The MASK PRIZE is an annual competition for young people under the age of 25 living in Africa and its Diasporas. Predominantly engaging schools in Kenya, the prize is now in its third year and challenges the creative skills of children, teenagers and young adults from the continent to think about ways of celebrating, imagining and reflecting on the places they live in and the people they live with.
Subterranean Blues at Mark Hix‘s CNB Gallery presents an exhibition of new photographs by the acclaimed British artist, Peter Newman.
The show is comprised of eight large-scale works that appear, at first glance, like planets suspended in a pitch-black universe. However, closer inspection reveals them to be depictions of city streets taken from the ground up. Dramatic and mesmerising in equal measure, they form part of Newman’s long-term ‘Metropoly’ project, which connects to earlier serial and typological photography, such as the work of Bernd and Hilla Becher, the German artists who methodically recorded the mechanical structures of the industrial age.
I had the chance to speak with Peter about his artistic practice and forthcoming exhibition.
I wonder how many people reading this have ever sat down and thought, “Hmm, I could be the next Banksy.” The truth is, there is major appeal in street art — the secrecy, the rush, the message, the money. Many individuals, both artists and non-artists (think Mr. Brainwash), have been attracted to the art of graffiti, whether for creative, adrenaline-based or financial reasons. But as up-and-coming LA-based street artist WasNMe will tell you, it’s not as easy as it seems!
We sat down with the British-born ex-photographer who is now making his mark (literally!) on the streets of Los Angeles to talk about his journey and get an inside look into what it’s really like trying to make it in street art.
It’s official, the 2015 HIX Award has been won!
The recipient of this year’s exciting art prize is Allyson McIntyre who has just completed an MFA in Fine Art at Goldsmiths, and in fact applied for this award whilst finishing up her degree.
Founded in 2013 by famed restaurateur Mark Hix alongside CNB Gallery director, Rebecca Lidert, the award is designed to provide young, emerging artists a platform to show their work, in hopes of giving them that first boost they need following graduation. In a sense, the prize works to set artists off in the right direction post-university, which of course, gives it a special place in our hearts here at ArtAttack, where we strive to help student and graduate artists jumpstart their artistic futures.
There’s something about the Art Student community in London. Although there are thousands of you, it’s so easy to get to know familiar faces, perhaps mainly because the free alcohol at most private views tends to bring everyone together, but also because it’s the kind of environment where collaboration across schools is one of the best ways to survive the pressures of making in this city. Not too long ago, this ArtAttacker was involved in one of these projects, ‘You Have Got my Bone‘, a collective exhibition in Soho that was many months of work in the making and encompassed works from students at the Slade, Westminster, Goldsmiths and Central St Martins. During this long process, I had the pleasure of getting to know one of the main brains behind the operation, then Westminster student Pascal Colman (who graduated just a few short weeks ago, and has my sincere congratulations). When he wasn’t nursing the massive headache that arose from organising rental costs and an intimidatingly large-scale clear-up mission, Colman was setting up his own piece, entitled ‘Presence’ (2015), which he since has reformatted as an installation at both his degree show and a one-night only exhibition at Austin Forum. At ‘You Have Got my Bone’, the soundscape existed in its own sunny room in the disused bookshop space (pictured). Although overlooking the mania of Charing Cross Road and those troublesome building works at Centre Point tower, you would never have known it once you sat on the floor and closed your eyes. It was a tranquil oasis where visitors could slip into a meditative space, both psychical and metaphysical, as cassette players hummed around them – if called to, you could enjoy that ancient ritualistic effect of turning over a tape, something I personally haven’t done since circa 2001. The same effect was achieved at the Westminster Show, only this time there was a pilgrimage involved, because of its location in a 4th floor seminar room far-flung from the rest of the exhibitors. ArtAttack was so impressed with it that night, we immediately decided an interview was in order, particularly keen on his insights into remaining so cool under pressure – thank god, Colman has kindly obliged and shared some of his secrets with us.
ArtAttack: Did you always know you wanted to be an ‘artist’? What made you decide to go to art school?
