Art Miami 5-10 December 2017
1 Herald Plaza,NE 14th Street, Miami
We are delighted to announce The Cynthia Corbett Gallery will be showcasing a curated selection of Young Master Artists in the 28th Edition of the internationally acclaimed art fair, Art Miami. Participating artists are given the chance to exhibit at the forefront of the international contemporary art scene. The commercial fair attracts an average of 75,000 visitors annually and year upon year, artists gain prestigious new private and public collectors.
2017 marks The Cynthia Corbett Gallery’s ninth consecutive year exhibiting at Art Miami. Art Miami is one of the most important international art fairs in the artworld and it has an extraordinary reputation that resonates with Young Masters global outreach.
Known as Miami’s premier anchor fair, Art Miami kicks off the opening day of Miami Art Week — when thousands of collectors, dealers, curators and artists descend upon Miami. World-famous for its stylish gallery-like decor, its outstanding quality and extraordinary variety, Art Miami showcases the best in modern and contemporary art from 125 international art galleries.
Art Miami maintains a preeminent position in America’s contemporary art fair market. With a rich history, it is the original and longest-running contemporary art fair in Miami and continues to receive praise for the variety of unparalleled art that it offers. It is the “can’t miss” event for all serious collectors, curators, museum directors and interior designers, providing an intimate look at some of the most important work at the forefront of the international contemporary art movement.
Now in its 28th edition, since Art Miami was founded it has formed the nexus of Miami Art Week and its presence and success has catalysed the inception of Art Basel | Miami Beach in addition to a number of renowned Miami “satellite fairs” such as Design Miami, Scope Miami Beach, Pulse Miami Beach, Untitled, and NADA.
22–25 February 2018
Press View: 22 February, 10am
The Saatchi Gallery Stand 6.3
Young Masters is delighted to return to the Saatchi Gallery with The Cynthia Corbett Gallery for COLLECT 2018.
This February, Young Masters will exhibit with The Cynthia Corbett Gallery at the Saatchi Gallery for the 14th edition of Collect, the Crafts Council’s international art fair for contemporary objects. The Cynthia Corbett Gallery is one of 35 international galleries being brought together to celebrate contemporary craft objects, material innovation and new, experimental approaches to making. Collect promises an endless array of objects to fall in love with, and a litany of maker names to add to the ‘ones to watch’ list.
“The contemporary craft sector has never been more dynamic or forward- thinking. In studios and workshops across the world, we are seeing boundaries tested, conventions challenged and new materials capturing the imaginations of makers. To bring so many of the most skilled talents and world-leading galleries from Britain and beyond together under one roof is always a privilege, but to do so at a time when craft is seizing more attention than ever is truly exciting.”
– Rosy Greenlees, Executive Director, Crafts Council
COLLECT is the International Art Fair for Contemporary Objects, featuring 35 International Galleries showing world-class, museum-quality contemporary craft. The Fair takes place at the Saatchi Gallery, London, from 22 – 25 February 2018.
London Art Fair
17 – 21 January 2018
Business Design Centre
52 Upper St, London, N1 0QH
We are delighted to announce that a selection of Young Masters artists will be participating in the forthcoming London Art Fair as the fair celebrates 30 years of operation.
Taking place from 17 – 21 January 2018, London Art Fair is an unmissable opening in the international art calendar.
Following the success of the 2017 Young Masters Art Prize, the Young Masters’ Tour has brought finalists, alumni and guest artists to the historic Royal Over-Seas League, the Royal Opera Arcade Gallery and a handful of the finest international fairs, such as Art Miami 2017 and Collect 2018.
Isabelle Van Zeijl
2017 Porcelain 30 x 15 x 12 cm 11 3/4 x 5 7/8 x 4 3/4 in. £1,550.00
2016 Coloured Pencils on Paper 30.5 x 40.6 cm 12 1/8 x 16 in. £1,850.00
For last month’s readers’ art assignment Cynthia Corbett invited The Guardian readers to share art on the theme of women. Here are some of her favourites, with captions by the artists themselves.
Oliver Jones, Three Steps to Younger Looking Skin pt.3, Pastel on Paper.
A pastel drawing from a series challenging the culture of perfectionism flaunted to us in the media and through industry. Based on industry slogans and tag lines the works aim to ‘re-advertise’ a more truthful image of the flesh and the rituals undertaken to achieve these falsified visions that are all too familiar Artwork: Oliver Jones/GuardianWitness
Caravaggio, The Goddess of wine/ Bacchus Woman (self-portrait), Oil painting.
This is an interpretation of Bacchus by Caravaggio created in 1595. My painting represents the fact that in our time we have women who drink the same, and sometimes more, as men. So for me the gods can be women because we all are equal
Artwork: mazarache oana/GuardianWitness
Gillian Hyland, The Forgotten, C-type Print.
This photograph was taken during a shoot last year and was shot outside a 1930s house on the outskirts of London. The young girl is reflected in the vintage car window and it symbolises how children often feel invisible to adults
Artwork: Gillian Hyland/GuardianWitness
Young Masters is delighted to introduce Guest Artist Joy Gregory.
One of the major artists to emerge from the Black British photography movement of the 1980s, Joy Gregory (b. 1959, UK) takes a cross-disciplinary approach to her practice and the vehicle of photography. Her work is concerned with social and political issues with particular reference to history and cultural differences in contemporary society.
Much of Gregory’s photography deals with the physicality of the object, its potency and associations. The series ‘Girl Thing’ (2002-10) deploys the 19th-century cyanotype process, a technique which involves placing her still life objects onto paper painted with light sensitive emulsion. When exposed to light, these objects of cultural and sentimental value are fixed in a deep blue shrouded by a ghostly aura. The process adds a dimension of time and suggests a narrative structure of a different era. ‘Girl Thing’ addresses the power of stereotypical feminine clothing – kitten heels, silk bras and corsets and feminine accessories, such as a delicate handkerchief. These photographs present perceived images of femininity and act as an exploration of gender through female belongings. Gregory states that “this work combines my tendency for collecting objects associated with the female form with my fascination with narrative and history. These seemingly innocuous objects placed within an historical or social context result in surprising and sometimes chilling implications.” In ‘Lilac & Gold Sheened Kitten Heels’, the shoes are contorted and suggest pieces of meat.
Joy Gregory, Hair Grip, From the series ‘Objects of Beauty’. Kallitype on Paper. 44.5 x 58 cm.
Critical of the pressure the fashion and beauty press place on women to be “young, thin and conventionally beautiful regardless of our natural features”, in 1993 Gregory produced a series of photographs of the objects women use every day to make themselves more attractive. As well as this hairpin, the series ‘Objects of Beauty’ (1992 – 1995) includes a corset, a comb, false eyelashes, curlers, jewellery, stockings and lace knickers. Each object is photographed on its own and printed as a calotype, a photographic process also popular in the 19th-century which is characterised by subtle tonal differences. These formal qualities give the individual objects an iconic status and ironically, they themselves become beautiful in their still life guises. ‘Hair Grip’ was recently used on the cover of a new edition of ‘The Second Sex’ by Simone de Beauvoir.
Joy Gregory is a graduate of Manchester Polytechnic and the Royal College of Art. She is the recipient of numerous awards and has exhibited all over the world showing in many festivals and biennales. In 2002, Gregory received the NESTA Fellowship, which led to a major piece around language endangerment. The first of this series was the video piece ‘Gomera’, which premiered at the Sydney Biennale in May 2010. Her work is included in many collections including the UK Arts Council Collection, Victoria and Albert Museum, Institute of Modern Art, Brisbane, Australia, and Yale British Art Collection.
Gregory is currently exhibiting at the Diaspora Pavilion for the 57th Venice Biennale alongside artists such as Isaac Julien, Yinka Shonibare, Hew Locke, Barbara Walker and Ellen Gallagher. Her exhibited work, ‘Overlooked and Underreported‘, consists of two components – a textural golden plaque and a figurative image based piece. The Diaspora Pavilion is presented by International Curators Forum (ICF) and University of the Arts London (UAL), and runs from May 13th until November 26th 2017 at the Palazzo Pisani S. Marina. She currently lives and works in London.
Hair Grip and Lilac & Gold Sheened Kitten Heels will be on display at the Royal Opera Arcade Gallery as part of the exhibition ‘Young Masters Tour 2.0’.
The Royal Opera Arcade Gallery
5b Pall Mall, St. James’s, London SW1Y 4UY
Exhibition Dates: 2nd – 14th October 2017
Opening Hours: daily 11am – 7pm or by appointment
Private View: Tuesday 3rd October 2017, 6 – 9 pm | RSVP essential
Featured Image: Joy Gregory, Lilac & Gold Sheened Kitten Heels, 2003, From the series ‘Girl Thing’. Cyanotype on Paper. 63 x 84 cm.
There is one week left to discover and enjoy “Origin and Consequence’ by Young Masters Alumnus Lluís Barba.
