The Marmite Prize for Painting IV / Press Release

Here at Marmite Prize for Painting HQ, we are delighted to announce the 32 artists selected for the UK’s NO.1 painting prize. The selection was made from almost 850 entries and was very hard work. Our congratulations go to these artists. 

Amelia Barratt , Julian Brown, Simon Carter, Brian Cheeswright, Jules Clarke, Ben Deakin, Marie d'Elbee, Damien Flood, Yifat Gat, Alex Hanna, Hyojun Hyun, Phil Illingworth, Silvie Jacobi, Christopher Jones, Matthew Krishanu, Jana van Meerveld, James Metsoja, Paul Newman, Tom Palin, Alison Pilkington, Playpaint, Clare Price, Dan Roach, Greg Rook, Andrew Seto, Sabrina Shah Blake, Shirley John Stark, Mathew Tom, Virginia Verran, Charles Williams, Eleni Zagkali 

The works for exhibition were shortlisted by a representative from each of the galleries on the exhibition tour: Marie Holland, Central Art Gallery; Jenny Brownrigg, Mackintosh Museum; Benet Spencer, Ruskin Gallery; Hannah Jones, The Gallery at Plymouth College of Art; and Andrew Bick, Tannery Arts; along with the Marmite Prize curators, Marcus Cope and Stephanie Moran. The selection process is made entirely anonymously from j-pegs. The judges, who are all very highly respected painters, Marta Marce, Dawn Mellor, Tim Stoner and 2010 Marmite Prize winner Iain Andrews will select a winner and two
runners up from the shortlisted works when the show reaches London in June 2013. The winner will receive a specially commissioned marmite sculpture made and very kindly donated by Richard Wentworth. The runners up will both receive a pat on the back. There will also be a visitors’ choice award to be announced at the close of the exhibition tour.
The exhibition will open at Central Art Gallery in Tameside from 14th December 2012 – 16th February 2013 and will then tour to the Mackintosh Museum, The Glasgow School of Art, 1st March – 6th April 2013, the Ruskin Gallery, Cambridge, 11th April – 10th May 2013, and The Gallery at Plymouth College of Art, 20th May – 14th June 2013, before coming to Tannery Arts @ DRAWING ROOM, London 27th June – 20th July 2013, where the winners will be announced.
“The Marmite Prize (no relation to the yeast based spread) was launched in 2006, and has gone on to establish itself as an unconventional art prize – one that does not adhere to the zeitgeist or specific disciplines, encouraging everything from landscape paintings and sculptural portraits, abstracts and still lifes to be submitted.
It is the only festival that can truly call itself ‘nomadic’ – a biennial event that takes the paintings to the people and regards giving the public access to the work as important as the prize itself.”
Sarah Walters, Manchester Evening News.
“Every year the Marmite Prize gains more entries and more attention. Last year’s winner Iain Andrews, was featured on the cover of a-n Magazine. What’s so special about this painting competition is that it is open to everyone. We have established artists alongside emerging talent. Today’s prizewinners really are the future stars of the art world."
Stephanie Moran, Marmite Prize Curator.
Notes to Editors
The Marmite Prize for Painting is a non-profit independent project established in 2006 by painters Marcus Cope and Stephanie Moran, it is run by painters for painters.
Every year the Marmite Prize is dedicated to a very good artist. This dedication influences the hang of the works. This year the dedicatee is former artist collective BANK.
The Marmite Prize for painting was first held at the Residence Gallery in Hackney in 2006, dedicated to Georg Baselitz all the works were exhibited upside down. The 2008 exhibition, held at studio1.1 in Shoreditch had an along the ceiling hang dedicated to Oliver Kossack. The 2010 prize, dedicated to Ida Appelbroog saw much of the work exhibited on free standing wooden structures, allowing the viewer to see both sides of the paintings.
The project aims to question the validity of art prizes that evaluate creative activity with the intention of assigning a monetary value to the ‘winning’ artwork. As an alternative to a cash prize, the winning painter takes away the marmite, an artist-made vessel, which is awarded by the judges in recognition of artistic excellence.
The Marmite Prize for Painting is in no way associated with a tasty yeast based food product called ‘Marmite’.
For press enquiries please contact Marcus Cope, 07776 495 878

B&W drawings from the Righteous Perpetrators @ at A.I.R. Gallery by Jennifer Wroblewski

here is a  selection of B&W drawings from the  Righteous Perpetrators show @ at A.I.R. Gallery with text by the curator Jennifer Wroblewski


 Jennifer Wroblewski. wall drawing

'In conceptualizing Righteous Perpetrators, I was attracted to the cultural role of the shaman as mischief-maker or pied-piper, and the contemporary artist as proxy for the spiritual advisor in exile in an elegantly secular culture. By using the word “shaman” in conceptualizing a show about performative drawing and mark-making, I hoped to pull the discussion of drawing away from more autistic systems by which we seem bound to experience and evaluate art.'

Heidi Pollard, ink on paper.

Some institutional gravitas was lent to the project by the inclusion of four 2012 Heaven drawings by Heidi Pollard, from her ongoing series of ink grid drawings (each named Heaven, each numbered.) Ms. Pollard was the most reluctant of the group to characterize her work in relation to shamanic behavior, but I was insistent. Her repetitive mark has yielded dozens of these sublime pages, intriguingly titled Heaven, and born of the repetitive act of making straight lines.

                                                               Inger Johannes Grytting

Inger J Grytting’s work is also linear and born of repetitive mark making, specifically thousands upon thousands of graphite line segments. Like Cy Twombly turned backwards, her work mimics the behavior of writing, but eradicates the need for syntactic meaning. The making of the mark is her story. And it is a relentless one.

Jennifer Wroblewski
september 2012

other artists in the show were

Morgan O’Hara, Etty Yaniv, Yifat Gat, Paola Andrea Ochoa, Kerry Cox, Katie Cercone.

Design in Nature / Adrian Bejan

For a finite-size flow system to persist in time (to live), its configuration must evolve in such a way that provides easier access to the currents that flow through it.

Everything that moves, is a flow system. The constructal law dictates that flow systems should evolve over time, acquiring better and better configurations to provide more access for the currents that flow through them.

Life is movement and the constant morphing of the design of this movement. To be alive is to keep on flowing and morphing. When a system stops flowing and morphing, it is dead.

Flow systems configure and reconfigure themselves over time. This evolution occurs in one direction: Flow design get measurably better, moving more easily and farther if possible. Of course there will be bumps and mistakes: Every trial involves error. But in broad terms, tomorrow's system should flow better than today's.

The constructal law teaches us that nothing operates in isolation. every flow system is part of a bigger flow system, shaped by and in service to the world around it.

Living is motion, and motion is change and alteration and therefor the alternative to motion is un-mothion, stasis, death.

John Yau on Hanns Schimansky @ Hyperallergic

John Yau offers a unique perspective on the work of Hanns Schimansky, an artist who was born in East Germany in 1949. Almost entirely self-taught, Schimansky makes drawings that “just don’t add up in ways that we are used to, and find comfort in. I suspect that Schimansky recognizes such comforts are an illusion, that we can never construct a sanctuary that is perfect for every occasion.”