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PRIVACY POLICY

 

 

  1. Introduction

 

  • We, DATEAGLE ART (with ‘we‘, ‘our‘ or ‘us‘ being interpreted accordingly) are committed to protecting your privacy and personal information. We operate our website www.dateagle.art (the “Site“). This policy applies to information held about all persons about whom DATEAGLE ART holds information.  By ‘information,’ we mean personal information about you that we collect, use, share and store.
  • This Privacy Policy statement explains our data processing practices. By using our website or by providing any personal information to DATEAGLE ART, you consent to the collection and use of your personal information as set out in this statement. This Privacy Policy also provides information on your legal rights in relation to your Personal Data.

 

Last Updated 24th May 2018

 

 

  1. Our legal obligations regarding your Personal Data

 

We collect and process your Personal Data in accordance with applicable laws that regulate data protection and privacy. This includes, without limitation, the EU General Data Protection Regulation (2016/679) (‘GDPR’) and the UK Data Protection Act 2018 (‘DPA’) together with other applicable UK and EU laws that regulate the collection, processing and privacy of your Personal Data (together, ‘Data Protection Law‘).

 

 

  1. What Personal Data do we collect and use?

 

3.1 We may collect and store the following types of information about you when you use the Site or by corresponding with us (for example, by e-mail). This includes information you provide when registering to use the Site or sharing any data via our social media functions. The Personal Data about you that we collect and use includes the following:

 

(a) Your name;

(b) Your contact information such as your address, email address, telephone number, billing address and delivery address (if applicable);

(c) If applicable, your payment details/ financial data;

(d) Information from accounts you link to us (e.g. Facebook, Twitter, Instagram);

(e) Information in relation to your purchase of our artworks or use of our services;

(f) Information about your personal preferences;

(g) Information related to your attendance of, and interest in, DATEAGLE ART’S exhibitions, events, artists, artworks, and services.

 

3.2 Please note that if you do not provide Personal Data when we ask for it, it may delay or prevent us from providing products or services to you.

 

 

  1. How your Personal Data is collected

 

4.1 We collect most of this Personal Data directly from you – in person, by email, telephone, post, through our social media, and via our website e.g. when you contact us with a query, make a purchase of any of our products or services, or ask that you are added to our mailing list. However we may also collect Personal Data from from articles or other information that has been published about you in the media.

 

 

  1. Information about third parties

 

5.1 Please ensure that any Personal Data you supply to us which relates to third party individuals is provided to us with their knowledge of our proposed use of their Personal Data.

 

 

  1. How and why we use your Personal Data

 

6.1 Under Data Protection Law, we can only use your Personal Data if we have a proper reason for doing so e.g.:

 

(a) To comply with our legal and regulatory obligations;

(b) For the performance of a contract between us or to take steps at your request before entering into a contract;

(c) For our legitimate interests or those of a third party (where we have a business or commercial reason to use your Personal Data, so long as this is not overridden by your own rights and interests, including ensuring the successful continuing our business operations, updating our client and contact records, improving our offerings, marketing our offerings and preventing fraud);

(d) Where you have given consent.

 

6.2 If we process sensitive data as referred to above we will only do this with your explicit consent; or, to protect your vital interests (or those of someone else) in an emergency; or, where you have already publicised such information; or, where we need to use such sensitive data in connection with a legal claim that we have or may be subject to.

 

6.3 We may use your Personal Data for one or more of the following purposes:

 

(a) To fulfil requests, including providing products or services to you;

(b) Maintaining business operations, including updating client and visitor records, identifying areas for operational improvement, such as improving efficiency, training and quality control, getting to know you and your preferences in order to provide you with a more tailored service;

(c) Marketing, including adding you to our mailing list and providing you with direct marketing communications about what we are doing as well as products, services and/or events which may be of interest to you by post or phone. If required under applicable law, where we contact you by SMS, email, fax, social media and/or any other electronic communication channels for direct marketing purposes, this will be subject to you providing your express consent. You can object or withdraw your consent to receiving direct marketing from us at any time, by contacting us at studio@dateagle.art;

(d) To enforce and/or defend any of our legal claims or rights;

(e) For any other purpose required by applicable law, regulation, the order of any court or regulatory authority.

 

 

  1. Disclosing your Personal Data to third parties

 

7.1 Except as expressly set out in this policy we will not sell, distribute or lease your personal information to third parties unless we have your permission or are required by law to do so. We will only share your Personal Data as set out in this section 7, including sharing with:

 

(a) Third parties we use to help deliver our products and services to you, e.g. payment service providers and delivery and shipping companies;

(c) Other third parties we use to help us run our business;

(d) Third parties approved by you, e.g. social media accounts you choose to link your account with us to.