Head to Galeria Contrast, Barcelona to take a look!
June 27, 2017 – September 23, 2017
‘Lluis Barba’s reinterpretation of Michelangelo’s Sistine Chapel, invites the public to reflect on the necessity of tolerance among people and the urgency of developing a common understanding to reach a better social coexistence. It addresses different social issues: the addition of masked women raises questions of gender violence; the ark of Noah present in the last plane gains a contemporary resonance in light of the refugee crisis. Lluís Barba sheds light on a struggling society.’
Lluís Barba, Origin and Consequence. Michelangelo. Sistine Chapel, 2017. Digital printing on canvas, 270 x 750 cm. .
‘Responding to the theme of ‘The Changing Faces of People’, her new body of work celebrates the lives of some of the women who have helped to make the county what it is today.
Through her depictions of landscapes, interiors, still lives, and film stills, Eleanor provided us with a different perspective by which to explore the legacy of these extraordinary women.
The Jonathan Vickers Fine Art Award brings an emerging artist to Derbyshire to produce a body of new work inspired by the country’s landscape, heritage and people. Eleanor is the winner of the seventh Jonathan Vickers Fine Art Award’
W is for Women!
For this month’s project, the Founder and Director of the Cynthia Corbett Gallery and the Young Masters Art Prize invites you to share your art on the theme of women. Deadline 30 September 2017.
Share an image of your artwork via Guardian Witness by clicking the blue “contribute” button for a chance to be featured on the Guardian’s art and design site.
‘Women have created art throughout history, and yet for over 700 years, art has been a mostly male game. If asked to name the art world greats, most people will cite the names of male artists. We still celebrate the Old Masters – and rightly so, they were undeniably remarkable – yet when we reflect on them in the context of today’s globalised world, we see a group of artists who were overwhelmingly European, white and male, with women and minorities relegated to the status of their subject matter.
With the women’s liberation movement, we came a step towards equality in the arts and in the late 1960s a feminist art movement began to emerge. In the mid-80s, the Guerrilla Girls burst on to the scene fighting against sexual and racial inequality in the arts. And yet here we are in 2017 and the gender balance is still askew.
According to a survey conducted by Washington-based National Museum of Woman in the Arts, works by female artists make up only 3-5% of major permanent collections in the US and Europe. To illustrate this point, here in the UK our sizeable public collections of impressionist paintings only include five works by the celebrated female artist, Berthe Morisot.
Earlier this year I launched a new strand of the Young Masters Art Prize, the contemporary art prize I founded in 2009, to address this inequality and give a platform and voice for a young, female artist. I called it the Young Masters Emerging Woman Art Prize. The response was overwhelming and in the prize entries I noticed that something is bubbling away: it is female artists who are embracing experimentation and the avant garde. They are critically engaging with their position within contemporary society and the history of art.
A young Iranian-born Boston-based artist, Azita Moradkhani has won both of these prizes. Fresh from art school, she creates art that fuses elements of Western art, Iranian identity and modern life. Moradkhani’s delicate drawings of women’s underwear are overlaid with iconography from the works of Michelangelo, Gericault and Monet. Beauty is her weapon to make political points aesthetically approachable, and she calls the viewer to question the authority of male creation over the female body.
Other examples of ambitious women-focused projects include the recent Soho House acquisition programme: Vault 100 at The Ned in the heart of the City of London, featuring 92 female British artists. There is an exciting new wave of feminism emerging in the art world and it includes artists coming from the Middle East and Iran. Women’s artistic voices are louder than ever with exciting creative ideas.
A selection of women artists from the Young Masters Art Prize including previous and current winners will be featured in the Young Masters exhibition at the Royal Opera Arcade Gallery London, from 2–14 October, during Frieze week.
PUBLISHED: 22:26, 30 July 2017 | UPDATED: 22:33, 30 July 2017
When Lucille Lewin applied for a Masters degree, her first thought was: ‘Can I really do this?’ ‘I hadn’t actually done a BA before,’ she says. ‘And the elephant in the room was my age.’
A 67-year-old mother of two grown-up sons (‘one’s a doctor, one’s a lawyer’), she’d be some 40 years older than many of the students.
It’s rare to relish starting a new career just as your contemporaries are winding down. And going to art college in your mid-60s is clearly a challenge — from coping with the super-confident, young millennials, to completing mountains of coursework — but the change is particularly shocking if, like Lucille, you once ran a legendary fashion empire.
With her husband Richard, Lucille founded Whistles in 1976 and turned it into one of the High Street’s biggest success stories.
Her own designs for the brand were sized for real women, and many of us are still wearing her jewelled knits, embroidered jackets and tailored suits 20 years on.
By the time the couple sold the business in 2002, to business partner Richard Caring, it had 40 stores across the country.
The funny thing is, she admits, none of her twentysomething fellow students knew about her history. ‘All the brownie points I got in fashion were worth absolutely nothing. It was a new world completely.’
Though, she adds, they did Google her half way through the course.
Lucille’s decision to completely reinvent herself eight years ago happened by chance.
‘I walked into an evening class in Hackney, East London, by mistake. A good friend was going, and I wanted to talk to her, so I said: “I’ll drop you off.”
‘I wandered into this little basement studio, where there were a few potters potting, and the smell of the clay hit me. I connected with it at once . . . it’s a very earthy smell.’
She signed up for part-time evening classes, then decided to study ceramics full-time.
Anyone thinking of retraining mid-life, after a career, might take inspiration from Lucille. Now a tiny, vibrant 69-year-old, she remains endlessly curious. In fact, she says everything in her life has happened organically.
She married Richard on her 21st birthday and went to America after he got a place at Harvard Business School.
In 1972, they moved to the UK. Richard had a job with menswear company Burtons and, to her amazement, she landed a job as an assistant to the merchandiser at Harvey Nichols.
‘I only had ripped jeans to wear, so I went out and bought this fabulous suit and a pair of stacked heels for the interview.’ She was later promoted to buyer, but was eventually fired for being too outspoken.
So, in 1976, she decided to open her own shop on George Street in Marylebone. ‘I wanted to occupy the space between designer and High Street.’
She filled the tiny, 250 sq ft shop with black and white clothes — and it sold out.
She believes the sale of Whistles may have been a trigger for one of the most traumatic episodes in her life. In 2009, she was diagnosed with a non-cancerous brain tumour known as an acoustic neuroma.
‘The takeover was a very difficult time for me,’ she admits. ‘The company was very much my baby.
‘It was a time of unbelievable, unrelenting shock and stress. I felt powerless, and that was one of the hardest things.’
It’s art, yes, but also a business. You don’t make ceramics just to sit looking pretty in your garage — you do it to exhibit and sell the work – Lucille Lewin
The tumour was removed during a 12-and-a-half hour operation at Addenbrooke’s Hospital in Cambridge. Afterwards, she felt very weak for three months. She says: ‘I could not shop, cook or care for myself. I was so grateful I had my family around me.’
At first, smiling was impossible and eating was a challenge.
‘Many people retreat because they can’t cope with what’s happened to their faces.
‘You lose the ability to react, you lose your smile.’
Following an intensive rehabilitation programme, her condition is barely visible — except in photographs. Having recovered, she was determined to have more pleasure in her life. She took a two-year part-time diploma in fine art and ceramics at London’s City Lit college (2012–14), after which tutors urged her to apply for a two-year postgraduate degree at the prestigious Royal College of Art.
To her delight, she won a place. As a fashion guru, she had lectured at the Royal College. Now she was a mere student. ‘I’m quite a relaxed person, so I didn’t worry about status, thank goodness,’ she laughs.
Though she says wryly that young people master technology so much better, she made friends for life on the course.
At a time when the number of part-time and mature students has dropped significantly, because people are worried about running up debt, she’s keen to stress it’s not an indulgence.
It’s exciting. I’ve got so many things I still want to say. And I think it’s just the start of this adventure – Lucille Lewin
The course cost £9,000 a year, but by selling her work, she can recoup the cost.
‘It’s art, yes, but also a business. You don’t make ceramics just to sit looking pretty in your garage — you do it to exhibit and sell the work.’
In fact, Lewin has more than held her own alongside her classmates. In June, she won the £1,500 Young Masters Maylis Grand Ceramics Prize, after completing her MA in ceramics and glass.
The irony of being declared a ‘young master’ at the age of 69 isn’t lost on her. Since she won the prize, pretty much all of her exquisite white porcelain sculptures have sold. Now she’s preparing for an exhibition in November. Husband Richard grumbles good-naturedly that they can’t go on holiday.
‘I don’t blame him, I should be calming down a little bit,’ smiles Lucille. ‘But it’s exciting. I’ve got so many things I still want to say. And I think it’s just the start of this adventure.’
