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Donations welcome

28 KING STREET
GLASGOW
SCOTLAND
G1 5QP

Claire Mothersole

SJ

Jemma Mitchell

Katie Bradley

Sai Stephenson

LUCY MCEACHAN

Giovanni Giacoia

Akiko Ichikawa

Kate Power

Medea Solon

Transmission is a voluntary artist-run organisation and a registered charity (Charity Reg No. SC016442).
Supported by Creative Scotland.

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Transmission (est.1983) is an artist-run space in Glasgow.

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Charitable organisation providing affordable studio space for artists. Information on the studios, list of courses they offer and newsletters.

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Humans are wired to categorize the world around us, creating labels and hierarchies to organize a glut of information. We ask during a game of 20 Questions: "Is it a person, place, or thing?" Memory itself is dependent on clustered, linked associations. If we hear the word "sleep," we recall other words such as "dream" and "bed." It's no surprise that we often think of art history this way, too, grouping artists by the time, place, and medium in which they work. The term "

" conjures 's water lilies and 's Parisian boulevards. In contrast, the term "

" brings to mind 's lone wanderer or 's lush seascapes.

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Humans are wired to categorize the world around us, creating labels and hierarchies to organize a glut of information. We ask during a game of 20 Questions: "Is it a person, place, or thing?" Memory itself is dependent on clustered, linked associations. If we hear the word "sleep," we recall other words such as "dream" and "bed."

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Forget climbing the greasy art-world pole, schmoozing dealers to get your work inside a white cube's protective walls. The young art collective Lucky PDF - James Early, John Hill, Oliver Hogan and Yuri Pattison - have, with the aid of social networks and cheap, readily-to-hand technology, set about toppling the tired old hierarchies.

The foursome first started working together in 2008, when they met as students through south London's squat scene. They built up a local following staging warehouse parties which raised money for their work, as well as providing "a great way to meet DJs from New York", as Hill puts it. The first project to properly put them on the map however was Lucky PDF TV, an online space where, Early says, "We accidentally became a congregating agent for a scene we didn't recognise until after the fact."

Lucky PDF TV offered an alternative to showing art through the usual gallery channels or creatively strangled mainstream telly. "We don't feel it's relevant to participate in distribution models outdated by technology," is the way Early puts it. Instead, this series of artist-created high- (and low-) concept programmes was recorded live and broadcast simultaneously online. In conjunction with 50-plus collaborators, it explored entertainment's outer reaches, with shows ranging from ESP experiments to wacky wrestling. Contributors have streamed live shows from artists' studios and project spaces across the world. In 2011, this unruly operation was invited into the heart of the commercial art world and the Frieze art fair. There, episodes were presided over by a presenter dressed as a giant tomato.

On the one hand Lucky PDF have used affordable tech to do it for themselves, creating projects with their friends and peers without the need to ask the powers that be for permission. At the same time they're also happy to subvert commercial, corporate strategies to their own ends.

The collective's School of Global Art is both an online school anyone can sign up with (and make connections through) and an evolving series of real life education projects. It was partly inspired by "the prevalence of summer schools - offsite spaces that generate income for universities," explains Early. "They export the brand name and it's big business." While its impetus might have been tongue-in-cheek, it was also a response to rising college fees. Hogan says their experience of art college had been that it was largely just a means of building a network of contacts. "Our MAs in particular were about creating a peerage of artists," he says. "We could do that for free over the internet." Under the school's banner they've staged everything from Skype studio visits to lectures and wellness classes streamed from art spaces they've visited worldwide. They've also taken Towie star Chloe Simms on a tour of the ICA.

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Lucky PDF at The Barbican, Featuring Phillip Li and Eddie Peake. Photograph: Joseph Popper

For their contribution to the "fashionable" 2013 survey show Young London, Lucky PDF tackled the idea of being trendy artists themselves. Aping the process of cultural co-option, they produced a fashion collection of digitally printed silk scarves and tees using "stolen" JPegs of their mates' art. "We were anticipating the appropriation of their work into mainstream culture by stealing pictures, which are freely available online, and turning them into fashion," says Hill. "At the same time, we're not like, 'This is all a sham'. We're really actively trying to participate in culture at large."

