Gatekeeper
Journal
Article by Millie Robson| London
Value v Gross Value Added: how the Government’s cuts contradict the Arts’ contributions
Following the recent headlines that funding for creative courses in the UK will be cut in half due to them not being on the ‘priority list’ of subjects, there seems to be a sense of inescapable déjà vu.
Article by Natascha Ng | London
Time to Change a Top-down Industry, Giving Artists Agency
From an outsider looking in, the contemporary art market can throw you back to being at school and navigating cliques. The nod of approval from one individual and you’re in.
Article by Natascha Ng | London The Power of Protest? Protecting political opinions against creative censorship
Turner Prize-nominated research group, Forensic Architecture, threatens to pull their exhibition from Whitworth Gallery after the opening written statement was removed from display.
Interview by Lucy Alves | London From Art School to APOC Store: Interview with Hepzibah Lyon
Gatekeeper is sitting down with recent graduates to discuss how they have developed their practice into careers. In this series, we aim to provide insights from some of the industry’s upcoming talent into how you can understand and nurture your work.
Article by Lucy Alves | London The Government vs. The Arts: how will education cuts affect the creative industries?
In May, it was announced that higher education funding would be cut by a whopping 50% as it was not seen as a high priority.
So, what does this actually mean for pending art students and educational institutions?
Opinion by Joana Alarcão | London Emerging Artists Navigating the World of Gallery Contracts
The way we perceive value is changing, and so is the art world. As it sheds its skin each season, it threatens to devour the modest and confused flock of emergent artists.
Article by Maddy Weavers | London
My Grandpa, the Counterfeiter
It was not uncommon for Romans to purchase copies of Greek sculptures. The contemporary buyer was not concerned with the authenticity of the artist but instead with the aesthetic. Yet this practice is no longer associated with appreciation. Instead, it is associated with forgery... for the most part at least.
Article by Alex Cutts | London
Tax-free Playgrounds
International trading in the art world is common practice. With billionaire collectors being based at all corners of the globe, trades within the industry are often dealt with overseas - where pieces face monumental customs fees upon arrival. This is where freeports come in.
Do you have an interest in the commercial art market? We are always open to receiving new works, writing and proposals from like-minded creatives. Send us an email with a little bit about your practice and we can go from there!
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Issue 02 ‘Indispensable’ £8
Gatekeeper launches its second issue exploring the word 'Indespensible', collaborating with exciting individuals who have shared their work and perception on the art market. Featuring work and writing from: Jonathan Barnbrook, Anastasia Fjodorova, All Mouth Gallery, Stella Botes, The New Art Gallery Walsall, Greg Rook, Migrate Art, Kengwu Yerlikaya, Tom Wilmott, Jade French.
Issue 02 ‘Indispensable’ + Original Tom Wilmott Painting £18
For every limited edition print sold, we will donate £10 to Arthouse Unlimited in line with Tom Wilmott’s Painting Pro Bono project! (Adding this to cart also includes Issue 2)
Issue 01 + 02 - Bundle deal £12
Issue 01 ‘Transaction’ £8
Gatekeeper presents its first issue exploring the word 'Transaction', collaborating with exciting individuals who have shared their work and perception on the art market. Featuring work from: Honor Freeman / This is Not a Cult, Eline Benjaminsen, Matthew Burrows / Artist Support Pledge, Max Haiven, Charles Maddocks / Marley Gape, C-Jaye Newton, Robin Tarbet / Swap Editions.
