersprize. org.uk BP PORTRAIT AWARD Deadline: January 2019 Artists aged 18 to 30 who enter this prestigious competition are automatically considered for the BP Young Artist Award. www.npg.org.uk/whatson THE LEATHERSELLERS’ PRIZE Deadline: 4 January 2019 For works in watercolour and water-soluble media, this award for 18 to 30 year olds comes with a £1,000 prize. www.mallgalleries.org.uk/ call-for-entries

THE DE LASZLO FOUNDATION AWARD Deadline: 18 January 2019 This prestigious £3,000 prize for the best portrait painting by an artist under 35 forms part of the Royal Society of Portrait Painters’ annual exhibition. www.mallgalleries.org.uk/ call-for-entries THE DE LASZLO FOUNDATION MEDAL Deadline: 15 March 2019 An artist aged 35 or under will take home the de Laszlo Medal and £1,500 for painting the best work from life as part of the Royal Society of British Artists’ annual exhibition. www.mallgalleries.org.uk/ call-for-entries

CHLOE ONG

ARTISTS & ILLUSTRATORS ARTISTS OF THE YEAR 2019 Deadline: 29 November 2018 Artists & Illustrators magazine’s annual competition offers national exposure, a £1,000 top prize and the chance to work towards a solo show with top gallery Panter & Hall. Fifty shortlisted artworks will be exhibited at London’s Mall Galleries. Enter for free by signing up to Portfolio Plus. www.artistsandillustrators. co.uk/register; www.artistsandillustrators.co. uk/aoty

J o in P O R T F O L IO P LU S an d en te r A rt is ts o f th e Ye a r 2019 fo r FREE

LEFT Massimiliano Pironti, A Throne in the West, oil on aluminium, 100x60cm ABOVE Chloe Ong, Roof

Terrace, oil on canvas, 120x150cm BELOW Siân Brierley, Adelaide, mixed media on canvas, 40x40cm

YOUNG MASTERS ART PRIZE Deadline: spring 2019 This not-for-profit initiative, which was founded by gallerist Cynthia Corbett, aims to promote young and emerging artists, and is open to anyone who pays homage to the skill of the Old Masters as part of their practice. The winner takes home £2,000. www.young-masters.co.uk TRINITY BUOY WHARF DRAWING PRIZE Deadline: June 2019 If drawing is more your kind of thing, then why not try out for the Student Award of this great competition, which also comes with a £2,000 prize pot. tbwdrawingprize.artopps.co.uk

SIÂN BRIERLEY

THE ALFRED TEDDY SMITH AND ZSUZSI ROBOZ PRIZE Deadline: 2 November 2018 If you’re under 35 and work in pastels, oil pastels, charcoal, pencil, Conté crayon, sanguine or any other dry media, then this £5,000 prize is up for grabs. www.mallgalleries.org.uk/ call-for-entries

From the creators of Artists & Illustrators_ArtStudent 17

How to get an exhibition

Gabrielle de la Puente of The White Pube might not approve of everything in her list of dos and don'ts, but she's sharing her knowledge in her inimitable style anyway – because art is all about get along to get on. Illustration: Nate Kitch 18 ArtStudent_From the creators of Artists & Illustrators

Advice

Your success depends on whether or not you are going to participate in the Social This is my Art World Walkthrough bc truly friends, this thing is a game. now that I have a footing in this system i would like to formally write the rosebud cheat codes as a guide not only to my past self but for upcoming artists so they are ALLOWED to know how they can be in exhibitions, from little diddy ones all the way to the tate.

1. be a decent person!

capitalism has tried to convince us there is one image of success – being rich, institutional and loud, and something we must get to asap, we must be careful not to suddenly start climbing over each other to get on the train. let’s not be adversarial to people who don’t deserve it. have healthy relationships, be collectively progressive and encouraging. the art world is Social and I’m capitalising that because frankly you’re not getting anywhere making art in isolation.

2. instagram. your success depends on whether or not you are going to participate in the Social. Instagram is the biggest tool with which to do this; to platform your art, to make and keep that visible, and to follow/ support art-people who will give u Likes and Attention and Opportunities in return if they appreciate what you are doing.

V literal tips are: make your username your actual name so ppl can find/remember you, and do not have ‘Fine Artist’ or ‘FA’ in the username or profile section bc it looks stiff, just have your location

and a link to your website. Make a big effort to follow artists, galleries, curators and critics you enjoy. And to kickstart some back-n-forth, follow people who you think might enjoy what you are bringing to the table.

