lake side 240924

September 24th 2024,

We visited Lakeside Gallery to see Paula Rego and Grayson Perry's exhibitions, where each artist was given a room to set up their works. Both artists used different yet similar mediums, such as lithographs, printmaking, and carvings. With a variety of sizes both artists used, all sorts of details can be seen in all of their works, from small words only visible up close to quick and simple shapes that still show art pieces.

Rego was born and raised in Portugal during the Salazar dictatorship to Anglophile parents. These parents instilled in Rego a love for books and stories of all kinds and encouraged her to read and speak English. Rego was a voracious reader, and her early years were surrounded by great literature books whose vivid and graphic ideas made an indelible impression on her imagination.
Paula Rego: Visions of English Literature aims to spark new ways of seeing the world through these seemingly familiar, age-old stories.

In 1989, Rego made a book of Nursery Rhymes for her first granddaughter, Carmen, who was two years old. Her delight in turning the songs into pictures spurred her to make the long series of etchings.

She used these well-known figures from the nursery rhymes with her own twist to tell stories that combine fantasy and imagination, innocence and cruelty, to explore the complexities of life and the experience of women in particular, in all its strangeness and mystery. In her art, these stories can be told with just one glance.

(Goosey-goosey Gander, 1989, Etching and aquatint)

(Baa, Baa Black Sheep, 1989, Etching and aquatint)

(Old Mother Goose, 1989, Hand coloured etching and aquatint)

Module pieces - bygone eras of the internet: Frutiger Aero (2023)

Introduction

Anemoia is nostalgia for a time you have never experienced; it also means having feelings for something that we don't have now but would like to have, such as Frutiger Aero. So, I am showing my love for this feeling through my work, trying to show viewers what I see when I feel such emotions. But to me, the state of anemoia is comforting, as it was triggered by revisiting places I visited when I was a young child, such as vividly remembering the children's wing of a hospital waiting for a check-up with all the fish on the walls and hanging from the ceiling. My comfort zones contain the details mentioned above, as well as thinking back at things I had used, played with or watched as a young child, as it brings back good memories of times that make me remember doing so.

This is how I became interested in this aesthetic. My versions of this forgotten aesthetic can bring back some memories to viewers who remember experiencing it in the past, even if they see it in passing, like inside a shop or on some software. I will explore this aesthetic by recreating my own versions using images of places I would see daily. I will also show the absence of people, thus giving them an immaculate look, as humans extract natural resources, making areas look unclean and unkempt. So, my pieces of art should look pure and untouched.

Artist Research

Frutiger Aero is named after Adrian Frutiger (who created the Frutiger fonts commonly used alongside Frutiger Aero) and Windows Aero (the UI theme of Windows Vista/7), which spread outward and influenced many other companies' design choices during the era. However, Sofi Lee coined the term Frutiger Aero in 2017 as a combination of Aero and the Frutiger typeface, which was popular with corporate materials of the time.

(an example of Frutiger Aero, Pinterest)

Research on the topic

Web 1.0, 2.0, and 3.0 are classic terms used to describe the evolution of the World Wide Web. Each iteration has brought new capabilities and changes to how we interact with the web.

1.0 emerged in the 1990s and was primarily used for information sharing and retrieval. Websites were static and mainly consisted of text and images. Users could only view and read the information but not interact with it. But everything changed after the second wave of internet evolution.

Web 2.0, which emerged in the early 2000s, introduced interactivity and user-generated content. With its changes, websites became more dynamic and allowed user participation through blogs, forums, and social networking features.

But soon, Web 3.0 made headlines as the "Semantic Web". It is said to be the next evolution of the World Wide Web. The concept behind Web 3.0 is to make the web more intelligent by using technology such as artificial intelligence, machine learning, and natural language processing. This would allow computers to understand and interpret web content in a more human-like way, making it easier for people to find the information they need. However, Web 3.0 is still under development, but some early examples include virtual reality, augmented reality, and voice-enabled search.

Artist Research

"James Casebere, born in 1953, is an artist with a similar style to this aesthetic. He grew up outside of Detroit and studied with Siah Armajani as an undergraduate at the Minneapolis College of Art and Design and John Baldessari as a graduate student at Cal Arts.  

For over 40 years, Casebere has built and photographed architecturally based models which explore the relationship between sculpture, photography, architecture, and film. Starting with Sonsbeek '86, in Arnhem, Holland, through 1992, Casebere made large-scale sculptural installations.

