I haven’t been on here in a while AGAIN! Been busy juggling my course at Chelsea and childcare, and also helping organise this amazing month of events at Guest Projects/Shonibare Studios with AltMFA:
Our month residency at Guest Projects starts in a week’s time!
We’ve been busy organising and scheduling in an incredible array of free events, artist talks, exhibitions, screenings, workshops and more – view the calendar of events on the AltMFA website and come along to one, two, three or ALL of the events!
Highlights from the events calendar:
- Screening of Westmonster by Mark McGowan, The Artist Taxi Driver
- exhibition of works by AltMFA artists
- MUSICKING Art Band Night with BBKP, Ochlocracy Orchestra, Rainham Sheds & more
- Members of Extra Special People, Birmingham: Meghan Allbright, Beth Kettel and Emily Warner will be in space
- ‘On Claims of Radicality’ symposium, with altMFA, School of the Damned & Open School East
- Night of the Long Spoons (feast event) curated by Dunya Kalantery – El Bulli meets Red Dwarf…
- OPEN altMFA MEETINGs
- Talk by anthropologist Eve Wilson & artist Elly Thomas
- 12HRS workshop with Kathryn Miller
- Video-Sculpture exhibition with work by altMFA members Natalie Sanders & Rebecca Glover
- Reading Group
- Symposium on Video-Sculpture
- Artist Talk with Lindsay Seers
- R&D rehearsals of ‘Playful Menace’ featuring dancers on sculptures directed by Eldi Dundee
- Marina Tsartsara – ‘Autobiography in Movement’ workshop
- Ilona Sagar artist TALK
- The Drawing & Dancing Society
- SAMPLES film festival curated by altMFA members Maru Rojas & AnnaMaria Kardos
- FRIANDS event by Newton Whitelaw & Ross McNichol
- OPEN WEEKEND DAYS curated by Sadie Edginton
- ‘Art for your sake’ Therapeutic arts workshop/ discussion with Charlotte CHW
- Cluster Bomb Cut [a drift] – Canal-side Live Art workshop
- Lucy Thane & Oriana Fox – ‘A Mother of a Project: The Pilgrimage’
- Jack Brown – ‘Floor Plan’ – Drop in Drawing Workshop
- + PERFORMANCE event (curated by Sadie Edginton) with Calum F Kerr, Jude C Montague, Cluster Bomb + workshop participants, Sam Reynolds, Jasmine Lee, Scarlett Lassoff, Robert Foster, Andre Neeley & more
- Collective Lunch
- TALK by Carla Cruz and António Contador International resident artists at Open School East
- Artist-led crits led by Crit Group
- Artist-led crits hosted by Peer Sessions
- UNPERFORMING event curated by Louise Ashcroft
- CLOSING PARTY with DJ Chalmers & friends
Some events will require advanced booking (though they are still free events)
Please see our website for ALL the details and booking links.
Hope to see you there!
I recently found out that my Wrestling Women series of paintings, etchings and woodcuts that I did as part of my undergraduate art degree have been stolen by an internet porn site, and there is nothing I can bloody do about it.
Here is my Facebook Page share on the matter:
So, my paintings and other work in my Wrestling Women series have been stolen and co-opted by this ‘free porn’ site. And I’m really not too happy about that! I suppose there will be many thinking: What did you expect? You painted naked women wrestlers and put them on the internet. Duh!
I’m pretty f*ckin pissed off about it. Skitcafe [dot] com did not ask my permission, they simply stole the images, changed the titles slightly, and are showing them COMPLETELY OUT OF CONTEXT OF THE WORK’S ORIGINAL INTENTION, WHICH IS TO QUESTION THE AGENCY OF THE WOMEN DOING THE TYPE OF PORN THE PAINTINGS ARE PORTRAYING.
If you click on the individual painting’s images, you get a smorgasbord of really graphic porn in the side bar. It’s not only offensive to me and my work to be shown in this context, but it’s completely pointless and asinine of the company to have my work on their site, because it isn’t porn, just because it’s ABOUT porn (and a critique thereof).