3. Not as many artists have Twitter but I think it’s important. however do not use Twitter in the same way you use Instagram. Twitter is for commentary, what u think of art, life and politics. No one wants to see your art here.

4. Get a website. if you

don’t know how to make one from scratch, get wix or squarespace (buy your website plan near christmas or Black Friday/ whenever they have literal 50% sales on). You don’t have to pay out for A Proper Website, you can always get a tumblr/cargo collective/newhive, feel it out, even put your domain as the URL

5. Once you are visible, make sure you are contactable. get a plain

email address you can throw at the top of ur social media accs and on ur website too. It doesn’t NEED to be info@yourownwebsite.com because email hosting can be expensive, @gmail.com is fine but then make the first half your name.

6. Business cards sound old-fashioned but they pay off.

7. sounds counterproductive but: I have seen

reliable success in banding together with other artists in your position, finding a space, and putting on your own show. you can get that first line on your CV, images to distribute online; and it’s also an opportunity to invite publications in to write about the show, gettin your name out in new places on the internet. Lots of people do exhibitions in their own homes now cause space is tight so if you have a big enough spare room and think you will be able to take good photos in it, why not. that’s an exhibition too. do it in ur garden and hope it rains for the pathetic fallacy or somethin.

8. Go to things, go on art dates. go to the kind of

things you enjoy and that you’d want to be a part of; if an event sounds vaguely interesting and ur not doing anything else and its free, take a riskkkkk. willingness to attend talks and events definitely increases the chance of conversations with people who might b able to bring you UP the ladder with them.

What I’ve written relies on MONEY, LUCK, SOCIAL ENERGY, MENTAL HEALTH and u not being a bastard.

Mostly what I want to get across is, at the end of the day, this is just people talking to other people and deciding whether to include them in things or not. and if you are popping up all over the places, u might come to mind when people are having conversations. I hope what i’ve outlined above can help you get to where you want to be!

From the creators of Artists & Illustrators_ArtStudent 19

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What specific qualities do you look for in a sketch book?

The CAPPUCCINO Book

I like a sketchbook to be robust to cope with being thrown in a bag or jammed into a case.

The binding must be strong, and I like it to fold flat as I work across the spread. I like smooth paper that will take a pen line easily and not smudge. I don’t like the paper to soak in the ink too much, the smoother the paper, the faster the line.

Meet Phil Dean, the Shoreditch sketcher, trying out the new Cappuccino Book.

Can you tell us a bit about yourself?

What do you think about the new Cappuccino Book?

I trained as graphic designer, and this is where I learnt how to draw properly. In those days, physical drawing was much more part of the job than today. As a designer over the years, I have gradually drawn less as part of my work and more in my personal sketching work.

I like the tinted paper and the smooth finish of the sheet. The pale brown colour is perfect for urban sketching and adding white highlights is a fun way to add depth to the linework. I also like the clean, simple finish to the outer binding and the solid nature of the book.

I now run my own creative agency in London and my sketching activity takes me all over London and beyond in the pursuit of sketching perfection!

Do you have any hard-earned advice to other urban sketchers?

Try to sketch every day. Sketching is like a muscle that needs exercising and the more you exercise, the stronger the muscle. Find the everyday opportunity to draw – even if the subject matter is mundane. I find the everyday subject matter just as exciting as the spectacular.

What got you in to urban sketching?

I love sketching on the streets and the eclectic urban landscape of London inspired me to get out and about and capture the cityscapes. I now sketch wherever I am and recently I have been sketching on the streets of Los Angeles, Malaga, Genoa, San Francisco Florence and Palma.

Secondly, don’t be afraid to make mistakes!

Drawing is not taking a photograph, so don’t worry about creating a realistic representation of the subject matter. You are putting your spin on it and it’s all about what excites you!

Find the full interview on Twitter @Hahnemuehle_UK

I like the tinted paper “and the smooth finish

“

of the sheet

#shoreditchsketcher

www.hahnemuehle.co.uk

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Advice

H w to be a art st In his new book Ways of Being , James Cahill gathers words of wisdom from those who have walked the path to creative greatness

Youth My first drawings could never have been shown at an exhibition of children’s drawings.

I lacked the clumsiness of a child, his naivety.

I made academic drawings at the age of 7, the minute precision of which frightened me.

