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By: Gillian Mciver
Run by Painter/muralist Nazir Tanbouli and film maker Gillian McIver, Studio 75 is a working studio and an artist - run space, located on the ground floor of a block of flats in London.We set up Studio 75 to reinvigorate and renew the definition of the "artist-run space," as neither gallery nor institution. studio75.org.uk
follow us on twitter @Studio75London
# 47 [17 January 2014]
Almofakera المُفَكره - Nazir Tanbouli's new Drawing Blog
Almofakera means notepad, or, more recently blog, and this is just what this new blog is. Here is the link
What’s it for, when we already have the Studio75 blog here? Well, because the new blog is all about DRAWING and just that. Naz has been developing drawing since he was old enough to hold a pencil and he decided that it would be great to share to some his process with the world
The mark is the building block of any drawing. Every mark has speed, direction and power. Together, they create the energy of the mark. The energy of a drawing subsequently, is the collective energy of the marks that have gone into making it. Harmony is the holy grail, and it depends only upon the relationship and interaction between the marks on any given surface. Sometimes I sound like a scientist or a mathematician when I talk about drawing. I find drawing to be the emotional and sensual manifestation of mathematics. Art is an interaction with the elements that could lead to producing a statement. In drawing, these elements are the medium, the instrument and the surface. For example, using a wide range of brushes allows me to apply the same ink to the same paper in so many different ways. Mark making is the foundation of both drawing and writing. That is why a mark can express and communicate shared human emotions.
Please come and see and follow the discussion.
# 46 [16 December 2013]
Do art and coffee go together? Working in the studio or writing, it certainly seems to be the case. What about the exhibition space? What about the cafe-gallery as a model?
In 2.5 years running an artist run space (Studio75) one of our aims was to bring art to people who don't normally go to galleries, and this worked pretty well. Our next move was to create a “gallery” The Yellow Wall, inside an existing café [http://www.studio75.org.uk/yellowwall]. Again the idea was to bring art out of the specialised space and into people's daily lives.
We are still assessing the import and value of this. In some respects, the art just becomes a backdrop of the food and drink, a décor. Is this a bad thing, necessarily? If we want art to be everywhere, a part of the fabric of our daily lives, then perhaps we should not be worried about this. The shows are popular.
On the other hand it is pretty clear that people are not willing to buy art from a café wall. We have had enquiries but no sales. Yet the same works sold once out of the café, for higher prices. Although sales is not our main reason for doing this, it is an interesting phenomenon.
Lastly, when we did informal calls for artists, we did not get any good submissions and so we have relied on inviting people. Perhaps a café wall does not have enough cachet as an exhibiting space.
All food for thought.
# 45 [13 December 2013]
Following on from our previous posts "Why You Don't Need to Debut"
This post is addressed to new graduates who are wondering what to do next, and who have perhaps considered attending one of the "how to get into the art buisness" schemes (see http://marketproject.org.uk for more info)
So, what to do?
You have decided not to go to an art 'finishing school' aka 'charm school'.
OK, so far so good. So what DO you need to get on?
A massive reality check. A copy of Alastair Gentry’s book Career Suicide [http://www.lulu.com/spotlight/alistairgentry] It’s funny and entertaining but gives you a lot of useful information. It might burst your bubble, but better to let a book do it than you having it burst all over you!
Some basic self marketing skills. Learn to make a simple attractive website using free tools such a Picasia and Blogger, put up the best photos of your best work, and your contact details. Eschew the desire to put the hideous statement they made you write at art school. Keep everything as real as possible.
Find some like minded people. You could start with ones you went to art school with, or you could join a studio. Remember all the £ you are saving by not going to charm school? Use that to fund a space no matter how small, in a lively studio.
Club together and put on your own shows. Publish a zine. Make videos of your show and interview your fellow artists and put it on YouTube.
Seek a mentor. There are artists out there who are willing to work with new artists without a fee! They will help you in exchange for studio assistance and so on. At Studio75 we have been doing an informal mentorship programme. Young artists work with us as assistants and in exchange they get all kinds of tuition, from learning to Photoshop their pictures to drawing techniques. How did we find them? They found us. We do not take everybody. The chemistry has to be right. And they have to work like the devil.