And the worst part about it is that MY NAME has been co-opted by this porn site. That’s pretty messed up considering that I didn’t ask to have my work or my name there, nor was I asked for permission, nor did I authorise my work to be mis-used in this way. I’m also not getting paid for my work to have been used in this way! Talk about exploitation and taking liberties!
Probably the most f*cked up thing about this whole thing is that one of the paintings isn’t even one of mine, although my name has been put to it. It’s a work by an artist called Derek Jones and was used (with his permission) as the image for marketing for a group show we did back in 2011 at the Lloyd Gill Gallery, Bristol entitled: Art’s Sharp Edge.
If anyone knows artist #DerekJones‘ work, you’ll know it doesn’t belong on a porn website!
A computer generated trawl of the net automatically picked up the key words Wrestling Women Wives Oil and an algorithm recognised that the painted depictions represented images of female bodies without clothes on and being a computer wasn’t able to discern that they were paintings, not photographs. And though the work could, at a push, be considered erotic art, it’s isn’t porn. Oil Paintings of Wrestling Women are not necessarily the same thing as photos of Women who are Oil Wrestling for the porn industry.
Below is the email I sent them in response to the infringement
You can deduce the background and context from reading further. But please note that the following is NOT SAFE FOR WORK and PARENTAL GUIDANCE IS ADVISED. If this post were a film it would be rated R or even X, though I have deleted some of the more graphically offensive images, however, even the images I left in the post may still be cause for offence, especially if, like me, you are a feminist and not a fan of Page 3!
It’s not particularly well written; it’s certainly not a legal document – and it repeats the same points a lot, but I was pretty shocked and wanted to get something off to the person in charge of the website’s copyright infringement section immediately, so I wasn’t as bothered about wording as I might be in another context.
Dear DMCA Agent for SkitCafe
I have discovered my oil paintings on http://skitcafe.com/eldi-dundee-wrestling-women-wives-jacob-oil/
I am the artist, creator and copyright owner of all the images on the above page link (bar the one painting by Derrek Jones, details to follow) that have been lifted from elsewhere on the internet and used without my permission, consent, authorisation or, until know, without my knowledge.
It would have been very easy for whoever stole my images on behalf of your website and cavalierly put them on it, to have googled me for my artist contact info, to ask consent/permission to use my images BEFORE putting my artwork on display on your website. It has been known to happen and I have been known to grant consent where I felt it fit to do so. But I would never have given consent or permission for my work to be shown in the context of skitcafe’s pornographic smorgasbord.
I want my name, my works’ titles and all images of my artwork taken off the site with immediate effect.
I am the SOLE copyright owner of my artwork and all images of my artwork.
My copyright is being infringed every minute that my images, titles and personal name and other details are shown on the website in question. I haven’t even been offered compensation for their use!!!
They have been taken and used without my consent.
These works are specifically:
Eldi Dundee Wrestling Women Wives Jacob Oil #1 Wrestling Women Wives Jacob Oil Unstretched Canvas
Wrestling Women Wives Jacob Oil
Eldi Dundee Wrestling Women Wives Jacob Oil #8 Installation Detail Stack Wrestling Canvases Eldi Dundee
Installation Detail Stack Wrestling Canvases
Eldi Dundee Wrestling Women Wives Jacob Oil #2 Wrestling Women Wives Jacob Oil Canvas
Wrestling Women Wives Jacob Oil Canvas
Eldi Dundee Wrestling Women Wives Jacob Oil #9 Untitled From Wrestling Women Etching Series
Untitled From Wrestling Women Etching Series
Eldi Dundee Wrestling Women Wives Jacob Oil #3 Wrestling Women Wives Jacob Oil Canvas
Wrestling Women Wives Jacob Oil Canvas
Eldi Dundee Wrestling Women Wives Jacob Oil #10 Wrestling Women Etching
Wrestling Women Etching
Eldi Dundee Wrestling Women Wives Jacob Oil #4 Wrestling Women Wives Jacob Oil Canvas
Wrestling Women Wives Jacob Oil Canvas
Eldi Dundee Wrestling Women Wives Jacob Oil #5 Eldi Dundee Wrestling Women Wives Jacob Oil
Eldi Dundee Wrestling Women Wives Jacob Oil
Eldi Dundee Wrestling Women Wives Jacob Oil #6 Wrestling Women Wives Jacob Oil Unstretched Canvas
Wrestling Women Wives of Jacob Oil
Eldi Dundee Wrestling Women Wives Jacob Oil #7 Performative Installation Consisting Female Wrestler Imagery
Performative Installation Consisting Female Wrestler Imagery
Eldi Dundee Wrestling Women Wives Jacob Oil #11 Jones Man Being Measured Oil Canvas
Jones Man Being Measured Oil Canvas
The last one isn’t even an image of my work. It is the work of a painter named Derek Jones whose painting was featured on the promotional material for a fine art exhibition which took place at the Lloyd Gill Gallery in Weston-Super-Mare.