Pablo Picasso 22 ArtStudent_From the creators of Artists & Illustrators

BECOMING AN ARTIST

I became a sculptor because it allowed me to express – this is terribly, terribly important – it allowed me to express what I was embarrassed to express before.

Louise Bourgeois

ART SCHOOL

When I got to the Royal College of Art people used to mock me: ‘Trouble at t’mill, Mr Ormondroyd’, stuff like that. I didn’t take any notice, but sometimes I’d look at their drawings and think: ‘If I drew like that, I’d keep my mouth shut.’

David Hockney

LIFE AFTER ART SCHOOL

People nowadays at art school feel that if they’re not snapped up by White Cube or somewhere from a degree show, then they’ve had it. And then if they are, and say they ‘paint a milk bottle’, they’ve got to go on painting milk bottles. What the fuck? I’ve never been able to be told what to do.

Maggi Hambling

Advice

Breaking Out FIRST STUDIO

We had this big old house, and in a corridor downstairs, there was this weird cupboard. I kept nosying around it, and eventually my mother gave it to me: it became my first studio, and no one else was allowed in.

Jenny Saville GETTING NOTICED

I would advise young artists today not to become artists just to make money, or just to be successful. I would advise that they create meaning, which in the long run is something that will persist – and the most fascinating part.

Luc Tuymans

FINDING A GALLERY ON THE SCENE Early on the temptation is to release too much from the studio, and some galleries exploit this. I really don’t know if there are ways of controlling your work’s market. So I wouldn’t try.

Ged Quinn

Anybody who encourages your mentality is important. The ‘cour’ in encouragement is the word for ‘heart’. Any stimulus stands a chance of helping you discriminate and develop. It’s your job to spot stimuli.

Richard Wentworth

the professional Artist

NATHANIEL SMITH FOR THE NOUN PROJECT

FACING CRITICISM

And I just think, ‘Well, what am I going to do? Am I going to give up because this writer in this art magazine says I should give up?’

Fiona Rae

SUCCESS AND FAILURE

I don’t consider myself very successful. Being well-known or having lots of exhibitions have nothing to do with being an artist, those things are just chance.

Howard Hodgkin

KEEPING GOING

Art would have to give me up, rather than the other way round.

It’s such a strong compulsion, obsession, whatever you want to call it, that it becomes what you are, for better or for worse.

Tess Jaray

INFLUENCE – FINDING A PLACE IN ART HISTORY

I’ve seen [Chaïm] Soutine’s photographs in the Barnes Collection [Philadelphia], and that made me think of Rembrandt’s portraits. That makes my skin prickle, because painting is an endless looping back on itself, but then a kind of edging forward at the same time.

Chantal Joffe This is an extract from Ways of Being, Advice for Artists by Artists,

by James Cahill, published by Laurence King, £12.99. www.laurenceking.com From the creators of Artists & Illustrators_ArtStudent 23

FOLLOW YOUR ART Join a supportive community of over 250 creatives and take the next step on your journey as an artist AFFORDABLE STUDIOS | FLEXIBLE TERMS PROFESSIONAL DEVELOPMENT | EXHIBITING OPPORTUNITIES BOOK A VIEWING TODAY 0208 947 1183 OR ENQUIRIES@WIMBLEDONARTSTUDIOS.CO.UK WIMBLEDONARTSTUDIOS.CO.UK | WIMBLEDON_ART_STUDIOS

Inspiration

5

NEW BO O KS TO E N E R G IS E YO U R A R T

Painting Now by Suzanne Hudson Now available in its first paperback edition, this critical study looks at 200 artists who are defining the painterly ideas and aesthetics of our time. With chapters exploring appropriation, attitude, production and distribution, the body, painting about painting, and artworks that critique the practice of painting, this book is essential reading.

Thames & Hudson, £24.95. www. thamesandhudson.com

Reading Art: Art for Book Lovers

by David Trigg Books and painting are natural bedfellows: both can contain worlds in their surfaces. This compendium of 250 images explores how books have been used symbolically and decoratively in artworks as diverse as Rembrandt’s The Money Changer and Harland Miller’s Confessions of a Crap Artist.

Phaidon, £24.95. www.phaidon.com

Key Moments in Art by Lee Cheshire If you think art history is driven purely by the creativity of artists, think again. Key Moments in Art is a fascinating delve into the past to reveal that, alongside the painting of masterpieces, more pedestrian-sounding moments, such as the patenting of the collapsible paint tube in 1841, revolutionised the art world.

