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‘Rust-ique’ 2009 by Katie Langridge Art Restoration Student University of Lincoln
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~ LINCOLN’S PREMIER ART MAGAZINE ~
exhibit
Issue 1 - December
“I’ve always had an obsessive perfectionist streak”
– Our featured artist on his painted self-portrait
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TOM MARTIN
Fresh out of university and already snapped up by a prestigious London gallery
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Graffiti World Tour |Scott Murray | Lincoln Live Art
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Contents
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Tom Martin
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The brilliant new hyperrealism talent talks galleries, idols and how much art means to him.
8 Pioneers of Graffiti Exhibit A takes a look at the pioneers that have propelled graffiti into the mainstream
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Books R
anked by Time magazine as one of the most influential men in the world, his fourth book, What the dog saw sees Malcolm Gladwell cement his position as one of the best non-fiction writers of his generation.
>What the Dog Saw and Other Adventures by Malcolm Gladwell
New Yorker column. Inspired and insightful ob servation and painstakingly researched shed light on a plethora of social and psychological phe nomenon; this is Gladwell at his very best. All the articles are both entertaining and enlightening in equal measure and the readability and authority is the beauty of Gladwells writing. The breadth After the massive commercial success and critical of subjects covered spans from why there is only acclaim of his previous three books one type of ketchup but many types of mustard, The tipping point, Blink, and, Outliers, to why some people manage to cope with -ex Gladwell s newest title takes a slightly different treme pressure, while others choke. and arguably more enjoyable format than his Gladwell s a master at making the reader feel previous works. While his other books focused on and part of a discussion and while you single issues, the way social trends take intelligent shape, don of t always get satisfactory conclusions or an how the best decisions are made in the blink Gladwell fully engages with the reader and an eye and how geniuses are created, this swers, time raises What the dog saw is an he s compiled a collection of articles from his important questions. excellent introduction to anyone new to the work
By Mark Bowery
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igurative language, sordid linguistic con-
but think that the story is not based on - Toru him
tempt and subjectivity on an unprecedented
self, but more on the people that he meets and
level make Murakami outrightly unique...
how the incredible psyche that the protagonist carries deliberates on these people s lives. It cer
> The Wind-Up Bird Chronicles by Hakuri Murakami
tainly isn t predictable or forthcoming. One could Influenced from a very young age, Japanese born even argue that this story is essentially the mus author Murakami adopted a westernised style of ings of a being hugely incapable of social inter writing - drawing on writing styles from writers action, given the scenario - be it tragic, such as Kurt Vonnegut and Richard Brautigan. opportunistic or inevitably heuristic -- the oppo The Wind-Up Bird Chronicles tells the story - or site. Marukami bleeds intuitiveness from - charac even three short stories - of protagonist Toru ters that Toru meets and gives them their own Okada s unstable and whimsical life in the Tokyo limelight; however they do always seem to leave suburbs. After losing his cat, Toru starts a re Murakami s venture as quickly as they enter it. stricted journey in and around the Japanese cap This is not an easy read, by any means. ital meeting new and extraordinary people along The unsurpassed use of narrative carries - the se the way. ries of short stories, without compromising rela When reading the three stories, one can t help tivity to each individual one. If you re truly
By Harry Lincoln
Exclusive interview with master of independent cinema...
Quentin Tarantino We talk about rumours of Kill Bill III, an Inglourious Basterds prequel and his personal favourite films of 2009.
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Society ofUnread Authors The
by Mark Bowery
Author and academic John Moores looks to take unread books out of the
J
oe Moran is a man on a mission, he’s looking to highlight the plight of all the unread and unappreciated au-
thors across the UK and with the ultimate
aim of getting those books read. He doesn t know quite how he s going to do it yet but Moran is determined that he wants all the unloved books to be embraced tie-ins, celebrity novelists etc. - which by readers across the country. One of crowd the out many fine books which don t get first steps he has taken is to create - the a fic readership they perhaps deserve (I m not tional charity, the Society for Unread Authors talking about my own!). (SUA) and he s been highlighting his cause Moran however explains the size of the on his popular blog and in columns he task at hand. He points to the fact that in writes for the Guardian. He explained UK the each year over 200,000 books are- pub motivations behind the SUA, saying I lished and indeed on one day in October started SUA as a joke on my blog and it (Super Thursday) around 800 books were seemed to get a bit of a response, including released. But he goes on to describe that from other authors who felt a bit unread, so need the motivation of believing tha writers I decided to do a jokey piece in the their book will be cherished and loved in Guardian. I wanted to write something order that to battle through the process- of writ didn t make me sound like a humourless ing it in the first place. He says - Many peo and embittered author (!), so I created this ple, particularly in academia where I work d central conceit of SUA. research and write for intellectual interest The reasoning behind this campaign was rather than to reach a wide audience - - al triggered firstly because Moran, an academic though I m not sure I ve ever met an author at Liverpool John Moores University, is whoalso didn t find the process lonely and an author himself. He has written five books at times. painful to date, most recently On Roads: A Hidden Despite the slightly grim outlook -for un History, a book about the beauty and -histor read authors and budding writers Moran be ical significance of British motorways aimed that even if your book doesn t reach lieves at, as you would imagine, a fairly -niche the mar top of the best sellers charts or win an ket. But further to his own personal gain and there are other reasons to embrace prizes, motives for launching this campaign Moran writing; he says Grappling with the written identifies the fact that there is a- flood word of is un a very worthwhile activity,- and writ worthy books crowding the market. He says ing something down is how many people I do have a particular bete noire which findis out what they think about something (I books produced solely to make money - do, TV anyway). It might be nice if there were