They've been tagged post-internet artists thanks to tech-savvy projects like these and their pioneering use of retro digital graphics beloved by the likes of MIA. (Lucky PDF's sometime animator, Daniel Swan, has worked with the singer.) But they say it's the message that's important, not the medium. "We wanted to provide new infrastructures," says Hill of their group projects. "We're using these tools so we can reach out and do things with lots of people".
Lucky PDF are exhibiting work at the Hayward Gallery until Jan 4th as part of MIRRORCITY. See more at luckypdf.com Topics

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Forget climbing the greasy art-world pole, schmoozing dealers to get your work inside a white cube's protective walls. The young art collective Lucky PDF - James Early, John Hill, Oliver Hogan and Yuri Pattison - have, with the aid of social networks and cheap, readily-to-hand technology, set about toppling the tired old hierarchies.

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This panel discussion will be an opportunity to introduce the concept of the artist collective and its recent history. The conversation will explore artist collectives who work in similar ways and contexts to Bernadette Corporation, as well as wider questions of authorship and ownership, how individuals work within a framework towards collective aims and how those aims are established, and the problems of collaboration.

The panel will comprise artist Simon Bedwell, a founder and longest-serving member of London art group BANK; the curator and critic Helena Reckitt; Gavin Wade, director of the artist-run space Eastside Projects and representatives of artist collective LuckyPDF.

Simon Bedwell is an artist living and working in London. He was a founder and longest-serving member of London art group BANK, which from 1991 until 2003 made shows like nobody else, in their own gallery and beyond, characterised by a rhetorically oppositional stance towards the art world they existed within, for as long as it was fun, until they parted ways to make ordinary art like everybody else.

Helena Reckitt is a critic and curator who teaches on the MFA Curating programme at Goldsmiths. Formerly Senior Curator at the Power Plant, Toronto, she has held curatorial and programming positions at the Atlanta Contemporary Art Center, Georgia, and at the ICA, London, where she organised talks from 1990 - 1997. She is currently curating projects by artists including the Open Music Archive, Pablo Bronstein and Heather Phillipson for Flux Night, Atlanta, this October. She is also curating an exhibition Getting Rid of Yourself - with a nod to Bernadette Corporation - for the Ontario College of Art & Design Gallery that opens next year.

LuckyPDF is a South East London based art collective consisting of James Early, John Hill, Ollie Hogan and Yuri Pattison (all born 1986). Active since 2009 LuckyPDF has been realising projects in collaboration with a large and expanding network of international artists and cultural producers. LuckyPDF often aims to explore alternative working methods and locations for the production and distribution of art. LuckyPDF work both inside and outside of arts established institutions; they have created events at the Barbican and Frieze Art Fair, and often locate work within mainstream media outlets, such as Frieze and Dazed and Confused magazines and the BBC, producing a one-off video piece for The Culture Show. LuckyPDF have diverse interests and have produced projects that explore formats such as television, film, performance and intervention, publishing, education, pop culture, fashion, parties, advertising and the internet.

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This panel discussion will be an opportunity to introduce the concept of the artist collective and its recent history. The conversation will explore artist collectives who work in similar ways and contexts to Bernadette Corporation, as well as wider questions of authorship and ownership, how individuals work within a framework towards collective aims and how those aims are established, and the problems of collaboration.

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During the 2010s, art entered the broader cultural consciousness and conversation like never before. Over the course of this decade, technology advanced at a rapid pace, bringing art and the art world along with it. Artists found new ways to engage with and access wider audiences and took strong stances on global issues. Galleries and institutions increased their support of underrepresented and marginalized artists. New tools for creating and sharing art sparked movements and shone a light on overlooked aspects of art history. Paintings by Picasso, Cézanne, and Leonardo sold for nine figures, while the art market went wild for KAWS and Koons. With our Decade in Art issue, Artsy's editors reviewed the last 10 years to look at the most pivotal moments, artists, movements, and sales-and what the developments of the 2010s tell us about what to expect in the 2020s.
Issue background image: Kehinde Wiley, Barack Obama, 2018. © Kehinde Wiley. Courtesy of the National Portrait Gallery, Smithsonian Institution.

