Highlight of an artistic city’s year

April 2010

Decision makers: Those members of the AAC Council pictured here in the Macdonald rooms at Aberdeen Art Gallery are: back row (l-r) – Allan Lawson; Pat Scholey; Merlyn Riggs; Andrew Dewar; Keith Byres. Front Row (l-r) Jane Pettigrew; Anne Marquiss; Pat Davidson; Carole Murray; Julie Wyness. photo: Ian Hamilton

by Julie Wyness

Imagine the thrill of walking into the elegant Aberdeen Art Gallery and seeing one of your paintings on the wall. Or taking friends along and watching their reaction when they see your work. Better still, the moment when you hear you have won a significant cash prize.

This is all possible at the annual Aberdeen Artists Exhibition, an open show for which any artist, aspiring or established, can submit work and know there is the possibility of being selected.

Aberdeen Art Gallery hosts four other major shows each year, but the hugely popular Aberdeen Artists Exhibition displays most work – each year over 400 artists in Scotland participate – and draws in the largest number of visitors.

The original exhibition took place in 1828, as The Exhibition of the Society of Artists in Aberdeen. The event has evolved since then, with two lengthy breaks, some reinvention of its identity and significant changes in its financial status. The major event we recognize today has taken place annually since 1958 when it was revived by Ian Fleming, then principal of Gray’s School of Art.

Getting the show on the road involves considerable collaborative effort from the Aberdeen Artists Society (AAS), Aberdeen Art Gallery and the print workshops and art schools of Scotland. It is the main item on the agenda throughout the year for the AAS Council, where current president Andy Dewar and 14 council members share the planning and related tasks.

Artists Susie Hunt and Michael Waight, who have been involved with the exhibition over the years, agree on the aims to be borne in mind when selecting work: to offer a spectacle of the highest quality with a wide spread of interest for the viewing public, which fairly represents the works submitted. The beautiful space provided by Aberdeen Art Gallery also makes its own demands.

When involved in selecting work for the show Susie Hunt, with many years of creating, teaching and promoting art in the area, says she visualizes a bar and asks: Does this work come above or below the bar?

“The artist needs to go into the gallery and look and see what can be hung there. Someone might be a brilliant dancer, but turn up at the ballroom wearing a pair of sneakers. The artist would be letting herself down, in not showing respect for the work or for herself.”

There has been discussion over the years about slimming down the exhibition, making it more selective, but Susie argues against that. “Keep it open, keep the possibility that you and your Aunty Mabel could get something in. Let as many artists and visitors as possible be involved in the event.”

The appeal that hits a nerve

Michael Waight has a creative history as a tutor of art and master printmaker at Peacock Visual Arts for nearly 20 years. He values the broad spectrum of professional and ordinary members on the selection panel, but makes the point that membership of AAS does not bring automatic inclusion in the show. One year even the then president’s piece was not selected. When talking of what it is about a work that makes him vote it in, Michael says, “Many people can sing a tune well, but somehow it doesn’t appeal; then something in the way the next person sounds will hit a nerve with you”.

An annual show on this scale requires a substantial amount of organization. In recognition of this the AAS recently employed a part-time exhibition officer. Lyndsey Gibb, who graduated from Gray’s three years ago, keeps a keen eye on the general running of the exhibition, from submission of work to overseeing its month-long run. Another key player, Carole Murray, secretary and unflappable problem-solver over the past decade, sympathizes with those artists whose work has not been selected. Understandably they sometimes ask for an explanation, but she has to say there is none to give.

So how are works selected? It may surprise some to know that the artworks are not discussed during selection. The process is efficient and fair, presided over by Andy Dewar. Each piece is voted through, or not, on a simple show of hands from the 15-strong selection panel, which is composed of nine professional and six ordinary members.

As each work is paraded in front of them, for no more than half a minute, panel members vote on it, independently, using a scale of one to four. If the majority votes one, two or three, then the work will be in the show. If most of the panel vote four, then it is set aside. All fours are recalled, some of them to be voted in when viewed a second time.

From the 700 or 800 works submitted, the aim is to end up with no more than 300 for hanging. As soon as the selection is complete all rejected work is removed to storage, till the exhibition is over.