Join group shows, but avoid things with hefty entrance fees. You are not experienced enough and you will just lose your money. If you want to join these things (e.g. Jerwood prize etc.) go and see the shows for a few years till you get a measure of what they actually want, and if it fits with what you want to do, go for it. Open exhibitions have clearly-visible yet never-mentioned agendas of what they like, no matter who’s on the jury. See Emily Speed’s blog Getting Paid [http://www.a-n.co.uk/artists_talking/projects/single/497389]
Keep working. Whatever else you might be doing to make money, art is your full time job.Do your fellow artists a favour and make this post viral!
# 44 [8 December 2013]
WHY YOU DON'T NEED TO DEBUT, part 2 of 3
I heard recently about the furore surrounding an enterprise called Debut Contemporary. This is an outfit that runs a kind of finishing school for art graduates. ... I don’t need to say anything more about them since they are not the subject of this article; I want to talk now about why no art graduate needs a “finishing school.”
Be very careful of wolves in sheep’s clothing. There are armies of charlatans out there ready to fleece new artists. They know you are insecure about your work. They know that flattering you with one hand while digging into your pocket with another will be easy and sweet for them.
I wrote about this recently:http://blog.gillianmciver.org/2013/11/28/follow-up-to-my-post-on-film-festivals/
These experiences I describe in my blog post sound ludicrous but they are real and I have more of them in my repertoire of anecdotes about Horrific Art World Delusions and Rip Offs. You will not be able to go through your life avoiding all of them but you could avoid signing up a year of your life and thousands of pounds of your money.
What can you do to at least try to avoid this? Well, research! And more research. Be wary of wild claims on the part of the offering. Find others who have been involved with the offering, what kind of experiences did they have? I just read an online interview with the creator of the offering mentioned above (Debut) and it is clear straight away this is highly embroidered. Further research proved my hunch correct.
Research! One HUGE clue, as we all know from spam emails – is if an offering promotes themselves with faulty grammar or spelling. This means they get interns to do the work for them and cannot be bothered even to check. If they are so careless with their own marketing what kind of care will they have for YOU?
Following on from that, if an offering has already accrued a reputation of being a bit dodgy, this will stick on to you. The very kudos you seek will be denied to you.You already have all the knowledge you need to “enter the art world.” You have a direction for your work and you – hopefully – have some friends and a work ethic. There is a reason why, traditionally, art courses don’t teach business skills as part of the curriculum. Although there is a pressure on them to do so now, it is misguided.
Industry knowledge, and “powerful art and business networks” are things that accrue over time. They can’t be bought. Anyway, as I said above, one man’s meat is another’s poison. The “industry knowledge and powerful art and business networks” useful for one artist are not going to be the same for another. The “art world” is diverse!
Doing short courses, seeking mentors, and building your own networks to create events and exhibitions will serve you better as a graduate. There is so much support out there for emerging artists! But YOU have to do the work.
How? Ok that is the subject for Part 3
# 43 [6 December 2013]
Why you don't need to Debut: Part One
I heard recently about the furore surrounding an enterprise called Debut Contemporary. This is an outfit that runs a kind of finishing school for art graduates. Appropriately it's in Notting Hill, location of I Saw You Coming. Appropriately it's very expensive to go. It purports to prepare art grads to “enter the art world.” The furore is that some of their participants have publicly said that they were deeply unhappy with the finishing school's service. Because, I'm sure, they did not realise it was just a finishing school. I don’t need to say anything more about them since they are not the subject of this article; I want to talk now about why no art graduate needs a “finishing school.”
because there is no one way to “enter the art world.” This is highly individual and is part of your path in life, and you need to tramp that path yourself.. You cannot hire someone to get you there. It helps to have famous parents, yes. But most of the great artists did not have famous parents. Picasso's dad was an art teacher, but Rembrandt's was a miller. Peter Greenaway's dad was a builder's merchant and Jeff Koon's parents were a furniture dealer / interior decorator and a seamstress. Warhol's father worked in a coal mine.