 

7.2 We only allow our service providers to handle your Personal Data if we are satisfied they take appropriate measures to protect your Personal Data. We also impose contractual obligations on service providers to ensure they can only use your Personal Data to provide services to us and to you.

 

7.3 We may also share personal information with external auditors in relation to the audit of our accounts, and we may disclose and exchange information with law enforcement agencies and regulatory bodies without telling you to comply with our legal and regulatory obligations if we are required by law to do so.

 

7.4 We may also need to share some Personal Data with other parties, such as potential buyers of some or all of our business or during a re-structuring. Usually, information will be anonymised but this may not always be possible. The recipient of the information will be bound by confidentiality obligations.

 

7.5 We may also need to share some Personal Data with other business entities – should we plan to merge with or be acquired by that business entity, or if we undergo a re-organisation with that entity.

 

 

  1. Cookies and similar technologies

 

8.1 A cookie is a text file that downloads small bits of information to your device.  Our website doesn’t uses cookies, however our Site may contain links to other websites who do, including via our social media buttons.

 

8.2 Our website may contain links to other websites of interests. While we try to link only to website that share our respect for privacy, we are not responsible for the content, security, or privacy practices employed by other websites, and a link does not constitute an endorsement of that website. Once you link to another website from our Site, you are subject to the terms and conditions of that website, including, but not limited to, its Internet privacy policy and practices. Please check these policies before you submit any data to these websites.

 

 

  1. How long we retain your Personal Data for

 

9.1 DATEAGLE ART only retains Personal Data identifying you for as long as you have a relationship with us, as is necessary to perform our obligations to you (or to enforce or defend contract claims), or as is required by applicable law. This will involve us periodically reviewing our files to check that information is accurate, up-to-date and still required.

 

9.2 Personal Data we no longer need is securely disposed of and/or anonymised so you can no longer be identified from it.

 

 

  1. Security that we use to protect Personal Data

 

10.1 We endeavour to take all reasonable steps to protect Personal Data from external threats such as malicious software or hacking. However, please be aware that there are always inherent risks in sending information by public networks or using public computers and we cannot 100% guarantee the security of all data sent to us (including Personal Data).

 

 

  1. Your personal data rights

 

11.1 In accordance with your legal rights under applicable law, you have a ‘subject access request’ right under which you can request information about the Personal Data that we hold about you, what we use that Personal Data for and who it may be disclosed to as well as certain other information. Usually, we will have a month to respond to such a subject access request.

 

11.2 Under Data Protection Law you also have the following rights, which are exercisable by making a request to us in writing:

 

(a) To request access to or a copy of any Personal Data which we hold about you;

(b) That we rectify Personal Data that we hold about you which is inaccurate or incomplete;

(c) That we erase your Personal Data without undue delay if we no longer need to hold or process it;

(d) To object to any automated processing that we carry out in relation to your Personal Data;

(e) To object to our use of your Personal Data for direct marketing;

(f) To object and/or to restrict the use of your Personal Data for purpose other than those set out above unless we have a legitimate reason for continuing to use it;

(g) That we transfer Personal Data to another party where the Personal Data has been collected with your consent or is being used to perform contact with you and is being carried out by automated means.

 

11.3 Any request from you for access to or a copy of your Personal Data must be in writing, and we will endeavour to respond within a reasonable period and in any event within one month in compliance with data protection legislation. We will comply with our legal obligations as regards your rights as a data subject. If you would like to exercise any of the rights set out above, please contact us at the address below.

 

 

  1. Complaints

 

We operate in accordance with current UK and EU data protection legislation. If you have any concerns about our use of your information, you also have the right (as a UK resident) to make a complaint to the Information Commissioner’s Office (ICO), which regulates and supervises the use of personal data in the UK, via their helpline on 0303 123 1113 – see https://ico.org.uk/.

 

 

  1. Changes to this Privacy Policy

 

13.1 Our Privacy Policy may be subject to change at any time. Any changes we make to our policy in the future will be posted on this page and, where appropriate, notified to you by e-mail. Please check back frequently to see any updates or changes to our policy.

 

 

  1. Contact

 

If you have any requests regarding this Privacy Policy or wish to make a further request relating to how we use your Personal Data as described above, please contact our Data Protection Manager by e-mail at studio@dateagle.art.

Counterfeit goods and contemporary culture: A snapshot into Richie Culver’s social commentary.