Lucille’s work is on show at The Cynthia Corbett Gallery / Young Masters Art Prize at the Royal Overseas League until September 8, young-masters.co.uk, lucillelewin.com
On June 21st, Artists, Judges, Patrons, friends and family gathered at the Young Masters Art Prize Exhibition at Gallery 8 for the prize giving ceremony. Cynthia Corbett opened the ceremony by introducing the 2017 Young Masters and warmly thanked all those that helped the vision become a reality.
The chair of the judging panel Godfrey Barker announced the winner of the 2017 Young Masters Art Prize, Azita Moradkhani. Laura Hospes and Tamara Al-Mashouk were announced as Highly Commended artist for the Young Masters Art Prize. In his speech Godfrey discussed the importance of the Old Masters in the art world today.
Iranian artist Azita Moradkhani was announced as the winner of the Young Masters Art Prize and inaugural Young Masters Emerging Woman Art Prize, both generously supported by Dr. Chris Blatchley. Moradkhani was chosen from a shortlist of 18 international artists for her delicately crafted drawings. The female body is central to her work and she uses beauty as her weapon to address complex socio-political issues. Her use of traditional techniques, skill and delicacy connect her work aesthetically to the art of the past.
Azita Moradkhani’s delivered an acceptance speech from afar:
Dr. Chris Blatchley, Patron of The Young Masters Art Prize and The Young Masters Emerging Woman Art Prize, announced Isabelle van Zeijl and Katie Spragg as the two artists Highly Commended for the Emerging Woman Art Prize.
Lucille Lewin was announced by James Grand as the winner of the £1,500 Young Masters Maylis Grand Ceramics Prize, which is supported by patron, collector and philanthropist Maylis Grand. Lauren Nauman was announced as Highly Commended for Young Masters Maylis Grand Ceramics Prize.
Last but not least, Katie Spragg was declared the winner of the Be Smart About Art award by Susan Mumford, the Founder of Be Smart About Art and Association of Women Art Dealers (AWAD).
See full details of our 2017 winners and prizes here.
Exhibition dates: 19 – 24 June Location: Gallery 8
8 Duke Street St James’s, St. James’s, London SW1Y 6BN
Iranian artist Azita Moradkhanihas been announced as the winner of the Young Masters Art Prize and inaugural Young Masters Emerging Woman Art Prize, both generously supported by Dr Chris Blatchley. She was presented with her combined £3,000 prize at an award ceremony sponsored by Brownhill Insurance held this evening, Wednesday 21 June 2017, at Gallery 8 in London’s St James’s.
Moradkhani was chosen from a shortlist of 18 international artists for her delicately crafted drawings. The female body is central to her work and she uses beauty as her weapon to address complex socio-political issues. Her use of traditional techniques, skill and delicacy connect her work aesthetically to the art of the past.
Chair of the judges, art historian Godfrey Barker, comments: ‘The Young Masters Art Prize is a snapshot of contemporary art now. It had a huge number of entries from 55 countries, a vast majority of those from young or emerging artists. Two things we have never seen before: the prize has been overwhelmed by women (two thirds of the entries) and all nine of the awards have been given to women. Clearly this prize is now at the cutting edge, with an international emphasis that includes North America, Africa, the Middle East and the Islamic world.’
Cynthia Corbett comments: ‘We’re extremely excited about this year’s prize and winners. The additional strand of an emerging women’s prize has led to overwhelming interest from international female artists. The astounding quality of female applicants has meant that the judges have bestowed all the awards to women. I hope we can now look forward to a future of artistic meritocracy.’
Two Highly Commended Prizes of £500 courtesy of the Artists’ Collecting Society (ACS) were awarded toLaura Hospesand Tamara Al-Mashoukand a new ‘Be Smart About Art’ award worth £500 was awarded toKatie Spragg.
The judges were Godfrey Barker, Melanie Gerlis, Art Market Columnist at the Financial Times and Editor-at-large at The Art Newspaper; Daisy McMullan, Curator; Hannah Rothschild, writer, filmmaker and Chair of the Board of Trustees of the National Gallery, London; Charles Saumarez Smith, Secretary and Chief Executive of the Royal Academy of Arts and Jean Wainwright, Art Historian, Critic and Professor of Contemporary Art and Photography at the University for the Creative Arts.
Lucille Lewinhas been announced as the winner of the £1,500 Young Masters Maylis Grand Ceramics Prize, which is supported by collector and philanthropist Maylis Grand. This strand of the Young Masters Art Prize was launched in 2014 to give a separate platform for ceramics and highlight the creative and innovative potential of this artistic medium. She was chosen from 10 shortlisted artists for her work that the judges described as ‘completely original’.
The judges, Janice Blackburn, former Curator of Arts and Crafts at Sotheby’s; collector Preston Fitzgerald; collector and philanthropist, Maylis Grand and the Crafts Council’s Daniella Wells, continued: ‘We were looking for originality and a strong voice and we were in total harmony about our choice of winner. Lucille’s work is experimental, beautifully made and totally original; this is work with a future.’
Lucille Lewin’s work is the result of research into the origins into 18th century European porcelain and the alchemists who invented it. Her pieces, which combine porcelain with other media including glass and salt crystals, reference the Victorian Cabinet of Curiosities and the early microscopic photographs of the natural world by Karl Blosfeldt. A £500 Highly Commended Prize was awarded to Lauren Nauman.
The inaugural Young Masters Emerging Woman Art Prize was introduced this year to profile and reward the work of an emerging female artist. In addition to the main prize given to Azita Moradkhani, two Highly Commended Prizes of £250 were awarded to Isabelle van Zeijland Katie Spragg.
The Young Masters Emerging Woman Art Prize judges were Beth Colocci, Chair of the Trustees of UK Friends of the National Museum of Women in the Arts; Sylvie Gormezano, Chair of the Association of Women Art Dealers; award-winning designer and art collector Ronnette Riley, FAIA and Nadja Swarovski, Member of the Executive Board, Head of Corporate Branding and Communications and Chairperson of the Swarovski Foundation.
Young Masters Art Prize winners:
Azita Moradkhani, £2,000 main prize, thanks to Dr Chris Blatchley
Laura Hospes, £500 Highly Commended courtesy of the Artists’ Collecting Society
Tamara Al-Mashouk, £500 Highly Commended courtesy of the Artists’ Collecting Society
Katie Spragg, Be Smart About Art Award worth £500
Young Masters Maylis Grand Ceramics Prize winners:
Lucille Lewin, £1,500 main prize, thanks to Maylis Grand
Lauren Nauman, £500 Highly Commended, thanks to Maylis Grand
Young Masters Emerging Woman Art Prize winners:
Azita Moradkhani, £1,000 main prize thanks, to Dr Chris Blatchley
Isabelle van Zeijl, £250 Highly Commended, thanks to Dr Chris Blatchley
Katie Spragg, £250 Highly Commended, thanks to Dr Chris Blatchley
Young Masters Art Prize Shortlist Exhibition at Gallery 8, 8 Duke Street, St James’s, London, SW1Y 6BN.
Exhibition runs until 24 June 2017
Public opening times: 11am to 7pm daily (or by appointment)
Nearest tubes: Green Park or Piccadilly Circus (St. James’s exit)
Featured Image: Azita Moradkhani, Not Too Far Away (Victorious Secrets), 2016, Coloured Pencils on Paper, 30.5 x 43.2 cm, (12 1/8 x 17 1/8 in). Courtesy Gallery Kayafas.
Young Masters Art Prize 2017 Be Smart About Art Award
Sponsored by Be Smart About Art
Be Smart About Art is delighted to offer this Award to help one winning artist build an outstanding art career. More than five years into running our professional development programme, we understand that each artist’s situation is different. Accordingly, the YM – BSAA Award presents three award package options – each with a differing adviser, to enable the successful recipient to select the professional support package of his/her choice.
To get started: The winner will be invited to have a 20 – minute conversation with a BSAA Team Member. During this call, the artist will gain a better understanding of career support available, and similarly, the dialogue will position the BSAA Team Member to provide recommendations to help the winner make the most of the opportunity.
*Not shortlisted for the Young Masters Competition 2017? Don’t worry! You can still join the BSAA community by signing up for the Sunday Reading Blog. We’re giving away a complimentary download of the BSAA e-book, HACKING THE ARTWORLD.
Imagery itself is Cheung’s medium, either co-opted in the creation of multifaceted paintings or manipulated via digital algorithms. Young Masters is proud to present Cheung’s The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017. Taking Thomas Cole’s utopic scene of a preurban ancient Greece as point of departure, Cheung deploys a technological glitching effect, reordering the fabric of the landscape to create an image of unfamiliar beauty.
