Download and print an A3 version of the Buy it and Flip it exhibition poster (see image above).
Events / Current
Events / Archive
BUY IT AND FLIP IT
4 - 16 May ❘ 10am - 4pm
Opening Night: 15 May ❘ 6pm - 9pm
I'm interested in the gamble of life and how people behave in order to shift the odds more in their favour. Ladbrokes are currently running a great advertising campaign, which emphasises the skill and belief needed to make gambling pay. The ads highlight a new breed of gambler; one who understands the odds, and knows how to shift them in their favour. In late modernity, the information age, a time when players know they need to be sharper in order to stay ahead of the competition.
Think of all the potential clients they are not connecting with, be they city traders, sports professionals, betting website owners, racehorse owners, casino operators, anyone in fact, who knows the odds, or just 'gets' gambling and the gamble of life thing. As a [renowned sports journalist] artist/gambler with over 20 years experience I am, of course, hoping that at least a few of them will take a chance on speculation.
Images from the Exhibition
All images photographed by Mental Images ©Mental Images 2015
Sell the art as cultural capital. Art advertising commerce. Commerce as art. Develop a critical understanding [of gaming] to give [Bluesquare, BetFred, Coral . . . . ] kudos and respectability in mainstream society. Gambling emblematic of late modern society; [digital] interactive consumption, participating in rather than passive consumerism [of the spectacle].Gaming companies USP a marketing strategy to place them . . . . . . . . . in the market. So target online betting companies, or casino chains, or high street bookies. Or all? Nb. 'PUNDIT NATION', 'AlphaBET' series. Can be applied to multimedia platforms?
Sell original works of £20,000 - £25,000 [to be on display at head office] then limited edition numbered and signed prints for £200 - £500 for all other properties. Nb. use the 'AlphaBET' concept to make each one bespoke for each location. An exclusive [licensing] partnership syncing the art with the companies long term promotional and marketing strategy?Art the perfect commodity; if they go all in it is a one way 1/10 bet. Guaranteed return on their investment.
Contact head of marketing / management / shareholders / owners with hand delivered letters from 'The Asylum Gallery' [followed up by email] inviting them to a private view [maybe on race day at the all weather track?]. Two tickets each, both designed by Loz to demonstrate the 'AlphaBET' concept [on their names, so each different & collectable].
Use conventional forms of representation to explore abstract concepts. Using the vernacular of the gaming industry. Artists were able to maintain legitimacy by saying they were "quoting" imagery to make conceptual points. Deduce the basic grammar of commercial art; Diagrammatic elegance of the collage, combines, readymades, appropriation, intertextuality and re-contextualisation. Nb. gambling in art from Cezanne's 'Card Players' [the most expensive painting ever], Caravagio's 'Card Sharps', to Coolidge's 'Dogs Playing Pool'. The close history of artists who love gaming including Freud [gave Alfie McClean a £100m art collection to clear gambling debts], Bacon, Peter Blake, Mark Wallinger. The history of having great art in casino's to Vegas Casino's that buy blue ribbon art to attract the punters. The importance of chance in art utilised by the surrealists.
To go off with a [ ]; Popular, transient, expendable, low-cost, mass-produced, young, witty, sexy, gimmicky, glamourous, BIG BUSINESS. Pop Art is where the avante grade [ideas] confronts kitsch [ersatz appearance], the individual expression of [ ] confronts the mass produced [ ], the original and the copy, the idea of cliche and iconography. [ ] is simulated. A reaction to the angst of abstract expressionism, by turning the painted gesture into a something mechanical. Iconography [repeatable] of consumerism, a wide range of subject matter to be appropriated. What people like, realism, embrace what is around us. Warholian indifference; mass produced sadness and anxiety, blow up, repetition of a banal or profound image to remove its meaning. The consistently aesthetic experience of the the world. [ ] incarnates a victory of style over content, aesthetics over morality, irony over tragedy.
Pop art uses the transparent language of advertising; bright colours, simplified design > rigid hierarchies of form and subject. Pop mass produced and accessible. To reconnect art with the everyday. Post war consumption and mass communication. [ ] is both ironic and sincere. [ ] seen but not understood. Pop Art’s status as product. The art of making money. Pop Art’s proximity, collusion and exploitation of the market. Acts of rebellion replaced by [passive] acts of consumption. Serial repetition denoting excess. [ ] aestheticised and commodified. The repetition, imitation and standardisation of all cultural forms.
Mass culture not a culture but an industry; [ ] integrated and subordinated to the needs of capital. The transaesthetics of banality, metaphysical illusion, the pathos of the ‘real’ and of ‘meaning’. Take [ ] from its original context, magnify, over simplify, parody. For the image of [ ] not to be confused with anything tangible or real; hyper reality is where [ ] removed from both any origin or 'reality' itself. Mass culture, popular taste & KITSCH; to be so blatantly cynical in its allure. The image is even better than the real thing. Art advertising commerce. Commerce as art.
More information about Loz Taylor is available on his artist profile page.