TRIPLE-TAKES AND DOUBLE CHOICES

During my ten  years or so as a commercial artist I had spells with two top London artist’s agents. The main and obvious advantage of having an agent was that they went out and got you commissions.  Most artists by definition, tend to be ill equipped, emotionally and attitudinally for the tasks of both finding and especially negotiating with clients. Artist’s agents on the other hand, often with backgrounds in advertising and / or art production have extensive lists of contacts and the wherewithal for exploiting those connections. 

This scene from a street in the Andalusian town of Arcos se la Frontera remains my favourite image from the series…

The big disadvantage in the artist / artist agent relationship however was the near-total lack of control the artist has over the process, from commissioning to payment.  And, it was ultimately the payment issues which trumped the advantages and convinced me to toughen-up and go it alone. My final artist’s agent’s commission was a case in point and also the last straw. What began as an unusually free brief – to paint a series of of 24 poster-style gouache paintings to decorate 12 luxury, first-class cruise liner suites for a seriously good fee, manifested as an exercise in frustration and acrimony. The fact I had to resort to the threat of lawyers against my own agent to extricate partial payment gives a good idea of just how sour things got.

This is a scene from a courtyard restaurant in Granada, right by the Alhambra Palace…

In the normal course of events, I worked directly with the clients, and delivered my work to them myself. For some reason never fully explained, on this occasion I did not get to meet the client and instead dealt exclusively with my agent. What exactly went wrong between the time of me handing over the finished pictures to the agent, and her passing them to the client – or indeed, if she ever handed them to the client, I never discovered. All I did know for sure, was that two months of hard work was never fully paid for.  Fortunately, during my ongoing film-to-digital trawl, I recently came across colour slides of several examples of the artwork from that fateful commission and the original photographic templates.

The delightful “balcon” at Arcos…

If I was ever to receive a similar commission again, apart from making sure to deal with the client on a one-to-one basis, I might also decide to produce Photoshop images (presented on the similar art papers to the original gouaches) rather than paintings. For me the finished results, especially with these highly graphic, minimalist images are at least as good as paintings, and in the awful prospect that I again would not be fully recompensed, would have expended a fraction of the time.

And finally, the Bishop’s palace in Seville.

Presented here (within the text) in triptych form are four of those very images. The photo templates comprise the central images, with the original gouaches on the right, and my new Photoshop treatments on the left. See what you think and don’t be afraid to let me know…

POSTER ART AND MOVIE MUSIC…clever ephemera or fine art?

In 1992, at an exhibition of my poster-style paintings, someone remarked to me in a disparaging tone, ‘you know Adam, these sort of pictures are to fine art what film music is to classical music…’ She meant the observation as an insult, and at the time, although I basically agreed with the premise of her analogy, I felt duly insulted. But soon afterwards I realised that it was her intent and her tone that had upset me, not her premise.

The fact was, I had always been a huge admirer of film music and its composers, several of whom I believed then, and continue to believe today to be geniuses in their own right, every bit as accomplished in their own way as their “classical” contemporaries (after all, what will be more listened to in a hundred year’s time, Elmer Bernstein’s score to The Magnificent Seven, or Pierre Boulez’s “explosante-fixe”?). So, having my work compared to movie tunes was for me, in its purest sense, a unintended  complement.

Sure, it can be argued that poster artists are merely creating visual mood music to the given theme, but that is no bad thing, and if executed well, and with feeling, a great poster can be at least as impressive an image as any piece of “pure” art. Ultimately, as with the best film music, if the piece lives on in the memory and has the power to stir deep feelings then surely this means it is good and worthy art.

However, unlike my commissioned advertising work, my  non-commissioned posters were a bit like movie music without a movie. And some time after this particular exhibition an album of exactly that type of music called Eternal Echoes was released by that greatest of British film music composers, John Barry (Lion In Winter, Zulu, You Only Live Twice, Midnight Cowboy, Born Free and The Ipcress File to name just a few masterpieces). I was initially quite dubious, but then, after listening to the record, I realised that it worked in exactly the same way as my “free” posters, with bags of atmosphere, lyrical content and just enough emotion to stir the blood.

As things turned out this style of work became my most enduring, heavily influencing the pictures I am making today  (e.g. see my work now available here) and my love for movie music continues unabated.

Here are a selection of posters with architectural themes, another post, of more “human-centric” works will follow shortly…

MY POSTER PHASE…(1)

For a while during the late 1980’s and early 90’s there was a resurgence of classic poster design in British commercial illustration. For about ten years add agencies got a nostalgia pang for the poster images of the early half of the century—especially the great travel posters of companies like Cunard and P&O.

Photo-sourced images, distilled into simple, screen-print-like blocks of colour were once again all the rage which meant for me, as a keen exponent of the form, a fairly regular stream of commissions.

One of these days, when I’ve completed the transfer of all my old work copy onto a digital platform I’ll put up one or two gallery posts showing the sort of stuff I did for the likes of Thomas Cook and Legal & General.

For now, here is a small gallery of highly disparate images I made for my own pleasure and exhibition.

They comprise a truly odd bunch, including as they do some kind of anti-communist poster (can’t recall if it’s aimed at Russia or China?) and a slightly weird self-portrait of me looking very miserable (suffering with heat-stroke) at a bus stop in Israel. Somewhere, I have dozens of colour slides of many more, less quirky; mostly travel related images which are now all happily sold. They too await digital conversion.

Meanwhile, these are fun—I think!

 

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MY ART CAREER – PART 1 – 1972

This was a poster I did at Carmel back in 1972 for the campaign to free Soviet Jews. The late Greville Janner MP came to the school and asked the head of the art department, Herman Langmuir for a picture to be the centerpiece at a reception and talk at the Houses of Parliament being held by the Parliamentary Friends of Soviet Jewry.

Herman volunteered yours truly and I came up with this. It was hung in a committee room where the event was held  and it was my first picture to get into the newspapers – well, the Jewish press at least. Not bad really for an eleven or twelve year old. You can see why Herman thought I was heading for a career in comic art. My first “brush” with fame…(apologies)

Looking at it again after all these years it’s much better than I remembered.

Poster for the Parliamentary Friends of Soviet Jewry
Poster for the Parliamentary Friends of Soviet Jewry