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  • Beginners Guide To Collecting Photography - Issue 2

    Beginners Guide to Collecting Photography - Issue 2 Part 2 is here! Following on from the first part of our beginner's guide, our friends at Crane Kalman Brighton have helped us put together our beginner's guide to collecting photography. If you haven't seen our first part, check it out here. ....
    Beginners Guide to Collecting Photography - Issue 2 Part 2 is here! Following on from the first part of our beginner's guide, our friends at Crane Kalman Brighton have helped us put together our beginner's guide to collecting photography. If you haven't seen our first part, check it out here. Welcome back to the second issue in this mini-series of The Beginners Guide to Collecting Photography. The process of buying photographic prints can be confusing if you're coming to it fresh. In the first issue, we talked about why you might collect photography, where you might start and how you can identify what you like. This issue will look at print editions, price points, print papers and how to make the most of that mailing list. Penguin XL by Mark Vessey Editioning The concept of editions is a confusing one so don't worry if you don't understand it straight away. When a photographer creates an image for sale, it'll be sold in an edition. This refers to the number of prints produced of that image in that particular size and sold for that particular price, although we'll see in the following section how this can change too as more prints are sold. Editions can vary widely in size, from 7 to 100, and even 250, and are usually called "Limited Editions" because the number of prints in that edition is (you guessed it) limited to that number. For example, Mark Vessey's Penguin XL is a limited edition print consisting of only 15 prints. This means that once all 15 prints in the edition have been sold, no more will be available to purchase. Fires 10 by Ellie Davies You may see the same image in several editions, but with different prices and in different dimensions. For example, it's possible to buy Fires 10 by Ellie Davies in two different sizes from the artrepublic website. When you're scrolling through the site you'll notice that one print of Fires 10 is priced higher than the other. The difference in price can be explained by the dimensions of the print itself: the higher price refers to a physically larger print, whereas the lower price corresponds to the smaller print. Bear in mind that with larger prints the size of the edition itself will usually be smaller. If you come across a print that you like and see it labelled as an "Open Edition", this simply means that there is no limit to the number of prints produced. This is a more common practice for archives to follow rather than photographers or artists, who prefer to maintain exclusivity to their work. Of course, if you're looking to collect work that will increase in value you'll be looking for Limited Editions because their value may increase as the edition becomes sold out. But don't discount a print you like simply because it's from an Open Edition! In our first issue of this Beginners Guide, we emphasised the importance of collecting work that speaks to you, and this advice should really stay at the front your mind as you embark on your collecting journey.     Price Points Closely related to editioning is, of course, price. The prices of editioned prints may vary depending on several things. We've just seen, in the previous section, how you might expect to pay more for a larger print. Well, you can also expect to see incremental prices as the number of prints remaining in an edition shrinks. For example, if you were interested in Ellie Davies's prints you should expect to find that, as more people buy the prints in any of her editions, the prices for the prints remaining in that edition increase. This is not unusual, it reflects the rarity of the remaining prints and the importance of an artist's creative control. Printing Grand Piano XL by Gina Soden One of the most common types of print is Giclee. The word comes from the French, meaning to "spray". The print is produced by a large format inkjet printer quite literally spraying the ink on to the paper so precisely and accurately that what results is the nearest thing to the original image. The paper and ink used in Giclee printing are archival, which means that the print is made to last a long time, so it won't degrade. Another popular form of printing is C-Type, also known as Chromogenic prints. This is a digital process; light-sensitive paper is exposed to lasers or LEDs that use the original digital file of the image, and then processed in photographic developer and fixed, much like the traditional darkroom process. A C-Type will also be printed on archival paper to increase its lifespan. Paper Not all photographic printing papers are created equal! There is a huge range of papers available and they vary in finish and texture, which lends a lot to the final product. If you're interested in knowing the specific kind of paper used don't hesitate to ask if that information isn't immediately available. Varieties include glossy, matte, pearl, rag and textured, each of which provides a different viewing experience. We briefly mentioned archival paper in the previous section. Archival papers are acid-free, meaning that certain chemicals which would David Bowie Photographed by Steve Rapport degrade the quality of the paper through constant exposure to air aren't present. While archival quality paper might make the print more expensive, know that you're also purchasing reassurance that the print will last for years to come.   Mailing Lists Like we said in issue one, make the most of technology and allow it to work for you; sign up straight away to the gallery's mailing list to ensure that you're kept up to date. These email updates might include new works from photographers, news of upcoming gallery shows and art fairs or information about new additions to the gallery's roster of represented artists. The great advantage of signing up to the gallery mailing list is twofold: firstly, it provides you with useful information without having to go looking for it; and secondly, it shows the gallery that you're interested. This is the best way to keep informed and gets you in on the ground floor so you can pave the way to your future photography collection. Sign up to our mailing list here.   We hope you enjoyed reading this article about photography and all the opportunity it offers. Stay tuned to see further instalments into the ever prosperous world of photography!   Want to see some of the wonderful photography that Crane Kalman Brighton Gallery has to offer? Check out their stand at the London Art Fair. See stand 21 on the main Mezzanine floor.  London Art Fair is a showcase for the most exceptional modern and contemporary and provides an opportunity to discover and to buy. The Fair is an established destination for both museum quality modern and contemporary work, nurturing collecting at all levels, from prints, photographs and editions, to major works by internationally renowned artists. The fair runs from 22nd-26th January at the Islington Business Design Centre. Haven't got tickets?  For your chance to win 2 tickets to the London art Fair, for entry to the fair on any day, enter our give away draw here. $test =
  • The Beginners Guide to Collecting Photography - Issue 1

    Beginners Guide to Collecting Photography - Issue 1 May is officially Photography month. Our friends at Crane Kalman Gallery have helped us put together a beginners guide to collecting photography.  Beauty And The Beast by Slim Aarons   Why collect photography? The best reason to buy a....