A “finishing school” (or “charm school” - love that!) as defined by Wikipedia is “a school for young people, mostly women, that focuses on teaching social skills and cultural norms as a preparation for entry into adult society. The name reflects that it follows on from ordinary school and is intended to complete the educational experience, with classes primarily on etiquette. It may consist of an intensive course, or a one-year programme.” Replace the term “into adult society” with “into the art world” and you have got Debut nailed. But come on, this is the 21st century. We laugh at the idea of going to school to learn to cut muffins and to simper appropriately. So you don't need to do it to “get ahead in the art world.”
Unless you are rich and don't really know what to do you with yourself, and fancy dabbling a bit in art. Then it is a good idea to go and you will have fun and then go off and get a proper job, or just relax with your feet up. But for the rest of us, not useful.
You cannot learn to “get ahead in the art world.” Your art practice is yours alone and your work plus luck / Fortuna will propel you forward. Success has many definitions. It might be about selling, but it might be about having a fantastically interesting life. It might be about making a difference to others, touching them by what you do. It might be about striving to be in the history books, whatever the art world may think of you today you have got your eye on posterity. All of these things could be success. Only you determine what your success is. Charm School cannot do that for you.
Attending a charm school in itself cannot help you to “get ahead in the art world.” However influential the school purports to be, and however influential its patrons (and there is no actual evidence for this in the case of the school referred to earlier) you know your heart that the work is the main thing. If you spent the money you could spend on the charm school on your work, you will have a much better chance of progressing. In any case, you have already been to an art school, so that is all the institutional kudos you need at this stage.
keep following, or see full article here: http://blog.gillianmciver.org/2013/12/06/why-you-dont-need-to-debut/
# 42 [6 December 2013]
Studio75 is still alive
maybe you popped by Studio75 on the Kingsland Estate in Laburnum st recently and discovered to your surprise (horror?) that there is just a hole in the ground where the studio and its amazing murals used to be.
yes, the building at Hebden Court is gone…!!
but we are not
studio75 still exists. We are as active as ever, just no longer working out of a public gallery space. We might get another space in the future, but for now we are busy with:
- curating the YELLOW WALL project – regular hangings of shows of painting, drawing and photography at the Chalet Cafe. Bringing art OUT of the gallery into people’s daily lives
- actively working as artists – Nazir Tanbouli in Dubai
- actively working as film-makers – Gillian McIver’s first screening of the Studio75 film TAKING OVER THE KING’S LAND
- publishing artist books
- putting together a new ‘ZINE featuring limited edition art
and making new work
We are happy to host studio visits by appointment and are always willing to consider collaborations or curatorial projects.
as usual, email us
or Facebook us
or follow us on Twitter @Studio75London
and DO sign up to our newsletters they are not frequent but without them you’ll miss out!
# 41 [4 September 2013]
Studio75 as a physical space closed in May 2013.
We learned a lot from setting up and running this space. Some of what we learned was very disappointing and some of it was inspiring and life/art affirming.
We met some amazing people through the space and some not so much. We had art given to us, and had art stolen from us. We put on some great shows with few attendees, and some great shows where the place was packed and the pavement outside too.
We won a major award and had a fair bit of local and international press.
Out of the project came a half hour documentary which is wending its way through the festival circuit right now, and we are in the process of making a book.
Currently we are deciding if we will run another space. We exist as a website and limited edition publisher of prints and books/zines. We are also running an exhibition initiative in a local venue THE YELLOW WALL at the Chalet Café, where we are exhibiting drawing, painting, and photography by artists with whom we have worked or whose work we like.
# 40 [3 April 2013]
I often claim that London is to 21st century art what Paris was for 20th century art. This bold assumption doesn’t by any means suggest that London produces the greatest of artists; until now it has been too far from it. I’m talking about London being the most popular immigration destination for many Europeans and non Europeans alike.
Recent statistics suggest that only 20% of the London population is born in London, the rest came from somewhere else.
As an Immigrant myself, I can assure you that the act of immigration is mostly economic, yet I wouldn’t suggest that London is the easiest of places. Life is more difficult and much more expensive than any other place in the UK and Europe, yet it takes the lion’s share of another type of immigrants, the Cultural type. Artists, writers, musicians those who came to join over 22000 arty citizens, many of whom have ambition to be artists of the world rather than artists of any given nation.
