IKEA RIBBA Frames series

I checked the Ikea website to make sure the frames that I wanted were in stock and that I knew exactly what sizes to get for tomorrow when we go to the one in Manchester so we wouldn't run into any problems of not being able to get enough frames, for example.

(x4 A1) £16

(x5 A3) £7

Total £99

A4 - £6 (w30x h40cm)

Inside - (w20 x h29cm)

A3 - £7 (w40 x h50cm)

Inside - (w29 x h39cm)

A2 - £12 (w50 x h70cm)

Inside - (w39 x h49cm)

A1 - £16 (w70 x h100cm)

Inside - (w49 x h69cm)

Frame prices

Visited tilt to ask Abdul for the pricing of my frames that are being hung in the gallery.

My A1 frame cost £97.93 but discounted to £ £78.34

A0 and larger ( some are slightly larger than A0) around £150 to frame

Organised a trip to IKEA for frames

Fortunately my friends were able to get me my frames instead because I had to work

(x2 A4) £6

(x6 A3) £7

Total £54

They got me x2 a4's and x3 A2's by accident, no matter I used them anyway. I used only x2 A2's because one of them had a stain on the mount so I'll take that one back to IKEA when I next go.

(x2 A4) £6

(x3 A2) £12

Total £48

Wilkinsons frames

Wilkinsons, Accrington

Measurement of frame:
20x16" (50x40cm)

Measurement inside mount:
16x12" (40x30)

£8.25

Measurement of frame:

12x10" (30x25cm)

Measurement inside mount:

8x6" (20x15cm)

£5.85

Cream mount:

12x10" (30x25cm)

10x8" (25x20cm) Inner

£1.30

White mount:
A4 (30x21cm)
A5 (21x15cm) Inner

£1.10

Working out postcard prices

We found a printers near Tilt in Blackburn on Preston New Road called Capita Design and Print. I want double sided postcards so I can put my details on the back. We worked out that 70p would be a sensible price as Tate postcards are a similar price.

They print the images onto A3 paper. 8 postcards per sheet.

£10 - 12 sheets - one sided

£20 - 12 sheets - Double sided

Visit to tilt for framing additions

Started to think about additions for the shop so me and a few others went to Tilt to look at their frame and mount prices. Abdul had my drawing framed and we had the first glimpse of framed work. This gave me a better idea to the sort of space I would need. I was really pleased with the quality of the framing.I think deciding on the float mount was a good idea because it enhances the artwork.

We asked Abdul for prices to mount and frame A4 and A3 and how much the mounts on their own would be.

Choice of some simplistic mounts.

 Still prefer one cut. 

Tracey Emin drawings

Tracey Emin artwork is based around extremes of personal bodily experience such as birth, sex and death, includes the making of art with spiritual or religious content. Emin's confessional art can be seen as a release. She deals with her own mental, spirituality and bodily reality on her own terms.

Terribly Wrong 1997
Monoprint on paper
58.2 x 81.1
Tate

Sad shower in New York
Monoprint
42 x 59.4
Tate

Drawing today - Frank Auerbach

Frank Auerbach

Head of J.Y.M. 1984

Charcoal on paper

78.7 x 71.1cm

Head of Catherine Lampert

IV. 1980.

Chalk and charcoal on paper

77.2 x 58.4cm

Leon Kossoff 'drawing is not a mysterious activity. Drawing is making an image which expresses commitment and involvement. This only comes about after endless activity before the model or subject, rejecting time and time again ideas which are possible to preconceive. And, whether by scraping off or by running down, it is always beginning again, making new images, destroying images that lie, discarding images that are dead.'

He draws, erases and re-works his drawings. It shows how complex his drawings really are by the variety of marks and their different weights and rhythms built up. 

Meeting our framer

We met with a professional framer, Abdul from Tilt in Blackburn. We discussed these options for our work: Type of frame, type of mount, Thickness of frame and various finishes.

Contact info:

http://www.visitblackburn.co.uk/shopping/tilt-p609030

We immediatley decided to get rid of any coloured or decorative frames because there is no need and would only be a distraction. We chose the white wooden frame because we wanted a minimal approach and we had to work with in our budget. We was influenced by the presentation in the ICA Gallery on our London visit.

ICA Gallery, London

We wanted to frame everything with the thin frame so they would all look the same however the thin wooden frames wouldn't support the weight of the glass at sizes A1 and A0 - the frames would bend under the pressuree so we decided on different thicknesses. The ICA must have used aluminium frames which are stronger. We had the option of using aluminium frames but they were too expensive and it would have taken to long to order.

We decided on these wooden frames with a coated finish to give a clean look - also keeping costs down.

Small - A2/A3

Medium - A1

Large - A0

We also chose the most simplistic mount which was an off-white with one simple cut around the inside. We also chose to dry-mount  our work onto foam board and to float the work.