Cheung graduated from Central Saint Martins in 1998, completing an MA in painting at the Royal College of Art in 2001. Recent solo exhibitions include Unknown Knowns at Edel Assanti (2017), Here be Dragons at Nottingham Castle Museum (2016), Lines in the Sand at Leila Heller Gallery Dubai (2016), The Abyss Stares Back at Edel Assanti (2015), Altered States at the Arizona State University Art Museum (2010), The Four Horsemen of the Apocalypse at the New Art Gallery Walsall (2009) and The Promised Land at Jack Shainman Gallery (2009). Cheung’s work was included in Vita Vitale, The Azerbaijan Pavilion at the 56th Venice Biennale (2015). Cheung’s works are included in major international private and public collections including MoMA, The British Museum, The Hirschhorn Museum and Sculpture Garden, San Antonio Museum of Art, The Whitworth Museum, Arizona State University Art Museum, Asian Art Museum of San Francisco, Knoxville Museum, Speed Art Museum, The New Art Gallery Walsall and the Yale Center for British Art. Cheung lives and works in London.
Cheung’s The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017, can be seen at Gallery 8, Duke Street from 19th- 24th June 2017. Click here for full details.
Featured Image: Gordon Cheung, The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017, Giclée on canvas, 100.3 x 161.3 cm, (39 1⁄2 x 63 1⁄2 in.). Copyright Gordon Cheung. Courtesy Edel Assanti.
Lauren Nauman’s work explores the boundaries within clay through experimental processes. The work starts with the industrial methods of slip-casting in plaster moulds, used in non-traditional ways. An Additive method creates pieces with minimal amounts of clay. The suggestions of vessels start out as straight cages of wet clay and through the power of the kiln’s heat and the pyroplasticity of the clay, they move like fabric to evolve into a wire-like sculpture that still holds the materiality of porcelain. Due to this process, the final form of each piece stems from minute details in the making, but mostly depends on chance.
Nauman holds an MA in ceramics and Glass from the Royal College of Art, London, and a BA in Studio Art and Art Education from Emmanuel College, Boston. She has exhibited at NCECA, Oregon, USA; Collect, London, UK; and Korea Craft & Design Foundation Insa-dong, Seoul, Korea. She undertook the Project network Residency at Guldagergaard, Denmar, in 2014, recieved the Woo Scholarship in 2015, the Newcomer Award at Ceramic ArtLondon in 2017, and has work held in the Doddington Hall Ceramic Collection.
Featured image: Lauren Nauman, Lines, large white with brass, medium striped, small black, 2017, porcelain and brass, various sizes, photography courtesy Sylvain Deleu.
We would like to thank these industry specialists for sponsoring the Young Masters Art Prize, Young Masters Maylis Grand Ceramics Prize, and Young Masters Emerging Woman Art Prize 2017.
Together, our sponsors form a significant financial contribution, enabling Young Masters to grow and develop with every edition. Young Masters is grateful for their generous support.
TheLove Art Insuranceteam at Brownhill Insurance Group specialise in insurance for collectors, dealers, galleries and artists as well as those associated with the art world. Being avid collectors themselves, the team appreciate the strong ties that collectors have to their prized possessions. Brownhill Insurance Group have a strong record of excellent customer service and take pride in offering expert cover and being able to offer clients competitive and comprehensive policies. The wider Brownhill family also cater for personal and business insurances.
The Artists’ Collecting Society (ACS) was formed in 2006 as a not-for-profit Community Interest Company to administer Artists’ Resale Right and copyright on behalf of their members. Their membership has grown to over 1,000 artists and artists’ estates, including well-known artists such as Frank Auerbach, Howard Hodgkin, Paula Rego and Martin Creed, and the estates of Lucian Freud and Barbara Hepworth. Their members also include artists whose work has only recently started to sell regularly on the UK secondary market such as Bambi, Goshka Macuga and Eine. ACS is proud to fund bursaries for art students at leading institutions, whilst sponsoring a number of art prizes and charities.
Lamport Gilbert’s core values combine dedication to quality and environmental responsibility with a commitment to building excellent relationships with our customers and business partners. Established over 100 years ago, Lamport Gilbert now uses the latest technologies in sheet-fed litho printing to produce full-colour catalogues, magazines, brochures, menus and many other point-of-sale, marketing and publicity materials.
Art Installation Services (AIS) has many years experience of installing artwork in the public, private and commercial sectors throughout the UK and abroad. Their technicians work with discretion, quietly and quickly though with great care and are able to work at any time during the day or night. AIS are able to arrange framing, transportation, insurance and conservation of artworks as well as project management.
G4S International Logistics have shipped the most expensive artefacts in the world for almost forty years. The Fine Art division has hubs in Dubai, Hong Kong, London and New York which service their international clientele’s requirements. G4S International provides logistics services for all major auctions houses, museums, dealers, galleries and private clients that work for each of their budgets. G4S International are proud to partner with international exhibitions including Art Dubai, Dubai Design Days, Art Central and the Young Masters Art Prize in London.
Be Smart About Art’s motto is ‘Art is your life. Make it your living’. The core programme includesprofessional development courses, face to face and online:selling and marketing your creative enterprise, developing professional partnerships, running and growing a micro or small business, raising funds, using tech to save time and make more money, staying focused by making a plan and holding yourself accountable, and more. Additional services include: networking opportunities in London, New York and online via the Member community,industry talks and tours at art fairs to give insight and support creative enterprises.
Hogbens Dunphy’s passion is finding new ways to improve businesses. Established in 1921, they have over 90 years of success providing caring, professional accountancy for The Arts and creative industries, including galleries and public and private art institutions. The firm offers a wide range of services and specialist knowledge of the arts sector. Hogbens Dunphy provides vital accountancy advice including: preparation of projections, cash flow and business plans, arranging finance, bookkeeping tuition and implementing management procedures and systems, tax planning, and business software.
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Featured Image: Charlie Moxon, Sarah in a Stage Curtain, 2015. Oil on canvas. 40 x 30 cm. 15 3/4 x 11 3/4 in.
We are delighted that two artists shortlisted for the fourth edition of the Young Masters Art Prize, Liane Lang and Isabelle van Zeijl, Young Masters Alumni, Beatriz Elorza and Dene Leigh, and Young Masters 2017 Guest Artist, Gordon Cheung, all feature in this year’s Royal Academy Summer Exhibition.
The Royal Academy Summer Exhibition is the world’s largest open-submission and offers emerging and established artists the opportunity to exhibit their work in a leading institution. Under the curatorial direction of Eileen Cooper OBE RA, who as Keeper is responsible for supporting and guiding the RA Schools, the 2017 exhibition embodies the central ethos of the Academy, exploring themes of discovery and new talent.
In addition to exhibiting at the Young Masters Art Prize Exhibition later this June, Liane Lang and Isabelle van Zeijl both have work on display, coincidentally hung side-by-side, at The Royal Academy. van Zeijl’s photographic self-portrait SHE and Lang’s mixed-media works Ink Spill and Blow Out occupy the walls of Gallery IX. With Gilbert & George’s Beard Speak as a centrepiece, the Gallery is hung by Royal Academicians Eileen Cooper and Bill Jacklin. Encompassing photographs, paintings and digital works, it celebrates the messy reality of life, intimate moments, private spaces and passions.
Young Masters alumni have gone on to practice and exhibit worldwide, their works have been published and acquired by international museums and institutions.
2017 marks Beatriz Elorza’s second consecutive year exhibiting at the Royal Academy. Her presence is certainly felt in Burlington House this summer; not only is Elorza’s Afternoon Shade hanging boldly in the Gallery I, her painting also features in the Summer Exhibition Illustrated catalogue and is included in the select poster collection of the RA Shop!
Since being shortlisted for the Young Masters Art Prize in 2014, Dene Leigh received a generous private sponsorship leading to a new body of work and solo shows in London and California. Leigh is exhibiting two pencil studies at this year’s exhibition, Triangle Face and A Prisoner to Words.
Young Masters 2017 Guest Artist, Gordon Cheung is featured in the prestigious Wohl Central Hall with his technicolour painting Minotaur 2. Young Masters is proud to present Cheung’s The Course of Empire – The Arcadian or Pastoral State (after Thomas Cole), 1974-75, 2017 at the highly anticipated Young Masters Art Prize 2017 exhibition.
The Young Masters Art Prize 2017 runs 19th – 24th June 2017 at Gallery 8, 8 Duke Street, St James’s, London, SW1Y 6BN. The Private View takes place on Tuesday 20 June, 6 – 9 pm. The winner will be announced on 21 June. Preview works ARTSY
Royal Academy Summer Exhibition 2017, 13th June – 20th August 2017, Royal Academy of Arts, Burlington House, Piccadilly, London, W1J 0BD.
Featured Image: Isabelle van Zeijl, She, 2016, C- Type Print, Dibond / Perspex face mounted in tray frame, 110 x 100 cm, 43 1/4 x 39 3/8 in. Edition of 7 plus 3 artist’s proofs.
Sheila Rock’s unusual series of horse portraits, taken in black and white, have incredible depth and intensity. The series of photographs is titled Spirit of the Horse, inspired by the great European horse painters: Stubbs, Delacroix, Gericault, Herring, Franz Marc and others who painted lyrical and sensitive portraits of magnificent horses. Myths and legends surround the horse in many cultures. In China they expressed and symbolised unrestrained freedom. In Arabic literature they symbolised divine grace. In English and French culture, horses are expressed in romantic terms reflecting dreams and memories, especially of interest to the landed gentry who both owned horses and had the financial resources to purchase high art. These photographs were taken as traditional studio portraits, in a studio created on location at the stables, isolating the horses to make them appear regal and dignified.
