Meet the Turner Prize Nominees: A Q&A With Artist George Shaw

by Coline Milliard

Published: November 21, 2011

George Shaw, 44, was born and grew up in Coventry, and all his paintings picture the council estate where he spent his childhood and teenage years. Working exclusively with Humbrol enamel paint, which is traditionally used for model making, Shaw maps an urban dystopia devoid of human presence. Their generic red brick buildings could be found anywhere in Britain and yet Shaw's pictures are infused with a deeply personal sense of nostalgia. Shaw was nominated for the Turner Prize for his solo exhibition at BALTIC, Centre for Contemporary Art, Gateshead.
The Turner Prize 2011's shortlist also includes Karla Black, Martin Boyce, and Hilary Lloyd. The winner will be announced on the 5 December at BALTIC, Gateshead, where an exhibition of the nominees' work is currently held.

How did you react when you first heard about your nomination?
I was a bit surprised. I asked if I could think about it. It felt like a hoax. Of course I felt very honored. I couldn’t wait to tell my mum and I was sad because I couldn’t tell my dad.
Why and how did you get into art?
I was good at it.
What's the nearest you've ever come to giving it all up?
When all these sort of questions started coming.
What would you be if not an artist?
Unemployed.
With which dead artist would you most like to have coffee and a chat?
L.S. Lowry.
If you could, how would you edit your past?
I can and I’m doing it for a living.
For which piece do you think you'll be remembered?
I’ve come to think that all these paintings of the place I was brought up are one piece of work so it’ll be the one I’m currently working on.
What's your biggest disappointment?
Christmas.
You live in Devon because ...
I can see the sea without getting out of bed.
What does home feel like?
On a rainy afternoon sitting on my settee with a cuppa, a bag of minstrels and an old Ealing film.
Which piece of art would you take to a desert island and why?
The Hereford Mappa Mundi ... because it’s the whole world. I’d have a go at doing another before I starved to death.
Tell us something no one knows about you.
Deep down I’m very happy.
What's the best thing about being a Turner Prize nominee?
That the work I do is seen, and with luck, considered.

The Weirdest Art Case Ever?: Breaking Down the He-Said-She-Said SpongeBob Ninja Gallery Attack Saga

Courtesy of Art Of White

Artist Todd White is suing gallery owner Margaret Howell for selling forgeries

By Shane Ferro

Published: September 1, 2011

White's brainchild, "SpongeBob SquarePants"

hite — the man behind the design of SpongeBob SquarePants — is one of the more unusual and outright incredible art cases in memory. A lot of accusations have been flying around in recent days, some of which involve, yes, ninjas. Howell filed a suit in California court in mid-August, alleging assault and art theft, among other things. Now, White has countersued in federal court, accusing Howell of copyright infringement and widespread fraud. After obtaining both legal complaints, ARTINFO offers up a guide to the bizarre ins and outs of the accusations on both sides of this strange affair:

THE CHARACTERS:

TODD WHITE — White worked on the television show Ren & Stimpy before becoming the head artist for Nickelodeon's cultural phenomenon "SpongeBob SquarePants." He's not just some wimpy comic-book guy, either: A fellow cartoonist, JohnK, claims on his blog that White is a black belt in Machado Jui Jitsu, once using his martial arts knowledge to help illustrate a cartoon fight scene. Several years ago, White made the jump to fine art. His triumphs, as listed on his own Web site, include being chosen as the official artist of the 2007 Grammy Awards, a deal with Coca-Cola to have his work seen on limited-edition Coke products, and being commissioned in the U.K. to paint a memorial portrait of Princess Diana. White's self-description in his own complaint also paints himself as a "respected philanthropist."

MARGARET HOWELL — The 62-year-old Howell is the owner of Gallery HB, located inside the Hyatt Regency hotel in Huntington Beach, California. She has owned and operated the gallery for eight years, according to her complaint. She also has a private art consulting firm, Fine Art Consulting Services, Inc., which is named as a plaintiff in her suit, and a defendant in White's. She claims to have sold White's art on a contingency basis, with the artist receiving a portion of the sale price, but also says she frequently "purchased White's art outright, and then resold it to customers at a markup." According to Howell's complaint, she was the first to show his work in a gallery setting. "Ms. Howell's efforts to market and publicize White's work... were pivotal to the artist's subsequent financial success and critical acclaim," writes her lawyer, Jonathan M. Jenkins.

