March 2023 – Hillcroft College Memories and William Blake Mosaics – Books: “Abstraction in Nature” by Nathan Cabot Hale and ” The Art Spirit” by Robert Henri – “Recovery” and “Speaking Out” Art Exhibition “Bandage Box” “Pink Girl” “Woman and Home” “I Cannot Turn the Page” and “Hide and Peep” – Inclusive Church Annual Lecture – “Sacramental” Video Poem – Alice Neel: Hot Off The Griddle
February 27, 2023
Hillcroft Women’s College, Surbiton
I was a student at Hillcroft back in 1990-1991 and the CNAA Certificate of Higher Education I was awarded opened the door to a University Education to me…Something which was way out of my reach before and which I never would have been able to take part in if it were not for my time at Hillcroft Women’s College. So with this in mind and heart, I was full of nostalgia when I went back there in February to enrol on a one day Approaches to Counselling Course!
I was chatting with one of the receptionists there and she told me there had been a Centenary Event for Hillcroft in 2020.
More info here:
https://www.rhacc.ac.uk/hillcroft-centenary
Bad timing with the pandemic I guess but still miffed I missed it.
Here are some photos I took as I basked in nostalgia when enrolling for an “Approaches to Counselling” course there.
Surbiton Station, I love this building so had to include it!
Hillcroft Women’s College (used to be called “The Gables” now Hillcroft College is “Richmond and Hillcroft Adult and Community College”
Main Entrance of Hillcroft Women’s College (used to be called “The Gables” now Hillcroft College is “Richmond and Hillcroft Adult and Community College”
Lovely entrance floor mosaic and stained glass windows at Hillcroft Women’s College (used to be called “The Gables” now Hillcroft College is “Richmond and Hillcroft Adult and Community College”
Dinner Gong at Hillcroft College Surbiton
Empowering Sisterhood banner at Hillcroft College Surbiton
Main Entrance area Hillcroft Women’s College (used to be called “The Gables” now Hillcroft College is “Richmond and Hillcroft Adult and Community College”
Here’s some text on the Hillcroft College building. It was also called “The Gables”.
“One of the original large mansions in Surbiton is the building that now houses Hillcroft College. Originally built for the owners of the Bryant and May match company, it went on to become the site of the first college in the UK established for working women. This was in 1926. Ironically, the earlier connection with Bryant and May recalled the so-called match-girls strike in the late 1880s when women employees went on strike to draw attention to their poor and dangerous working conditions.”
When I was there (1990) it was a residential women’s college, though I didn’t live in. There were places for both residential and non residential students. At that time I could get a full grant… As I had zero money it was a complete God-send and there is no other way I would have been able to become educated at a higher level. I am totally grateful for that.
I was quite sad to hear that there college is no longer a women’s residential college as post Covid they did not open it up to residents. It is also now not a “women’s only” college. I feel this is a shame bearing in light the foundations and principles it was originally established on, however they do still have plenty of “women only” courses.
I found a couple of photographs I took when I was there on 1990…One taken in the garden and another of a performance from a scene of “Waiting for Goddo” which me, Rosie and Alesha performed as part of our CNAA Certificate Assessment.
I went on to do a degree after attending Hillcroft Women’s College and then went on to train as a Primary School Teacher. I taught in several schools and used my teaching experience in many other situations including teaching/tutoring individuals and small groups Art and Design.
Hillcroft Mosaic
Update… As I made my way to the tea and coffee area when on the Approaches to Counselling Course I attended, I came across some beautiful mosaics laid out in the art area!
Here’s some info from the Hillcroft website about them:
“ABOUT THE Mosaic PROJECT
RHACC is working with the London School of Mosaics, Friends of Surbiton Station, and Surbiton Art Trail to restore and exhibit mosaics, that are inspired by William Blake (Lambeth), to be exhibited in Surbiton Station by this summer.
The mosaics were originally displayed in the arches near Waterloo station, which have now been taken down and delivered to our Hillcroft campus to be restored by our Artist in Residence Jo Lewis from London School of Mosaics. The first lot of mosaics that are being restored are based on Blake’s Songs of Innocence and Experience poems, the restoration work will focus on the cleaning and the curation of these mosaics. You can follow the step-by-step restoration journey by following us on social media.