Drawing Today Arnulf Rainer

Drawing Today- book

Tony Godfrey -

'Drawing is the most important and exciting development in contemporary art. Because it is such a direct and expressive medium it has always been considered a crucial artistic practice'

Arnulf Rainer

Untitled. 1969/72. Oil

Crayon and ink on paper

60.7 x 50.4cm.

Private collection 

The overdrawn photographs are Rainer's most potent work. The example here; a photograph of himself, shows extreme body language. As the photo loses its boldness he restores the strength of his facial expressions drawing  bold lines around the edges of his profile with crayon and ink. He has disfigured his face and has been interested in disfigurement since 1954 when he began to draw over old drawings. 

Rainer's involvement in campaigns into help bring the mentally ill back into the community runs parallel to - his belief of a necessity of the art of the mentally ill, 'whose unknown meaning and expressions must be brought into normal discourse' 

After reading a bit about his work I really like his idea of using drawing to disfigure the face and body. Rainer tends to  show distressed and extreme body language throughout his drawings. He may have witnessed people who are mentally ill and these drawings are his thoughts and reactions to the behavior or he feels he can relate to them.

A Nose Adjustment (Face Farce) 1971

Oil pastel and photograph on paper

support: 608 x 507 mm 

frame: 823 x 731 x 22 mm

Untitled (Body Language) 1973

Oil pastel and photograph on paper

support: 595 x 501 mm

Untitled (Face Farce) 1970-1

Photograph, black and white, on paper, wax crayon and watercolour

support: 590 x 417 mm

Farbige Oil crayon in colors over black and white photograph
Signed and titled lower left. On barite paper. 59,7 x 49,5 cm (23,5 x 19,4 in), the full sheet

Berlin

Gallery Visits

Berlin Wall

Simon Riley - Pen and Ink drawings



Simon Riley is a contemporary portraitist. I chose two of his works because of the detail in the face. The drawing appears scratched as a Drypoint print would look and he has repeatedly drawn over some areas until the paper is no longer visible. I want to use this technique in my drawing and sculpture work when using wire because his drawings have a wiry quality.

I think the portraits portray feelings of sadness because of the way the head is positioned; tilted downwards, and a mixture of the facial expression and the position of the light so that the eye area is in complete shadow.



a

pen and ink

c

pen and ink

'There is always the feeling that everything is fragile, or hanging by a thread. Whether through anger, sadness, ennui or pain, it is always there in the work.'
http://www.saatchionline.com/profiles/portfolio/id/175460

Rosa Verloop Sculptures

She uses Nylon stockings as her primary materials. She creates sculptures resembling the human figure. Her work looks solid and heavy, but I imagine them to be really light because she stuffs the stockings with cotton. The tan nylons resemble the skin, which is twisted and bent into these different organic forms.

I want to experiment using tights over mesh wire. I could use the heat gun to see what texture it would give for when I make my sculpture.

Antony Gormley - Wire Sculptures

Capacitor, 2001

Mild steel tubes: 12mm (o/d), 5.5mm (i/d). Mild steel rod: 5mm x various lengths, Bodyform: 190 x 48 x 35 cm.

Fully extended work: 271 x 242 x 229 cm

Feeling Material 1, 2003

3.25mm x 3.25mm rolled mild steel hoops/ various diameters
205 x 154 x 128 cm



I need to make sure I cross the wires where there are changes in direction, like in drawing, marking the important points.

Feeling Material XIII, 2004
5mm square section rolled stainless steel bar, Dimensions variable according to room size. Installation view, Galleria Mimmo Scognamiglio, Naples, Italy 2006

Domain XI (Freefall), 2000
Mild steel bar, 6mm x 6mm
165 x 160 x 80 cm

http://www.antonygormley.com/sculpture/chronology

Marc Quinn

Book: The Portrait Now  - Nairne & Howgate

Marc Quinn

Lucas, 2001

Human placenta and umbilical cord, stainless steel, perspex, refrigeration equipment 2045 x 640 x 640mm



 A portrait of his son Lucas. I am interested in Mark Quinn's use of unconventional materials and the fragile qualities of this portrait. The sculpture won't survive without the freezer 'perhaps reflecting the fragility of life itself'. He has chosen to isolate the head of his son, who appears to be as young baby. I think this piece communicates vulnerability and dependence. I think it's a beautiful piece because he has literally captured a moment of his son's life.

This piece echoes an earlier sculpture 'Self' from 1991 which was made from nine pints of his own blood. however, he has extended a preoccupation with his own body and fragility to those around him.

Jenny Saville

This work is about her experiences in motherhood taking inspiration from masterpieces such as Leonardo da Vinci’s 'The Virgin and Child with St. Anne and John the Baptist' sometimes called 'The Burlington House Cartoon'

Reproduction drawing I (after the Leonardo cartoon), 2009-2010

Pencil on paper

89 1/8 x 69 1/2 inches

Multiple impressions of each figure are drawn, erased and superimposed again. The relationship between them is expressed in a series of dynamic poses showing the struggling movements of her child and her trying to control them.

Leonardo da Vinci’s 'The Virgin and Child with St. Anne and John the Baptist'