Long & Ryle Contemporary Art. 4 John Islip Street, London SW1P 4PX
April 20th, 2016 – Extended until June 10th, 2016
This, the first exhibition by Paul Coldwell with Long & Ryle, presents a group of recent small sculptures and associated prints which together explore ideas of journey, absence and loss. The sculptures are very much thinking models; propositions about how we might consider landscape, both from an interior perspective but also as seen from photographs and from above through the window of an aeroplane. The prints, developed on screen through the computer are reconstituted and resolved as physical prints, most recently as etchings, in order to reinstate their presence as objects in the world.
The sculptures were all cast in the Foundry at Chelsea College of Art with the assistance of John Nicoll. The etchings plates were made at Byam Shaw, (CSM) with the help of Paul Dewis and then proofed at OBS Oficina Bartolomeu dos Santos, Tavira, Portugal.
Upcoming events include:
– London Original Print Fair (Royal Academy) at which Paul will be giving a talk about his work on Saturday May 7th at 3.30.
– At SASA Gallery (Brisbane, Australia) Coldwell is showing in a five person show along with Aleksandra Antic, Marion Crawford, Joel Gailer, Performprint & Olga Sankey entitled The Unstable Image. 29th March – 22nd April
– The Artists Folio, an exhibition Coldwell jointly curated with Sonya Kielty originally for Cartwright Hall, Bradford will be shown at Gallery Oldham 16 April – 9 July.
Image: Paul Coldwell, Suitcase & Mountain-Bronze 30 x 40 x 14 cm
*Camberwell, Chelsea, Wimbledon Staff Only*
We have been invited to make a proposal to Westminster Council to interact with their Church St regeneration programme. The potential opportunity involves negotiating to use an empty shop space in the Church St regeneration area to work with in the Church St areas and initiate a research project that has clear outcomes and benefits to local residents. Additionally we would also be able to apply for up to £10,000 funding to support local projects.
If you are interested in helping to develop a proposal please contact Abby Viner on [email protected] or Ext: 7124 for more information.
Vanessa Mitter: Unquiet Brides
Bertha is not my name. You are trying to make me into someone else, calling me by another name… – Jean Rhys, Wide Sargasso Sea, 1966.
Girls are going to find a voice. – Kathy Acker, ‘From Psyche’s Journal’, 1997.
From now on, she said, you will be able only to repeat out loud the words you’ve heard others say just a moment before. Won’t you?
Won’t you, Echo said.
Her eyes grew large. Her mouth fell open.
That’s you sorted, Juno said.
You sordid, Echo said.
Right. I’m off back to the hunt, Juno said.
The cunt, Echo said. – Ali Smith, ‘True Short Story’, 2005.
Her hands rest on her hips. Delicate hands, they are, and delicate hips: pale and fragile. She looks like she might break, or snap, like a twig, or like the spindly legs of the green bird that flies above her head. She wears flat Mary Janes. This girl is thin, boyish, and wears a drop-waisted 1920s floral sheathe. Her slightness is deceiving, however: she is no sparrow. With her hands on her hips, it looks like she wants to say something: speak up. From that blue mouth will come sound, song, and speech: maybe even screams.
The dictionary definition says that to be ‘unquiet’ is to be characterized by unrest or disorder, turbulent: the characterization of the attic-locked hysteric. In the works of Vanessa Mitter, she reclaims the word, and its suggestion of the young girl hysteric, as a position of feminist potential, wherein madness becomes a way of talking back, through domestic walls. To be ‘unquiet’ is to be the girl who defeats the fate of silence. It is to be the bride that talks, over and above her containment.
The young girl in the drop-waisted dress is the subject of the painting called Threshold (2015). Has she recently been married? She is stood in a densely packed environment of lime green, purple, orange and blue pigment. The work is unquiet in its restless collaging of colour and materials. Perhaps it is domestic wallpaper, peeling away with age, or a tropical jungle becoming overgrown, wilder with time. In some parts of the image, it is possible to spot a leaf, a bird, a flower or a shoe, amidst the eclectic patterning. This girl is confined in her own image. Natural forms become blurred with abstract ones in this thrillingly chromatic assault of the canvas. It is like peering through a kaleidoscope to find the figure of a young girl bride: she is trapped, but talking. Another painting called Silent Treatment (2015), makes this entrapment known, by virtue of its title and its image: an anonymous figure wears a corseted, full-length dress, but she is headless; her voice has been robbed. This shows us what fate the unquiet bride is looking to escape.