I doubt very much if Mr Jones would be happy to have his work shown in this context:
Details of the works of mine that were in that particular exhibition can be found here. http://www.thelloydgillgallery.com/Eldi_Dundee.html
You may contact Lloyd Gill (cc’d above) for further details of his involvement in this show and of your website’s misappropriation of the promotional image made by Mr Jones.
I’m sure you will be hearing from both gentlemen in due course.
I reiterate my stance: I have given skitcafe.com absolutely NO authorisation or permission whatsoever (implied or otherwise) to use my artwork or images thereof, and to misrepresent me or my in this way. I am personally very upset and shocked, not to mention insulted and angry, that all this has been done without my knowledge or consent.
Apart from taking my images without consent, the titles accompanying the artworks have been grossly misrepresented as well.
A look at my page at the Lloyd Gill Gallery (link above) and at the screen shot provided will give you all the proof you need there.
The images of my own photos of my own paintings with my own name put to them and a bastardisation of my own titles have been put on the skitcafe website, a porn website, and completely misrepresents me as a person, as a professional, and misrepresents my work and its context. It could be proven to have had damaging effects on my artistic career and my reputation as an artist/painter who happens to have a family.
1) I did not seek out your website for representation.
2) You did not approach me for permission to use my work.
The association of my work with your porn site is both psychologically damaging for me personally and for my family who will see it taken out of the original context (which critiques the porn industry) and shown in a graphically pornographic context (which undermines the original intention for the work)
NOTE: Due to the intense nature of some of the pornographic images that popped up in the sidebar accompanying images of my stolen work on skitcafe, I have deleted the most offensive screenshots from this a-n ‘conversation’. But I have left some of the less graphic of the lot so you can get an idea of how the site’s algorithms work in trying to show similar images to my paintings.
(FOLLOW UP – It appears that I am unable to show the screen shot images on this platform without adding them manually – I had copied and pasted directly from the email and it’s showing up in the unpublished version on my screen, but coming up blank on the published screen. That’s probably a good thing, though, as even with the editing and censoring, they were still offensive!!)
I trust you have enough evidence of the infringement of my copyright (and that of Mr Jones) to be going on. Mr Gill will no doubt be authorised to act on Mr Jones’ behalf, but as my name and titles of my work have been put to his image, I am authorised to give you the notice to take it down immediately. I want to make it very clear that I do not want my name or my images to be associated with your website.
Lloyd Gill, of gallery in same name, has not replied to being copied into this email. I will have to make sure I have his correct contact details and re-send. Derek Jones has replied and thanked me for making him aware of the infringement of his copyright by the site in question.
DACS is unable to help as this matter of copyright infringement has not occurred (as far as I am aware) in print or on television. If it had, they would perhaps be able to lobby on my behalf.
AIR has responded to my query of advice with an apology they can’t offer any in this matter.
What is left, dear reader, short of solicitors/attorneys and/or Civil or Small Claims Court?