LAUNCH EVENT
There will be a launch event hosted by David Tootil (Principal of London School of Mosaics) where he will be giving an overview of the William Blake project and mosaics.
This talk is a personal journey through the reasons for creating Blake’s Lambeth project, which installed 70 mosaics around Hercules Rd where William Blake lived 1790-1800. It includes a chronology, gaining funding, collaboration with artists and volunteers, a look at William Blake the artist and poet and opportunities for public realm enhancement.
David founded Southbank Mosaics in 2004 and transformed it into the London School of Mosaic in 2017. He is a self-trained mosaic artist and holds a degree in Modern History. His enthusiasm for mosaic comes from his mission to enliven public space and using mosaic as a collective practice that engages the whole community. David was the Director of the school until October 2021.
Thursday 9th March, 6:30 – 9pm at Hillcroft Campus, Art Room, KT6 6DF.”
Books
Totally different topic now. Just a bit about books I have found inspiring in many different ways!
First book: Abstraction in Nature by Nathan Cabot Hale
“This book is intended as a guide to help you through the maze of abstract schools to the simple problems of abstraction. Whether you are an art student or an artist learning on your own, this text will help you to grasp the fundamentals of the abstract language of art. It may seem boastful for me to claim that this book will make the problems of abstraction clear. But the answers to these problems are accessible to anyone who takes the time to do a little detective work and to follow the clues that can be found in nature and in the art of the past.
We must try to step aside from the confusion of schools, movements, and current fads, and attempt to see the whole story of art as a meaningful effort of mankind. This confusion is particularly damaging when it happens in the art schools because the pressure of having to “choose sides” narrows the student’s point of view, rather than enlarging it. Being forced to make such a choice prevents the student, from exploring and freely selecting the kind of expression that is closest to his heart, his character, or his talents. In this book, I hope to avoid this kind of narrowness. Although, as a working artist, I may follow a certain path the path that is best for me I hope this book will encourage you to find the one that is best for you. Art is a product of evolution – not often a result of revolution – a product of the meaningful insights accumulated by artists over thousands of years. Fortunately, these insights cannot be easily erased; they continue to endure and they eventually modify and absorb the useful products of revolution “
Text quoted from abstraction on art and nature by Nathan Cabot Hale published 1972, pub by Watson Guptill then in 1993, Dover Edition 1993.
A fantastic book, and one of my favourites. I found it very inspirational when I first started working with Abstraction… It is usually quite a shift from working on representational pictures and stepping out into the realm of Abstract Art. Reading this book helped me to understand that I wasn’t moving into uncharted waters as much as I felt I was at the time!
I have several other books “on the go” right now. I like to have a mix of Art related, Spirituality, Psychology and Fiction. The second book is “The Art Spirit” by Robert Henri. I only read a tiny bit…but still, it looked good! I discovered it when I went to the Alice Neel exhibition at the Barbican recently. I made sure I took a look at a book which Alice Neel found inspirational and important to herself. The book “The Art Spirit” was available to look at in the reading area of the exhibition…A great bonus! I didn’t read it all as limited time, of course, but I gathered a few interesting quotes to hold onto and reflect on. Here is one;
Quote which caught my interest from ” The Art Spirit” by Robert Henri
“Art is simply a result of expression during right feeling. It’s a result of a grip on the fundamentals of nature, the spirit of life, the constructive force, the secret of growth, a real understanding of the relative importance of things, order, balance. Any material will do. After all, the object is not to make art, but to be in the wonderful state which makes art inevitable.
In every human being there is the artist, and whatever his activity, he has an equal chance with any to express the result of his growth and his con- tact with life. I don’t believe any real artist cares whether what he does is “art” or not. Who, after all, knows what is art? Were not our very intelligent fathers admirers of Bouguereau, and was not Bou- guereau covered with all the honors by which we make our firsts, and were they not ready to commit Cézanne to a madhouse? Now look at them!