    Beginners Guide to Collecting Photography - Issue 1 May is officially Photography month. Our friends at Crane Kalman Gallery have helped us put together a beginners guide to collecting photography.  Beauty And The Beast by Slim Aarons   Why collect photography? The best reason to buy anything is that you cannot imagine living without it. Photography is still a relative newcomer to the collecting scene, having only really come to the fore in the 1970s, due to serious collectors began to notice its value. Since the 1980s, the market for art photography has been steadily accelerating. With a sharply growing status in the art market, today it is recognised as an established artistic medium. In a fifteen-year period starting in 2000, photography’s price index grew by 48%. By the end of 2017, art-market analysis showed that art photography sales were up 54% overall. Photographs by emerging and even established photographers are incredibly reasonable in comparison with the astronomical and ever-rising costs of contemporary art, which means that it is possible to build an exceptional photography collection for the equivalent price of one good piece of contemporary art. Did you know that the average auction price for a photograph is $10,000, compared with $60,000 for a painting? This makes it an appealing and exciting medium to be collecting, not to mention infinitely more accessible. And if you look at collecting work by emerging and mid-career photographers, or those in the 19-35 age group, it is highly likely that you will be investing early in great artists of the future. Where to start? There is no one-size-fits-all approach when it comes to something as subjective as taste and art. A personal touch is key. Think about what you like; maybe you have a penchant for vintage cars. You could start with a well-defined field, like landscape photography or portraiture, and explore the ways in which different photographers approach their subject matter. Some experts suggest creating a narrative through a selection of works by individual photographers. If you identify a noticeable theme driving your desires and interests, you can source works that respond to that theme. Grow your collection from there.  If you have a fondness for icons of our recent history, look at Richard Heeps’ work. In Indian Coca Cola, Heeps depicts the immediately recognisable, cursive, white Coca Cola script locked in a losing battle with fading red paint on wood boards. The once vivid colours recall the glowing Golden Age of Coca-Cola. This is when it was linked with relaxation and an American way of life. Now, the sign has deteriorated. That Golden Age is just a distant memory held in our collective cultural consciousness. Heeps creates a powerful and deeply nostalgic evocation of fifties American life to contrast the immediacy of our contemporary lives. Indian Coca-Cola by Richard Heeps If you have an interest in American style, look no further than Michael Schachtner’s elegant images of the iconic American sports shoe: Converse’s All Star. Schachtner's individual images of pairs of battered All Stars, one of the most iconic footwear silhouettes of all time, against a pure white background elevate the humble rubber-soled sports shoe to a museum object. The ingenuity behind this series is the way Schachtner depicts these shoes as portraits of their owners; every grain of dirt, every crease in the fabric, every hole in the sole represents a journey or adventure taken by the wearer, and vicariously by us. Converse, Stars and Stripes by Michael Schachtner What next? All Is Not Lost by Jeremy Gibbs AKA RomanyWG Consider your personality: do you prefer to plan or are you led purely by instinct? If you like to plan, think about creating a mood-board, bringing together your interests in an immediately visual way. From the simplest approach of collating images that you like, to a more in-depth method, like identifying the aesthetic of a decade, nothing is off limits to you. Why a mood-board? The process of physically pinpointing what you like or what interests you through a mood-board can stimulate fresh ideas. Make the most of technology; use Instagram to search hashtags that will inspire new ideas, and collect your interests digitally. The benefit of creating a mood-board, is that it will enable you to see how works will look together in one space. What suits you? Trips to art galleries and fairs are a good idea if you are guided by instinct. This is because you can look at work in the flesh. Visiting a gallery and being surrounded by images is a valuable way of gauging your reaction to an artwork the moment you see it. It will also enable you to visualise how pieces will look in your home. Consider size, space and style; you will know what suits you and your home best. You can then use artrepublic's website to find available works. Which photographers? Consider supporting early-career photographers as their work will be more affordable than the big names. You may discover a gem that speaks to you. Try following photographers on Instagram; this will bring you closer to seeing their creative process and what happens behind the scenes. It will also prompt you to research the photographer, their background, interests, or previous series. Summing up Let your instincts and tastes guide you. Know the background of the photographer, the series, the edition size and pricing ladder, and have conversations with the gallery; research is key. But ultimately buy what you like. Think with your head, but buy with your heart.   We hope you enjoyed reading this article about photography and all the opportunity it offers. Stay tuned to see further instalments into the ever prosperous world of photography! $test =
  • Q&A with Matt Jukes

    We were lucky enough to get a Q&A with the latest artist to join us here at artrepublic. Get to know the amazing Matt Jukes below. Emma: Hello, Matt. Thank you for agreeing to do this Q&A. First off, I wanted to ask what inspired you to pursue art as a career? Matt: I’m not sure how to ....