Thames & Hudson, £10.95. www. thamesandhudson.com

The Artists Who Will Change the World

by Omar Kholief Casting an eye across the globe, Omar Kholief creates a modern art map of the soon-to-be movers and shakers.

They may not yet be household names but these artists are engaging the aesthetics issues of tomorrow, and look set to shape the future.

Thames & Hudson, £18.95. www. thamesandhudson.com SARTorial: The Art of Looking Like an Artist

by Katerina Pantelides From Picasso’s Bretonstriped t-shirt to Yayoi Kusama’s dotty dresses, artists have long expressed themselves through personal style as well as their work.

This light-hearted jaunt through 60 signature looks from the 19th century to today is a fascinating insight in to the cult of the artist.

Laurence King, £14.99. www.laurenceking.com

If you are looking for the highest quality craft supplies, look no further than Box of Delights.

We are based in Northampton and offer you a huge choice of craft supplies.

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ART ACADEMY LONDON

The Winsor & Newton Award £3,000 Royal Institute of Painters in Water Colours The Ondaatje Prize for Portraiture £10,000 Royal Society of Portrait Painters

Offering Pre-Degree and Diploma courses including

The Doreen McIntosh Prize £5,000 New English Art Club

FINE ART FOUNDATION CERTIFICATE DIPLOMA

The de Laszlo Foundation Prize £1,500 Royal Society of British Artists The Baltic Exchange Award £2,000 Royal Society of Marine Artists The Terravesta Prize £2,000 Society of Wildlife Artists The Phyllis Roberts Award £2,000 Royal Institute of Oil Painters

Get in touch to talk about applications and open day registration.

The Winsor & Newton Young Artist Awards, worth £1,000, £600, and £400 of Fine Art Materials Royal Institute of Oil Painters

academiccourses@artacademy.org.uk www.artacademy.org.uk 020 7407 6969

www.mallgalleries.org.uk

Mall Galleries FBA The Art Student.indd 1

21/08/2018 09:41

It's never too early to starting thinking about where you will work. Ros Ormiston asks providers how best to navigate a difficult market

HUGO GLENDINNING

At some point in an art student’s career the desire to have one’s own studio, or a shared space, becomes an essential. A place to work, to think, to leave out projects, easels, sketch boards, laptops and props. A place to gather and assemble objects and materials without disruption.

The severe shortage – some say crisis – of studio space caused by rocking land values in many areas of the country raises questions LEFT Artist Eryka Isaak in her Acme studio at Childers Street, London

such as: when is the best time to look for a space; where can an artist find the right studio to fit their individual practice; what are the criteria for a good studio?

Should students be looking near to home, college or university, or in a city with economical rent?

Factors to consider include travel time and costs, contract conditions (to be scrutinised carefully for hidden extras), rateable value and amenities.

A useful starting point for advice and availability is to contact studio-space companies in

From the creators of Artists & Illustrators_ArtStudent 27

GEOGPHOTOS / ALAMY STOCK PHOTO

Beat the studio space crisis

Advice

HOW TO FIND YOUR FIRST ART STUDIO Acme www.acme.org.uk

The Art Studio theartstudio.space/ index.html

Artist's Studio Finder www. artiststudiofinder.org

Auto Italia South East autoitaliasoutheast.org

Bow Arts

bowarts.org/studios/ apply-for-a-studioor-flat

Brick Works www.brickworkstudios. com/brick-worksstudio.html

Career Choice Skills ccskills.org.uk/careers/ advice/article/ renting-an-artiststudio

28 ArtStudent_From the creators of Artists & Illustrators

There is a waiting list and it’s not cheap – about £500 per month – but the facilities themselves are of a high quality.

There are small organisations, such Brick Works, in Newcastle upon Tyne, which has 12 studio/ workspaces typical of what can be found in a local area for rent and a straightforward application process. Many organisations offer help in major cities. For example, students in the Newcastle upon Tyne area could contact the council for advice on studio rental.

Further south, Bow Arts in London’s East End is an educational charity and also a studio provider. It asks you to register for free and upload a portfolio to apply for a studio or flat. Another respected

Start factoring in looking at space as soon as you begin your course organisation is London Artists’ Quarter, and Kent Creative Workspace, an online portal that covers studios in London and Kent, with available studio spaces listed by location, size and rental rate.

ISTOCK

the area that you want to work.

Private organisations, councilaided studios and charitable organisations can all offer advice, and their webpages are a good starting point.