I think the real artists are too busy with just being and growing and acting (on canvas or how- ever) like themselves to worry about the end. The end will be what it will be. The object is intense living, fulfillment; the great happiness in creation.”
I paint you video poem
Aah, it’s always the way! After putting up my ‘I Paint You” video poem I then spotted a typo error in the text! I’ve now corrected that; here is the corrected version!
Bandage Box and Pink Girl (past exhibitions)
A key turning point in my my progress as an artist was when the end of 2013 I took part in in the Institute of Mental Health “Recovery” exhibition at Nottingham University.
Venue: Institute of Mental Health.
The exhibition ran until May 2014.
The theme of the exhibition explored ideas around recovery from mental health problems. The concept of recovery is now widely used in mental health literature and practice. It may refer to both clinical and personal issues related to mental health. However, the concept has been contested, and invites further questions: What does the term mean to people who use mental health services and to those who provide them? Is it helpful? Who is recovering? Is it possible to recover and does everybody want to? Is there another way to describe recovering? The work in this exhibition responded to these questions.
In 2014 I also participated in a project called “Speaking Out; Survivors, Artists, and Public Services Against Gender Violence. This was an academic project based at Leicester University and resulted in a publication called” “Speaking Out” as well as a exhibition and conference.
Both of these projects helped me to realise that, within my work, as well as the pleasure of creating beauty, I also needed to allow my creativity to flow through areas in my life which were difficult emotionally and psychologically.
While taking part in the “Speaking Out” project was very challenging for me (particularly as I was only two years into psychotherapy and still deep in an intensive phase of recovery), it was still good for me.
To begin to articulate publicly aspects of my life which had only been shared between me and my therapist was hard, but the process of putting some of my experience into words proved helpful. I was not in a place where I could actually speak to anyone but my therapist about certain things. However, being able to express myself through visually creative practice and also to be able to begin to answer questions which came from other people, did aid my own understanding and confidence. I realised that these difficult and traumatic parts of life were not taboo, and did not be need to be hidden. Rather they were part of a shared experience to which other people could relate.
So taking part in the exhibition was a kind of escape from isolation and part of an emerging understanding that at all parts of my being were destined to show themselves through my my artistic expression. Instead of being aspects of my reality which had to stay buried, this openness was something which other people could find beneficial and helpful to themselves.
It has certainly been the case that as I gradually began to articulate myself in my therapy sessions this had a significant effect on my creative direction and my artworking. It felt more comfortable and natural to make work which touched on some of those issues which had either been too painful, or were buried too deeply prior to starting psychodynamic therapy.
To take a look at my exhibition history follow this link. It is not complete as I am in the process of putting it up on this blog but the most recent exhibition history is already up.
https://jennymeehan.wordpress.com/jenny-meehan-jennyjimjams-exhibitions-page/
Inclusive Church Annual Lecture
Here’s an event I’m looking forward to in June; Inclusive Church Annual General Meeting and Annual Lecture!
The 2023 Inclusive Church AGM and Annual Lecture will take place at St John’s Waterloo and online. The speaker this year will be Canon Rachel Mann, full-time Area Dean for Bury and Rossendale, author, poet and broadcaster. The title of her talk will be ‘Finding Hope in the Fragility of God’.
You can find out more here;
The last time I went to a similar kind of event was way back in October 2014! as the organisation “Accepting Evangelicals” put on a very inspirational event. This was really helpful for me at the time as I had been reflecting on the reality of needing to more fully accept and embrace my own bisexual orientation (previously realised in my late twenties, but then repressed due to religious teachings encountered in the charismatic and evangelical churches I’d been part of) and reappraise how that related to my faith and life.
“Accepting Evangelicals” no longer exists.. Its now “One Body One Faith” as described her by Elaine Sommers:
“The Accepting Evangelicals trustees (the charity Revd Benny Hazlehurst founded in 2010), wish to ensure that his legacy continues, and serves as foundation for further development, for the benefit of the whole Church as it includes the LGBTI community of faith.