Richie Culver’s art works have become a phenomenon within the emerging art scene in the last two years. The artist’s autobiographical approach explores the cultural and social binaries found in the UK’s socio-political systems. His canvases, all of which are categorised into series, depict everyday scenarios that are recognised for their humour and references to popular culture. Common ‘Culver iconography’ includes greyhound racing, Princess Di, barbershop scenes, car logos and counterfeit goods from local markets. Born in Hull, Culver openly uses his experiences of growing up in the North as important material, often juxtaposed with his move to London as an adult. His exhibition ‘No one knows me like Dawn from the Job Centre’ at Hull’s Humber Street Gallery earlier this year reflects the way in which he stereotypes and often incorporates humour as a way of dealing with charged subjects that highlight the stark contrast between the South and North of the UK. Often occupied by large white space, Culver combines both abstract and figurative elements, which continue to evolve stylistically, as does his reputation as a social commentator, post-Brexit.

 

Richie Culver (b. 1979 Hull, UK) has recently exhibited atKristin Hjellegjerde Gallery, London; Lehmann + Silva, Porto; Zweisieben, Karlsruhe; Humber Street Gallery, Kingston Upon Hull; Protein Gallery, London, amongst others. Richie currently lives and works in London.

Background | Studio

You didn’t go to art school – with this in mind, how have you found navigating the emerging art scene and the path you have taken in it?

Not going to art school is something I constantly battle with. I’m happy with how it has turned out, but there is always a question of how it could have been, had I attended art school. I still might, who knows!

When did you begin painting and how long was it before you felt you had found your own style?

I started painting at school. It has never been a constant thing; usually the cost of canvas or paint has been the problem. Having a “style” is another battle. Themes change constantly, but I believe that the composition and textures I work with are starting to come naturally now – even with really old college work from 10 years ago. I see a thread now, and my old works would sit well with my paintings of today.

How do you approach a blank canvas in your studio?

With great caution and difficulty, usually! Then it becomes a process of layers, by using different textures of Acrylic to paint over various gestures or words perhaps. Then, painting over again with household gloss. These are mediums that don’t really react well together. Eventually, the background will show enough wall like texture, almost like a bad Artex wall, and then I can start to tell the story. Usually I start with text, and then add the border.

Work

You enjoy playing with language in your work; has this always been the case?

Yes, it just comes really naturally, I think even before painting. Coming up with titles etc.  I do struggle with it sometimes, as in I’d like to progress one day without the text in my work, but it never seems to happen.

Your work from 2017, is much more figurative than your more recent 2018 creations, which appear to blur the line between abstraction and figuration. Is there a particular reason behind this change in style?

Not really, this recent work all came together quite late. I wanted it to be an extension of my last body of work, however this time using slightly mundane objects like Ventolin inhalers or fake perfume bottles. I like the hopelessness of it. It gives me space to create some kind of glamour around them.

The title of a canvas, for you, always comes before you know what you are going to paint. Once you have the title, can you visualise the artwork?

It varies; sometimes I will name a body of work, even for a group show, and then create the work around that. It helps fence my ideas into one story.

You mainly work in series, and they often have themes (Princess Diana, Racing Dogs, car logos) – would you agree that most of your themes, so far, have tapped into popular culture in the UK?

Yes! Although, the topics could be seen anywhere really. This new body of work is much less ‘English’ though. It wasn’t a conscious decision, it just happened like that.

Would you say that the socio/political commentary found in your work could mean the humour in your work is observed as more of a dark comedy?

Yes, for sure. It has to be! It would be super depressing if it was seen in any other way. The work is almost going into a Fantasy Zone now. I quite like that. Painting about the Bookies, life on benefits and the Jobcentre was quite stressful, looking within the social climate of today is also quite relevant, but it wasn’t an area I wanted to paint about for long.

You have started to incorporate stickers into your new body of work in order to allude to the style of a teenager’s bedroom wall – can you tell me more about this series, and why you have decided to work with collage?

I designed a load of stickers for a sculpture I’m working on to give a collage-like feel. Growing up, I would stick stickers on everything. Then, as I got older you could see the progression of things I was into. Like from Spider-Man through to Rave Culture. Almost like a timeline. So, I wanted to introduce it to some paintings also.

Future

You have a group show coming up at Kristin Hjellegjerde Gallery and will be exhibiting alongside the Portuguese artist, Pedro Matos. Can you tell me about the body of work you have created for the exhibition?

I have created three large-scale paintings and three smaller ones. Based on Hair salons, Ventolin inhalers made by Yamaha, and Fake perfume brands you find at markets. The works are loosely based on an indoor market in my hometown where you can basically buy everything, and it’s all fake.  I also made a Giant pair of Nunchucks, as there was a King Fu store there also.

Would you be interested in creating a show of just sculpture work?

Yes, definitely. Some way down the line though, not just yet.

Which other cities would you be open to living in/visiting as an artist?

I have lived in most places to be honest. Lisbon is a place I visit lots, I love it there. Copenhagen also. Hull is always an option, as it’s vibing at the moment as is Manchester. Detroit is probably top of my list though.

09.09.18

Words by Lara Monro

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Richie Culver

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