    We were lucky enough to get a Q&A with the latest artist to join us here at artrepublic. Get to know the amazing Matt Jukes below. Emma: Hello, Matt. Thank you for agreeing to do this Q&A. First off, I wanted to ask what inspired you to pursue art as a career? Matt: I’m not sure how to answer this question, as I’ve never really thought of this as a career. It’s never been a choice—it’s more a way of life. The inspiration to do my first art fair came when I was cleaning out my draw in the studio, trying to find some space for new work, and throwing the old work into the bins. Only to discover my studio buddies digging through the bins for my work.  For the first time, I thought that my work would resonate with someone other than myself. Emma: So has art always been a part of your life? Matt: Art has always been part of my life. One of my earliest memories was telling my mother about painting a red car in kindergarten and being upset that it didn’t match my vision. As a child. Emma: Did you study art before you started making your beautiful monotypes? Matt: Like most wistful teens, I studied art in high school where I was attracted to the freedom from the right and wrong answers of my maths and physics classes. From here I got side-tracked by a graphic design degree and a career in advertising. Advertising gave me an understanding of emotion and human connection and how to archive it through shape and form, which I have taken into my monotypes. Emma: What has been some of the biggest inspirations for you and your work? Matt: Hazy memories. All of my work is about the search for almost forgotten memories which I capture through emotions, music and places. Most of the titles of my work are references to obscure song lyrics. This is because music along with colour, it helps shape the emotion of a piece. Music is constantly surrounding me, providing a soundtrack to my life, this means that a handful of words can fill me with emotion, take me back to a time and place in a second. In my work, I always try laying down a feeling of place and not a physical depiction. I want the viewer to share the same emotion and implant their own location from their memories. Emma: Looking at your work, you seem to capture movement across landscapes really well. Is capturing movement a key part of your creative process? Matt: Movement and depth are critical to my work and deeply built into my process. Using the Offset Lithography Press allows me to carry forward the ink, moving my work away from a simple ink or no ink approach of relief printing and allowing each image to be held on the blanket. This is where this movement comes from. Emma: Is colour choice a big part of the process when creating your work? Matt: Colour and colour theory are a huge part of my work. I see colour as liquid emotion, layered in cultural meaning. I start every piece with a search for a colour, and as I hand mix the ink together, an emotion associated with that colour starts to emerge. Emma: Is every piece of your work inspired by a specific landscape? Matt: Every piece is an emotional representation of a specific place, but I usually keep the location a secret as I don’t want to influence the viewer in finding their own place. So my question to you is: where is this place for you? Emma: What has been one of your favourite pieces to work on? Matt: I find my favourite pieces are the ones which surprise me, the ones that pop up on the way to when you are looking for something else. My current favourite is a piece called “The Endless Sea”. It is much quieter than the others, as the tones are darker but strangely incandescent. I like that it’s a little tricky and doesn’t like to be captured by the camera. It only really shows its magic when viewed in person. Emma: Thank you so much, Matt, for letting us get a glimpse into how to create your stunning works of art. Are there any up-and-coming projects you'd like to let everyone know about?  Matt: The next project I am really excited by departs from my current work and looks into the memories of the individual viewer. To do this I’m building a robot which will look at the viewer’s face and analyse their emotions before setting out to paint a representation of what they’re feeling.     Don't miss Matt's one of a kind monotypes. These beautiful pieces are now available. Check out all of his work HERE  $test =
  • International Women's Day Interview with Louise McNaught

    To celebrate International Women's Day, we were lucky enough to get an interview with one of artrepublic's top female artists, Louise McNaught.    We talked about what International Women's Day meant to her, who has been an inspirational figure to her and a bit about her up and coming projec....