The trustees have agreed that to move into full cooperation with OneBodyOneFaith will be the best way to ensure that the Benny’s legacy is remembered and continues to bear fruit for the Kingdom of God.
Benny’s infectious enthusiasm and huge heart of compassion encouraged a great many evangelical Christians to find the courage to be open about their growing convictions – that it is possible to be an evangelical Bible-believing Christian and actually support same-sex partnerships and the full integration of LGBTI people into the Church.
Elaine Sommers, on behalf of the Trustees of Accepting Evangelicals, 11th February 2021″
So time really does fly, and things move on and develop. Evolving is healthy and good!
As it happens, I no longer label myself an “Evangelical”, and feel far more comfortable as a member of the Church of England than I did in my past church experiences, (particularly those which were cultish and insular and often, quite frankly hateful towards gay people!)
I wouldn’t even describe myself as “Bible-believing” though I do very much embrace the Bible as an important foundational text for my faith. Its the term “Bible-believing” which conjures up many negative things! The main one of course being taking everything literally, telling everyone who doesn’t agree they are wrong, and refusing to accept that non dualistic thinking may actually improve their experience of life and faith in many exciting ways.
Non Dualistic Thinking
Brilliant quote here in non dualistic thinking, in case you are not familiar with it, quoted from Richard Rohr:
“Cynthia Bourgeault (2013) describes this richer psychological mindset as third force thinking that transcends the rigid mindset of dualities. A third force solution to a problem is “an independent force, coequal with the other two, not a product of the first two as in the classic Hegelian thesis, antithesis, synthesis” (p. 26).
Psychologists have known for a half-century that human cognition is characterized by a need to simplify and categorize stimuli (Fiske & Taylor, 2013). Because our lives include daily encounters with a range of phenomena that defy simple dualistic thinking, it is of crucial importance that we engage in third force approaches that access our deeper intuitions and artistic sensibilities.
Third force solutions to problems are innovative and heroic solutions. In my view, it is crucial that we emphasize third force nondualistic thinking approaches in early education to help promote heroic mindsets in young children.
In contrast to dualistic thinking, nondualistic thinking resists a simple definition. It sees subtleties, exceptions, mystery, and a bigger picture. Nondualistic thinking refers to a broader, dynamic, imaginative, and more mature contemplation of perceived events (Rohr, 2009). A nondualistic approach to understanding reality is open and patient with mystery and ambiguity. Nondualistic thinkers see reality clearly because they do not allow their prior beliefs, expectations, and biases to affect their conscious perception of events and encounters with people.”
Quoted from here: https://blog.richmond.edu/heroes/tag/nondualistic-thinking/#:~:text=Nondualistic%20thinking%20refers%20to%20a,patient%20with%20mystery%20and%20ambiguity.
This kind of thinking, and the process of deconstruction which comes with it, is challenging though. Yes, it is. It puts you into a place of uncertainty and that involves fear. Fear is necessary though. And it does require faith, more faith actually, than staying in our comfort zone. I have found myself growing more in faith and trust in Creator God as I learn to let go of things I once held dear.
Though there were many very positive dimensions to my various church experiences over the Eighties, there were also, sadly, some damaging aspects particularly with regard to a lack of inclusivity and some really horrible attitudes towards LGBTQIA+. There were also some harmful attitudes towards mental health difficulties and a lot of people suffered needlessly as a result. The presence of rigid, inflexible, and non analytical, non questioning, and frankly often cultish behaviours and attitudes did not reflect a truly loving, compassionate and inclusive Creator or the kind of Spirituality which is wholesome and life giving. The presence of these flaws and failings does not negate the positive aspects though, and while I personally grieve over the negative features, particularly as these affected my own self acceptance in significant ways, I can also see that my past spiritual journey had many wholesome aspects to it and has developed in such a way to provide a good foundation and basis for the place I am in now.
Some folk would probably say I cannot be a Christian, or a “Real Christian” (whatever that is!) holding many of the beliefs I now hold. All I can say is I am glad and grateful for the way my life and faith have opened up, and it is a joy to be more inclusive, compassionate, expansive, and to have a greater sense of the mystery of our Creator. Life is more exciting, challenging, and certainly loving, than it used to be, and because of this I am happy to shed much of the old in favour of the new.