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During the 2010s, art entered the broader cultural consciousness and conversation like never before. Over the course of this decade, technology advanced at a rapid pace, bringing art and the art world along with it. Artists found new ways to engage with and access wider audiences and took strong stances on global issues.

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A new exhibition tracing the history of the Indian Painters Collective, UK (IPC) opens in London this week. It charts the origins of a 25-year movement that advocated for their active involvement rather than simple representation in the British art scene.

Four young Indian painters, meeting at a North London address, established the informal grouping of the IPC in 1963. Gajanan Baghwat, Yashwant Mali, Lancelot Ribeiro and Ibrahim Wagh (former members of the Bombay Art Society), were soon joined by Balraj Khanna and S. V. Rama Rao. They would create the first artistic body of its kind outside of India and achieve the first group showing of Indian artists in the country.

The group's 1964 circular announced its mission was to 'represent a wide field of young Indian painters... that would give a positive idea of contemporary painting in India today.' For a £1 annual subscription fee plus an 'optional' 10 per cent from sales, they sought to stage frequent solo or group exhibitions 'under their own auspices whether in the UK or on the Continent'.

Other young painters would be enticed in to make the IPC 'progressive in its work'. From the youngest, Balraj Khanna (aged 23), to the eldest, Lancelot Ribeiro (aged 30), this fervent group of six came from across the subcontinent and represented a broad expanse of Indian painting. All had studied in prestigious art schools and won acclaim back in India, moving to Britain in the 1950s and 1960s with ambitions to propel their artistic aspirations further.

As former member Yashwant Mali explained: '[We] realised that we had to fight to promote ourselves and that's why we founded the group, as some kind of force.'

The IPC's first coup was the 'Six Indian Painters' exhibition in 1964 at India House in Aldwych. Ambassador Salman Haidar (former Indian Foreign Secretary), then a junior official in the culture section of the Indian High Commission, recalled: '... a group of young men burst in, with Lance in the lead, and told me I had to organize an exhibition of their work at India House. They were artists from India, and were looking to make their mark in the great abroad, which in those days meant London... seeking opportunities, not concessions. They exemplified the freshly awakened pride of the new nation and India House was rapidly infused by their enthusiasm.'

These artists took control of every aspect of their event, 'scrounging' whatever they could find from the 'inner depths' of India House to host 'a fine exhibition of modern Indian art where nobody had ever thought of having one'.

The Indian High Commissioner, Dr Jivraj N. Mehta and Jennie Lee (seen in this portrait by Montague Leder), then Parliamentary Secretary Ministry of Public Buildings and Works, opened the show. Lee was Britain's first Arts Minister in Harold Wilson's newly elected Labour government. She would oversee double-spending in the arts and set up The Open University, which Wilson considered the greatest achievement of his premiership. In the opening proceedings, Lee declared: 'I hope before long the cultural attachés at all diplomatic missions would play an increasingly important part and I do not mind if defence attachés lost importance.'

Following their 1964 success, the IPC sought inclusion in The 1965 Commonwealth Arts Festival which would feature artists from across the former British Empire. A 'Contemporary Art from India' exhibition was to be curated by George Butcher, the Guardian's art critic, who had gotten to know some of the artists personally. Although their approach was welcomed, it came too late and the window for what would have been invaluable exposure was missed. 'Liaising' with the Festival was suggested by the sympathetic organisers as recompense, if the artists could muster together an exhibition in a London gallery under their own resources within the next few days.