‘Making Sculpture – View from the Studio’
A conversation between studio assistants and collaborators chaired by Jenny Dunseath, feat. Olivia Bax, Neil Ayling, Hamish Black and John Wallbank.
(I didn’t take notes until Session 2. However, I am still digesting the gist of what was discussed and will add to this when I have time. It won’t be attributed to any one speaker, however, but will be an overall impression that I was able to glean from the conversations being had on the platform and in the audience about Tony Caro’s working methods in his studio. Very interesting stuff.)
‘Teaching the New Sculpture – Saint Martins in the 60s’
A presentation by Elena Crippa based on her research of the CSM Frank Martin Archive. Followed by a discussion panel including former students and teachers at St Martin’s in the early days: Bill Tucker and Tim Scott – sadly, Phillip King couldn’t make it for health reasons.
Points I found interesting: The first Sculpture class only had 6 full time students – there were a lot more part time students though.
‘The New Generation’ Exhibition 1965 (@ the Whitechapel Gallery)
showed 6 artists, only 3 of whom were from St Martins (and not necessarily students there at the same time as one another), and others who went on to teach there. (I think they said 2 were RCA students and one from the Slade).
Pedagogy of the Sculpture course at St Martin’s at the time:
A fresh perspective on Materials: found objects, industrial and natural, and a leap towards abstraction, but with figuration as it’s basis (not abstraction for the sake of the abstract). Figure drawing lessons continued, but there were also Bauhaus lessons relating to architecture. Armatures, assemblage, welding were commonly used there for making sculpture at St Martin’s, but you had to earn the right to use the basement workshops by making work in clay and plaster from the figure in the upstairs classrooms.
David Smith’s abstract work in NY in the 50s was a huge influence on everyone, especially Caro, but his work was both abstract and figurative.
Performance was used in the sculpture department as a sculpture teaching tool. Situational projects were initiated by Caro and other teachers to stimulate the interaction and communication between the students, to open up their conception about sculpture. Dynamic attempts to find gestures for their sculpture. Breaking with past procedures and function of lectures and studio practices. A lesson might entail students’ making a sculpture using people as elements – sometimes dubbed ‘sculptural phys ed’ – in an attempt to stimulate people’s creativity, help them feel what it was like from the inside of a gesture, but was never intended to make the performative exercises stand in for the work itself. (However, students began to do just that). The point was to reconstruct themselves as objects and relate to each other as objects. Using bodies to define, measure and mark space in relation to one’s body or other bodies. And where movement occurred around and within the space, the idea was that they were Human Mobiles, rather than a performance for the sake of performance. But for Barry Flanagan, Bruce McLean, and Gilbert and George, performance was the thing.
Michael Fried in 1969 talked about Caro’s sculpture being more akin to Rodin figurative gesture rather than pure abstract or decorative works – his sculptures were surrogates of the human figure.
Phillip King, former student of Caro’s, who later taught with him and Edward Paolozzi at St Martin’s, agreed that the sculpture was a substitute for the human presence.
(Apologies if my note taking of the presentation isn’t that thorough or enlightening. More can be researched via CSM documentation in the Frank Martin Archive)
Onto the panel discussion with William (Bill) Tucker & Tim Scott.
Tim was one of the part time students – he took a life class while an architecture student (round the corner at AA), then he went to the sculpture department and he joined in Tony’s classes. These were early days when Tony was still doing figurative work at the time, but trying to transform his own work (influenced by the David Smith show he saw in NY). Caro brought that desire for transformation in his own work into the class/studio, and that ethos about change and experimentation was transferred to the students. He added on a more characterful note that Caro could be quite jolly, but he also could be rather aggressive, trying to cajole students into transforming their conventional ways of looking at figurative models.
Evening classes were mainly taken up by the part timers (who worked during the day), but they developed into ‘experimentation evenings’, to stimulate people into making things differently, using unusual materials, found objects, but also new ways of using the more traditional clay, wax, plaster. But stressed that found objects were very much the fashion in sculpture at the time.