A more progressive Christian faith bears much love. I am constantly encountering my own narrow mindedness on many subjects, and that seems healthier to me than shutting out new ideas, thoughts, people, issues, communities and faith traditions, spiritualities, etc etc etc… the list goes on. We don’t need to agree with, hold the same perspectives, or be cliquey. We can listen, be open, and learn from each other, even if we hold completely different views.
Sacramental Video Poem
https://youtu.be/9pPvhKg3YBs
Is the YouTube link
Sacramental
Waters breaking
all around me;
As when you rose;
Now I:
Like you.
In your flesh and blood
surround me;
Sacred communion!
Life brand new!
Though the darkness
overwhelmed me;
held me cold,
in blackest night;
Holy Spirit,
you surround me:
Through my being
floods your light.
My strength, will,
and purpose;
rising,
Pulled by Love’s
soft, gentle, face.
In my heart; your image;
Jesus:
Revelation
of God’s grace.
(Jenny Meehan copyright 2008)
My faith and beliefs have changed so much over the years, and I’m grateful for the evolution and diverse perspectives which keep my faith a “questioning faith”… One with a sturdy commitment to being Christ-like and forever part of the creativity and grace of our Creator.
To follow Christ, I believe, is to embrace a commitment to life in its fullness… To the mysteries as well as those elements of life which feel more certain. It is to love and accept ourselves and others wholeheartedly and to believe our Creator is with us in our desire for love, empathy and compassion and supplies what we need to support and sustain us as we trust and believe that God indeed is Love incarnate and eternal.
Kingston Artists’ Open Studios 2023
Yes, it’s time to start getting ready for this. Though it is not until May, which is a few months away, I start to sort through my rather extensive collection of past work as well as looking at more recent work I have done and begin to think about what I might bring along to the Kingston Artists’ Open Studios event. This year it will be taking place on the weekends of 13th -14th and the 20th – 21st May. Contact me via the contact form for more detailed information nearer the time.
While I have been shifting my creative art working more in the direction of my poetry, writing and also experiments with mosaic, I am still painting though maybe not so much as I have done in the past at this time of the year. However, when it comes to the months of good weather… very specifically, good paint drying weather…I will be in the garden again throwing paint around, most thoughtfully.
Trips Out and About
|It certainly is handy living in South West London…Near to the countryside, not far from the sea and of course London such a great place for the arts and culture in general! I am making more effort now the pandemic is passed to make the most of living where I do and seeing a good smattering of art exhibitions, theatre and music. I even saw some ballet at Wimbledon Theatre recently, which was great as I was around ten when I last saw live ballet!
I recently saw the Alice Neel exhibition at the Barbican. I like to go to art exhibitions by myself as well as with friends. For this I went alone so I had plenty of time to gaze at paintings for as long as I wanted.
I really like the Barbican as a building. I like the space within it as I’m walking around and the feeling I get as I do. Here’s some text about it:
“The Barbican was developed from designs by architects Chamberlin, Powell and Bon as part of a utopian vision to transform an area of London left devastated by bombing during the Second World War.
‘Barbican’ used to be the name of a street in a bustling commercial area in the ward of Cripplegate. By the end of the 19th century it was the centre of the rag trade and was home to fabric and leather merchants, furriers, glovers and a host of other tradesmen.
However, on 29 December 1940 the City of London came under the fire of the German bombers and the area around Barbican was flattened as fire swiftly spread across the warehouses. By the end of the war, only a few buildings still stood, including the damaged Church of St Giles’ Cripplegate.
After the Second World War, the Corporation of the City of London, the governing body of the City, sought to rebuild the commercial area known as Cripplegate ward which had been almost completely razed to the ground during the Blitz. Recognising the need for comprehensive planning after the war, the Town and Country Planning Act of 1947 enabled local authorities, such as the Corporation, to buy land in order to redevelop large areas.