Bill Anderson of Cults, who has been painting seriously since he retired 20 years ago, has been both selected, and rejected, over the years. He regularly exhibits at local shows (where he can sometimes be heard playing a fine piano) but he sees the AAS exhibition as the cream of them all.

“It is a huge thrill to be chosen. The standard of work is high, the highest in the area. It is innovative and imaginative and that is inspiring. Rejection used to upset me; I’d be bitterly disappointed. Now it is more of a spur to try again. It’s an incentive to develop, because getting into the show is a big deal.”

Work of the hanging team

At the other end of the age scale is Maria Fowler who first had a piece accepted for the show when she was just 10 years old. Last year, at 18, she was again successful, with a small portrait painting.

After selection comes the challenge of displaying and hanging the work. David Henderson, teaching fellow at Grays’ School of Art and current convener of the hanging team, has overseen the placing of the work around the four gallery rooms for the past two shows. Syd Burnett and Anne Marquiss are responsible for the 3-D work, ceramics, jewellery and small craftwork.

Each year brings new challenges for the hanging team, with a range of work of different sizes and fresh themes to be considered. And the timescale is tight. The initial laying out of work is completed over a day-and-a-half, then gallery staff set to work attaching it to the walls.

The next task – preparation of the catalogue – is a collaborative effort, with Andy Dewar co-ordinating design and production. Proceeds from catalogue sales go to Grampian Hospitals Art Trust, allowing it to add to its enviable art collection.

Since 1981 the exhibition has had generous financial support from Shell UK Ltd, which covers the costs of publicity, catalogues, the invited judge, and also provides for three major awards – this year to the attractive tune of £8,000.

The award winners are chosen by an r
external judge – an eminent artist or cultural figure. A purchase prize scheme enables buyers to sponsor the show and invest in original art, and there is also the Jonathan Jones /Peacock Visual Arts Prize.

Last year the Shell awards went to Heather Ross, Jo Fan and Sophie Ormerod. Sophie, 21, now in her final year of painting at Gray’s, was bowled over to be given the third prize. It was her first competition and her first prize. Her submission the previous year had not been successful and she realized then she had not thought seriously enough about the nature of the show or gallery space.

Sophie certainly learned the lesson.

Hearing of the prize on the opening night was, “a surreal experience, I felt so grateful to have been even noticed at all given the variety of work. It has given me confidence as I always worry that my work is too unusual. It was so encouraging before going into my fourth year.”

The lure of a prestigious venue

The substantial cash boost helped towards her summer travels in Europe, taking in cultural stimulation.

The possibility of significant cash prizes adds to the excitement of the exhibition and one artist has the record of winning the top Shell Premier Award three times. Professor Lennox Dunbar, of Gray’s School of Art, has submitted to the show for over 30 years. Why?

“Because it is a good show and Aberdeen Art Gallery is a prestigious venue. It is always interesting to see your work in a contemporary, well-hung show. And the prize money is good, probably the best in Scotland. This is no backwater exhibition. I would not put work into any exhibition that I didn’t think represented me positively as an artist.”

Lennox feels strongly that the show needs to be high quality to attract the best Scottish artists and the best work.

Conversations with artists about the Aberdeen Artists Exhibition reveal a range of views, about the balance of its content, about how it may have gone too far this way or that, and what would make it better.

There is consensus, however, that this is a most important social and cultural event for the North-East of Scotland.

As well as the possible pleasure of having artwork displayed in a most elegant gallery, the excellent prizes motivate artists to produce their best work. For the purchaser and sponsor Aberdeen Artists’ exhibition offers a huge choice of original, high quality artwork at very reasonable prices.

The resultant show is diverse and contemporary, offering plenty to delight, stimulate and challenge. As the city’s artistic highlight of the year it enriches the whole community.

Julie Wynes is a printmaking artist. She had a long career in Mental Health, tired, retired and went to Gray’s School of Art. Her work is on show in the Belmont Bar in Aberdeen during April.

This is an article from the April 2010 edition of Leopard Magazine. To read much more like this every month, subscribe to Leopard Magazine.