KEITH M. DAVIDSON — Davidson is named in Howell's suit as a defendant, having allegedly been one of the men who went to the gallery to intimidate her. But he's not just some muscleman: Howell's suit claims that Davidson is also White's attorney (Paul Berra is representing White in the current suit), though he is "presently on three years of post-suspension disciplinary probation with the State Bar of California," after he mishandled a medical malpractice case, deposited a payment from a client in his personal account rather than a client trust account, then bounced a check to refund the client from said client trust account. (His license to practice law has been reactivated as of November 19, 2010.)

BRYCE EDDY — "White's agent and martial arts sparring partner," according to Howell's complaint, and another one of the alleged assailants. This is, however, only "on information and belief."

"HIRED MUSCLES" — "Martial arts experts" allegedly hired by White to attack Howell, according to her complaint. The identities of the men remain unknown, but the complaint alludes to hotel security footage from the gallery that may yet be able to help uncover their identities.

PETER M. "CLYDE" LAVOIE — A former employee of Gallery HB, who Howell accuses of having served as an inside man at the gallery, and became an accomplice of White.

THE ALLEGATIONS:

ACCORDING TO HOWELL'S COMPLAINT: Several months ago, Todd White held an "opening gala" at his personal studio and sold art directly to customers. He found that he preferred the "direct sales business model" over selling through a gallery, and wanted to get rid of the middlewoman, that is, Howell. Then, the complaint alleges, White recruited Peter Lavoie, who worked at the gallery, to be his inside man. Weeks before the art heist of August 2-3, Lavoie quit his gallery job. Howell's complaint says that "on information and belief, Lavoie is now employed by White."

On August 2, Howell was "at the hospital attending to the bedside of her ailing mother." Four men hired by White showed up at her gallery, telling her "that they represented the Brazilian consulate and were interested in purchasing White's art." However, after she was lured to the gallery, the "martial arts experts" (referred to by the complaint as "hired muscle" and in the OC Weekly as "ninjas") "forcibly shut down the gallery, physically assaulted Ms. Howell, emotionally traumatized her, and... imprisoned her in her office for long hours by force."

The men then allegedly proceeded to steal over $1 million worth of art from her gallery, took her confidential customer lists, forced her to sign documents handing over the lease on the gallery to White, and "forced Ms. Howell to take them back to her home, where they removed and stole this additional artwork belonging to the Gallery and FACS [her consulting company]."

The next day, Howell's complaint goes on to say, "White or one of his associates" faxed the documents Howell was forced to sign and requested that the lease be transferred to White, noting that she would be "vacating the premises on or about August 16, 2011." Subsequently, the defendants have been using the stolen customer list to try to sell White's paintings directly to Howell's customers, which has resulted in several customer complaints to Howell, according to the legal document she filed.

ACCORDING TO WHITE'S COMPLAINT: White's suit, for its part, focuses on another issue entirely, claiming that Howell has been copying, embellishing, and signing his artworks without permission — then selling them for a hefty profit. This scam, he claims, "caused millions of dollars of damage to him and his company." This information was established, in fact, "based upon Howell's own tearful admissions, the testimony of her top salesman, and the support of a number of defrauded customers."

White's complaint doesn't dwell on the evening of the alleged ninja assault, but it does detail the fact that the artist's "representatives confronted Howell at her gallery with undeniable evidence establishing her guilt. Realizing that she had been caught red-handed, Howell openly and readily admitted that she has copied several of White's paintings... because she was dealing with financial problems and was lured by 'greed' and the 'ease' of it all."

White's complaint goes on to state that Howell, despite claiming she signed documents under duress, "spent nearly 45 minutes reviewing... asking questions about... and making specific changes to" the documents she signed on the night of August 2. And finally, White demands that he be granted full access to her accounting books, "to figure out the full extent of Defendants' wrongful conduct."

PENALTIES:

SHE IS ASKING FOR: At least $7.5 million plus punitive damages for assault, battery, robbery, kidnapping, and emotional trauma.

HE IS ASKING FOR: At least $5 million plus punitive damages for copyright infringement and fraud.

alexa meade: real-life paintings

alexa meade: real-life paintings





by painting directly onto her subjects and photographing them in a variety of constructed and real-world environments, artist alexa meade conflates the worlds of painting, photography, and performance
'transit', 18x24" limited edition chromogenic print
all images © alexa meade


american artist alexa meade creates her representational paintings directly on her subjects, covering people and objects
in layers of acrylic paint before photographing them. the works offer an unusual conflation of painting, installation,
and photography, as the three-dimensional forms are collapsed in space, taking on a 2D appearance in the prints.
in her exhibitions, meade frequently paints over small rooms in which a human subject sits for the duration of the show,
offering a performative aspect to her work.