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Plus
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Indie play ‘Going Down’ - Exhibit A review the Drill Hall performance
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Out of the Ordinary: Spectacular Craft - Astounding images from the exhibit
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22 Scott Murray Making it in the photography business
Lincoln Art Programme - Interview with live art debate panellist and coverage of the event
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Ne The Nottingham Contemporary
photo by Martine Hamilton-Knight
credit: photo by Andy Taylor Smith
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ne of the biggest art centres inles thebetween 1960-68. UK, The Nottingham Contemporary As well as Hockney, the first three months of opens its doors on November 14ththe gallery being opened to the public will host to L.A artist Frances Stark. with a retrospective of one of Britain play s most The building of this gallery has taken two famous and successful living artists, David years longer than expected and has run - mil Hockney. lionss of pounds over budget, but when - it fi The exhibition will include 60 of Hockney nally opens this November it will be sure to works from his time in London and Los - Ange
Fools and Angels December The Sam Scorer gallery on Drury Lane in the uphill area of Lincoln plays host to two exhibitions in the month of December. Firstly running from the 30th of November to the 13th of December craft group Fools and Angels. With all members previously exhibiting art at the gallery, it is said to be a must-see in the upcoming weeks. Secondly, an exhibition by Les Brown who creates large scale paintings on canvas exploring philosophical and emotional themes. This exhibition starts on the 14th December and runs
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The up market gallery on Drury Lane
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dis member, I felt slightly embarrassed for When entering the hall itself, the bell-boys audience persed, somewhere, until one was left. A man, the next protagonist who had to step up- and de half dressed in what looked like formal evening liver their monotonous monologue. But was this wear. But it was scruffy on one side. His trousers due to the writing? Each character clearly had were torn and blood-stained, his attire- misissues, so to speak, and why wouldn’t they? The matched, and half of his face hanging off. writer showed the characters in a try-hard light, Not the classic lift operator in appearance, too but projective and not overly self-aware, as a perhaps in duty. Playing a minimal role, - hegroup. con tinued to operate the lift so that more and Nothing more of in the plot unrolled or was given the the characters were introduced as the floors chance to stew. Predictable. passed. He says nothing to the people who get The overall message was unclear too. The char into the lift. Even if the odd one is panic-stricken acters would be whittled out of the play by the and needs to confide in someone, he will - only an half-undead lift attendant, telling them they had nounce floors and say going down . arrived at their floor. But why at that time? Wher
Could this be a new concept? ‘Digital drama’, where intensity is either on or off, with no nuance
Common ground is something the characters did they even get off? The fact that the intrinsic seek throughout the play, but for the worse. The went on when the lift was in motion, posed banter writer has an annoying habit of scripting - the the oc question as to how high was this building for casional jolt in the lift mechanism, knocking the the lift to be in motion for 70 minutes? characters’ confidences. Cue the Before it was even half-way through, the writer bemused/breathe-through-your-mouth scared managed to successfully turn shocking disbelief faces. Cringeworthy. into complete desensitised hysteria. The writer Monologues followed group conversation. The comically layers up every single criminal - arche set s lighting would fade and a spot would type: appeara rapist, a murderer, a porn star, - a pe for the individual to stand and deliver. Some were an adulterous beast, and a dophile, very good, but none were believable. The writer power-dressing megalomaniac, in just six - char had constructed a predictable formula: acters. I was honestly starting to think that the 1. Cocky head turns. 2. Over-zealous volume writer was working quantifiably: changes. 3. Screaming after complete silence. 12 pounds for 12 criminal archetypes. 4. Stuttering and long pauses, brought on byThe allplay itself was inconclusive and abrupt in issues. ending, leaving the audience not wanting to know Could this be a new concept? Digital drama, more, but confused as to what the plot was. where intensity is either on or off, with no nuance. Looking very closely between the lines, the play The ScotsGay review 2008 promised a "Passion itself fails to offer a gripping story,- but does m ate, powerful, and gripping" play. However age the to raise some thought-provoking issues. The real outlook, while bouncing around these - dra audience can relate, once they look past the stiff matic parameters, was stiff, repetitive andand lewd. awkward acting, and most importantly the The structure was rigid to the point that, clich as an d and predictable monologues. The- charac
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Reviews
Going Down? More like ‘Break Down.’
By Harry Lincoln
The plot for the play could be quite confusing for the audience.
‘Going Down’ Written and directed by Darren A. Furniss. The Drill Hall, Lincoln 14/10/09
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he plot: six characters, one lift, and a mutual party. Mix these ingredients with the 70-minute-play’s single set and you’ll think, well, what now? Arriving at Lincoln s Drill Hall to watch Darren A. Furniss’ Going Down, I was confronted with what looked like undead bell-boys. Milling around the foyer, the extras stood perfectly still, except for the whimsical wide-eyed head-turn and a shifting of their weight, now and again.
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Andy Warhol s Zombie-flick film Brillo-boxes possi made for just ÂŁ45 Welsh director Marc Price Colin s is a zombie bly faked in Swedish film, shot from the perspective of a zombie.