    To celebrate International Women's Day, we were lucky enough to get an interview with one of artrepublic's top female artists, Louise McNaught.    We talked about what International Women's Day meant to her, who has been an inspirational figure to her and a bit about her up and coming project. See the interview below. Emma: Hi Louise, thank you for doing this interview with us, especially with it currently being international women’s month. To start off, I wanted to first ask what does International Women’s Day mean to you? To be completely honest, it didn’t mean much to me previously. I initially felt that there was no need to have a specific day for women and for men. However, after having my daughter it has had more meaning to me, as I would like for my daughter to have as many possibilities in life in a world of equality. Emma: Do you feel that you are an inspiration to other female artists who might be starting out? I do often get contacted by female art students that look to me for advice and guidance. I often get asked if I can help them with projects that they have going on. It’s very flattering to say you have inspired someone as I’m just acting on what inspires me and if that speaks to others that’s fantastic! Emma: That sounds great that you are approached by young artists and that you offer advice. Do you view yourself as a role model for younger women?  Ever since I had my daughter, I now try to be a better, more responsible person! I don’t like to think of myself as a role model - that’s a very weighty title. I’d like the title ‘Inspirer’ instead, I hope I inspire women that want to pursue art, and who think the art world is male-dominated (and admittedly it still is), that they can still go for it! Having Autumn opened my eyes to the world, and it makes me think more about how life will be for her as she grows up, and I hope I can inspire her to go for whatever she is inspired by. Emma: Are there any inspirational female figures that had an impact on you while growing up and to also you currently? I would have to say my mum was a huge inspiration to me. Especially when it comes to how I want to raise my daughter. The way she raised me, makes me want to do the same for my daughter. One artist that that really inspired me growing up was the artist Susan Seddon Boulet. Her artwork isn’t very popular over here in England but in the US, she has a big following ... even though she died many years ago. Her art and career inspired me as an artist. Emma: Have you always wanted to be an artist? Yes, I have always wanted to be an artist. There are baby pictures of myself holding a pen in a very steady way from around age 1, and by the time I was 8, I definitely knew that I wanted to be an artist. My family were not artists, so this was very much a solitary pursuit. Emma: So, we know that you graduated from the University of Greenwich back in 2012. Do you have a favourite memory of when you were at the university? For me, the best thing about University was meeting other artists. Meeting more misfits like me. I didn’t know any other artists back at home, so it was great to meet more creative minds and socialise with them. Emma: You have many beautiful pieces that you have created over the years. What has been your favourite piece to work on and why? I would have to say the project I am currently working on. I am starting to incorporate elements of popular culture and consumerism mixed in with my animals. Emma: Do you have any advice for aspiring artists? Get your art online! Create your own website and promote your own work across social media. Find your audience online and make sure you to get your art in front of your following. Emma: Do you have any ongoing projects you’d like to highlight? The current project I am working on is called ‘Consume’. As a natural progression from Endangered Animals, I am creating pieces that show how these animals are going to face extinction. This will be on display in my solo show at the Royal Overseas League in  Mayfair from the 27th of June to the 9th of September 2019.    Louise McNaught is a contemporary artist with international representation and as of 2018 is also a published Author. Louise‘s creations feature animals that are God-like, sublime and ethereal in their presence and depiction.   Check out all of her work HERE  $test =
  • Meet the Women Who Are on Top of the (Art) World

     International Women's Day 2019 International Women's Day has returned! What better way to celebrate than by showing off our finest female talent. Even though we are now in 2019, there can be an imbalance between us. Some industries still treat women like second class citizens. Artrepublic couldn'....
     International Women's Day 2019 International Women's Day has returned! What better way to celebrate than by showing off our finest female talent. Even though we are now in 2019, there can be an imbalance between us. Some industries still treat women like second class citizens. Artrepublic couldn't disagree with this more. This is why we are dedicating this blog post to all the fabulous women we work with! LOUISE MCNAUGHT Louise McNaught became a professional artist whilst doing a Degree in Fine Art. Her distinctive use of bright colour, fading upward drips shows her obvious love of nature. She has international representation and as of 2018 is also a published Author. Her artwork has also been featured at art fairs in Milan, Hong Kong, Singapore, Stockholm, Brussels and all over the UK. Recently, McNaught has been using her voice and talent to educate people about all the beautiful animals that are becoming endangered. Her book 'Survival' strongly highlights how many animals are being lost using powerful imagery. Read more about Louise McNaught and check out her upcoming shows on her website HERE SARA POPE Bold, seductive paintings of voluptuous lips is what contemporary artist, Sara Pope is known for. Pope had a successful career in the fashion industry (as a shoe designer for brands such as Paul Smith), and also work in magazines as a designer and art director. This is where Sara draws her inspiration from. She aims to capture the glamour and seductive power conveyed by the lips and mouth. 24 galleries in the UK and internationally currently represent her. She has also completed collaborations with BareMinerals makeup, PIAS music label and Saatchi&Saatchi. See more about what Sara is up to HERE MARIA RIVANS Maria Rivans is a contemporary British artist, known for her scrapbook-style collage aesthetic. A mash-up of Surrealism meets Pop-Art, Rivans’s work re-appropriates vintage ephemera to create dreamy realms. This transports the viewer into fantastical worlds of the imaginary. Each one suffused with vivid colour, arresting imagery, intricate detail, and finished with a dusting of subtle humour. Maria works from her studio in Brighton: a kooky building, purpose built as a small cinema in 1911. She exhibits work throughout the UK as well as internationally. These spaces include Hong Kong, New York and across Europe. In 2017 and 2018, her work featured in The Times newspaper. As well as this, in 2018, the Royal Academy’s 250th Summer Exhibition selected her film Still ‘Understanding Nothing.’ Have a look at what Maria Rivans is doing HERE LUCY BRYANT Lucy Bryant is a contemporary artist and graphic designer and graduated from the University of Derby. However, Bryant is less defined by her formal art training than by her loose, creative approach and varied influences. These include Pop Art and the Punk music scene. Responding to contemporary culture, Bryant’s art subverts the everyday and the banal. She's always striving to disrupt the ordinary and create something entirely new. KRISTJANA S WILLIAMS Kristjana S Williams is an Icelandic born artist who studied graphic design and illustration at Central St Martins. This led to her gaining critical acclaim as Creative Director of Beyond the Valley for 8 years. Williams has become well known in the industry. This has won an array of awards from ‘Dulux Colour Awards’, ‘D&AD’, a New York Festivals Grand Prix and First Prize. As well as this, she was shortlisted for the Cannes Lions Festival of Creativity. See more from Kristjana HERE All these women are incredible artists all with their own styles, techniques and messages. Of course, we work with so many more women overflowing with talent that we wish we could have included in this list. To see our full list of artists, CLICK HERE  $test =
  • Get to Know Soozy Lipsey

    Leave the dull behind and enter the wonderful world of Soozy Lipsey! We had the pleasure of sitting down with the lovely Soozy Lipsey to discuss her work, her process and more.  R: Hi Soozy. Thank you for doing this interview with us. Let's jump straight in. Your approach to art seems incredibly f....
    Leave the dull behind and enter the wonderful world of Soozy Lipsey! We had the pleasure of sitting down with the lovely Soozy Lipsey to discuss her work, her process and more.  R: Hi Soozy. Thank you for doing this interview with us. Let's jump straight in. Your approach to art seems incredibly fun and not to be taken too seriously. Is this something you feel strongly about?  S: I would say my art parallels my life in many ways. I think life is a serious business and in the same breath really not so serious. Similar to feeling significant and yet totally insignificant. I find humour really does defuse the tension of these paradoxes. So in an answer to your question, I think having a laugh in life, especially laughing at ones imperfections, is crucial and I like to show that in my work. I have a sense of humour - its a way to really connect with people. Knowing how to really laugh at life is a skill I think and so wit is something I really admire in people. R: Your work beautifully captures the unexpected to produce both whimsical and macabre emotion. How do you perceive your own work?  S: I think some of my work really plays with the tensions: life and death, light and dark and weak-strong. l think my work has different levels of interpretation but if it doesn't disturb the viewer in anyway, then I fear my work is just passing people by which isn't of much interest to me. Being disturbed keeps us awake. A 'Do not disturb ' sign is not something I would hang anywhere near my artwork. R: Re-imagining and revitalising vintage art is something you adopt within your work frequently. What’s the feeling behind it? Is there a reason you choose to do this? S: I think the past is where we draw our wisdom our guidance - it's incredibly important. One of my favourite Quotes is from a Danish philosopher, Kierkegaard. He says 'Life can only be understood backwards, but must be lived forwards.' I think anything with a sense of history has a quality about it that new things just do not have. I am drawn to these qualities intellectually, aesthetically and emotionally. I like to revisit something with a sense of age - something that has existed for sometime and then change it. Therefore, it embodies a new lease of life.   An example of that was buying an old picture of a vase of flowers and cutting it in half and hanging just half the picture. The idea behind this was to offer the viewer just half the story, the rest was up to the viewer to imagine. I liked the idea that the discarded half remains in the past. It also played on the human drive to always be desiring, and by withholding half the picture the viewer would hopefully be in a state of momentary satisfaction as I had left them desiring the other half or even imagining it. I hadn't given them everything, which hopefully captured their attention for longer than I would have had I just hung the full picture. R: What’s your process when creating a new piece? Do you have a “routine” or a method you stick to or does it flow much more naturally? S: There usually is no great plan other than trying my very best to do what I perceive is my job as an artist. This being to keep myself on the outside of most conventions, especially routine because routine and habit can dull the senses. It makes us spoilt and complacent and even entitled. I think it's the artists role to look at life with a sense of enquiry. If my work embodies that even a fraction, then whatever material or style I use is irrelevant really. R: What are you favourite mediums/materials to work with? And what are your favourite themes/subjects to capture? S: I like print as it's accessible and affordable which is a key thing for me - art can be purchased by a wider audience. I love old objects, paintings and great thinkers, philosophers and tubes of paint. My favourite themes would have to be the human condition. R: How do you keep your studio/workstation? Is it rather neat and tidy or could it be considered its own work of art? S: It's a total mess when working on something. The idea of anything 'becoming' that doesn't generate mess is a mystery to me. Birth is messy business, after all. Neat and tidy is something I like to visit once in a while just to ground myself and to pretend I have everything under control. R: You’ve previously collaborated with Dan Hillier to produce ‘The Meeting,’ beautifully capturing your unique styles together. Have you got any future collaborations in the works? Or is there an artist you would like to work with in the future? S: I have no plans to collaborate in the near future however, I think collaboration is brilliant! If there is anyone out there who fancies a collaboration, don't hesitate to get in touch! R: And finally, do you have a favourite artist? S: I can't resist giving a mention to my absolute love, Rene Magritte. He is my hero. I'm not one to put anyone on a pedestal but as far as I'm concerned, his mind and execution of  ideas never cease to disappoint and amaze me. He is a poetic genius! Soozy Lipsey re-imagines the traditional with contemporary whimsy, adding a touch of the fantastical here, and a dash of the macabre there, for visually provocative aesthetic. Re-purposing existing - or ‘found’ - objects and images, Lipsey transforms nostalgia into the uncanny though combinational techniques.  Check out all of her work HERE           Check out Soozy Lipsey's website HERE $test =
  • Mark Rothko’s famous Four Seasons tale retold on stage

    Win tickets to see RED in the West End plus dinner and a night at One Aldwych hotel. Mark Rothko is known as one of the greatest abstract expressionists of his generation (although, we should probably say that he personally refused to be associated with any particular art movement or style). Hi....
    Win tickets to see RED in the West End plus dinner and a night at One Aldwych hotel. Mark Rothko is known as one of the greatest abstract expressionists of his generation (although, we should probably say that he personally refused to be associated with any particular art movement or style). His paintings have an incredible depth, and create the feeling that however long and hard you look at them, there is something buried within these artworks that you can’t quite reach. So you sit, and look a little longer. If you’ve ever sat in the Rothko room at the Tate Modern, surrounded by some of the artist’s vast canvases, you might recognise this sensation that he was pushing us towards with his abstract blocks, created with numerous thin coats of cleverly applied colour – it’s about finding clarity, understanding and experiencing something that is physically bigger than ourselves. For a man who had been brought up in the orthodox Jewish community in Russia, but who had given up religious practice after the death of his father, painting was a sort of act of worship. The takeaway from this gallery-based experience? Clearly, Mark Rothko was a complex man. In the 1950s, as he began to experience significant success on the New York art scene, Rothko was approached by the Four Seasons to complete a commission for their restaurant. Now known as the Seagram murals, the 40 completed paintings in dark red and brown were, at the time, the largest commission in the history of modern art. However, Rothko’s decision to accept the commission was strange – especially as he told a journalist in confidence that his hope was to create ‘something that will ruin the appetite of every son-of-a-bitch who ever eats in that room…’ Drama, obviously followed. Some of the paintings in question are now located in that room we were discussing at London’s Tate Modern rather than in New York, which tells you something. The events that ensued became notorious and, as a story, became a prime topic for a stage play. And then an actual play: John Logan’s RED. As it returns to London’s West End, for the first time since its world premiere at the Donmar Warehouse in 2009, we (the long-time Rothko fans at artrepublic) have two tickets to give away to you, our art lovers. RED has been described by the New York Times as being a play ‘with such fierce conviction that it never lets you look away.’ The plot follows Rothko’s experience when, having just received the largest commission in the history of modern art, he finds himself consumed by warring desires for integrity and success. Having headed up the original London cast, award-winning stage and screen actor Alfred Molina (Raiders of the Lost Ark; Chocolat; Frida; Spiderman 2) reprises his role as Rothko, while breakthrough British actor Alfred Enoch (How to Get Away with Murder; Harry Potter) takes the part of Rothko’s fictional young assistant, Ken, who provokes him to make an agonising discovery about the price of fame. With this cast, and six Tony Awards, including Best Play and Best Direction to its name, Red is certainly not a story to be missed. If you’d like to win a pair of tickets to the press night of RED in London’s West End, with a pre-theatre dinner and an overnight stay at One Aldwych, as well as a £100 artrepublic gift voucher, Enter our competition here. Plus 5 runners up will each win a pairs of tickets to see the play. T’s and C’s apply. Red will run at Wyndham’s Theatre form 4th May to 28th July 2018. $test =
  • All Too Human: Bacon, Freud and a Century of Painting Life exhibition review

    All Too Human: Bacon, Freud and a Century of Painting Life is a landmark exhibition at Tate Britain celebrating how artists have captured the intense experience of life in paint. It showcases around 100 works by some of the most celebrated modern British artists, with the work of Lucian Freud and Fr....