The Centre took over a decade to build and was opened by The Queen in 1982, who declared it ‘one of the wonders of the modern world’ with the building seen as a landmark in terms of its scale, cohesion and ambition. Its stunning spaces and unique location at the heart of the Barbican Estate have made it an internationally recognised venue, set within an urban landscape acknowledged as one of the most significant architectural achievements of the 20th century.”
The above is quoted from here: https://www.barbican.org.uk/our-story/our-archive/construction
The art gallery space is also very generous, with plenty of room to look at the paintings from many different distances. This is something that I very much appreciate. It was certainly a much nicer and roomier experience than when I went to see the “Making Modernism” exhibition at the Royal Academy of Arts recently. I have also realised I much prefer a deeper insight into the artist’s personality, their life experiences, and the historical period they worked in when I go to an art exhibition. I find it much more rewarding to focus in on one artist and their work. I am a great lover of History and Literature and I find it essential to develop a sense of the context of different artistic creations rather than just view them in isolation, or with very little background knowledge. At the Alice Neel Exhibition there was extensive biographical information available as I was able to spend some time in the area with books to look at…I really loved that! There was also the inclusion of several films as part of the exhibition which really adds to the experience as well a offering a very welcome opportunity to sit down!
Such an inspiring self portrait… A woman’s body as it is, painted with boldness and intensity. This is the kind of representation of women I like… Its clearly a good kind of self portrait in that it’s not idealised but has an appeal in its honesty. For someone like me who at 58 isn’t as old as Alice Neel but whose body looks pretty similar, it’s heartening to be reminded that our female bodies are beautiful as they are. It’s too easy to be unkind. We are bombarded with so many stereotypical male gaze images of the female nude. This painting is one I will remember.
This was my favourite landscape. It had a kind of mystical, other worldly air to it as well as the very ordinary comings and goings of the people within it. The bright orange sign presents a question…a possible storyline. Why is it there? Is someone homeless, in need of somewhere to stay? What has happened? Then the peculiar cloud of smoke…Almost visionary…Some aspiration or dream maybe? The title is “Longshoremen Returning from Work” 1936
This was my favourite portrait of another person. This is one of Alice Neel’s portraits of Georgie Arce; it’s title is Georgie Arce No 2, 1955. It was very moving…The face is arresting and deep in emotion…A feeling of sadness but also resignation… You look at his eyes and the tilt of his head. You feel the need to be “hard” and tough in the face of life and the tension in his arms is palpable. The knife he holds may in theory I guess be an object of a type of strength, and there may even be a hint of pride in its possession, but there is a lot of vulnerability in the painting too.
Here is some interesting text on Georgie Arce:
“The Neighborhood Boy
Speaking about Georgie Arce, Alice Neel said he was very smart, although he couldn’t read. They met when he asked to come and play with her dog. Over five years, Neel sketched and painted a series of works of this neighborhood boy and they remained friends for almost 30 years. However the ending to this story is heart-breaking. Let down by a chaotic, over-stretched and under-funded system, Georgie couldn’t extricate himself from the multiple deprivations of poverty within a racist society and he ended up in prison for murder.”
The quote above is from https://www.dailyartmagazine.com/alice-neel-georgie-arce/
Here is a portion of the text from the Alice Neel Exhibition wall
“Some sitters, like the young Georgie Arce, whom Neel met when she was out walking her boxer dog King, she would paint on multiple occasions, allowing dif- ferent moods to emerge on the canvas. In a period of racial segregation, Neel flipped the power dynamics of portraiture (which had almost exclusively featured privileged white sitters), painting subjects like Arce with great character and compassion. As she explain- ed: ‘One of the primary motives of my work was to reveal the inequalities and pressures as shown in the psychology of the people I painted.'”
I do like text on walls for some odd reason. I have a habit of taking photographs of it! Here was my favourite. I found it a joy to visit this exhibition. I think because I work with non representational images most of the time I get a special pleasure from looking at art which is quite different to my own. I have liked the paintings of Alice Neel for a long time. Indeed, she was one of the first painters I found myself interested in when I first got into painting around 2005. I like powerful emotional impact.