Rock was born in the USA and educated at Boston University and the London Film School. She has lived and worked in London since 1970. She became an influential force shaping the look of creative magazines like The FACE magazine. Her editorial portrait and fashion work have appeared in numerous magazines, including: Time Magazine, Elle, Glamour, Rolling Stone, Architectural Digest, and the Sunday Times. Her book, Sera: the way of the Tibetan Monk, published in 2004, accompanied several international exhibitions including the Photographers Gallery, London. Images from the Sera series are in the permanent collection of the William Benton Museum of Art in Connecticut, USA. The Houston Fine Art Museum has acquired a Seascape portrait for their permanent collection. A number of Celebrity Portraits are in the National Portrait Gallery, London.
Featured Image: Sheila Rock, Horse No. 57, 2000, Silver Gelatin Archival Print, 60.7 x 50.8cm (24 x 20in.)
Amartey Golding is a multimedia artist whose work explores how contradictory ideas coexist within the individual. By disregarding the lines between the malevolent and the benevolent, he attempts to explore life’s parallel truths. He addresses controversial subjects of sexism, racism and intolerance, placing himself comfortably and honestly at both extremes, as oppressor and oppressed, addressing our individual inabilities to avoid blame or apology. Exploring his own moral and social contradictions, he addresses the unavoidable shortcomings of an individual, and the acceptance of these failings as integral to the human condition, without the fallacy of a moral high ground.
Golding attended Central Saint Martins College of Art and Design, and has exhibited in the Middle East and Europe with solo exhibitions in the UK, Dubai, Germany and Denmark. He won the Granta Decorative and Fine Arts Society Award in 2007.
Featured Image: Amartey Golding, Umbrella, 2016, C-Type Print, Edition of 6 + 2AP, 90 x 70cm (35.4 x 27.6in.)
Laura Hospes’ work is highly autobiographical, addressing herself, her life with mental health issues and her struggle with being alive. In monochrome, high contrast photos she shows the battle she fights against herself every day. Timeless, classical and without distraction, these images speak directly. Inspired by the magical work of Francesca Woodman, the black and white portraits of Stephan Vanfleteren and the dark lights of Dutch painter Rembrandt she has developed her own visual language and voice. Learning from the Old Masters is the greatest and most pure manner of bringing emotions to life.
Hospes studied at the Photoacademy and she started her career by winning the Emerging Talent Award from LensCulture. The media picked up her story and her photos were on the front page of The Huffington Post, The Daily Mail, Yahoo and many more. Ever since she works hard to maintain that high set standard, but in a leisurely pace trying to balance it besides her therapies and hospitalisations. In the mean time she graduated with honours from the Photoacademy and is represented by Kahmann Gallery, which shows her works on both national and international exhibitions and fairs. As a closure of a difficult period of time, she created the book UCP, named after the psychiatric ward she had to stay. The book is published by Lecturis Publishers and is for sale at the bookstores and online.
Featured Image: Laura Hospes, Braid, 2015, Archival Pigment Print, Edition of 7 + 2 AP, 60 x 40cm (23.5 x 15.7in.), courtesy Kahmann Gallery.
Formal elements, skill and delicacy connect Azita Moradkhani’s work aesthetically to the art of the past. In taking representation and realism to the contemporary art scene, beauty is her weapon to make political points aesthetically approachable. The female body is central to her work, specifically its exposure to different social norms. It is about the displacement experienced when we find ourselves insecure in our own bodies. The artist wants to challenge viewers to recognise the significance of beauty and the body, and how they work together in so many of the images made available to us. Moradkhani’s refined form, detail, colour palette and technique of representation allow her to find the hidden layers of complex socio-political perceptions in a global context.
Moradkhani has studied at the School of the Museum of Fine Arts/ Tufts University, Massachusetts and University of Art, Tehran, Iran. Her recent solo exhibition Victorious Secrets was held at Gallery Kayafas, Boston, 2016. She has shown in group exhibitions Four Garden (Chahar Bagh), Contemporary Arts Museum Isfahan, Iran, 2016; IdentityShared, Southern New Hampshire University, Hooksett, New Hampshire, 2015; and South Asia Exchange: Thoughts, Responses and Questions, Harvard University, Cambridge, Massachusetts, 2015. Moradkhani will exhibit in the upcoming group exhibition Masculinity, Museum of Art, University of New Hampshire, in August 2017.
Featured Image: Azita Moradkhani, Becoming (Victorious Secrets), 2016, Coloured Pencils on Paper, 30.5 x 40.6 cm, (12 1/8 x 16 in.).
Postmodern, premodern, new realist, magic realist; David Piddock’s work has been called all these things. Idiosyncratic certainly, his work presents a semi-fictional London where imagery is often plundered from the past to inform the present. Anything from a tiny early Italian carving to a monumental mannerist sculpture might materialise in unexpected places like London’s Embankment or the Thames Path adjacent to the City. In broader terms, he looks for innovation within established traditions.
Piddock studied at the Royal Academy Schools in the mid1980s. He is represented by Adam Gallery and has many works in private and public collections including the Museum of London. He was recently awarded the inaugural art prize presented by the Moth, an Irish based arts and literature magazine.
Featured Image: David Piddock, Give Me Strength, 2016, Oil on Gesso Board, 123 x 153 x 4cm (48.4 x 60.2 x 1.6in.)
Liane Lang’s work engages with historic objects and places, particularly statues and monuments. She photographs interventions that alter or illuminate the context and history of objects, to tell an alternative story. She reframes objects that may have been overlooked or misunderstood and to give them fresh visibility. In the Saints series she borrows from the aesthetic of Zubaran and medieval German wood carving at the Bode Museum to stage the life of the Saints in the house of Augustus Pugin. Lang is interested in legacy and the processes which preserve or obliterate it. Pugin’s tremendous importance was lost after his death. His Catholicism may have played a part in this. Many of the characters on which the saints are based were important leaders in the early Christian world and have come down to us only as victims of grotesque torture. Lang preserves their enigmatic presence and allows them to inhabit Pugin’s gorgeous interiors.
Lang studied at Royal Academy Schools and Goldsmiths’ College, London and at the Fine Art and National College of Art and Design, Dublin. Recent exhibitions include: Enthüllt, Berlin and its Monuments, Museum Zitadelle Spandau, Berlin; Der Zauberg, Iavomirovic-Hughes Gallery, London; MEM Bilbao Photography Festival, Prize Winner Exhibition; Start, The Saints, Saatchi Gallery; and Monumental Misconceptions, Rosenberg Gallery, Hofstra University, New York. She has work in many collections including: MoMA Collection, the V&A, Deutsche Bank Collection, Royal Academy Collection, White Cube Gallery, Ernst & Young Collection, Arts Council of England Collection, Saatchi Collection, Collection Kunstverein Bregenz, Collection House of St Barnabas, Collection of Art Omi, Francis Greenberger Collection, DEM Collection. Lang has received many awards and accolades including: The Cointreau Creative Crew Finalist, 2016; MEM Photography Festival Bilbao 1st Prize, 2015; Birgit Skiöld Memorial Award, 2014; Hotshoe Photography Award, 2012; British Council Award, Riga, 2010 and RBKC Artists Award, Budapest, 2009.
Featured Image: Liane Lang, Margareth in the Dragon, 2015, C-Type Print, Edition of 3, 70 x 100cm (29.5 x 39.3in.)
Young Masters is delighted to introduce Dr Chris Blatchley, a dedicated patron of the Arts, who will be generously providing a Winner’s Prize of £2,000 for the Fourth Edition of the Young Masters Art Prize, a Winner’s Prize of £1,000 and a Highly Commended Prize of £250 for the inaugural Young Masters Emerging Woman Art Prize.
Devoted to supporting the Arts, Chris has been collecting art for 30 years. He first met Cynthia Corbett, later to be Founder & Director of the Young Masters Art Prize, 15 years ago and quickly acknowledged the potential of Cynthia’s early curatorial projects. Chris’s specialist clinic in The City of London was opened for a series of innovative pop-up exhibitions, marking the origins of their most recent collaboration.
Chris’s support has been particularly influential and has led to the development of an additional Prize strand, newly inaugurated this year. After discussing the potential of his sponsorship, Chris and Cynthia came to recognise their shared desire to support emerging women artists. A new strand of the prize, the Young Masters Emerging Woman Art Prize, was conceived with the intention to profile and reward the work of a female artist at the early stages of her career.
Young Masters is honoured to have Chris Blatchley’s support and we thank him for the Prizes he is providing for the Young Masters Art Prize and the Young Masters Emerging Woman Artist Prize.