Acme studios, based in London, has provided low-cost studios, homes, and residencies for artists since 1972. Starting out as a housing association buying buildings in east London to rent at low rates, today the company provides affordable permanent studio space to more than 700

artists. There is a lengthy waiting list but Lottie Leedham, Acme’s senior artists’ liaison officer, reckons it’s worth adding your name. She advises students to be flexible when choosing the location of a studio and consider a space away from the centre of cities and towns where rents are lower. In addition, Lottie suggests that you consider sharing a studio space or taking a short-term sub-let to get started. And don’t wait to graduate.

Start factoring in looking at space as soon as you begin your course. Find out what’s on the market, and consider a collective, where a group can share a larger workspace. This was how the London collective Auto Italia South East began in 2007. The group of graduates took their name from the squatted garage space they used.

Smaller, independent companies are also worth contacting, particularly for short-term rental options. In the north of England market town of Hexham, Northumbria, Enrique Azocar, an artist and a lecturer in art anthropology at Durham University, runs The Art Studio, which offers art classes, lectures, workshops, an art gallery for the community and studio space.

He agrees that there is a crisis in the studio rental market. He had struggled to find suitable spaces for his own art practice in the past, waiting many years to get his own studio. The Art Studio offers space for short-term rental.

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How I Painted

Paul Winstanley: In the City The celebrated artist is renowned for his haunting visions of semi-public spaces. Here, he reveals how he thinks about and creates an artwork

ABOVE In the City, 2011, oil on linen, 129x86.5cm

It is to do with, if not the actual frame, a strong image of framing a view

30 ArtStudent_From the creators of A rtists & Illustrators

Two words compete to describe the thing a painter produces: ‘painting’ and ‘picture’. The use of either term indicates different sets of conceptual antecedents and priorities. In recent decades, the orthodoxy has been ‘painting’, which grew out of ideas born of American abstract painting in which the painting is defined as much by its objectness and surface as by its pictorial space. It is a thing, to be considered as having a certain size and shape, hanging on a wall at a certain height with a certain depth of edge.

The word ‘picture’ is quite different and distinguishes itself by promoting the depiction and image as pre-eminent in the consideration of the thing. A ‘picture’ may have a frame such that its physical attributes are covered and disguised. Francis Bacon always chose this approach, even going so far as to glaze his works, thereby pushing the surface back behind the reflective glass, unifying the disparities of the painted surface and almost making them images of themselves. Mondrian did this too: ‘pictures’ can equally apply to abstraction. I have long wondered how we would see familiar historical paintings if we were to take them out of their frames and hang them on a white wall in a contemporary gallery; paintings by Chardin, Corot or Saenredam, for example, presented naked, unframed. It would be unfair, as they were conceived and painted with an eventual frame in mind. But what happens when we apply the modern concept of the ‘painting’ to a suddenly denuded ‘picture’? Most contemporary painters do not frame their work, or at best they provide the simplest of shadow frames. The painting is expected to establish its integrity as an object in relation to that which is being painted and the wall on which it hangs. It raises the stakes of pictoriality.

This applies to my works, too, but sometimes the word ‘picture’ floats up as a possibility. It is to do with, if not an actual frame, a strong image framing a ‘view’ and giving sense to that ‘view’ by its framing, by what is included and, by implication, excluded. In the City is such a work. It presents itself as a ‘painting’, unframed, able to sit on a white wall in a contemporary setting, and yet it is altogether a ‘picture’.

It exists as an agglomeration of urban elements clustered, interrupted, obscured, cut off at the edge that is entirely dependent on its framing, of its editing down to this view, to acquire form and content.

This is an extract from Paul Winstanley: 59 Paintings, In which the artist considers the process of thinking about and making work, published by Art/Books, £22.50. www.artbookspublishing.co.uk; www.paulwinstanley.com

Art Student Prize Draw Win a set of 84 Caran d’Ache Neocolor II water-soluble wax pastels.Two lucky winners will each receive a set of the entire range of 84 assorted colours worth £160.00 each.

How to enter: Enter online at www.artistsandillustrators.co.uk/competitions by midday, Wednesday 31st October 2018.

Alternatively fill in the form and return it to: Art Student Competition, Artists & Illustrators, Chelsea Magazine Company Limited, Jubilee House, 2 Jubilee Place, London SW3 3TQ

Name: Address:

Terms & Conditions: Prizes are only redeemable from Artists & Illustratorsand cannot be exchanged for cash or any other product.

Email:

Student ID may be required to claim prize.

Telephone:

Postcode: