Jan Mikulka wins prize for self-portraiture

New £20,000 SELF prize coincides with Society of Portrait Painters' annual exhibition.

 

The Royal Society of Portrait Painters has launched SELF, a new £20,000 prize promoting the practise of self-portraiture. The winning work, announced at noon today, was a bleak, photorealistic piece by Jan Mikulka, a contemporary painter living and working in Prague, Czech Republic.

Charlotte Mullins, editor of Art Quarterly and a judge on the prize, says: “This self-portrait draws you to it through its technical proficiency and expressive power. You feel you are standing in front of the artist, watching him concentrate on his likeness - his eyes hooded yet determined, his lips pressed together through concentration.”

Founded in 1891, the Society devotes itself exclusively to the art and study of portrait painting: housing a permanent collection, staging this exhibition and offering bursary funds to new talent. The SELF grant of £20,000 with awarded with the aim of supporting an emerging artist. Mikulka previously won the Visitor’s Choice Award in the BP Portrait Award in 2011 for this similarly piercing image of his longtime friend, Jakob. 

 

The prize coincides with today’s opening of the Society’s annual exhibition at the Mall Galleries in London.

Over 200 portraits by 100 artists will be hung, with a number of notable likenesses including Guy Kindler’s painting of writer Ian Rankin, Sam Dalby’s picturing of playwright Alan Bennett and Natalie Holland’s portrait of a reclining Oscar Pistorius. A special ‘self-portrait’ section will be devoted to promoting the art form as vanguard in pushing the boundaries of self-representation.

Self-portraiture, the exhibition notes, draws from a different set of aesthetic queues, loosed from the constraints of commissioned imagery (this constraint often being the need to flatter) and can be considered freer to explore character and authenticity. To a degree this appears true, though self-portraiture, like portraiture, has always been as much a barometer for the dominate aesthetics of a period as a way to freely explore “character”, “form” or “beauty”, stoke by stroke. The best practitioners – I think readily of Van Gough, Gustav Courbet and Frida Kahlo but there are, of course, many more – were veraciously brilliant in their use of self-portrait as a playground for articulating identity, but also equally intriguing in their capacity to grasp, mirror and manipulate the visual language of their time.

Painted portraiture is still a powerful tool for the exertion of identity and, in a photographic age, its popularity is a testament to the enduring appeal of painting’s style, subjectivity and technical fineness.

The Royal Society of Portrait Painters Annual Exhibition runs from 9th – 24th May at The Mall Galleries, The Mall, Trafalgar Square, London

(Self-Portrait by Jan Mikulka)

(Alan Bennett, by Sam Dalby)

(Just Oscar by Natalie Holland. Image: Marte Lundby Rekaa) 

(Festus Mogae, by David Cobley RP NEAC)

(Dieu et Mon Droit, by David Cobley RP)

[All images courtesy of Mall Galleries] 

A detail from the winner work by Jan Mikulka. (Courtesy Mall Galleries)

Charlotte Simmonds is a writer and blogger living in London. She was formerly an editorial assistant at the New Statesman. You can follow her on Twitter @thesmallgalleon.

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Vinyl makes us happy, here's why we're buying more of it

This once retro format is no longer the preserve of hipsters and music heads. 

So, vinyl sales are up again, with data today showing that sales of records have exceeded that of downloads for the first time. The forces behind this are a combination of the rational and the fashionable, to quote my friend Jim, a Glaswegian music nut in his mid 40s with a family and a sideline in buying and selling records on online marketplace Discogs. He packages up records to men like him who spent a lifetime in clubs and record shops but don’t go out any more, and who crave the cultural connection and community that music offers. Jim’s Discogs sales spike on Friday and Saturday nights when aging music heads drunkenly add another of his vinyl gems to basket. Sales drop off in January, he hypothesises, because his buyers are too sober and broke to pick up that Can “Tago Mago” UK original pressing in envelope sleeve for £140.  

Music released on vinyl is purposefully, trenchantly niche. It celebrates the fact that music isn’t for everyone: a limited edition pressing of a few hundred copies on Bradley Zero’s excellent Peckham label Rhythm Section International may only have an audience marginally above that number. But that doesn’t matter because there are thousands of niches being covered by record labels and private presses releasing new vinyl onto the market, as well as a mixed economy of places to buy a Guadeloupian zouk reissue (highly recommended) or a limited split 7” from Savages. Established record stores like Rough Trade continue to thrive in parallel to their own digital operations. You can buy vinyl direct from the artist on Bandcamp. The Independent Label Market host events across the UK which transform independent labels into market stall holders where they can sell their fresh musical produce direct to shoppers who have record bags not wicker baskets. It might be pricey, but the high resale value of your new vinyl means you can’t really lose, even if you decide that you spent £20-30 on a duffer.   

There’s also a practical reason for releasing music on vinyl, simply because there’s no point putting niche releases on streaming services because the returns are so low. CD sales are falling – they’ve dropped 84% in a decade in the US – although that hasn’t stopped French band Justice from hedging their bets: their last release “Woman” came on a new format that was one side CD and one side vinyl.

A caveat: don’t take the figures at face value. Record sales are overtaking downloads – but that’s also because no-one buys downloads any more. Why would you when you can stream the new Solange album on Apple Music or get lost in the Bandcamp rabbit hole for happy hours at a time?

There’s also a caveat on the quality thing. People often say that music sounds better on vinyl, and there is some truth in it, particularly if you’re a fan of the warming tones of a lovely crackle – but the argument fails to hold water when you’re talking about buying music on high quality wavs. These files, which contain more musical information than MP3s, which are known as “lossy” files because they literally chuck out a tonne of the sonic information in order to create a smaller file, sound great. But they kill your storage and most laptops and phones start to complain pretty damn quickly if you buy too many – unless like the record-buying hardcore, you’re also shelling out on giga-massive external hard drives. The quality argument doesn’t explain the popularity of coloured vinyl and picture discs either, which audiophiles will tell you sound distinctly inferior to gold-standard 180g black vinyl.  Something else must be going on, and our desire for vinyl tells us something about what we’re missing.

“I think people are bored of a digital way of listening,” says Nina Hervé of Rough Trade. “People want community again. Vinyl is a way of sharing your music with people in a communal space or by sharing pictures of what you’ve bought on Instagram. Records are the opposite of listening to music on headphones, which is a way of not talking to people on a train or in the office. It’s communal.”

Essentially, vinyl is a type of plastic, made from oil-derivative ethylene. Plastic is basically compressed sunshine, the product of ancient forests and the sunlight they absorbed, transformed into a conduit for another ancient human need – music. No wonder it makes us happy, and no wonder we’re buying more of it right now.

Emma Warren is a freelance editor and journalist.