Dr Chris Blatchley is Director of The Glass House Opticians, an independent Opticians operating in The City of London since 1984 whose aim is to provide a highly professional service throughout all aspects of eye care. Dr Blatchley started Capital Aesthetics in 2008, initially as a complement to The Glass House Opticians. Now he spends all his professional time in Aesthetic Medicine, specialising in many anti-ageing treatments, including Botox, dermal fillers and specialist prescription only creams that rejuvenate the skin and stimulate the skin to make its own collagen and elastin. He is undertaking research into how to improve Platelet Rich Plasma preparation for specialist uses in arthritis and other orthopaedic problems. Dr Blatchley is also Medical Director of The London Migraine Clinicwhere he researches improved ways of using Botox to treat those badly affected by their illness. Dr Blatchley is currently researching other new treatments, including higher dose Vitamin D for Cluster Headaches and Daith Ear Piercings for migraines. It was noticed by chance that people having Daith piercings were reporting that their migraines were improving, and the treatment went viral 2 years ago. Although there are a small number of low-grade surveys, Dr Blatchley is conducting the first medical grade survey, which is showing promising results. There is still need for more research, which is ongoing, and he is inviting anybody who has had a Daith Piercing for migraines to take part in the survey at www.london-migraine-clinic.co.uk.
Featured Image: Dr Chris Blatchley, Patron of the Arts
We are delighted to announce that Phoebe Walsh,Young Masters Media and Digital Marketing Assistant, is to showcase her jewellery at the Wellcome Collection.
Phoebe will be exhibiting her jewellery at the Wellcome Collection in the forthcoming ‘A Museum of Modern Nature’ Exhibition. When not working on the Young Masters programme, she can be found in Hatton Garden building her fine jewellery collections under her working title Lukie Lowe Jewellery. Golden Wild Grass was shortlisted by a unique panel of judges each with a unique relationship to nature, including: a park manager, a shaman, a dairy farmer and a plant scientist.
As part of an open-call out, Phoebe submitted a Blade of Grass and a Golden Wild Grass Necklace to narrate her personal relationship with nature. She believes the opportunity to pause from our hectic schedules in a fast-paced city are scarce and the lowly wild grass is humble to such occasions: “The simple blade of grass is poignant as a break from routine and acts a metaphor to reconnecting with ourselves and environment.” Her necklace was made from wild grass picked by her grandmother and mother in the Hampshire Wields, as part of the Finders Keepers Collection which celebrates Meadows across the UK. Once picked, and hung to dry she developed the item in wax before casting.
A Museum of Modern Nature | Exhibition from the 22 June – 8 October 2017
Claire Meadows, Editor in Chief & Founder of After Nyne Magazine, describes:
“We’re delighted to be partnering with this year’s edition of the Young Masters Art Prize. One of our founding principles at After Nyne is our dedication to supporting the work of rising artists. We believe we’ve found a kindred spirit in the Young Masters Art Prize, the judging panels are of the highest calibre and we look forward to providing support through exclusive features, social media coverage and much more.”
Read below for an extract from After Nyne’s recent interview with Cynthia Corbett to find out more about the prize, her inspirations and why she is dedicated to supporting the work of female artists.
Cynthia tell us about the process that led to the founding of the Young Masters Art Prize.
I had felt for a long time that there was a strong need for the art historical canon to be reflected in the voice of contemporary art and artists. In 2009 I decided that the way to introduce this concept was through an art prize that would bring together artists working across different genres who were united through the same theme.
What is the central ethos of the Young Masters Art Prize?
It’s a celebration of all aspects of art history through the eyes of international contemporary artists.
What makes it different to other art prizes?
The prize is open to all ages, backgrounds and cultures and it is cross-disciplinary. It’s the link to art history that holds this diversity together.
Why did you decide to add to the original remit of the Prize with the Ceramics Prize in 2014?
Because the prize celebrates uniqueness, technical skill, originality and in some instances craftsmanship, it naturally lent itself to ceramics. We have always had ceramic entries for the prize, but when we started work on the third edition in 2014 one of my collectors approached me and suggested setting up a separate strand for ceramics, which she would support. From there the Young Masters Maylis Grand Ceramics Prize was born.
Why is it important to you to nurture women in the arts? Do you think enough organisations do this?
It’s important because women in the creative industries face different challenges to men, and these are not just to do with having children. Even things like the lack of networks available for women have an impact.
Now is the time for us to hear a different voice – a female voice – more strongly in the arts. It’s a way of celebrating in today’s world how far women have come while still recognising that there’s a long way to go, especially internationally. Women have challenges throughout their lives that are different to men’s – from when they’re going through the education system to beginning their professional careers. It’s important to identify these challenges and assist where possible; I don’t think enough is being done by organisations.
What is exciting you most about this year’s Prize?
I have to say the extraordinary reaction to the initiative internationally. The response has been overwhelming from every continent and across all different genres. We have also had an unprecedented number of entries from female artists.
Finally, what would be your words of inspiration to anyone taking part in the year’s Prize?
It’s not about winning, it’s about participating. Be open to all influences and to meeting different people, be they other artists or the audience created for the prize, and the opportunities will hopefully come during and after. Be aware of what the opportunities are and grasp them with open arms!
Find out more about After Nyne here: http://www.afternyne.com/
The shortlist for the Young Masters Maylis Grand Ceramics Prize is announced today, Friday 12 May 2017. Ten ceramic artists from across the globe will compete for this coveted prize, which is a strand of the Young Masters Art Prize, an international award that celebrates contemporary artists who pay homage to the skill and traditions of the past.
The shortlist includes Danish artist Malene Hartmann Rasmussen, whose figurative and narrative pieces have been influenced by the 15th century potter Bernard Palissy and his love of insects, story-telling and life casting techniques; British ceramicist Katie Spragg, who creates miniature worlds modelled in porcelain; and American artist Andrew Casto whose use of porcelain and gold lustre and the physicality of his abstract forms hark back to the development of historical bone china such as Sèvres and Meissen.
The Young Masters Maylis Grand Ceramics Prize Shortlist
Grant Aston | Andrew Casto | Tessa Eastman | Antonie Eikemans | Malene Hartmann Rasmussen | Lucille Lewin | Lauren Nauman | Irina Razumovskaya | Katie Spragg | Amber Zuber
The Young Masters Art Prize and Young Masters Maylis Grand Ceramics Prize shortlist exhibitionwill be held at Gallery 8 in the heart of London’s St James’s from 19 to 24 June 2017. A selection of shortlisted artists will be shown in an exhibition at the Royal Overseas League from 28 June to 8 September 2017 and at the Royal Opera Arcade Gallery from 2 to 14 October 2017 during Frieze week. The winner of both prize strands will be announced on 21 June.
For more press information and images, please contact Iliana Taliotis on +44 (0)7931 341 112 or firstname.lastname@example.org
Featured image: Malene Hartmann Rasmussen, Troll #3, 2017. Ceramics, 45 x 35 x 9cm.
The shortlist for the Young Masters Art Prize is announced today, Friday 12 May 2017. Eighteen artists from across the globe will compete for this coveted international prize, which celebrates contemporary artists who pay homage to the skill and traditions of the past.
The shortlist includes Ghanaian-British multi-media artist Amartey Golding whose film Chainmail throws light over cultural behaviours towards race, gender and sexuality, while channelling the darkness of El Greco and Goya; Dutch fine art photographer Isabelle van Zeijl who blends the techniques and idioms of the Old Masters with present-day aesthetics to create striking self-portraits; British print-maker John Phillips whose eerie still lifes are created from over 1,000 separate photographs; and American painter Lucy Beecher Nelson who reinvents 15th century Italian marriage portraits.
The Young Masters Art Prize 2017 Shortlist
Amartey Golding | Antoine Schneck | Asya Reznikov | Azita Moradkhani | Carole Freeman | David Piddock | Isabelle van Zeijl | John Phillips | Lars Reiffers | Laura Hospes | Liane Lang | Liron Kroll | Lucy Beecher Nelson | Sasha Bowles | Sheila Rock | Stephen Snoddy | Tamara Al Mashouk | Yuehan Pan
Amartey Golding, Umbrella, 2016. Limited Edition, C-Type Print, 90 x 70 cm.
For 2017, the Young Masters Art Prize is delighted to welcome multi-media artist Gordon Cheung as its guest artist. His work will be part of the Young Masters Art Prize exhibition.
The Young Masters Art Prize and Young Masters Maylis Grand Ceramics Prize shortlist exhibitionwill be held at Gallery 8 in the heart of London’s St James’s from 19 to 24 June 2017. A selection of shortlisted artists will be shown in an exhibition at the Royal Overseas League from 28 June to 8 September 2017 and at the Royal Opera Arcade Gallery from 2 to 14 October 2017 during Frieze week. The winner will be announced on 21 June.