Pascal Colman: My interest in being an artist started young, although my definition of what an artist was didn’t stretch far beyond batman illustrations. What I enjoy doing now -I guess – still rests within the expanded definition of what a contemporary artist is although I’m not sure I like the term ‘artist’…seems a bit stuffy and self-conscious – artists all read overly intellectual books and wear silly hats. I think the decision to go to art school was largely on account of my inability to come up with a better alternative. Continue reading
Last Thursday 12 June, I made my way to Free Range Shows at the Old Truman Brewery for a fantastic exhibition of graduate photography.
Here are some of my favourite works:
Trevor Coultart, ‘Childhood’
The striking colourful backgrounds and accompanying nostalgic quotes from the toys owners, offer fun mediation on childhood memories. (www.coultart.com/toys)
Lucia Hrda, ‘Traces’
Nostalgia was also visible in Lucia Hrda’s work in which she created a self-portrait in her great-grandmother’s likeness to explore genetic legacies and celebrate the individuality which this forges. (www.luciahrda.com)
Julie Derbyshire, ‘Fragile Alchemy’
Julie Derbyshire’s soothing photographs really stood out with the pastel colours complimenting the delicate compositions of the series. (www.juliederbyshire.com)
Edurne Aginaga, ‘Lie Down’
I fell in love with Edurne’s playful use of colour, perspective and objects. Avoiding digital manipulation, each work arrested my attention as I tried to figure out how it had come together. (www.edurneaginaga.com)
– Alex Lebus
Although this particular exhibition has ended, various editions of ‘Free Range Shows‘ will be on view at the Old Truman Brewery until 13 July; Ely’s Yard, 15 Hanbury Street, London, E1 6QR; Open Friday – Sunday: 10AM – 7PM, Monday: 10AM – 4PM, Private Views Thursdays 6PM – 10PM; Admission: FREE
‘FreshFaced + WildEyed’ — I knew I was heading to the right place as soon as I heard the name of this latest exhibition opening at The Photographer’s Gallery, the private view of which I was lucky enough to attend last night. As you know, here at ArtAttack we are all about making young artists visible from the get-go, in their early stages of ‘fresh faced’ development, with a view to support them as they are flung into a world that is in too many ways so very overwhelming. It seems TP Gallery has similar interests at heart, because #FFWE2015, like all its predecessors (it’s been running since 2008) features the work of graduates from across the UK, in a sparkling opportunity for deserving but underrepresented talents, who have most likely never been represented by a gallery before. They’re all just out of uni, having finished either a BA or MA in visual arts courses, but their youth shouldn’t hold them back. Because it became clear very quickly that this year’s bunch are full of potential. Sure, some works were better than others, much of it unmistakably student work, but there is something very refreshing in that fact. The best artists are never perfectly polished, really; instead they are those equipped with the tools to change and grow. This is what makes good art schools such fertile environments, because constant reassessment of individual practice will be encouraged in students, rather than them settling on a marketable formula that looks professional but doesn’t do much else.
After a truly energising experience at the Slade School of Fine Art Undergraduate Degree show, I was excited, last evening 11th June, to see what the graduate classes had come up with for their exhibition. Unsurprisingly, the show was beautifully put together, and full of fun and unique work, from painting, to video, to installation, even a giant, red, worm-like fabric piece that loops its’ away all around the building, slithering from the basement to the roof, and creeping up on you just when you least expect it.
A particular favourite corner of mine belongs to artist, Noga Shatz, who’s black and white works on paper of upside-down females, I find exceptionally enticing. The photo sadly doesn’t do them much credit, but to give you context, I came back twice to see these and would probably have done so again, had there not been cheeky barbecue waiting for me at home.
Nina Eunhee Hong‘s installation is another standout work. The attention to detail is second to none — from a tiny sculpture of a foot gracefully resting in the middle of the floor, to one lone side of a white box painted bright pink. This work is decidedly feminine, with single breasts scattered throughout the room and a patterned dress attracting the main focus of the piece. There is such thoughtfulness inherent in the work, which definitely made me smile.
Continue reading
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