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It had a good outing at Cannes, has screened at Sci-Fi London, Frightfest and London Raindance and won the Special Jury Award at the Revenant Film Fest 2008. It s definitely a first in the horror genre but what sets it apart from the massive in flux of zombie films that have hoarded the cinemas lately? Well, the entire shoot took around 18 months, had a crew of over 100 people working for nothing, fuelled by cups of tea, the odd biscuit and -their un abashed love for film. Price can hardly be lieve the heights the film has took to. credit: phot by Micheal Wolchover With friends starring in multiple roles to the vast number of zombies needed, his t has been revealed that charismatic work really was cut out for him but the shee sixties artist, Andy Warhol, may determination to get the film finished and
have had work forged in an attempt out there has paid off spectacularly. to showcase his original workings Keep your eyes peeled for Colin starring from 1968. newbie Alastair Kirton in the lead role as t The gallery in question is The- Mod might, just might, be coming to a cinema erna Museet, in Stockholm. A well-re near you. spected art curator is in the firing line after it has come to the attention of many art dealers and collectors, - in con nection with the gallery, that the six The 25th winner of the most famous prize Brillo-pad boxes may have been made in British art has been awarded to the in 1990 — three years after the artist s painter Richard Wright. death. Wright wowed both the public and received The recent scandal has sparked great almost universal critical acclaim for his re fears amongst people in the art-world aissance style paintings. One of the aspects who have spent hundreds of thousands of Wright s work that is particularly intrig of dollars on the art-piece. ing is the fact that it s made to only be te The Andy Warhol Authentication porary. So to catch a glimpse at the work of Board is now scrupulously investigating this years winner who has been described as a modern genius, head down to the Tate the boxes in question. The work-of-art
Renaissance style painter takes Turner
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Welcome...
A note from the editor;
Ever seen anything like that? Well, youever couldn’t have. Liketeam most art, hyper-realism is also unique. of art Tom Martin s self portrait; -seen any The here, being enthusiasts However, our front-man of this first of Exhibit A, Tom Martin, shows us how to paint essen-be a thing like that? Well, youissue couldn t have... themselves, thought there should tially what is a photograph. While later on the issue; we have exclusive interviews with curators, Like most art, hyperrealism is inalso unique. publication for local enthusiasts and for a six-page feature on the graffitiof world tourfirst and a poetry competition. But first little bitand about ourHowever, our front-man this issue people who enjoy thea arts culture to be selves… of Exhibit A, Tom Martin, shows us howable to to read and get an insight into what is paint essentially what is a photograph. going on in their area. Exhibit was born the idea of representation. Representation for independent art into thegive you, the While Alater on out inofthe issue; we have exclu In this first issue we aim local areawith of Lincolnshire. sivesurrounding interviews curators, a six-page reader, a taste of everything. A chance for feature on the graffiti world tour andusa to put our feelers out, perhaps get some The team here, being enthusiasts But of artfirst themselves, thought there should a publication local photography competition. a little feedback from you,bethe reader.forPerhaps enthusiasts for people who enjoy the arts and help cultureus to be able to our read and get an in insight into issues. bit aboutand ourselves direct content later what is going on in born their area. Exhibit A was out of the idea -of For repre example, you may have a private - exhi sentation. Representation for independent bition you want publicised, are you - an in In thisin firstthe issue we aimsurrounding to give you, thearea reader, of everything. A chance for ustoto advertise; put our art local - ofa taste Lin dependent artist wanting so feelers out, perhaps get some feedback from you, the Perhaps helpin us direct our content colnshire. whyreader. not advertise our magazine? in later issues. For example, you may have a private exhibition you want publicised, are you an independent artist wanting to advertise; so why not advertise in our magazine?
> Harry Lincoln
As a deputy editor of one of the best student websites in the country, The Linc, Harry is able to make use of his print subbing skills, time management and attention to detail to make Exhibit A the best it can possibly be. Working closely with The Guardian and Le Monde this professional journalist’s print prowess is unmatched.
> Jackson Jones Jackson is a revered independent artist in his own right. Working on various publications as a freelance illustrator, Jackson’s back-catalogue of caricatures and majoring in graffiti criticism, his role in Exhibit A as the art director couldn’t have been more apt. Jackson is solely responsible for the layout of Exhibit A.
> Kevin Lee Jones Currently studying and in his third year of a Journalism degree at the University of Lincoln, Kevin has honed his reporting skills to an industry standard level. His unparalleled scope for a sensational story is what carries this publication. We are happy to have this NME alumnus on board.
>?Mark Bowery A mutual friend of all on the team, Mark’s professionalism and writing style has seen him write fantastic reviews for university publications, as well as having his work showcased on local radio. These two completely different writing mediums allows for Exhibit A to host compelling work produced by Mark, in more than one section of the magazine.