    All Too Human: Bacon, Freud and a Century of Painting Life is a landmark exhibition at Tate Britain celebrating how artists have captured the intense experience of life in paint. It showcases around 100 works by some of the most celebrated modern British artists, with the work of Lucian Freud and Francis Bacon at its heart. The exhibition explores how their art captures personal and immediate experiences and events, distilling raw sensations through their use of paint, as Freud said: ‘I want the paint to work as flesh does’. Bringing together major works by Walter Sickert, Stanley Spencer, Michael Andrews, Frank Auerbach, R.B. Kitaj, Leon Kossoff, Paula Rego, Jenny Saville, Lynette Yiadom-Boakye and many others, this exhibition will make poignant connections across generations of artists and tell an expanded story of figurative painting in the 20th century. The exhibition will also shed light on the role of women artists in the traditionally male-dominated field of figurative painting. Paula Rego explores the condition of women in society and the roles they play over the course of their lives, while always referring to autobiographical events, as in The Family 1988. Her work underwent a particularly profound change in the late 1980s and 1990s when she returned to working from life. The exhibition will also celebrate a younger generation of painters who continue to pursue the tangible reality of life in their work. Contemporary artists like Cecily Brown, Celia Paul, Jenny Saville and Lynette Yiadom-Boakye work in dialogue with this tradition while also taking the painting of figures in new directions. All Too Human: Bacon, Freud and a Century of Painting Life Tate Britain 28 February – 27 August 2018 Image Credits: Lucian Freud, 1922-2011, Girl with a White Dog, 1950-1, Oil paint on canvas, 762 x 1016 mm, © Tate Francis Bacon, 1909-1992, Study for Portrait of Lucian Freud, 1964, Oil paint on canvas, 1980 x 1476 mm, The Lewis Collection, © The Estate of Francis Bacon. All rights reserved. DACS, London, Photo: Prudence Cuming Associates Ltd. Paula Rego, born 1935, The Family, 1988, Acrylic paint on canvas backed paper, 2134 x 2134 mm, Marlborough International Fine Art, © Paula Rego Jenny Saville (b.1970), Reverse, 2002-3, Oil paint on canvas, 2134 x 2438 mm, © Jenny Saville. Courtesy of the artist and Gagosian.   $test =
  • Urban Nation Museum for Urban Contemporary Art opens in Berlin

    We loved catching up with some of our favourite artists at the opening of Urban Nation Museum for Urban Contemporary Art in Berlin last week. The vibrant city has long been a mecca for street art and creative projects. Urban Nation, led by Yasha Young, invited 150 of street art’s leading lights....
    We loved catching up with some of our favourite artists at the opening of Urban Nation Museum for Urban Contemporary Art in Berlin last week. The vibrant city has long been a mecca for street art and creative projects. Urban Nation, led by Yasha Young, invited 150 of street art’s leading lights to create work for the inaugural show and transformed the museum’s surrounding walls and outdoor spaces. Set in lively Schöneberg, the museum itself is ultra modern and spacious, designed in collaboration with GRAFT architects. Murals, installations and paste-ups by graffiti artists from all over the world can be seen everywhere you look outside the museum from the likes of Anthony Lister, Marina Zumi, Herakut, Ron English, Blek le Rat and Sandra Chevrier. Artists from all over the world transformed the area into a live exhibition. "Urban contemporary art is the logical next step to follow what is happening on the street. This house can be an archive that tells the story [of street art] for the first time, from the beginning until now." Yasha Young, Director of Urban Nation Berlin. Inside the museum, the only one of its kind in the world, there are works from street art greats from all over the world and a library dedicated to street art photography legend Martha Cooper. Here are five of our favourite artists featured in Urban Nation’s museum. Blek Le Rat Blek le Rat is a Pioneering French graffiti artist, one of the Godfather’s of the European street art movement. Using stencils instead of stylised lettering for graffiti, Blek le Rat was one of the first true street artists. During Blek’s career, his art prints have become more and more political, focusing on the homeless, the environment, and other social causes. Blek le Rat has inspired hundreds of artists around the world – including the infamous ‘Banksy’. Despite the enormous role he has played in street art, Blek le Rat has kept a low profile through most of his career to avoid public harassment. He just substituted his surname ‘Roc’ with ‘Rat’ because rats symbolise a lot for him “they create fear, they are synonymous with invasion and they are the Stencil outside the Urban Nation museum Ben Eine Originally a writer, influential artist Ben Eine is now one of London’s most prolific artists, specialising in typographical art. The archetype of contemporary UK street-art, Eine’s ‘21st Century City’ was famously gifted to Barack Obama by David Cameron in 2010, and can be seen daily on his canvas of choice: the walls and shutters of shops around London. ‘Alphabet Street’, his most iconic work to date, is an unbounded mural, filling the concrete spaces of Middlesex Street, London, with his characteristically colourful lettering. Installation inside the museum Ron English You can’t miss Ron English: one of the most prolific