meade:
'spending my formative years immersed in the world of politicians and PR led to a fascination with the possibilities
of repackaging source texts and adding superficial modifications that would profoundly alter perception.
what the audience ultimately unpackaged was a personal interpretation of an already mediated re-presentation.
[...] by using paint as a mask that mimics the surface attributes of my source materials, I repurpose the common codes
of painting.'



full figure of 'transit'



'mediation'
19x24" limited edition chromogenic print



'natura morta'
18x24" chromogenic print



'natura morta' installation
8'x6'x4'



'framed'
24x18" limited edition chromogenic print



'bernie' study



left: 'auspicious', 24x18" limited edition chromogenic print
right: 'the trap', a model poses outside london's saatchi gallery



meade at work painting one of her subjects
image courtesy of dailymail



the artist poses with a completed installation
image courtesy of dailymail



'spectacle' installation/performance



'spectacle'
18x24" limited edition chromogenic print


via dailymail

Warrior Art

WARRIOR ART
ALEXANDRA FLUEGEL
THURSDAY AUGUST 24th, 2011
When the idea was raised to remove benches from Pekich Park in an attempt to combat the illegal activities often taking place in the public ‘pocket park,’ Grand Rapids artist and community activist, Hugo Claudin, took a stand. “I thought it was a terrible idea. How is the park supposed to be inviting to the community if we remove the benches?”
Claudin’s live/work artist loft dubbed Mexicains Sans Frontieres, (translates literally to “Mexicans without Borders”), is located across the street from the park, and though he agreed that some action should be taken, he was adamant that bench removal was not the answer.
An active member and longtime resident of Avenue for the Arts, an area in downtown Grand Rapids along South Division Avenue that also encompasses the park, the painter/musician proposed a different idea. “Let’s have some concerts and use the space for something else that will hopefully stop some of that bad behavior,” said the artist/activist. Claudin, along with others in the community, worked together to secure grant funding and held the first concert in late July. Since then, shows have taken place every other week, and the benches won’t be going anywhere.
Claudin has long been a catalyst for bringing music and other art into public spaces. He regularly hosts underground bands from all over the globe in his loft, and is a member of ArtPeers, a local nonprofit that encourages community patronage of the arts. The group holds a variety of events where exhibits and performances are held in local businesses, parking lots, and empty spaces. “I’m trying to meld the idea of being an artist and doing community-based things,” he said. Originally from Mexico, Claudin migrated to the United States following the death of his father to study art at Kendall College of Art and Design. Since settling in Grand Rapids two decades ago, he has become an important link between art and the community.
Claudin provides outreach service as a natural helper for the city’s Believe 2 Become Initiative, a collaborative effort of the Grand Rapids Public Schools, the Grand Rapids Student Advancement Foundation, the W.K. Kellogg Foundation, and the Douglas & Maria DeVos Foundation.
The aim is to close the achievement gap between inner-city students and their suburban counterparts. The project focuses on engaging community members across four different neighborhood zones in Grand Rapids. Natural helpers serve as liaisons between the community and the programs offered through LINC Community Revitalization, Inc., one of the partner organizations involved with Believe 2 Become.
“I’m kind of like a foot soldier for the operation,” he explained. Foot soldier is an apt description for the artist whose work incorporates themes of revolution and ‘real life superheroes’. Claudin is engaging West Michigan’s Latino community, encouraging them to not let fear keep them from having active roles in their children’s educations. “The Latino community is kind of naturally guarded,” he said. But, he believes, as the program becomes more visible, these walls are coming down. “We’re working to engage the community through a series of meetings. We want to get a dialogue going about what the obstacles are that might be keeping the children from graduating.”
His current series of paintings bears the same name as his loft and deals with themes of immigration and the barriers frequently encountered by members of the Latino community. Claudin paints warrior-esque men and women, all of whom sport the traditional face-masks of the Lucha Libre wrestlers, an institution in national Mexican pop culture. Claudin describes the images as a metaphor for the unseen communities of undocumented people living in the US that go uncounted and misrepresented in the media.
Although his work with Believe 2 Become spans across the city of Grand Rapids, it is his own Heartside District, which continues to struggle to attract businesses and residents, that truly has his heart. “As a resident of this zone, of course I’m interested in the revitalization of this area. I think it will be a natural process,” he said. “Nobody expected this to be revitalized overnight. We’re very committed, especially the people who have been here a long time. We’re almost there. It’s a matter of persisting and getting the message out.”

painter Rick Stich

Unquenchable thirst for artistic inspiration

Water is the dominant fascination and artistic inspiration of painter Rick Stich

Lux artist Rick Stich's Water Mirror #1.