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Susan Cattrell s
Capaci -
quality exhibition in every sense. The standard remove screws from the wall. However on closer the work and the concept behind each piece is inspection it is clear that these mundaneofobjects and the way the exhibition- is cu have been turned into something amazing, - outstanding cre rated and displayed only enhances the -experi ated to trick the unsuspecting eye. For example ence. Aisgood exhibition should engage with its what appears to be paint splatters on a ladder and that s exactly what this does with actually mother of pearl and diamonds. A audience dust pre-conceptions constantly being challenged. sheet covered in dirt has in truth been - embroi sets out to make the viewer look dered to look that way and screws in the This wall exhibition are beyond face value and find the extraordinary in made from platinum and hold black diamonds. the abil everyday through high quality craftsmanship The beauty and craft of Collis work is - the in they that sense, and many more, it hits the ta ity to fool the viewer into thinking thatand what get. are looking at is not what it first appears. Out of the Ordinary: Spectacular Craft is a truly
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offer the unexpected at every turn and in almost every case close inspection is needed to get the full picture of what you are actually looking at. On entering the main gallery you are greeted by what appears to be a three-pronged red -wa terfall, suspended 15 or 20 feet in the air. On closer inspection it becomes clear that the waterfall has been created from paper and is formed from human figures cut from the material. The piece created by Lu Shengzhong, named The book of Humanity: Empty Book (left) is visually stunning and makes a truly striking impact as you enter the gallery space. The work of Lu Shengzhong and all of the artists here isn t just beautiful to look at, everything has a real Yoshihiro Suda s Magnolia conceptual value too. The whole message behind Shengzhong s work is aboutAnnie the Cattrell and Susan Collis. Suda -is a Japan fragility and disparity of human life andese thehyper-realist artist who using wood, carves sheer volume of the human figures is over - shoots and flowers that jut out of the- wall. Su perbly exhibited, hidden down a long white cor whelming. ridor in the gallery, appearing to grow out of t The gallery space at the Hub as been divided is a meticulously and painstakingly crafted up superbly into sections so each exhibit - wall is hid magnolia branch and flower. The detail- and pre den from the preceding artists works, meaning cision of Suda s the layout echoes work is awe-inspir the element of ing and truly surprise. What is breathtaking. also intriguing Similarly Cattrell s and engaging Capacity is almost about the exhi unbelievable in its bition is the- vari fragilty and crafts ety in the styles manship. Capacity and mediums is an almost impossibly life-like, lamp-worked that all the artists use. Moving around the gallery glass you move from the extraordinary paper craft of set of human lungs which are suspended in Lu Shengzhong to work as diverse as Olu mid air. The lungs she created represent the Amoda s welded steel sculptures and Naomifleeting moment of a human breath and in the description of her work she explains that she Filmer s audio and film piece. wants to highlight the everyday moments, like a The true highlights of the exhibition come breath, Al from three artists in particular; Yoshihiro Suda,that she considers extraordinary.
Suda s work is awe-inspiring and truly breathtaking
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Hugh Dichmond Exclusive Independent artist and currartor speaks to Exhibit A; 1. Tell us a little bit about yourself; I curated a show at the Bonnington Gallery in Nottingham in May. I am one of four Curators running ’The Wasp Room’ in Nottingham. I am also an artist and the reviews editor for an Magazine. We have shown work which could be considered live art, but we don’t put on shows based on artists proposals: we look for artists we like and create shows that way. So work with a performative element is possible. 2. In an art debate hosted by the Lincoln Art Programme, you were asked where each panel member stood on whether they thought that live art was
although galleries can house performances too; they would just have a more suspecting audience. I
empowering or just simply alienating.
couldn’t comment on liver art’s shelf
Where do you stand on this?
life, as I am as ignorant to art’s trends
as anyone who wouldn’t describe I think good art is empowering, full themselves as an art historian. stop. Bad art doesn’t engage with its audience, whilst some people just 4. One of the other panelists seemed to aren’t interested in contemporary art, think that by 'getting into trouble' so will probably not engage with any things would be helped along and more of it, even if it is good. I personally people would be drawn to it. Is this the find a lot of live art alienating, but right way to go about it? But would that that is just my personal experience, and isn’t always the case.
make it something else rather than live art?
3. Could live art operate without a political motive?
would crumble, so a lot of thought needs I think this is an over-used and juve to go into the tactics artists employ to en nile gage with authority.
and sometimes antagonising Yes, it could. It’s like any other tactic, art the police is a shock tactic used for form, in that it has the potential to 6. Do you think that the overall societal publicity or a sense of moral/political express anything, and can be born of pressure to have nice things is linked to art pride. I think in the right context being any motive. in general? Aesthetic assimilation, in live arrested is a worthwhile act, but not I think live art is a more valid form of art, is arguably quite minimal... "public art" than many corporate- for artistic reasons, only political ones.
If the artist is making a valid political I don’t think most serious and interesting ances which engage the public have point and is arrested for an absurd artists care too much about whether the reason, then that is appropriate. But more potential to actually affect en average granny on the street thinks their no artist should go out seeking - to de gagement and perhaps have more artwork, live art or otherwise, is "pretty" or monise the police because they have than a decorative effect. So I would not. I think beauty has an important role to authority. Without law everything say live art is best in the "real world", play in art, but not in every piece of art. funded metal sculptures. Perform -
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the
PIONEERS
of Graffiti
Exhibit A presents a range of profiles on the pioneers that have propelled graffiti in to the mainstream. This month we explore Tsang Tsou Choi, the dedicated Grandmaster of eastern graffiti. But first, a homegrown talent from Bristol and the owner of the naked man hanging out of the window...