His work is in the collections of and has been shown at major museums around the world, including the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Whitney Museum (New York); the Tate Gallery (London); the Los Angeles County Museum of Art (Los Angeles); and many others. He has had solo shows at the Musée d'art contemporain de Montréal (Canada); Centro Galego de Arte Contemporánea (Spain); Museum of Modern Art Oxford (UK); the Cleveland Museum of Contemporary Art (Ohio); the Indianapolis Museum of Fine Arts (Indiana); and other museums.

In 2016, his work was the subject of a major retrospective at the Haus der Kunst in Munich, Germany and has been included in exhibitions highlighting the work of what is now widely regarded as the Pictures Generation, the title of a 2009 exhibition at the Metropolitan Museum of Art in New York. Casebere receives three fellowships from the National Endowment for the Arts, three from the New York Foundation for the Arts and one from the Guggenheim Foundation. In April 2019, he was awarded the Abigail Cohen Rome Prize through the American Academy in Rome."

- James Casebere, bio.

The image below is by Casebere, called 'Yellow House on Water', made in 2018. It shows a simple yellow house with no windows or doors, a very high doorframe, and a railless staircase to one of the rooms. This building is in front of a group of mountains that are silhouetted due to the dark, overcast clouds, yet its reflection is seen in the water in front of it, distorted by the water's surface ripples.

This has inspired me to create my own by taking a picture of some exterior or interior and editing or redrawing them to make them look white and clean so that I can add some frutiger aero aspects into it, such as glassy looking bubbles, significant things in a smaller space, like a giant butterfly in an average room. I have always been intrigued by retro aesthetics such as Frutiger Aero because this style reignites memories and stories of a particular time, making it unique. But these aesthetics give me a sense of anemoia.

Images that I took for some inspiration

Types Of Galleries, legal implications of being an artist (2024) and workshops with skill sharing

Art Dealers/ Gallerists

These represent artists and exhibit them in either group or solo shows. These higher-end venues are incredibly influential; you can choose who they represent. They have galleries in major commercial centres like London, Paris, New York and Berlin. They represent very established artists. They also participate in significant Art Fairs like Freeze or the Armoury Show. They sell art to top collectors and major public institutions like The Tate. They often take up to 50% commission. They only show artists who have major status. The good news is they show lots of great art for free.

- Lisson Gallery

Marina Abramovic. Ai Weiwei. James Casebere. Tony Cragg. Angela de la Cruz. Richard Deacon.

- Gagosian

Francis Bacon. Georg Baselitz. Gregory Crewdson. Willem de Kooning. Giacometti.
- Barbara Gladstone
Miroslaw Balka. Matthew Barney. Keith Haring. Thomas Hirschhorn.
- White Cube

Miroslaw Balka. Georg Baselitz. Chuck Close. Tracey Emin. Gilbert & George. Antony Gormley.

Commercial Galleries

These sell work on behalf of artists and organise exhibitions, both solo and themed. Typically, artists meet all costs, including making, framing, and transporting, and they take a percentage of sales.

- Transition Gallery - London

This is a commercial stepping stone for top dealers. It shows established artists on the way up, and more established galleries monitor them.

- Tarpey Gallery - Castle Donington

Shows group and solo established artists. Less transitional due to regional location and place in the hierar

- Cupola Gallery - Sheffield

Deals with fairly established artists. Closer to a shop situation but also curates thematic shows

Hire spaces

These are bookable spaces run by artist's studio groups and commercial organisations. Artists pay to hire the space or be included in their themed shows, and then the gallery deals with various aspects like staffing, preview, marketing, etc. Research location and status. You still have to go through a selection process.

Examples include

- Oxo Tower
- Brick Lane
- Surface Gallery

Artist-run galleries

Often within studio groups, these spaces are great for peer artist affirmation, and some are highly respected, but they are typically less used for selling work. They do carry credibility. Depending on their scale, they can have a whole team working with them on a paid basis or be solely staffed by volunteers. They are arguably the bedrock of artistic activity. These all started by artists with a DIY attitude determined to build their own art - world. You can start your own. Depending on scale, they receive ongoing public funding or work on a project-by-project basis. Some choose to avoid public financing so they can be free. They often are built around studio spaces.

- Bloc - Sheffield
- Backlit - Nottingham
- Airspace - Stoke
- Spike Island - Bristol
- Espacio - London

Regional Flagship Galleries

These show international artists (as opposed to artists who exhibit internationally). They are invited only by their curatorial staff, although they often employ regional artists to deliver art education programmes. Like public collections, they emphasise public engagement. In the UK, they are frequently partnered with organisations like the Tate, which means they have some access to their resources and collections.

