IVARO’S ADRIAN COLWELL OFFERS ADVICE FOR ARTISTS ON NAVIGATING COPYRIGHT AND LICENSING ISSUES. The transition from studying in art college to working as a professional in the art world is always a difficult one. Sustaining an arts practice and making a living as an artist involves many challenges, both conceptual and practical, that aren’t given much attention across college curriculums. One of the most pressing things to learn is how to attribute monetary value to a newly created artwork. Despite all the ambition you may have as a young artist, the concept of actually making money from your work may, in reality, feel quite novel as a student or recent
SHELLY MCDONNELL TALKS ABOUT THE VARIOUS SUPPORTS AND ADVICE OFFERED TO EMERGING ARTISTS THROUGH THE VAI HELP-DESK. I deal with professional queries through VAI’s Help-Desk – a free and confidential service available to all artists, by phone, email, through the website and in clinics nationwide. If you have a question, an idea or a problem, I’ll usually be able to offer advice or at least point you in the right direction. Every artist faces their own challenges, but a few regular queries are touched on below. These themes are expanded upon in the ‘How To Manual: A Survival Guide for Visual Artists’, available on the VAI website. Finding Opportunities You
ROB HILKEN OUTLINES OPPORTUNITIES AVAILABLE TO EMERGING ARTISTS THROUGH VAI’S PROFESSIONAL DEVELOPMENT PROGRAMME. Visual Artists Ireland offers a range of supports and opportunities to artists at all stages of their careers, including emerging artists. We recognise that recent graduates have different needs to those with more established practices, but also that it is important to share new developments that affect everyone. We value peer support and encourage artists to discuss their experiences and learn from each other. Many of our events and seminars are free, while those that do have a booking fee are heavily discounted for VAI members. The Visual Artist’s Café format combines information-sharing, discussion and networking. We
Sometime back in the early 2000s, I began following a blog by a mysterious character called ‘K-Punk’. K-Punk wrote with rare brilliance – and at astonishing speed – about music and other idiosyncratic preoccupations: J.G. Ballard’s urban dystopias; films by Stanley Kubrick, David Lynch and David Cronenberg; 70s sci-fi TV series; the coastal landscapes of south east England; writers of otherworldly stories like Ursula Le Guin and H.P. Lovecraft; X-Men comics; Christopher Nolan’s Batman; Kate Moss; the England football team. His rapturously eloquent, bracingly erudite posts on pop music – in its various underground and overground forms – were, though, the first to snag my interest. Often, they were hilariously spot-on
This column was originally published in the January/February 2011 issue of the Visual Artists’ News Sheet. In my column for this publication a few months ago, I called for a new negativity, in the spirit of Herbert Marcuse’s claim that the proper function of art was to be a “Great Refusal”. What better answer could I get than the massive ‘NO’ painted on the grass of Parliament Square in London during one of the recent series of protests against government cuts in the UK? Only four weeks ago, this kind of negativity still seemed to be only a distant possibility in a place like the UK. When, at a conference on
VAI is an all Ireland body, which means that Brexit will have a clear impact on us and on all arts organisations across the island who operate either across the border or ROI collaborations with UK organisations, festivals and events. The unfortunate truth is that the fallout from the vote has already happened. The fall in Sterling has had a direct impact on organisations such as ours that receive funding from Northern Ireland. Around 19% of our funding comes from the Arts Council of Northern Ireland and through our membership in Northern Ireland. With the collapse of the Sterling against the Euro this has now been reduced to around 13%.
The audio-essay I recently produced in collaboration with Justin Barton, On Vanishing Land, was in part a disquisition on the eerie.  For us, the eerie was defined by problems of agency. In the deserted spaces which often trigger the feeling of the eerie, we are forced to ask if there is an agent present, unseen but watching us. If an agent is present, what is its nature? Is it hostile, friendly, or merely indifferent? The feeling of the eerie is also likely to be provoked by the contemplation of the relics left behind by agents who have long departed. The statues on Easter Island, the stone circle at Avebury – these
The artist Michael Wilkinson’s show ‘Lions After Slumber’, which was exhibited last May at the Modern Institute in Glasgow, was a repository of artefacts from past militant moments. The show was dominated by images and objects referring to the May ‘68 events in Paris and the punk and post-punk cultural sequences that happened in the UK in the late 70s and early 80s. The largest item in ‘Lions After Slumber’ was a massive photograph of Piccadilly Circus – the same image that had hung, upside down, in Malcolm McLaren’s shop Seditionaries in the 70s. But, tellingly, Wilkinson exhibited the photograph the right way up, a sign of the ways in
Thank you for flying with transnational commodification we shall shortly be arriving in mayhem if there is anybody on board who can impersonate a pilot it would be of comfort to the other passengers… Never have these lines from Nick Land’s 1992 theoretical-fiction Circuitries seemed more acute. After 2011, it would be perverse for anyone to talk about the end of history any more. It was as if, after a prolonged period of emaciation, history has been bingeing. The density of world-historic events in 2011 was such that it seemed almost impossible either to keep track of them, or to believe that they had all happened in one year: the
We work exceptionally hard in the arts. Whether working day in, day out in studios, travelling the length and breadth of the country, grant-chasing, freelancing or maintaining real jobs at the fringes of day jobs, we move mountains every day. While critical reflection is an inbuilt methodology of what we do, how often do we actually pause to reflect on our progress or marvel at our achievements? As the final Visual Artists’ News Sheet of the year, this issue is positioned to consider recent developments across our sector, while assessing some of the challenges that remain.