A a by Jackson Jones
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Out of the Ordinary: Spectacular Craft
Book of Humanity: Empty
A treat for the senses as the Hub welcomes a prestigious show from the V&A.
urprise and intrigue are the key - ele ments of the Out of the Ordinary: Spectacular Craft. It s one of the mos high profile exhibitions to visit the Hub gallery in Slea and it certainly doesn t disappoint. Every aspect of the exhibit is made up of
S
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Profile
Clockwise from top left: Little Boots,Razorlight, Andy George and Glasvegas.
has to do. He suggests that one daughter to think about. bands, which in turn differs key piece of advice to anyone from taking family - por If I didn t have my familygreatly to looking to set up their own consider it would probably traits. Murray describes another business is to get help from an make a big difference to -mykey at aspect of the photography organisation like Business Link business is being willing- to in titude, but obviously I wouldn t or equally important get advice vest both time and money, he have it any other way. from experienced practitioners says I ve spent in excess of ten In terms of the advice Murray thousand pounds in the pastin your chosen career. However thinks may be valuable to other Murray points out that the - fun eighteen months or so on budding photographers he says equipment, people you work damental issue if you re -con that flexibility in your attitude
I’ve spent in excess of ten thousand pounds in the past eighteen months on equipment sidering setting up a business is key. He explains that hewith has in the industry work with is caring about what you re tight had to do a lot of work that he deadlines and want high doing, he says Having great possibly wouldn t initiallyquality and if you want to get isn t essential, I ve on in the industry you needequipment to choose to do, photographs that all those things. seen great photos from point aren t to his own taste. Hedeliver goes and shoot cameras, the key is As to well as investing his own on to say that to be relevant enjoying and loving what you capital, Murray points out that a number of publications you do; in the end it shows. At the need to adapt your style. he has also received a grant moment I m not making money He explains that taking- imfrom Business Link to help him pay for a computer and soft - but I love doing what I m doing ages for a magazine like -Lin and get great satisfaction from colnshire life is extremelyware that is suitable to deal with the creative aspect and the different from taking photos of the amount of editing he
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>Banksy B
ritish graffiti is different from the traditional. >Aliases: Banksy. The British graffiti scene thrives on -anti-estab lishment themes. >Date of Birth: Unknown. The graffiti artists at large get their kicks from >Home: Bristol, Great mocking the system and sticking it to the man. Britain. In essence, this is what graffiti is: rebellion against conformity. We don t just scribe pretty artwork >Preffered on the graffiti method: walls for people to admire; when the British tagger does a 30 minute piece it has meaning and purpose. The graffiti gang culture in Britian isn t massive. Artists pre fer working either alone or in pairs. But why? It s probably due to the fact that Britain is the surveillance capital of the world. With camera s watching you pretty much every step of every street you walk down, discretion comes first and foremost. Bringing attention to yourself with mass tagging gangs is not wise. Graffiti is constantly frowned upon by local councils now more than ever because they foolishly relate it to- yobbish be haviour, gang culture and hoodie criminals. But graffiti artists are far removed from these tyrants. To an MP or a council though, with public credibility at stake, they feel the need to get the public on their side and what better way than to clean up the streets . However, one man has defied the law and rocked the foun dations of graffiti to the core. He s made the British graffiti scene his own. With his work spanning the globe and being featured on album covers he s made himself the prime candi date for any worthy hall of fame and stamped his celebrity sta tus into the homes of the British public. Graffiti is starting to become a respectable art form now because of the efforts of this one rogue talent. Introducing Banksy... We live in Banksy s Britain. What Pele was to -Brazilian foot ball; what Michael Jackson was to 80 s pop music; Banksy is to British graffiti: a pioneer. You cannot mention the - British graf fiti scene nowadays without uttering his name in the same sen tence. Adored by many, detested by few; Banksy s stencils and artwork have steadily nudged graffiti into the collective con sciousness of the British public. But just who is the mysterious Banksy? The answer: nobody really knows. It is widely believed that he is a British graffiti
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artist born in 1974/5 and rumoured to have grown up in Bristol. But this is from the shadiest of classes is just swept under sources. the rug by the rich and the Banksy made his name stencilling satirical pieces about modern politics, ethics and society but has also crafted paintings and installations as well. And hi graffiti isn t limited to our shores; Banksy has be busy overseas with pieces cropping up in Paris, New York and Sydney amongst others. Given the anti-establishment attitude of his graffiti it seem ironic that some of his work has sold in excess of ÂŁ100 000 with high-profile celebrities like Christina Aguilera and Angelina Jolie amongst the buyers. But just what exactly has made him so popular with the public? The answer is simple: it s the political message his artwork. A picture can say a thousand words. Never has this saying had such truth to it than in Banksy s case. With anti war pictures and ethical pieces about famine in the third world, Banksy is a This stencil shows how voice of the underdog and the hard-done -by citi public affection between zens of Britain and indeed the world. two men is very heavily In 2007 some of Banksy s works were auctioned at London s famous Sotheby s auction house. Loads of his pieces were sold substantially above their estimated prices. Amusingly, on the second day of the auction Banksy updated his website with a painting he d done prior, showing an auction house full of people bidding for a painting that says I Can t Believe You Morons Actually Buy This Shit on it, a perfect example of his personal and anti-establishment themes. In June 2007, Banksy painted a picture of a naked man hanging out of a window evading his lover s husband (as seen on the first page). Bristo City Council left the image up and let the public decide whether it should stay or go. A landslide of 97% voted for it to stay and it remains there to th day protected by the council. But there are other contributing factors to his success as well. It s all fine and dandy- having a p litical message but you need to convey it with as much power as the message itself. The real suc cess is rooted in his presentation. His stencils se him apart from all competition; they are- the per fect vehicle for his political prowess. They sum up exactly what Banksy wants and are instantly recog nisable. Each one is as iconic as the Queen s head on the pound coin. You can buy posters, books, A piece depicting how the plight of the working
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Trying to break into a fiercely competitive industry. The trials and tribulations of...