- Nottingham Contemporary

- Baltic - Gateshead

- Firstsite - Colchester

- The Hepworth - Wakefield

- The Turner - Eastbourne

Main regional Galleries/Museums

These are either run as museum trusts and publicly funded or as part of the local authority. They tend to have their permanent collection on display, but they also show touring shows and initiate their own programme. Some are more reactive than others. Some have annual open exhibitions with a regional focus. They have a solid public emphasis from education to interpretation. Like regional flagship galleries, they employ artists in many roles and jobs.

- Nottingham Castle
- Derby Museums
- Birmingham City Art Galleries
- Sheffield Museums
- Liverpool Museums

Arts Centres

These are typically multi-purpose, often having cinema, exhibition, and performance spaces, and can even include dance studios. They have more flexibility in what they show and present due to not having a permanent collection to manage.

- MAC Birmingham
- CHAPTER Cardiff
- Brewhouse Burton
- 2021 Visual Arts Centre
- BAC London

University Galleries

These show curated public exhibitions and, in some cases, many other types of creative activities which sometimes (but not always) connect to the research interests of the academic community. They provide a cultural focus for the institution and its community. They vary in size and status considerably.

- UH Arts

- Bonington Gallery

- Lakeside

- Kettles Yard

Pubs, cafes, libraries, etcetera

These can be suitable starter spaces. Just make sure you agree in advance on things like commission, who pays for what, and what happens if work gets damaged or stolen. Some are curated, i.e., organised by a person.

Open house/studio

There are many organised events, like Sherwood Arts Week or Nottinghamshire Open Studios, where you can open up your workspace to visitors. If you don't mind talking to strangers in your own home or space, these are good for reaching out to a local audience.

DIY Venues and pop-up shows

There are many empty shops and spaces that artists can take over for an exhibition. They need to have their own insurance and be sure they will not be charged for business rates. Art Quest, an artists' advisory organisation, has some advice below. This DIY culture has a strong tradition and is an excellent way of kick-starting your showing career.

Legal implications

I know that an artist needs public liability insurance to put their art on exhibition, which covers the policyholder against any claims made by third parties (e.g., members of the public). A member of the public might make a claim if they are injured during an exhibition, for example. Artists' insurance also covers loss of property like tools, supplies, and artwork from risks like fire, natural disasters, lightning strikes or theft (business personal property). Loss of a studio building you own. Loss of tools, display equipment, or artwork away from your studio, such as at an art show, doing an installation, or in transit.

I also understand that you don't work and sell items as a hobby business. You won't pay income tax on profits less than £12,570 (your personal allowance). Below is an example of how much you might pay for the current tax year: Income from employment: £40,000. Profits from self-employment: £14,000.

  - cerf+

In the future, I can see myself participating in an exhibition at a Commercial Gallery. I like to work with set themes more so that I know what inspires me, and I base my art around those themes and motivations.

Arts Developement agencies

Arts development organisations have an intermediary role between artists and society. They typically work to use and apply the creative arts to help improve opportunities and quality of life in a given location. Some have a central space from which they set up projects, while others are more organic.

They periodically apply for core funding to pay specific staff and run a programme that engages and enables people. Unlike many galleries, they emphasise empowering people rather than profiling artists.

Artcore - Derby

"It is an international centre for contemporary art and creativity based in Derby, UK, and is home to Artcore Gallery, studios and workspaces, and a shop and cafe. A vibrant hub for commissioning, production, presentation and debate, we offer opportunities for diverse audiences to engage directly with creative practices through participation and discussion. At Artcore Gallery, contemporary art and creativity are central to developing people and places. We have an extensive exhibition and residency programme that helps support early, mid-career, and established artists in creating work that deals with pressing social, political, and environmental issues. Each year, we welcome over 4000 people from all sections of the diverse communities of Derby to experience inspiring, innovative and high-quality exhibitions and events. Over 25 years, we have developed links all over the world. This cements a global creative community and helps us support aspiring artists in this contemporary world."

- Artcore Gallery

Artcore Gallery is newly located in Artcore's second building in Derby's City Centre, which opened to the public in August 2019. This is a base of operations for our contemporary art activities. The gallery is a versatile space, and our busy exhibition programme of ten shows each year supports the development of emerging artists from Derby and the East Midlands and features the work of more established UK and International artists.