and distinctive artists working today, English is best known for combining expert craftsmanship with a cynical, humorous critique of American culture, his work includes art prints, billboards, and sculptures. English coined the term ‘POPaganda’ to describe his signature mash-up of high and low cultural touchstones, from superheroes and comic strips, to art-historical iconography. English has imagined a vast (and still growing) roster of characters, including MC Supersized, his obese fast-food mascot, featured in the documentary ‘Supersize Me’ (2004), and Abraham Obama, a fusion of America’s 16th and 44th Presidents. Temper Tot mural, Berlin Eelus Balancing the opposing forces of the humorous and macabre, vivid color and stark monochrome, Eelus’ work brings the beautiful and sometimes caustic realities of the world together. It all started when he was a kid, drawing posters of the Teenage Mutant Ninja Turtles to sell in the schoolyard so he could buy chocolate. Some years later, he’d sold enough posters and art prints to leave his day job behind, turning a lifelong hobby into a full-time profession. Since then, he’s exhibited his art works worldwide alongside some of the biggest names in the urban art scene, with the majority of his releases selling out incredibly fast. Handidan The art of Dutch artist Handiedan involves a complex cut and paste mixture of computer montage and highly detailed sculptural hand cut collages, complimented by conscientiously collected antique ornamental frames. Build out of multiple classic pin-up body parts, the female form stands out over a backdrop of baroque and Victorian Neo-Classicism designs. The artist often uses international currencies and stamps, antique sheet music ornaments, playing cards, cigar bands, Asian papers with personal items and drawings. Intricate and meticulously crafted, the collages represent the gradual accumulation of both the layers in her work and her work process self. Urban Nation, Bülowstraße 7, 10783 Berlin, Germany   Enjoyed this article? Sign up to our newsletter for the latest art news SUBMIT $test =
  • Basquiat: Boom for Real at the Barbican, 21 September 2017 – 28 January 2018

    “I don’t listen to what art critics say.  I don’t know anybody who needs a critic to find out what art is”  Jean-Michel Basquiat (1960-1988) Barbican’s Boom for Real is the first major retrospective of Jean-Michel Basquiat’s dynamic, naïve, paintings in the UK. Unbelievably, the Ba....
    “I don’t listen to what art critics say.  I don’t know anybody who needs a critic to find out what art is”  Jean-Michel Basquiat (1960-1988) Barbican’s Boom for Real is the first major retrospective of Jean-Michel Basquiat’s dynamic, naïve, paintings in the UK. Unbelievably, the Barbican say, absolutely none of his work is even held in a public UK collection - despite that he is one of the most widely celebrated and well recognised painters of the 21st century. As the late artist’s sisters, Lisane and Jeanine Basquiat said “We are delighted to be working with the Barbican on this important exhibition, which is so long overdue” Basquiat: Boom For Real Installation view Barbican Art Gallery 21 September 2017 – 28 January 2018 © Tristan Fewings / Getty Images Artworks: © The Estate of Jean-Michel Basquiat. Licensed by Artestar, New York Jean-Michel Basquiat (1960-1988) came of age in post-punk New York and by 1982 was internationally known. This self-taught, young black artist was making unprecedented waves with his bold and colourful, text-laden artworks up to his tragic and untimely death in 1988. Drawn from museums and private holdings around the world, Basquiat: Boom for Real has brought together more than 100 works – resulting in a powerful and comprehensive view of this enigmatic, rebellious, artist. Basquiat: Boom For Real Installation view Barbican Art Gallery 21 September 2017 – 28 January 2018 © Tristan Fewings / Getty Images Artwork: Jean-Michel Basquiat King of the Zulus, 1984-85 © The Estate of Jean-Michel Basquiat. Licensed by Artestar, New York The show focuses on Basquiat’s many influences; music, writing, performance, TV and film. The young artist expressed himself in a range of artforms – his creativity flowing through his many paintings, drawing and notebooks, photography and music. Basquiat: Boom For Real Installation view Barbican Art Gallery 21 September 2017 – 28 January 2018 © Tristan Fewings / Getty Images Artwork: Jean-Michel Basquiat A Panel of Experts, 1982 Courtesy The Montreal Museum of Fine Arts. © The Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Basquiat began graffitiing on the streets of New York City with classmate Al Diaz under the name SAMO© and was soon drawing with his own blood, collaging baseball cards and postcards and painting on clothing and anything else to hand. An outpouring on creativity that led to him collaborating with Andy Warhol, working on murals for outrageous New York nightclub the Mudd Club, Area and Palladium. A famously self-taught artist with little respect for the opinion of critics, Basquiat was inspired by an extraordinary range of subjects – from anatomical drawings to bebop jazz to silent film. This wonderful exhibition shows how he melded these, and the people and experiences of 80s downtown New York into his own, unique style. Basquiat: Boom for Real runs at the Barbican from 21 September 2017 – 28 January 2018. Enjoyed this article? Sign up to our newsletter for the latest art news SUBMIT $test =

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