The unquiet bride could also be the girl who makes quilts with her other unquiet brides, stitching shapes together as they converse through the craft: a rallying chorus. This is Vanessa Mitter’s form, with her visceral layering of paint with collaged material, as well as her content, as the girls that she depicts wear their handmade dresses as loud assertions of identity and presence. Her paintings are thus embodied in two senses: the body of the painter can be felt and touched, as much as the bodies of the paintings.
In Deep Sargasso (2015-2016), for example, a green-skinned young girl, her flesh seemingly wasting away (as the body of Echo does in myth), reclines upon a branch, her vacant face demanding the viewer’s gaze. She wears a gown of floral patchwork and crocheted patterns, which disappears into the wider fabric of the embroidered environment. The quilt becomes the dress; the dress becomes the body, an extended body of foreground and background. To immerse yourself in this painting, and others by Mitter, such as Blossom Opening (Keep Dreaming of Kyoto) (2015), is a dizzying, intoxicating sensation. It wills the same feelings of restlessness in the viewer, as is also suggested in the painting’s form and subject: an unquiet mode of looking.
The textural ways in which Mitter appropriates her own work, working and re-working the surface, with the addition of a swathe of fabric, a ripped sheet of paper, or an expressive gesture of paint, becomes a signifier of the passing of time, and the intergenerational bonds between women. This is made even more evident in The Beautiful People, wherein the subjects – although seemingly similar ages – are loud and uncompromising in their bonded multiplicity. There are five of them, and their clothed bodies blur and fade into the next: a defiantly, unquiet expression of empathic communality. Nearly all of them have their hands on their hips. I imagine them talking, echoing one another, answering back to the silent treatment in which they have suffered, like the young girl rebel of Ali Smith’s short story who asserts her right to talk (and rhyme) on her own terms.
The Courtauld Institute of Art and Tate Research Centre: Asia invite applications for a fully funded AHRC Collaborative Doctoral Partnership Award, starting in October 2016 for a period of three years.
The award will enable the student to pursue doctoral research in Art History while gaining first-hand experience of work within a museum setting. The successful applicant will receive their degree from The Courtauld Institute of Art, University of London.The supervisors are: Dr Wenny Teo (The Courtauld Institute of Art) and Dr Sook-Kyung Lee (Tate Research Centre: Asia).
Application deadline: 20 June
Interviews likely to be held in the week beginning 11 July.
AAH Summer Symposium 2016
Gender in art: production, collection, display
8-9 June 2016
Professor Katy Deepwell (Middlesex University London) Professor Marsha Meskimmon (Loughborough University)
The development of critical feminist discourses since the 1960s has elucidated ways in which social, political and economic structures have impacted on the production and display of artwork. Gradually, the construction of gender in collecting, curating, exhibiting and producing art began to be understood as a reflection of wider social and cultural narratives, extending beyond gendered identities of individual artists or curators. In collaboration with Loughborough University, this year’s annual two-day AAH Student Summer Symposium will investigate current critical and art-historical approaches that develop theories, methodologies and debates to analyse the making, display and collection of art in light of concepts of gender.
As categorical differentiations between ‘sex’, as a biological distinction, and ‘gender’, as a culturally constructed version of masculinity and femininity, prove difficult, any critical debate about them inevitably requires careful engagement with the power relations that attempt to shape it. The same applies for the discourses around the power distribution at work in the making, collecting and exhibiting of art. Whether in the studio, in museums, private collections or domestic spaces, works of art and their curatorial framing remain important sites for the construction of meaning concerning the interactions of the sexes. On the other hand, can such heteronormative ascriptions be understood as leftovers of binary thought patterns unable to account for fluid contemporary understandings of gender? In an attempt to understand and explain gendered identities in art, issues of equality, the domestic life, the ‘body’, the ‘self’ and the ‘other’ may be explored as complex intersections of social, cultural and political landscapes.