Rick Stich

Where: Lux Art Institute, 1550 S. El Camino Real, Encinitas
When: In residence through April 23; exhibit continues through May 18
Tickets: $10 (members, visitors under 21 and bicyclists admitted free; memberships start at $50)
Phone: (760) 436-6611
Online:
luxinstitute.org

Portrait of an artist

Personal: Born in Glendale in 1949. Currently lives in Santa Barbara with his wife of 35 years.
Affiliation: Santa Barbara City College
Education: Attended Orange Coast Community College in Costa Mesa and San Diego State University
Notable California exhibitions: Santa Barbara Contemporary Arts Forum, Santa Barbara Museum of Art, Carnegie Art Museum, Edward Cella Art + Architecture, L.A. Louver Gallery, and Ruth Schaffner Gallery
Corporate collectors: Bank of America, Eli Broad Foundation, and the Santa Barbara Museum of Art

Artist Rick Stich is inspired by water.

Lux artist Rick Stic's "Water Mirror #2," 2008.

Rick Stich’s “ Near left: Water Mirror #110,” 2007.

In the age of the short attention span, it is rare to find focus like that of painter Rick Stich, who has been painting the same subject — water — since 1981. Stich, who lives in Santa Barbara and teaches landscape and figurative drawing at Santa Barbara City College, is the current artist in residence at Lux Art Institute in Encinitas. Residents in Lux’s unique program spend a month creating new works of art in an exhibition space where the public can view past projects and interact with the working artist.

I met with Stich at Lux, where we were surrounded by his paintings, which are large and colorful renditions of the surface of water, and a site-specific installation he created for Lux. The installation comprises a dock, a pool of water, a small boat and light.

“The installation would be nothing without the light,” Stich said. While in residence, Stich is painting from the water in the installation. He is particularly interested in capturing the reflections of visitors looking in the pool.

Q: Are the paintings on exhibit drawn from memory or real life?

A: I draw to warm up, like an athlete warms up before a game. I make drawings to study the movement of water. The paintings are mostly from memory though. I’m a surfer. Riding a wave takes 10 seconds. The rest of the time I’m out there, I contemplate the movement of the water. In the studio, color becomes much more important. A work isn’t finished until both of those things are balanced and working together. I built a dock and small boat slip in this space so that people can see the source material and make connections between the paintings and the light, movement and patterns of water.

Q: I’m having a hard time deciding if your paintings are hyper-realistic or abstractions.

A: Good. I like it when they straddle the line between abstraction and realism. They may teeter one way or another, but that is a balance I try to keep.

Q: If you didn’t live on the coast of California, do you think you would paint something besides water?

A: I grew up on a beach in Southern California. That is what I know. Artists can only draw on what they know, and most of them return to memories of their childhood. This dock is a lot like the dock from my childhood. The color and shape of the wood are similar.

Q: What’s your favorite surf spot here in San Diego?

A: Swami’s and Pipes in Encinitas. We live in Encinitas every summer because Santa Barbara doesn’t get good waves in the summer.

Q: You’ve been painting the same thing in a similar way for a very long time. Do you anticipate your interactions with visitors here at Lux will change your process at all?

A: It already has changed. The other day, a teacher from the education building said a train of “tater tots” — that’s what she called the kids — were coming to show me their paintings of water. One little girl was dressed up like a pink princess, and her painting of water was also pink. Her piece excited me and made me want to paint in that color. All of the kids’ paintings were great. I asked them if I could have them, but they weren’t too keen on that.

Q: How do you teach someone to paint water, a notoriously difficult subject?

A: I grab a book and show students how other artists have depicted water. Then I tell them to try and find some movement. Start there. Draw that, and things will usually go well from there.

Q: Thirty years is a long time to study something. What keeps you interested, and do you envision a stopping point?

A: Have you ever found something precious? Or had the realization that you are looking at something rare? Water is everywhere; it is ordinary. Everybody has been in a boat or on a dock, and yet it is extremely precious. Water ties us all together. I can’t imagine an end to my contemplation of water. There is just too much to hold my interest.

Q: Did you know one of your paintings is for sale on eBay right now?

A: I can’t look at that stuff. I have a hard time even being at charity auctions where my work is for sale. It makes me feel like a cow at auction — I immediately say to myself, “I’ve got to get out of here!”

Q: What was the last book you read?

A: “The Wave: In Pursuit of the Rogues, Freaks and Giants of the Ocean.”

Q: Ha! It’s water-related … what a surprise. Do you have any hobbies besides surfing?

A: I lead a simple life. I spend time in the water, I teach, and I go to the studio.

Shawnee Barton is a San Diego artist and arts writer.

Courtesy.