For more press information and images, please contact Iliana Taliotis on +44 (0)7931 341 112 or email@example.com
Featured image: Amartey Golding, Umbrella, 2016. Limited Edition C-Type Print. 90 x 70 cm
New to The Young Masters Art Prize? Here’s an insight into the Prize in 10 images!
It all stARTs with the ART…
Above: Self-Portrait, Warhol (2011) by the Young Masters artist, Lluís Barba(C-Type Print, Perspex Mounted. 91.5 x 121.0 cm).
If Michelangelo is considered the ultimate master of versatility, the Young Masters Art Prize isn’t far behind. The Prize showcases all media, old and new, from Painting, Printmaking and Sculpture, to Video, Performance and Installation.
Thanks to the Founder
Above: Young Masters Founder and Director Cynthia Corbett. Photograph courtesy of Cristina Schek
In 2008 Cynthia Corbett, Founder and Director of The Cynthia Corbett Gallery, had the idea of establishing an art prize that celebrates artists who pay homage to the skill and traditions of the past. To great acclaim, the first edition of the Prize was to launch the following year.
Where would we be without our incredible artists?
Above: Young Masters alumna Oliver Jones, with his artwork; Maybe She’s Born with It, 2015 (Pastel on paper, 63 x 90 cm).
The Prize is founded upon an admirable premise to offer new and emerging artists a platform to exhibit and grow their following. Well, as the adage goes: “the proof is in the pudding”. Oliver Jones explains: “Since Young Masters 2014 I have presented my first major public UK Solo Show at New Art Gallery Walsall with work acquired for their permanent public collection and exhibited in group shows and art fairs nationally and internationally […] Exhibiting with Young Masters, especially on its international tour and presence at art fairs on home soil and across the Atlantic, has been really great in terms of sales and reaching a wider collection base and audience. It has been a pleasure to be part of, and working with all those involved.”
Let’s not forget our brilliant Judges!
Three separate judging panels will cast their votes for our winners this year – our panels include some of the most well-known names in the art world. Featured here (from clockwise top left) are Nadja Swarovski, Beth Colocci, Sylvie Gormezanoand Ronnette Riley who will judge the newly inaugurated Young Masters Emerging Woman Artist Prize 2017.
What happens behind the scenes?
Above: A glimpse behind the scenes at Young Masters alumna Zemer Peled in her studio; here at work on one of many magnificently intricate ceramic sculptures.
A whole lot of preparation goes into the Young Masters Art Prize. Whilst applying artists work tirelessly on their art, it’s all hands on deck at the Young Masters headquarters, even before the Open Call is launched.
This year, artists will be awarded across three prizes, judged by three separate panels; the Young Masters Art Prize, Young Masters Maylis Grand Ceramics Prize and the newly inaugurated Young Masters Emerging Woman Art Prize. We’re excited for our upcoming awards ceremony this June at Gallery 8.
7. Introducing ceramics to the Prize
Above: A selection of artworks by Matt Smith, the winner of the 2014 Young Masters Maylis Grand Ceramic Prize, on display at an exhibition during the summer.
The Young Masters Maylis Grand Ceramic Prize was launched in 2014 as a second strand of the Prize. The prize serves as a separate platform that recognises contemporary artists responding to the heritage of ceramic craft and to those who reflect the creativity, innovation and excellence of this medium.
Above: A crowd listening to President Monaco speak at a Tufts Alumni Event in October 2016.
We believe that much can be gained from the practice and experiences of artists and gallerists, and with each edition of the Prize we aim to provide a series of high-quality educational programmes that will benefit anyone interested. Watch this space for news of future talks and programmes!
Above: Cynthia Corbett on site and getting excited for the preparation and installation of the Summer Exhibition, Showcase for Deborah Azzopardi & Young Masters, October 2016.
Like Cynthia in this photo, we’re very excited for this Summer’s exhibition! Mark your calendars — Young Masters returns to Royal Opera Arcade Gallery, from 2 – 14 October 2017.
And finally the art is exhibited!
Above: Amy Hughes and Matt Smith (right) at Sphinx Fine Art, 2014.
A wonderful display of art bringing together the past, present and future, our exhibitions are a culmination of paint, sweat and cheers. Nothing quite as satisfying as that. We look forward to seeing you soon!
8 Duke Street, St James’s, London, SW1Y 6BN
Exhibition runs 19 – 24 June 2017
Private View: Tuesday 20 June, 6.30 – 9.30pm
Prize Giving: by invitation only
Featured image: Sandro Miller, Philippe Halsman/ Salvador Dali (1954), from the series “Malkovich, Malkovich, Malkovich” 2014, pigment print.
Back in November 2015, The Young Masters Art Prize celebrated its official New York debut with an exhibition at Site/109 titled Young Masters: Focus on New Work. Showcasing “New Work” by Young Masters alumni, this dynamic show ran alongside a presentation of works by renowned Catalan artist Lluis Barba titled Travellers in Time. Since being Highly Commended for his participation in the First Edition of The Prize in 2009, Barba has exhibited internationally to great acclaim. From May onwards, he will even be participating in the 2017 Venice Art Biennale with “PERSONAL STRUCTURES – open borders”, an exhibition hosted by the European Cultural Centre.
Presented by the Cynthia Corbett Gallery at Booth 202, The Young Masters Art Prize is delighted to be a part of Art New York next week, displaying works by emerging artists Isabelle van Zeijl, Elisabeth Caren, Lottie Davies, Fabiano Parisi, Zemer Peled, and Mary O’Malley.
Young Masters at Booth 202 | Art New York | Pier 94 | 3 – 7 May
Inset: Fabiano Parisi, Il Mondo Che Non Vedo, No 201 – Italy, 2016. C-Type photograph mounted on Dibond in tray frame. 100 x 150 cm. 39 3/8 x 59 in. Edition of 8 plus 2 artist’s proofs.
Featured Image: Elisabeth Caren, Caged, 2016. Chromogenic C-Print, flat black wood shadowbox frame. 40 x 61 cm. 16 x 24 in.
Nadja Swarovski is the first female Member of the Executive Board of Swarovski, the world’s leading crystal manufacturer. She is the great-great-granddaughter of Daniel Swarovski, who founded the company in the Austrian alps in 1895. Today Swarovski turns over €3.2 billion a year.
Nadja has driven a program of creative collaborations that have revitalized the company over the past 20 years. As well as leading the company’s global branding and communications, she has commissioned new installations, artworks and products celebrating crystal that have continually positioned Swarovski at the vanguard of creative and lifestyle trends. From Alexander McQueen to Daniel Libeskind, the relationships she has built with figures in the worlds of fashion and jewellery, design and architecture, film and art, have established her as one of the world’s leading creative patrons. Nadja also oversees Swarovski’s Corporate Social Responsibility initiatives and philanthropic programs, and chairs the Swarovski Foundation.
In fashion, Nadja has built on Swarovski’s legacy of collaborating with the industry’s leading lights and emerging talents, implementing groundbreaking designer support and catwalk initiatives including the Swarovski Collective (founded in 1999), and Runway Rocks (founded in 2003).
In design, Nadja launched Swarovski Crystal Palace in 2002, an initiative that pushed the boundaries of lighting through collaborations with designers in the medium of crystal. The resulting body of work offered a snapshot of the most exciting creative minds of the modern era, including Zaha Hadid, John Pawson, Tom Dixon, Ross Lovegrove, Arik Levy and Yves Béhar.
In 2007 Nadja developed Atelier Swarovski, a cutting-edge jewelry and accessories line featuring collaborations with designers including Christopher Kane, Viktor & Rolf, Jean Paul Gaultier and Karl Lagerfeld. Atelier Swarovski was joined in 2016 by Atelier Swarovski Home, a home décor brand created in partnership with innovators such as Daniel Libeskind, Ron Arad, Tord Boontje, Fredrikson Stallard and rising stars Raw Edges.
Nadja has also strengthened Swarovski’s relationship with the film industry through partnerships with costume and set designers. Swarovski crystals have been featured in movies including The Young Victoria, Black Swan and Skyfall. In the music industry she has overseen collaborations with costume designers for performers such as Beyoncé, Taylor Swift, Jennifer Lopez and Madonna.
Since 2012 Nadja has led Swarovski’s Corporate Social Responsibility strategy, ensuring that ethical and environmental standards are embedded in the company’s business practices as it pursues its aim of becoming a world leader in sustainable luxury. She is an Ambassador for Women for Women International, and under her leadership Swarovski has signed up to the UN Women’s Empowerment Principles and the UN Global Compact.
Nadja chairs the Swarovski Foundation, which she established to consolidate the company’s long-term commitment to charitable giving. With a focus on education, the Foundation supports projects that foster creativity and culture, meet social needs and promote wellbeing, and conserve natural resources. The Foundation has supported projects that include the restoration of the San Giorgio statue at the Basilica di San Giorgio Maggiore in Venice, the new Swarovski Foundation Centre for Learning at the Design Museum in London, Women for Women International and Water Aid.
