The problem with graduate art exhibitions
Is Jack White (from the White Stripes) a decent artist?
My fortnightly diary entry highlights notable topics and stories from the London art scene and beyond that have caught my attention. Let me know if there are any topics you’d like me to focus on in future newsletters.
The problem with graduate art exhibitions
June marks the start of exhibitions by artists graduating from London's top art schools. It’s a chance to see what graduate and post-graduate artists have created as the culmination of their studies. It’s a chance for critics, galleries, other arts professionals, and artists to identify who to look out for in the next generation.
Slade School of Art always goes early, and we’ve already had their graduate (BA) show in May; the postgraduate show (MA) is in June. Sadly, I still see young artists making the same errors every year, and I wanted to flag these issues and the harm they can cause to artists’ future careers.
I’ll refer directly to the Slade BA show, but that’s only because it’s the only one I’ve seen so far, and I see the same errors recurring at other shows. Most artworks have both an aesthetic element you can get from looking at it and a conceptual element that may need some explaining.
Given this, it’s amazing how often there’s no text, press release or QR code to scan to find out more about the artists. Many artists have business cards, but these often lead to websites that aren’t live or don’t directly reference the work I’m seeing in front of me. If I want to know more about the art, then it should be much easier than this.
When I visited the Slade BA, the artists who stuck with me were the ones with notes in the space, either on a separate sheet of paper or on the walls, which provided helpful context. The fact that there’s no consistency of labelling suggests nobody has told the artists how to present their work. Contrast this with City & Guilds London Art School, where I’m a trustee, where every artist has a laminated sheet with their statement about themselves and the work, along with a price list, so you know whether you can purchase the work. The fact that it’s consistent tells me the tutors have told the artists how best to present their works.
Ideally, I want the artist there so I can ask them my questions directly; art is storytelling, and there’s no better narrator than the artist themselves. Some professionals I’ve spoken to would prefer the artist not be there, as they don’t like being jumped on as they enter the space, but the artist's presence, if not too intrusive, is always preferable. University degrees are so expensive now, and this is an artist’s time to shine. If it were me, I’d be there every day, and I’d even rush my bathroom breaks.
On the opening night, many artists are presented with flowers as a mark of congratulations, and they leave them under the work - I know this is more prevalent in certain cultures. It’s a lovely gesture, but those flowers still being there five days later, wilting, is not a good look - it resembles a memorial to an artist. I suggest artists take them home and put them in water; they’ll look better and last longer. You wouldn’t leave flowers under work in any other curated space; they don’t belong at the degree show outside of the opening night.
These frustrations pop up every year, and if you’re thinking I’m being overly harsh to a bunch of early 20-something artists, it’s worth noting this criticism is arguably targeted at their tutors. Many of these students are new to art and look to their tutors for guidance, but beyond making the art, it’s often found to be lacking.
Why this matters is that many of these students will be saddled with student debt and be thrown into a world that’s getting more expensive to live in by the year, particularly in London. If students aren’t equipped with the knowledge that they can sell their work at the show and the importance of being present and meeting important visitors, then the prevalence of upper-class rich kids dominating the art scene will be perpetuated.
Friend of the newsletter, Jo McLaughlin, has done a great video series on the above and more about how to get degree show-ready, and all artists should watch it. I want our art schools to help students put their best foot forward, and it’s sad to see that, when it comes to graduate exhibitions, they still fall short.
Is Jack White (from the White Stripes) a decent artist?
We’ve had many creatives from other sectors (film and music) turn to creating art, including Brad Pitt, Jim Carrey, Adrien Brody and Ed Sheeran. Now it’s the turn of Jack White, one-half of the White Stripes, who are best known for their catchy hit Seven Nation Army. White has a major exhibition at Newport Street Gallery (until 13th September, free), but the key question: is his work any good?
Below the paywall:
My honest thoughts on the art of Jack White.
Could Churchill paint?
Is this how you bring art to the people?
How to bring art history alive.
An ode to Georgian architecture.