potentially produce great- im phy revolved around his other fter years of ages. I was playing drums in great passion. He says bands around the really into music before -phoOne advantage that Murray has got over his fellow photog country and com - tography and after getting my raphers is his studio at -the Ter camera I got really involved in ing close but race in Lincoln, near the never quite mak - music photography, portraiture Collection gallery. He has been came from there and I gradually ing it in the music industry, renting the studio there for moved Scott Murray decided to take up into other photography around a year and feels that after that. a new hobby. He never dreamt that in theMurray does admit though having that space has opened a number of opportunities for space of just two years he that the competition for -pho him, giving him the chance to tographers is extremely tough would be striving to make that move into other types of -pho hobby a successful career. in Lincolnshire and especially This is now the reality formusic photography, claimingtography that can help sustain Murray though and he has -in vested thousands of pounds and hundreds of hours in trying to turn his one time hobby, photography into a profitable business. Murray admits that it was never his intention to go professional in the photogra phy industry, he says About a year and a half ago someone offered me some money to do a job, a book cover for a novel. That was a job I just kind of blagged, the guy thought I was a professional and I didn t tell him otherwise. Murray explains that initially he took up photography with Left:Scott Murray self portrait and above his studio the Terrace. the intention of just taking a his business. He has recently that it s the genre that most few images to frame on his - liv a number of shots of in ing room wall. However soonphotographers want to breaktaken jewelry for a local shop and is to. after starting to take shots heFurther to this he explains - the regular photographer for caught the photography bug that he believes the accessibil - Yak and EIO clothing ranges. As and started dedicating moreity and progress of the technol well as this he has started ogy in photography means the and more time to his new family portraits and also number of talented amateursdoing is hobby. He found that the more the his studio out to other he did, the more the work growing rapidly, along withrents photographers when he s not competition from talented- pho started to escalate and he - re using it. tography students in Lincoln; alised that his new past-time an impressive portfo There s so many kids doing Despite it, could realistically become his everyones got a digital camera lio of work that includes- a cou full time job. ple of book covers, images in a The majority of the work henow and it s possible for pretty started off doing in photogra - much anyone to get into andnumber of local and national
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Profile
Scott Murray by Mark Bowery
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> Tsang Tsou Choi
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Aliases: King of Kowloon. Date of Birth: November 12, 1921. Died July 15, 2007. Home: Kowloon Province, Hong Kong, China.
E
astern graffiti is amongst the most unique graffiti in the world but people of the Western world are none
the wiser. Spray cans and permanent markers are thrown aside for paints and paint brushes. Tradition is king. The rich graffiti in this niche corner of the world holds influences from Asian powerhouse artists like Hokusai,- and the di verse text and multiple alphabet character meanings makes the pos sibilities for distinctive graffiti styles endless. But one province is home to one of the most dedicated graffiti artists of all time... If Exhibit A could go back in time and meet any one graffiti artist of choice it d be Choi: the granddaddy of calligraphy graffiti. The leg end s work, lifestyle and public following embody the very essence of graffiti. To citizens of the province he is known simply as the King of Kowloon . To call him a legend is an understatement, he was more than mortal to those who knew of his calligraphy. Go to Kowloon nowadays and you wouldn t have a hard time find ing his graffiti anywhere. It s everywhere; lamp posts, - bins, pave ments, pillars, buildings, street furniture and - back in the day - even cars. A late comer to the graffiti scene, Choi started his graffiti career at the ripe age of 35. It wasn t without its hardships though; Tsang be came so obsessed with his graffiti that his wife left -him and his fam ily disowned him. It seems his success is rooted in his absolute devotion to calligraphy graffiti. Nothing quenched his thirst for life more than painting his art on anything he could find and evidently, nothing stopped him from immersing himself in his work. His apartment was cloaked in calligraphy. His clothes, curtains and lampshades weren t even immune to the odd calligraphy session. Photographs of his work have toured the world in exhibitions and one piece sold in the thousands at Sotheby s, London. His death at 86 prompted mass photography of his graffiti; the most famous of which can be found at Tsim Sha Tsui Star Ferry Pier which has now been sprayed with a clear protective layer to preserve it for future generations to pore over. His art work is now a staple part of the identity of Hong Kong cul
Next month... In part 2 of The Pioneers of Graffiti we interview the Godfather of stencilling and Banksy s inspiration, Blek Le Rat. Also, we profile Brazilian graffiti photographer, Tristan Manco on how he revolutionised the way we
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time now, I ve wanted to paint a nude. Due to the concept of my solo show, though, I have been able to. The nude has long been a greatly appreciated subject of painters, dating back to even before the renaissance, Tom claims. But more recently, particular hyperrealist idols of mine have been painting the same subject. Their paintings blow me away, and I guess in a sense I wanted to try and tackle it myself , to see how well I did. The finished article of A Short Silence is truly sublime, and its a true testament to nude painting. The administra tion of sophistication and - dis ‘A Short Silence’: Up close and personal cretion of the woman featured in the painting is a reflection of the class of work Tom Martin is continually producing. Tom is currently working on, yet another, diverse subject matter: after a recent work-r ture to New York, Tom is producing an extremely complex arrangement of spirit bottles fro in the Big Apple. This is sure to be my most challenging painting to date. The amount of colours and complexities involved in the image are sure to be arduous to capture - but en and stimulating all the same, he says. With regard to production time, Tom usually spends around 200 hours on each piece he pr duces. With the degree of life-like, and in some cases, magnified visuals his paintings h
Magnificent: The final composition