By the 1970s, the group had dwindled down to just four artists (Khanna, Mali, Ribeiro and Wagh), and was now titled the Indian Artists UK (IAUK). It was a revitalised form of the IPC and still 'the only organisation of its kind outside India.' The IAUK was 'non-profitmaking and apolitical [and] democratic.' It promised to seek greater access into public collections and to grant funding for its members. Full members were to be vetted professional artists of Indian origin, subscribing for £20 annually with one successful solo exhibition in tow. Associate members (students and 'others') and patrons were also invited to join. Throughout 1977, the group forged relationships with The Commission for Racial Equality (CRE), The Arts Council and The Minorities' Arts Advisory Service (MAAS) which would prove fruitful in coming years (MAAS would arrange the 1979 multicultural 'Rainbow Art Group' exhibition in Birmingham involving IAUK members).

The slimmed-down collective would soon secure another exhibition at India House with 'Four Leading Indian Artists' in 1978. The show was celebrated in the form of a lavish cocktail party at the residence of the Indian High Commissioner, with the express purpose of elevating IAUK's presence. Balraj Khanna recalled: 'It was a very grand house in Kensington Palace Gardens. And we all had one painting each. The whole lot of London came... For us it was a great party. Some galleries were invited and at least three of them turned up.'

By 1978, IAUK had also expanded to nine members, with Avinash Chandra, Prafull Davé, Prafulla Mohanti, Suresh Vedak and Mohammed Zakir joining. It now had a glossy corporate pack, helped by funding from the Indian High Commission and the CRE. Colour-plated artist biographies and an introductory statement revealed that the underlying sentiments, which had triggered the IPC into being, were largely unchanged. However, a new note of militancy had crept into the language. Each member had according to Khanna 'his own tale to tell, having come up against closed shop tactics, and a hard wall of chauvinistic zeal'.

By the end of the decade, Khanna, Chandra and Davé would leave and there were signs of differences emerging within the ranks. In a 1973 interview, Ribeiro had explained the start of internal rumblings: 'Partly it broke up because some of the artists went back to teaching or commercial jobs. Partly it was all kinds of petty niggling things which developed as they always seem to develop with Indian groups.' Khanna concurred: 'When you get Indian groups together, it's like Partition all over again.'

In 1980, the first exhibition to be mounted by the collective - now known as IAUK was at the Burgh House & Hampstead Museum. India Weekly enthused that the 'stunningly beautiful paintings... the contrast and variety of styles represented... is as pleasant as it is amazing.' The IAUK Group had now acquired a new patron too, Mr Swarj Paul (the Labour peer and steel magnate, Baron Paul) and support from the Indian High Commission and CRE. 'Indian Month' comprised a celebration of art, poetry, music and a 'Taste and Learn' Indian food afternoon and notable experts in the form of Robert Skelton from the Victoria and Albert Museum and Philip Rawson from the Royal College of Art.

A further coup was achieved in 1982 with the 'Between Two Cultures' exhibition at Barbican, as part of The Festival of India. It would now feature in a much enlarged IAUK membership base, with 17 artists - old, new (i.e. younger) and returning collective members.

The Indian artists' collective movement proved to be prescient in its vision in terms of engagement, inclusion and outreach, elements which are now taken as expected in public arts delivery. It should be remembered that behind this collective body of talent were artists who were also advancing their own work while meeting the gruelling demands of their personal exhibition circuit. Their tireless campaign to push the work of South Asian artists to the fore, since the fledgling Indian Painters Collective was created, deserves much credit over half a century later.

The exhibition 'The Roots of the Indian Artists' Collective' will display works from former members Mali, Mohanti, Ribeiro, and Wagh, alongside archival material. The exhibition runs from 11th July to 9th August 2019 at the Grosvenor Gallery, 35 Bury Street, London SW1Y 6AY. Find out more at www.grosvenorgallery.com
Marsha Ribeiro, daughter of Lancelot Ribeiro

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The roots of the Indian artists' collectives in Britain | Art UK

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A new exhibition tracing the history of the Indian Painters Collective, UK (IPC) opens in London this week. It charts the origins of a 25-year movement that advocated for their active involvement rather than simple representation in the British art scene.