Born in Germany, Nadja is an Austrian and American citizen, and was educated in Europe and the US. After graduating from the Southern Methodist University in Dallas in 1992, she completed a graduate course in Fine and Decorative Arts at Sotheby’s in New York. She is currently based in London.
Artists are invited to apply now to Young Masters Art Prize in 2017. Applications open until 31 March 2017.
Dr Charles Saumarez Smith CBE is a British art historian. He was educated at Marlborough and King’s College, Cambridge, where he was a scholar and received a double first in history and history of art. After graduating, he spent a year at Harvard University as a Henry Fellow studying at the Fogg Art Museum and then returned to the Warburg Institute as a postgraduate student.
In 1979, he was elected Christie’s Research Fellow at Christ’s College, Cambridge and, in 1982, he joined the staff of the Victoria and Albert Museum as an Assistant Keeper with special responsibility for V&A/RCA MA in the History of Design. In 1990, he was appointed Head of Research at the Victoria and Albert Museum. In 1994, he was appointed Director of the National Portrait Gallery and, in 2002, Director of the National Gallery.
In 2007, Charles was appointed Secretary and Chief Executive of the Royal Academy of Arts, where he has concentrated on the renovation of the Keeper’s House and the development of plans for Burlington Gardens in the lead-up to the RA’s 250th anniversary in 2018, including a major fund-raising campaign and successful application to the Heritage Lottery Fund. He is a Professor of Cultural History at Queen Mary, University of London and a Trustee of the Prince’s Drawing School, the Public Catalogue Foundation and Charleston. In 2008, Charles was awarded a CBE.
Charles Saumarez Smith has been Secretary and Chief Executive of the Royal Academy of Arts since 2007. He is also a visiting Professor of Cultural History at Queen Mary, University of London, an Honorary Fellow of Christ’s College, Cambridge.
Artists are invited toapply nowto Young Masters Art Prize in 2017. Applications open until 31 March 2017.
We are delighted to announce that Young Masters has secured three prestigious central London exhibition venues.
All artists shortlisted for the Young Masters Art Prize and Young Masters Maylis Grand Ceramics Prize will be exhibited at Gallery 8 in June 2017:
Young Masters Art Prize Shortlist Exhibition 2017
8 Duke Street, St James’s, London, SW1Y 6BN Exhibition runs 19 – 24 June 2017 Private View: Tuesday 20 June, 6 – 9pm Prize Giving: by invitation only
Young Masters will then Tour Summer – Autumn 2017
A selection of shortlisted artists will be shown in an exhibition at the Royal Overseas League from June – September 2017 as part ofMayfair Art Weekend and at the Royal Opera Arcade Gallery in October 2017 during Frieze week:
Royal Overseas League
Over-Seas House, Park Pl, St. James’s, London SW1A 1LR Exhibition runs 28 June – 8 September 2017 Private View: Thursday 29 June, 6 – 8pm Also on Thursday 29 June: Mayfair Art Weekend Gallery Safari VIP event
The Gallery Safari is a key event which brings together sponsors, collectors and artists together to explore the wonders of Mayfair and St. James’s. This is an exclusive experience for sponsors and their guests, where they are taken to three different galleries/ auction houses for a glass of champagne and a preview of the current shows, followed by a three course meal in HIX Mayfair.
The Royal Opera Arcade Gallery
5b Pall Mall, St. James’s, London SW1Y 4UY Exhibition runs 2 – 14 October 2017
The Cynthia Corbett Gallery announces a new strand of its international prize, the Young Masters Art Prize, to profile and reward the work of an emerging female artist. The Young Masters Emerging Woman Art Prize forms part of the fourth edition of the Young Masters Art Prize, which celebrates contemporary artists who pay homage to the skill and innovation of the Old Masters and art of the past.
The Young Masters Emerging Woman Art Prize will be judged by a high profile panel of judges, including the Chair of the Association of Women Art Dealers Sylvie Gormezano and Nadja Swarovski, Member of the Executive Board, Head of Corporate Branding & Communications and Chairperson of the Swarovski Foundation.
They will select a female winner from all the Young Masters Art Prize entries and will present them with an award of £1,000, which has been made possible thanks to an anonymous donor.
Cynthia Corbett, Gallerist and Founder of the Young Masters Art Prize comments: ‘There are still challenges facing female artists, particularly at the beginning of their careers. I am thrilled that through this new strand of the Young Masters Art Prize we will be able to give support and exposure to a talented artist at such a crucial stage in their artistic development.’
The Young Masters Art Prize is back for the 2017 edition of the London Art Fair held at the Business Design Centre, Islington, from the 17 to 22 January!
We will be showcasing selected works with the Cynthia Corbett Gallery, including works spanning a variety of medium including photographic print, paintings and ceramics. More information can be found in the press release.
The Young Masters Art Prize is an international prize celebrating emerging and established contemporary artists who pay homage to the skill and innovation of the Old Masters and art of the past. The Young Masters Maylis Grand Ceramics Prize gives a separate platform for ceramic and reflects the creativity and innovation of this artistic medium.
Applicants for the Ceramics Prize must show exceptional command of the medium of ceramics and an awareness of the heritage of ceramics craft. Applications are welcome until 28th February 2017.
We are delighted that the work of Claire Partington appears in a new book on Contemporary Ceramic practice: STOUFFER, HANNAH The New Age of Ceramics
Published by Gingko Press Inc.
‘While most surveys of contemporary art focus largely on two-dimensional work, there is a growing movement of emerging as well as established artists that are producing work in the ceramic medium, creating three-dimensional work that is groundbreaking in scope. Working in clay or porcelain and utilizing traditional methods such as wheel throwing or hand building, artists use their considerable talents — often honed in other media — to create unique work that is truly one-of-a-kind. Whether a sculptural piece, traditional vessel or a large-scale installation, they are constrained only by their imaginations and the nature of the material. Contains process shots of the artists at work as well as a voyeur’s glimpse into their studios. Artists featured include Case Studyo in collaboration with Parra, Steve Harrington, Mike Perry, Todd James, Cleon Peterson, Horfee, Cody Hudson and Friends With You, as well as Heath Ceramics, Peter Shire, Katsuyo Aoki, Kate MacDowell, Mark Whalen, Claire Partington, Lauren Shapiro, gritCERAMICS, Livia Marin, Steven Young Lee, Jess Riva Cooper, Kouzo Takeuchi, THEONE Ceramics, Beth Cavener and Lindsay Scypta.’
London-based ceramic artist Claire Partington produces work that explores narrative and the retelling of stories in her ‘fantastic historical objects.’ Typically Partington will reimagine popular folk tales with a strong consideration to the back-story of a character and readapt the figure in such a way that the narrative is visually distinct and poignant. The More We Are Together, 2015 and Daughters of the Monstrous Women, 2015 statuettes are perfect example of Claire’s artistic intention of transforming iconic artworks by exploring and misleading the interpretation of their background stories.
Her style is inspired by European Applied Art and Design styles from the 1600’s onwards. Underpinning this is the long European tradition of appropriation and reinterpretation or misinterpretation of “exotic” styles that can be seen in National Collections across Europe. The aesthetic inspiration is drawn largely from the idea of getting it slightly wrong and the bluffing and “cobbling together” of styles to form the final result. The pieces are all meticulously hand built, using traditional ceramic techniques. They are coil built, then the shape is refined before adding surface decorations of sprigged (press molded) ephemera and modern computer generated enamel decoration over the glaze.
Partington graduated from Central Saint Martin in 1995 with a 1st in Fine Art Sculpture, before continuing her education and career in the Museum and Gallery sector. In 2003 she resumed making, and since then has been showcased internationally. Currently she is taking part at the Museum of Modern Art exhibition I Prefer Life in Bremen (20 May – 26 November 2016). Claire participated in Young Masters Art Prize in 2014 and was shortlisted for Young Masters and Maylis Grand Ceramics Prize. She was also exhibited by The Cynthia Corbett Gallery at the London Art Fair.
Michal Fargo’s work explores materiality and the contrast between urban lifestyle and natural inclinations. Her ceramics defy binary oppositions: abstract/ figurative, organic/ artificial, imitation/ interpretation. Deploying subject matter from “cave-man-esque” meat trophies to natural sea coral and sponges, Fargo toys with the human senses. Born in Israel in 1984, Fargo studied ceramic design at the Bezalel Academy of Arts and Design in Jerusalem between 2007 and 2011. Since 2011, she has written for the Israeli design blog Redesign and worked as a ceramic sculpting instructor at several arts centres around Israel, while making her own work from a small studio in Tel Aviv’s Noga neighbourhood. Fargo’s work is included in private collections and institutions such as the Design Museum Holon, the Materials Library Holon (both in Israel), the Jingdezhen Ceramic Museum in China, and the Shepparton Art Museum in Australia. Fargo completed her Master’s degree in design at the Royal College of Art in London, as the recipient of an RCA/Clore-Bezalel scholarship (2014).