Bill read History at Oxford first, but was also interested in contemporary art, and started going to life classes at the Ruskin (along with Americans on the GI bill). He remembers John Updike was there. Bill would often hitch-hike to London from Oxford to visit the galleries. Holland Park sculpture show ‘1950s/1850s’ (Sculpture 1857-1957) in particular was a big influence – he says he was knocked out by Henry Moore’s ‘Seated Warrior’ (Warrior with Shield, 1953-4) and Liz Frink’s ‘Standing Warrior’ (Warrior, 1957). Back at Oxford, he made figures with clay. He worked from his drawings of the figure rather than live models.
He applied to St Martin’s after finishing Oxford. Principal Morse and Frank Martin were the heads of the school at the time, and Bill says they had a very difficult relationship. Basically, Morse didn’t take him on as a student. He went to Central School instead, but it was at Central that he found out about Caro’s class at St Martin’s and decided to check it out. He found Caro too aggressive and obnoxious, so he stomped out. But then he decided to come back to St Martin’s because he preferred the free access they gave to the welding workshop there, as opposed to Central where you couldn’t use the equipment without going through this whole pain in the neck procedure with getting the key. So this time, Frank Martin took him on. He avoided Caro as much as possible, and stayed downstairs in the welding room with the Israelis (he mentions Buky Schwartz as an example).
Tim had finished his studentship in ’59 and worked in Paris, then came back in ’61. He said when he came back that Basement space was very active with stone carving and welding, etc. He was also very influenced by David Smith’s work, having discovered him at the USI in Paris.
50s & 60s American Paintings were a huge hit in Europe. The European Expressionist modelling was still big at the time, but American Abstract Expressionism changed everything. There was a freeform approach to making work at St Martin’s – a messy aesthetic – found objects, taking a leaf from Picasso’s inventiveness. Caro encouraged that.
Phillip (King) who had worked for Henry Moore, was very private about his work. His sculptures were made and stored in his attic studio of his house in W. Hampstead. Rosebud, & Drift, were completely new experiences of sculpture for the viewer. They were confrontational, due to their human scale, stood on ground, creating an enveloping and intimate experience.
Tim admits that he was influenced by Phillip’s use of wood, and fibreglass rather than metal/steel. (Phillip had discovered fibreglass as a material through boat building – working from the attic meant that weight may have been a factor in deciding to use this material.)
Tim also says: There were no ‘skills’ taught at St Martin’s. If you wanted to do something you had to figure it out for yourself by just doing it.
‘Returning to Early One Morning’
(I didn’t take notes for this so I’ll quote from the booklet)
“Ian Dawson will introduce and discuss a project he led with students from Winchester School of Art (Southampton University) to make a full-size facsimile of Caro’s seminal 1962 sculpture Early One Morning.”
‘The Triangle Workshops’
Chaired by Rebecca Fortnum, who read out from a transcript a conversation between Caro & Robert Loder, within which they talked pedagogy.
Rebecca than said that Caro is often painted as an authoritarian teacher at St Martin’s, but he was very different in the case of the Triangle. Very loose structure – artists representing the US, Canada, UK (making up the triangle of English speaking countries) sharing ideas and techniques, generally having a shot of doing something new artistically. Learning a lot by being alongside someone, in terms of skills, pace, etc, and being more collaborative and communal – most artists complain that after art school, they experience isolation in their separate studios, closed off from one another, behind shut doors – hence the idea for Triangle – they were all makers, together. They felt it was important to have artists talking to other artists, and also to the public –
the exposure to the public and critics was through shows at the end of the workshop period (fortnight) but the purpose was not to network as we do today, but for encouraging/enabling dialogue and testing/measuring the work. http://www.trianglenetwork.org/about
Frances Richardson then talked about her experience of doing the workshops with Triangle. She feels that everyone who attended art school in the UK system will have been influenced by Caro. She personally worked under an African master, making his work as an apprentice/assistant. She met Caro through Robert Loder, who bought a piece of traditional African work that she had a hand in making.