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achievements. It s strange at first, but now, I almost think of them on the same level as me. That s not to say I believe I m as good as they are, or- as es tablished - I m far from it but it helps to see them as humans and approachable people, says Tom. It makes me feel like my goals are even more achievable than perhaps they were a few years ago, when it felt like another world that they were in. >> After meeting Tom, not so Perfectionist: Tom attends to the finer details of the painting long ago, it is pertinent to say that he is not the archetypal, by artist any stretch of the imagination. A fine-looking, strappi young gentleman, he lives the life of any other twenty-something. When people hear that artist they re left quite bemused. Call it stereotyping, if you will, but see it more as a lution of art: art is, indeed, becoming cool again and Tom can be seen as a bona-fide par the recent shaping of art as a reformed culture. Tom s latest creation has seen his topic of interest shift dramatically. ,as he A Short s Silen named it, features a nude woman laid foetus-like. A truly incredible composition that loo more outrageously real as it hangs, currently, in his humble studio at his home. For qui
Painstaking: it takes Tom around 200 hours to complete a piece
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Photography Competition
Capture the season
Win a masterclass with a professional photographer Being at a time of change in the seasons, Exhibit A realises that not only is this a fantastic opportunity to paint and draw serene landscapes but also for photography; capturing the fleeting autumnal moments. We are holding a photography competition wherein readers can send in their best shot with a seasonal theme. Be it a change in weather, landscape, lifestyle – as long as it depicts change in some way, in relation to the season change-over, this will suit our brief perfectly. The winner will win a master class with award winning photographer Sam Cox of Lincoln University’s Media Group. The session will include a feedback session of work, pointers for different types of shots, professionalism etiquette within the field that you want to specialise in and training in studio management suites.
Requirements: > Picture to be no more that 4Mb. > 700dpi > Poor lighted photos will not be accepted SEND ALL ENTRIES TO: photos@exhibita.co.uk
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Re-
How do we define Live Art? by Harry Lincoln Live Art. What is it? Do we appreciate it? How do you define it? All these questions didn’t really scratch the surface, when put to a panel of professional
art
critics
and
professionals. The Lincoln Art Programme describe art-jack ing as something that happens to you, -suggest ing that it is not expected or foreseen but an experience that by accident or by intent you are a part of, a passer-by or a participant. Some is practise includes collaborative work with Anna silent and some is shouted from rooftops. The Townley, as artistic duo Townley and Bradby. art is there regardless — recognition isn t crucial Based in Norwich, Bradby produces perform to forming live art. ances, projects and interventions, which interac To discuss topics centred around the art form s with the public on a wide social scale. meaning and bring their own ideas to the - dis After the introductions had been made a few cussion were; video excerpts the artists and one of the critic Lois Keidan; Director of the Live Art- Develop had produced was showcased. It showed how ment Agency, set up in 1999 to support live art live art can be interpreted in production method projects through making accessible resources and where it is shot — in what social space. The for artists and developing new initiatives in the example given by Lois Keidan featured a live art UK and internationally. performance carried out in the borough- of Ca Hugh Dichmont; Co-Director of The Wasp nary Wharf, London. Dramatists had dressed up Room, Nottingham and Co-director of artist as clowns; representing fun. While another group group Tether. He is also the reviews editor for awould beat these clowns, dressed as bankers. n Magazine, an arts recruiting publication. Was this an excuse to incite a bit of tension, Ana Benlloch; artist and curator based - in Birm directed at other panellists? Well, the - chair ingham, Benlloch s practise includes solo work woman of the debate, Laura Eldret , split the and collaborative project with group including professionals up into two camps of debate; one A.A.S Insectoid, Proto-Mu Milgram and -Ludo arguing that live art is all about alienating th geographic Society. Her work crosses the fringe public when there are demonstrations; and the of constructed personas society institution other group arguing that live art s purpose is t alises, virtual or actual. empower people. Lawrence Bradby; an artist and writer, whose Lois Keidan had a few interesting points to
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‘A taste of Italy’: The composition doesn’t give justice to the size of this - stretching as wide as two metres
first-class honours degree in 2008 - Tom my s work. They instantly loved it and told me the wanted growth in talent and stature has developed at anto take me on. Given exponential rate. Studying at the University of the fact Tom was still at university - an only 21 at the time - the reality of a- well-re Huddersfield, Tom shone throughout his course, spected and successful gallery wanting to show showing an outstanding his work was a remarkable feat. From my ability to produce work tantamount to many course, professional artists - even at that stage, in histhere was only me, in fairness, that wanted to become a working already short-lived career -devel artist. None of my studentopment. peers, that I m aware of, are It was Tom s inspirational levels practicing full-time artists. It s of dedication that saw him being not for everyone. represented by the prestigious Tom s mature and modest London-based gallery, Plus One. nature is a strong basis for his During the third year of his - stud ever-growing success. Since ies, Tom attended numerous -exhi he given was signed to Plus One - now, just over a yea bitions at Plus One - mainly for pleasure, ago - he has already achieved his first solo sho his love for the profession; in time September of this year. It brought -great suc I regularly visited the gallery during my at university, as one of my main idols, Pedro - cess Camand saw many of his established idols in th come to see his workings. It s quite pos - another hyperrealism artist - showsart-world his bizarre Ithat I am now friends with many of my work there. After a few exhibitions I attended, decided to approach the gallery owner -andidols men and inspirations during the time I learnt tion that I painted, too, says Tom. -To trade. my sur They critique my work; I critique theirs; prise, the owner asked me to send him some of and have a respect for each other s chat
It’s bizarre that I am now friends with my idols and inspirations.