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Making the leap from feeding your passion and creating art to offering your art for sale requires serious considerations. We review two classic outlets for reaching customers and collectors: art galleries and art cooperatives. We weigh some of the pros and cons to help you decide if a gallery or a co-op is a better fit for you.

Traditional Art Galleries
Getting your art in a fine-art gallery with an established base of clients and a solid reputation, instantly adds credibility to your work. If you're new to selling your art or new to the region, the gallery's endorsement elevates the value of your work in the eyes of those who trust the gallery to offer them outstanding art. When the gallery represents you and your work, they're putting their reputation behind their endorsement of your work. As a result, you have an invested partner who's equally interested in seeing your work sold.

Galleries have their own marketing and public relations machines in place that they'll use to promote themselves and the art they are showing. This exposure will be great for building your name recognition within the art community. However, you may not have much control or say in how the gallery promotes the show of your work. If you have your own vigorous marketing plan in place, this lack of input with the gallery is not an issue. If you are cultivating your brand recognition and don't have your own marketing in place, the promotion your show receives will be solely dependent on the gallery.

When you sell art through a gallery it's common for the gallery's commission on the sale to be 40%-50% of the final sale price of your work. Pricing your work may or may not be negotiable with the gallery; be proactive and don't shy away from this key part of the leap into selling your work. Discussing pricing is important and a key factor in building a solid business for yourself. (Check out our stories we have on pricing!)

Beyond framing and shipping your art to the gallery, and attending the show's opening, the day-to-day workings of the gallery and your show is the responsibility of the gallery.

Art Cooperatives

An art cooperative (or co-op) is a collection of artists working together, making all the decisions regarding the operation of a shared gallery space. This translates to you being involved at a much deeper level than if you were in a gallery. Therefore, with a co-op you have greater say in various details of the marketing for the gallery and your work. Additionally, you'll most likely retain more of the final sale price of your work.

However, co-ops frequently stipulate that each artist work a set number of hours a week in the gallery. In exchange for your labor, the percentage of the sale price of your work going to the co-op is reduced. Each co-op sets their own percentage-of-sale rates, required hours of work and responsibilities. Some allow artists to show in the co-op without working hours in the shop. In exchange, the percentage of sale price that goes to the co-op is usually greater. However, even under this circumstance, the percentage paid to the co-op is likely less than with a traditional gallery.

Everyone in the group manages the co-op. Every aspect of running the co-op/gallery is be discussed and agreed by all. Everything from ordering office supplies, creating work schedules, allocating display space, marketing and even basic housekeeping is the responsibility of co-op members. Determine if you're willing to work and compromise with a group of artists. Are you willing or able to be this hands-on?

The Hidden Benefits of the Co-op

Everyone's art is important to members of a co-op, and the key reason you banded together is to sell art. It's a business and everyone's number one job is selling art. Therefore, to be successful at selling other members' art, you have to learn about their work's inspiration, processes and history. In doing so, you are exposed to a lot of invaluable information about how other artists work successfully. Just as important, you will learn how potential customers respond to available art. Being part of a co-op may be considerably more work, but the learning opportunities and hands-on experience far outweigh the workload.

Best of Both Worlds

Ideally you want your art to be in front of as many people as possible. The more reputable places displaying your work the better. Before you sign agreements with a co-op and a gallery, ensure you are not violating any contract regulations. Also, look for establishments that will help to expand your presence rather than oversaturate a particular neighborhood.

Learn more about the business of art. Check out the ArtistsNetwork story, The Do's and Don'ts of Navigating the Art World.
A special thank you to the artists of the 5th Street Gallery in Cincinnati, for their insights into a cooperative.

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Sell More Art: Is a Gallery or a Co-op a Better Fit for You?

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Making the leap from feeding your passion and creating art to offering your art for sale requires serious considerations. We review two classic outlets for reaching customers and collectors: art galleries and art cooperatives. We weigh some of the pros and cons to help you decide if a gallery or a co-op is a better fit for you.