Registration for two-day symposium includes: Two keynote addresses, fourteen papers showcasing new research, refreshments.
Tickets: £20; AAH Members £10
Bookings at http://www.aah.org.uk/events/summer-symposium or call +44 (0)20 7490 3211
Wednesday, 8 June
10.45-12.15 Session 1: Private and Public Elizabeth Kajs (University of Bristol): Woman as ‘split’: investigations of the public and private in Käthe Kollwitz’s early self-portraiture Molly Eckel (Courtauld Institute of Art): ‘A little world within a world’: the Wardian fern-case in the Victorian home Caroline McCaffrey-Howarth (University of Leeds): Gendered collections: from the home to the museum—the case of Lady Dorothy Nevill
12.15-13.15 Keynote 1: Prof Katy Deepwell
2.15-3.45 Session 2: Curating and Display Madeleine Pelling (University of York): ‘That noble possessor’: the pursuit of virtuous knowledge and its materials in the collection of Margaret Cavendish Bentinck, Duchess of Portland (1715-1785) Elina Suoyrjö (Middlesex University): On affects, emotions and feminist curating Wendy Wiertz (KU Leuven, Belgium): ‘Honneur aux dames!’: displaying 19th-century Belgian amateur women artists
4.15-5.15 Session 3: Feminist Practices
Rose-Anne Gush (University of Leeds): Image-body space in VALIE EXPORT Cat Dawson (University of Buffalo, USA): The literal impossible: a critique of literalism in minimalism
Thursday, 9 June
10.00-11.30 Session 4: Labour and Practice Helen Osborn (Birmingham City University): Blue period: exploring themes of fertility and motherhood through media experimentation Sarah Charalambides (Goldsmiths, University of London): Situating precarity in feminist art practice Anastasia Philimonos (Collective, Edinburgh) Franki Raffles’s ‘Lot’s Wife’: documenting the domestic in the early 1990s
12.00-13.00 Keynote 2: Prof Marsha Meskimmon
2.00-3.00 Degree show tour
3.15-4.45 Session 5: Representing and Contesting Gender Qiuzi Guo (Heidelberg University, Germany): The gaze of voyeur: female representation from porcelain to photography Sabine Hirzer (Graz University, Austria): Women at arms: visualisations of gender in art Minna Hamrin (Åbo Akademi University, Finland; Università di Bologna, Italy): Saint Francis of Assisi’s exemplary chastity: picturing hegemonic masculinity in post-tridentine Italian art
The Summer Symposium is generously supported by the School of the Arts, English and Drama at Loughborough University. Enquiries to the convenors: Emma Bourne, Sara Tarter, Sofia Mali and Tilo Reifenstein at [email protected]
MEDIATIONS: Art & Design Agency and Participation in Public Space conference of the EU Marie Curie Research project TRADERS on the 21ST-22ND November 2016 at the Royal College of Art, London. The deadline for papers is 30TH MAY 2016. Please send your submissions to [email protected]. For more information on the paper sessions, submission requirements, keynotes and more, please visit: http://tr-aders.eu/conference
The conference will explore approaches through which artists and designers can pursue the empowerment of publics in the decision-making for, and co-creation of, public space. Operating within the context of public space means dealing with discrepancies between a multiplicity of forces (e.g. political, economical, environmental, legal, etc.), concerns (e.g. social justice, privatisation, digitalisation, etc.) and actors (e.g. citizens, policy makers, urban planners, etc.). Artists and designers who aim to empower citizens in often ‘agonistic’ spaces [i] need to mediate between various aspirations in order to help bring about desired social and/or political change. Such a mediation can take shape in many ways: mediating between different stakeholders, between the client and the public, between different publics, between top-down and bottom-up, between theory and practice, between ideas and action, between imaginaries and reality, and so on.
Through six paper sessions (Data-mining, Interventions, Play, Mapping, Dialogue & Curating), an exhibition and four keynote sessions we will ask: – What alternative empowering practices exist in art and design that can promote citizen participation? – How can artists and designers “make a difference”[ii] within existing/established distributions of power? – How can they use their agency to empower others (e.g. citizens) to bring about desired social or political change? – In other words, through what means, modes and/or practices can artists and designers mediate between multiple actors with diverse agencies?