She attended the Mozambique workshop. There were 30 artists, no walls, artists working on top of each other the way Caro believed was best: “Stumbling over each other’s work”.
She found that being in her studio back in London was very isolating, so Robert put her in touch with visiting African artists and she worked with them. She said she had a confrontational (in a good way) relationship with Loder who came right out and asked her, “Why don’t you have a better studio?” She asked him back, “Why don’t you buy a building?” (Triangle didn’t have a permanent building/base at the time) Frances advises artists not to be afraid of the confrontation. “Don’t shy away,” she says. Loder answered, “Go out and find one.” And so she did. And that was the start of Gasworks Studios.
She participated in the Zimbabwe workshop. She said that the dialogues that were happening in S Africa were different than in Mozambique – they were more to do with leadership artists. (I don’t know what she meant by this – I didn’t write it down if she explained further. Sorry. My bad.)
She then told of an encounter with Caro (I don’t know if this was in Zim or Australia – sorry again) She had made a horizontal work that was partly submerged in the ground, and utilised a lot of clay but it wasn’t available to the viewer above ground, and so Caro asked her, “What are you doing? What questions are you asking?” and implied that he was also asking “Why aren’t you asking the same questions as me?” – this questioning of “What are you doing, what are you making, why are you doing it” was echoed in the first session discussion with Caro’s former assistants and collaborators – who were keen to point out that none of them ever wanted to leave his workshop. They did only when they thought they ‘should’ but they always came back if they could! They wanted to work for him forever, so he couldn’t have been as aggressive as all that. They spoke of him with affection and respect – guess he mellowed quite a bit by then, and shook off his Mr Meanie persona of the 60s!)
Excuse the digression. So, after a workshop in Australia, Rebecca realised that she needed a more permanent conversation with other artists than the fortnight model, and in London, rather than abroad, which happened at Gasworks – she says Caro was supportive of her decision to leave Triangle.
She showed us some images of her work, influenced by Caro: something she called ‘sculptural cartoons’ of ibeams (in mdf) that she considers to be drawings – “the object being an idea rather than a thing”. She is interested in the essence of 2D-3D conflict and has also worked in draped concrete canvas.
Anna Best then talked about her own experience of the workshops and later how she used the workshop model and developed it in different ways.
1st workshop was in 91. 2 weeks in NY. She commented on the confrontational and collaborative ethos, or if not collaborative, ‘together atmosphere’, which she found inspiring.
Back in London she was involved in setting up a Bermondsey artist studios,
but it didn’t work because of the long corridor, closed doors and isolation of the artists from one another’s actual practice.
She started (? – or was instrumental in starting?) Shave International, Sommerset. Robert always told her, “The model has to be followed.”
So there were 15 artists for 2 weeks. In the first weekend visitors (artists and art professionals) would be invited to act as a catalyst for people’s work, to provide a bit of distance for crits, and then at end of fortnight, there would be a showing, which was always contested. Not all wanted to show.
Shave International in Somerset happened 4 years in a row, and then with ACE funding & Anna Gibbs in ’97 there was a move to take the workshops elsewhere.
But the emphasis was there, on not having an individual studio, on conversation as integral to the making of work, the social, ‘up-for-grabs-ness’ of everybody’s processes is still very prevalent. Her own practice is a more dematerialised one now, working with people & events, more time-based, incorporating moving image, and relating to place/context – wanting to relate to the site. The preferred model for her is a more sustainable and longer term one. The 2 week bubble of the workshop format was quite frustrating for her practice in the long run.
(And my notes end there. I hope it’s been accurate, and that I haven’t misrepresented or misquoted anything anybody said.)
‘Steel Sculpture After Caro’
(Didn’t take notes for this, so again, I will quote from the booklet)
“Peter Hide, David Evison, Robin Greenwood, three steel sculptors who studied at St. Martin’s, will give short presentations on different sculptures by Caro. Sam Cornish will then chair a discussion on the continuing legacy of his sculpture.”