My next trip to the Barbican will be to see the play “Drive Your Plow Over the Bones of the Dead”
Drive Your Plow Over the Bones of the Dead
Complicité/Simon McBurney
Wed 15 Mar—Sat 1 Apr 2023,Barbican Theatre
The theatre show runs at the barbican and is described on their website:
“World-renowned company Complicité return to our stage with a brand-new production based on Nobel prize-winning writer Olga Tokarczuk’s darkly comic novel, directed by Simon McBurney.
In the depths of winter in a small community on a remote Polish mountainside, men from the local hunting club are dying in mysterious circumstances and Janina – an eccentric older local woman, environmentalist and devoted astrologer – has her suspicions. She has been watching the animals with whom the community shares their isolated, rural home, and she believes they are acting strangely…
A thought-provoking, wry and otherworldly murder mystery, this is a tale about the cosmos, poetry, and the limitations and possibilities of activism.
Simon McBurney directs a new work for theatre based on Nobel Prize winning author Olga Tokarczuk’s acclaimed novel, which was shortlisted for the 2019 International Booker Prize. Olivier Award-winning actress Kathryn Hunter will play protagonist Janina Duszejko in this ensemble cast.”
Can’t wait!
Design and Artists Copyright Society DACS
Do you need a licence to use one of my images?
Yes!
I’m a member of the Design and Artists Copyright Society, (DACS) and my digital images are licensable via DACS.
Please contact me in the first instance with your enquiry. I’m flexible about fees, which are based on the industry standard, but negotiable. NOTE :All fees cited by the Design and Artists Copyright Society are proposed; not set in stone; and depending on circumstances, budgets, the nature of your project etc I can be flexible.
To get an idea of the industry standard fees for an image licence take a look at the Design and Artists Copyright Society Information page:
https://www.dacs.org.uk/licensing-works
You are of course able to simply fill out an image licence request via the Design and Artists Copyright Society form here too if preferred:
https://www.dacs.org.uk/licensing-works
The Design and Artists Copyright Society is an informative website and a good introduction to the process of licensing an art image for anyone seeking an image to use who is not familiar with the process, what information is needed, etc.
I am also happy to help you personally though as well, and have an extremely large archive of digital art images so do feel free to contact me directly and give me an idea of your project, intended use, and requirements.
Remember..
DACS will automatically propose a licensing fee in line with the industry standard. However, please note, this is a negotiable fee. I am happy to be flexible about the initial fee proposed, and it’s not a problem if the initially proposed fee is outside your budget.
It works like this…
Administration of the licensing process is facilitated through the Design and Artists Copyright Society (DACS), who liaise between us with respect to the exact fee agreed. Depending on circumstances and the nature of your project, I can usually offer fee reductions for a certain percentage of licensing arrangements.
If you decide you want to use their online form, then you need to attach the low resolution image of my artwork which you have found on the internet, they will know which image you seek permission for.
As I’ve said, you can also contact me informally, in the first instance if you wish to, of course. Any formal arrangements will need to be made through the Designer and Artists’ Copyright Society, but I can often offer the opportunity to alter images, for example, putting in different aspect ratios or colourways, so it’s really helpful to communicate with designers and clients first with respect to the actual image required.
So, feel free to contact me. I will also be able to let you know the maximum size the digital image is available at. If you then wish to licence the artwork image, you would then contact the Design and Artist Copyright Society to arrange the licencing agreement according to your requirements. Once paid and agreed, I then supply the high resolution image directly to you.
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Tags: " The Art Spirit" by Robert Henri -, "Abstraction in Nature" by Nathan Cabot Hale, "Bandage Box" "Pink Girl" "Woman and Home" "I Cannot Turn the Page" and "Hide and Peep", "Recovery" and "Speaking Out" Art Exhibition, "Sacramental" Video Poem, Alice Neel: Hot Off The Griddle, Hillcroft College Surbiton, Hillcroft Womens' College, Inclusive Church Annual Lecture, William Blake Mosaics
Jenny Meehan - Art Journal 