City Arts - Nottingham, Mission statement

The need for creativity is lifelong and universal. Being creative makes people happier, healthier, empowered and more equal. It brings people together, and it changes lives. Since 1977, we have helped communities and artists create and explore art of all kinds - from music to writing, drawing to dance. We aim to allow everyone to be creative, regardless of who they are or where they're from. City Arts is a charity. We rely on donations, public funding and income from our small venue in Hockley, where we host music, comedy, film and poetry events as well as hands-on workshops and exhibitions. All our income goes into running our programme of arts activities - some of it for the general public, some for particular groups like care home residents or vulnerable young people.

Our Values

City Arts tries to enact the values implied by a rights-based approach to cultural participation in all its work.

Specifically, we expect our work to be:

• Creative - because we make new art from today's ideas and interests
• Respectful - because everyone has the same right to participate in culture.
• Empowering - making art is a way to learn, grow, and strengthen.
• Ambitious - because everyone wants to achieve the best they can.
• Trustworthy - because our work depends on mutual confidence
• Enjoyable - because if art doesn't bring pleasure, it's no use to anyone

These values - CREATE - shape every aspect of our work. They are the foundation against which we assess our performance. They are the values by which we hope others will judge our work.

The team at City Arts

Suzannah Bedford - DIRECTOR

Responsible for the overall running and creative direction of City Arts, Suzannah has over 20 years of experience working in the arts. Her expertise spans all art forms. Suzannah believes people are at the heart of shaping and making new possibilities in the arts. She is passionate about broadening access to the highest quality creative experiences, ensuring that the arts celebrate the diversity we enjoy today.

Alison Denholm - CREATIVE DEVELOPMENT MANAGER

Responsible for nurturing new ideas and projects, she focuses on outdoor arts: carnival, street puppetry, festivals, and guests. Her background is in visual arts; she has worked in Nottingham for 20 years. She was on the leadership team for the World Event Young Artist Festival, likes a parade, and has made a set of giant flamingos.

Kate Duncan - PROGRAMME DIRECTOR - WELLBEING

Kate is responsible for arts and wellbeing programmes, manages strategic partnerships, and has extensive experience researching art and wellbeing.

Passionate about creative ageing, Kate produced Armchair Gallery, an app for older people in care. Kate's background is in teaching and arts management.

She's worked in some exciting places.

Joe Pick - MARKETING & AUDIENCE DEVELOPMENT

I am responsible for City Arts' design, PR, and online presence. I also research and monitor audiences. Creating art makes Joe's life more enjoyable.

He'd like other people to experience this. He is particularly interested in improving access through design. He made this website. He draws animals.

Alma Solarte-Tobóa - CREATIVE PRODUCER

Supporting young people's participation in City Arts projects. Alma has dedicated most of her career to working with young people. At City Arts, she founded the Express Yourself project, the Young Producers group, and, most recently, ART CLUB. She has also flown a plane.

Joel Stickley - DEPUTY DIRECTOR

Joel is responsible for the day-to-day running of City Arts and managing strategic relationships. His background is in literature and arts management, and his employers include Arts Council England, Nottinghamshire Libraries, and Writing East Midlands. He was a Poet Laureate for Lincolnshire and once won an award at the Cannes Film Festival.

Air Arts - Derby Hospital

Air Arts is the arts charity for Derby Teaching Hospitals. It promotes health and well-being through the arts and arts participation.

Air Arts was established in 2007 with the aim of creating a calm and welcoming environment, providing support and reassurance for patients, staff, and visitors, enhancing the environment, and providing moments of reflection and distraction.

They do this by bringing art, dance, drama, poetry, storytelling, crafts, and music to the corridors, waiting areas, and wards at the Royal Derby and London Road Community Hospitals. They work closely with staff and patients to provide personalised creative activities, support relationships, and improve patient and staff experience.

Exhibitions

Arts presents two exhibitions annually at 50 locations across both hospital sites and hosts temporary guest exhibitions, making us one of the largest hospital art exhibitors in the country.

Commissions

They have several large-scale public art commissions in our collection, which enhance the hospital environment and create a calm and welcoming environment for the 9,000 staff and 2 million visitors at our sites annually.

Gardens

Air arts have developed many creative outdoor spaces in and around the hospitals.

These gardens address many of the needs of a busy hospital environment, contemplation, refreshment, and remembrance.

Engagement

A significant part of the programme is engaging directly with ward patients.

They have four models of an artistic intervention designed with patients and staff to target and reduce boredom, depression, and feelings of anxiety and stress.

Performance

Every week, musicians visit the hospital to perform in the public spaces. Live music transforms the atmosphere and provides a much-needed distraction from worries and anxiety.

Enhancements

Every department and ward in a hospital is different, with different patient needs and space requirements, working closely with staff and patients to positively enhance their areas in accordance with their specific requirements.