KROM BALGESKY, DESI TOSHEVA and THEODOR TODOROV are three young immigrant artists. They came from Bulgaria over a year ago, following their ambitions and taking full control of their destiny. They work as cleaners, like most Bulgarians in London. They clean by night, to be able to pay the rent of their small studio by day. Other needs are not really of any importance to them, they work and live for their art.
Like many others who studied art outside the Anglo American planet, they’re highly educated, talented, devoted, and they are neither in the business of writing pretentious critical essays nor in the business of conceptual art.
Artist and Curator of Studio75
# 39 [2 January 2013]
Studio75's final project
Several Skeletons from the Same Closet
It is now the beginning of 2013 and it is time to look back on the last two years of Studio75. We started the studio in January 2011. We wanted to create an artist-led space for both production of our own work, and for creating small exhibitions with different artists. These last two years have been exceptional. The studio has also been influential for most of the artists who have worked with us. A small ground floor studio flat in a council block became a cultural hub and a Bohemian refuge, gathering in a broad variety of people, artists and audiences.
However as you may already be aware, the physical space of Studio75 will soon cease to exist, as the whole block will be pulled down. Actually it should have gone almost 3 months ago, but for building delays.
Yet Studio75 will continue to exist, as a network of artist, friends, as an online organisation and presence until we find a new venue, and as an active inspiring framework.
Given that the Studio is in its last weeks, we will use the remaining time to share with our audience the bigger bulk of the work that has been produced here. Most of our visitors have come for the fortnightly exhibitions and Open Studios, and may not be aware that every single day of the week the studio is used as a production space. So, now we'll let the skeletons out of the closet.
Studio75 - all details here: http://www.studio75.org.uk/
# 38 [23 November 2012]
Tatsuko: A film by Glenn Ibbitson
Tatsuko is an extraordinary project, and encompasses all of the prodigious skills and talents that a master of their craft can accomplish. Glenn Ibbitson's 40-min film is a hauntingly beautiful, dramatically gripping yet enigmatic film that draws the viewer into a world dominated by a strange landscape, where the familiar becomes alien and human relationships are intense yet completely distant.
The story is simple: a hooded man arrives at a remote farmhouse. The artist who inhabits the house, goes about her daily self absorbed routine, oblivious to the dark figure watching her. Slowly he begins to inhabit her territory, watching, waiting. Scuttling away when she is near, yet closer to her than her own breath. Is he real, or a shadow? Is he malign, or a guardian angel?
The film's cinematography is breathtaking, making the most of both the wild Welsh landscape, and the way that ordinary interiors can be imbued with suspense. In their majestic stillness, the shots breathe the artistry of Antonioni, while the enigmatic yet intense story echoes Tarkovsky.
The entire film was made by Ibbitson, with a magnificent soundtrack by Wyn Lewis Jones. The script, scenography, camera, lighting, editing is all done by Ibbitson, and it is a shock to realise that since before the credit you imagine this is film that took a significant budget and a crew. But no. Having previously made a number of short films, Ibbitson's status as a master painter can be seen and felt in every frame. Tatsuko, as well as being hugely entertaining, is an object lesson in how that most traditional of art forms, painting, can be a discipline and a catalyst to electrify and deliver art cinema of the highest quality.
Tatsuko the film is accompanied by a substantial published book that can be purchased showing all of the drawings that are integral to the film. The drawings themselves, in a concertina book form, are also available for exhibition.
Glenn is a painter, printmaker, film-maker and collagist. His art covers a broad range of subject matter, but at its core is always a vision, realised through various representational forms, addressing the enigma of what it is to be human. After many years spent as a BBC and freelance scenographer and scene painter, Glenn Ibbitson works as a professional painter and film-maker, based in west Wales.
Glenn has shown work in London, New York, San Francisco, Kyoto and Dortmund. His work is in private collections across five continents.
Glenn is a member of Studio75 and has participated in many of the studio's projects. In 2011 he exhibited drawings in “The Draftsman”, collages in “Rip it Up!” and “CONSIGNMENT”, a solo show of paintings and prints In 2012 Glenn screened his new film “Tatsuko” and exhibited Tatsuko a collection of drawings connected to (and featured in) the film along with a published book (Nant Studios 2012) of the same name.