The keynote speakers, USMAN HAQUE, JANE RENDELL, SUSANNAH HAGAN and RAMIA MAZÉ, will explore how designers’ agency and attitudes towards the design and production of public spaces have evolved over the last decades; how issues of gender play a role in the use, behaviour and appropriation of public space by a multiplicity of publics; how different participatory approaches can reconfigure existing power relations in art and design processes, and how new technologies can promote greater citizen participation in the design, use and sustainability of public space.
TRADERS - ‘Training Art and Design Researchers for Participation in Public Space’ – is a three year EU Marie Curie research project examining different dimensions and roles of participation in public space. In the project’s closing conference we would like to invite participants to join us in exchanging experiences and knowledge in the field of participation in art and design. [i] Mouffe, C. (2000) Deliberative Democracy or Agonistic Pluralism. Political Science Series 72, C. Neuhold (Ed.). Vienna: Department of Political Science, Institute for Advanced Studies (IHS).[ii] Giddens, A. (1984) The Constitution of Society: Outline of the Theory of Structuration. Berkeley, California: University of California Press. p.14.
Image: Untitled performance (with modelled clay head), roof of St Martins School of Art, London, 1964
Tuesday 10 May, 6:30pm
Jo Melvin, Luke Skrebowski and Jon Wood will be in conversation at Waddington Custot Galleries on the occasion of the exhibition ‘Barry Flanagan: Animal, Vegetable, Mineral’. They will be discussing Flanagan’s sculptural legacy and central position within British Conceptual Art.
Admission is free but booking is essential, RSVP to [email protected]
A conference organised by the University of Brighton in association with the Royal Pavilion and Brighton Museum
- Steve Bell, political cartoonist
- Martin Rowson, political cartoonist
- Professor Ian Haywood, University of Roehampton
- The Curator of the Cartoon Museum, London
- The Curator of Fine Art at the Royal Pavilion Museums
In January 2015, 12 of France’s most familiar cartoonists were shot dead in Paris. The aftermath of the attack on Charlie Hebdo raises significant questions about the status and the potential impact of an image and gives this conference a political urgency. The events in Paris underline both the power of the political cartoonist and the dangers of causing offence to political and religious sensibilities.
In 1820, George Cruikshank and his brother Robert were summoned to Brighton Pavilion by George IV, in an attempt to buy them off from reproducing their salacious satirical cartoons. They were paid off, but continued to produce scurrilous images of the royal family and political figures. The Royal Pavilion now houses one of the best collections of Cruikshank, Hogarth and Gillray in the world, three of the most eminent caricaturists in visual history.
The city of Brighton and the University have a long history of association with cartoon and caricature. This conference offers the opportunity to celebrate the rich history of caricature and cartoons associated with Brighton and to address the important ethical questions that now confront the contemporary cartoonist. It celebrates the rich collections of Cruikshank, Gillray and Hogarth at the Brighton Pavilion and brings together the expertise of practitioners, curators, academic historians and cultural analysts. The conference draws upon the research expertise of the University, on the curatorial experience of museum staff and on cartoonists who currently practice.
This conference is organised by three research groupings from the Faculty of Arts at the University of Brighton, the Centre for Applied Philosophy Politics and Ethics, the Centre for Memory, Narrative and Histories and C21: Research in Twenty-First Century Writings, which allows for the interdisciplinary focus that the subject merits.
University of Brighton in association with the Royal Pavilion and Brighton Museum invite proposals (c300 words) for both papers and panels on topics which may include, but are not limited to:
- Comedy and ethics – what are the responsibilities of a cartoonist?
- The curation of cartoons – what should be kept?
- How far can you go? Are there limits to what a cartoonist can lampoon?
- The legacies of Cruikshank, Gillray and Hogarth
- Religion and caricature
- Representations of history through cartoon
- The impact of caricature on popular ideas of politics
- Celebrity and caricature
- In what contexts does satire flourish and why?
- Is satire necessary?
DEADLINE: Email your proposal and short bio to [email protected] by 9th May 2016
Conference Fee: Full-time waged £210 /unwaged £90.