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H
yperrealism is one of the most talked about mediums of art in today s world. There s no surprise, then, why 23-year-old sensation, Tom Martin, is rapidly becoming the buzz of all -conversa tions in galleries and art-establishments worldwide. Hyperrealism is a concept of painting that stems from the imagery technique that -s in volved in photorealism. The genesis of- photore alism began around 40-years ago as a progression from the renowned technique of photography, Pop-art , made famous by Andy Warhol. Speaking about photorealism in relation to hy perrealism, Tom proclaims: People argued in the late 1960s that photorealism was very mun dane and pointless, as it achieved nothing nothing more than a camera could do. Tradi tionally, photorealism is mundane, and so ''Gr a ins wit h a dis t inc t iv e nut t y f la v our '' too is hyperrealism. However its humdrum - are all personal to me. The food subjects are made up for by the level -of equipment com packaging is a piece of my everyday life. I try plexity in painting methods. eat healthy and maintain something similar to a The premise behind hyperrealism is to produce building diet, for the want of a -better phy paintings that have an enhanced sense of body reality. ical There s nothing more to it than An illusion of hyper real creates an- air of expression. as that, tonishment to the finished pieces. The idea of really - they are part of me, part of what in through my system, and gives me the modifying and reinterpreting a photographgoes is an energyFor to train and paint, so it tells the viewe incredibly detailed and regimented exercise. something about my life, answers Martin. me, I ve always had an obsessive perfectionist Fresh streak - it s just the way I see things. Call itout OCDof university - graduating with a if you like, states . Tom The talented artist, from Rotherham, South Yorkshire, has a peculiar- fash ion in terms of the subjects he paints. Beginning his repertoire with random metallic apparatus and components of gym equip ment, then adding to his collections with food- pack aging and consumer prod ucts, evokes the question, Why paint this? At a glance it s not all that deep. But the things I paint - as with the gym''Everybody gets tempted sometimes'': Tom’s most expensively priced work to date.
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art. What had happened in the lead up to th make. She believed that the question put live to her and the rest of the panel was a complete piece false being performed was that Tesco super markets of had got planning permission to build dichotomy. Because there isn t a single form live art, a single form of public space, - another the audione of its stores in the high -street. Ca already had 15 in the county before bridgeshire will ence s and artist s expectations of the piece the planning permission for this one had gone always differ when these factors interchange. through. The performance centred around its She went on to suggest that because there are protagonist, Reverend Billy — an evangelical predetermined spaces; like say with a gallery, preaching about the function of such an a stage or a theatre, there is this prejudicial - priest —pre institute tech determination that is labelled as being linked to like Tesco; and its recruitment a normal or a more user-friendly perform - niques; at the check-outs themselves, in-store and full of people. According to Bradby - s re ance; Live art has always been a highly politically - search that in he and his team carried out before the live art piece, 1 in 250 - of the e vested practise. Artists will always turn - performing to them tire population of England will be linked to Tes selves and their own work to critique society and some form or another. take up a position of opposition among a in whole Bradby approached the debate with a more bunch of political issues or against the regime quantifiable outlook — bringing a bit -of suste itself.
“All that an art director needs, or needs to know, is to go for numbers and a place where there is a definite social function going on. Where it could
As the mediator of the debate stated at nance the to the debate, arguably. Arguably indeed, as the final panel member, Ana Benlloch had her start of the session, there would be conflicting views and stances taken by each member ofsay theon the matter. working on live art projects Ana Benlloch panel; each contributing in their own way When to the that the form of the piece itself would debate by drawing on experience they had believes had in their artistic field. Lawrence Bradby benefit took thefrom people, from that space, joining in the original group moved through. A project stance that, unlike Lois Keidan s view onas art called Science-sific, performed in the streets o space, there is a sure space to create - an im pression on theLeceister, saw different dressed-up groups cavemen, for example — go about their business public; He then went as normal. Some went into shops, some arrived to work in their attire and some just walked the on to talk about streets, trying to provoke reactions. -She com how he had commissioned a mented on its motives and goals; Live art, like the sort that we set -out to per piece, sparked by a local cam - form, we try and make as subjective as possible; paign in Cam- so that the audience can interpret it as they wi I am a firm believer that live art is very good bridge city centre, where he provoking and empowering, instead of intimi and his drama - dating. In fact, we had such a good turn-out in Live Art Development Agency director; tists would Leceister that the original 15 people who signed Lois Keidan protest throughup at the start were, by the end, dwarfed by the
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introducing,
HYPERREALISM’S LA
TOM
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LATEST GENIUS
OM
By Kevin Lee Jones
"When people hear that I'm an artist they’re left quite bemused."
MAR TIN