Tag Archives: Carol Tulloch

Jessica Ogden: Still

31-33 Church St, London NW8 8ES

26 May – 23 June 2017 (11.00 – 18.00 Thursday, Friday, Saturday)

Private View: Thursday 25 May 2017, 18.00 – 20.00 (RSVP to elliott@aipr.co.uk)

May 2017 sees the opening of an exhibition by Jessica Ogden in London. Entitled Still, it acts as an exploration of Jessica’s work through the static display of archive and current works, alongside a series of workshops. Church Street, Marylebone plays host to the experience, which was born out of a long running conversation between Jessica and Professor Carol Tulloch, writer and curator at Chelsea College of Arts, UAL, who will curate the exhibition. The space is designed by Professor Judith Clark, a London-based curator, who collaborated closely with Jessica.

Born and raised in Jamaica, Jessica began her career in fashion reusing the old to create the new. In 1992, after graduating from the Rhode Island School of Design and the Byam Shaw School of Art, she joined Oxfam’s NoLoGo project. Working with donated clothes, Jessica found herself at the forefront of what was then termed customising. The following year Ogden launched her own label using traditional stitching, hand printing and layering techniques and often appropriating old garments such as quilts. Soon after the label’s launch, Ogden staged catwalk shows and presentations as part of London Fashion Week from 1996-2006. Her work continued with cult French label A.P.C., with whom after moving to Paris, she deepened her work to include a line of quilts made from archive A.P.C. fabrics, another example of her continuing obsession with repurposing in fashion.

In 2016 Jessica made the decision to return to live in Jamaica, taking over the running of Harmony Hall, her mother’s gallery which champions local Jamaican art, alongside continuing her fashion projects. Perhaps it was this move that offered Jessica the perspective to look back on her journey thus far. A large theme running through all of Jessica’s work is story telling. In the same way, the exhibition will act as an autobiographical study through the selection and display of pivotal work. Alongside this, Jessica will hold free workshops for the visitors to the exhibition, which in themselves will provide insight and inspiration into her unique practice. Workshops will include free hemming and customisation, amongst other activities. Three workshops will be led by Ogden and places are limited.

To illustrate and further explain the exhibition Jessica and Carol have worked on a publication with accompanying imagery by Syd Shelton and text by Tamsin Blanchard.

Jessica Ogden: Still has been curated by Professor Carol Tulloch and is a Camberwell, Chelsea, Wimbledon Graduate School project.

Press enquiries: elliott@aipr.co.uk | Exhibition or workshop enquiries: a.viner@chelsea.arts.ac.uk


The Birth of Cool Interview | The Guardian

Keen Guardian readers on 6th March 2016 were lucky enough to read Tim Lewis’ interview with CCW’s Professor Carol Tulloch on her recently published book The Birth of Cool: Style Narratives of the African Diaspora.

The interview provides a fantastic insight into the book and Carol’s motives that direct her research interests. With excellent behind the scenes access this article delves into her selection of photographs (from family archives and of Billie Holiday and Malcolm X) which she uses to describe the ‘style narratives of the African diaspora’.

Read the article in full.

Syd Shelton: Rock Against Racism

Autograph ABP announces the publication of a major new book of Syd Shelton’s photographs and graphic design produced for and about the British Rock Against Racism Movement of 1976-1981. The accompanying exhibition runs at Rivington Place, London EC2 from 2 October until 5 December 2015. The book is co-edited by Mark Sealy MBE, Director of Autograph ABP, and Carol Tulloch, CCW Professor of Dress, Diaspora and Transnationalism and member of TrAIN research Centre.

Rock Against Racism (RAR) confronted racist ideology in the streets, parks and town halls of Britain. RAR was formed by a collective of musicians and political activists to fight fascism and racism through music. Shelton’s photographs capture one of the most intriguing and contradictory political periods in British post-war history, and for him this work was a socialist act, what he calls a ‘graphic argument’ on behalf of marginalised lives. Shelton photographed performers such as The Clash, Elvis Costello, Misty in Roots, Tom Robinson, the Au Pairs and The Specials. He also captured the audiences at RAR gigs and carnivals across England, as well as what he calls ‘the contextual images’ of the lives and landscapes that often fuelled acts of racist violence.

The full colour publication features an essay by Paul Gilroy, Professor of American and English Literature at King’s College London, and an interview with Syd Shelton by Adam Phillips, formerly Principal Child Psychotherapist at Charing Cross Hospital in London, and now a writer and psychoanalyst, and Visiting Professor in the Department of English and Related Literature at the University of York.

Syd Shelton is a British photographer and graphic designer. He has worked in Europe, Australia and the United States. He co-edited and was art director of a series of photographic books: 24 Hours in Los Angeles (1984), the award winning Day in the Life of London (1984) and Ireland: A Week in the Life of a Nation (1986). His work was recently included in the exhibition Words, Sound and Power: Reggae Changed My Life at The British Music Experience: Britain’s Museum of Popular Music, O2 Arena, London (2012) and The Photographer’s Gallery exhibition The World in London.

Tulloch has been working with the Rock Against Racism archival material since her 2008 exhibition A Riot of Our Own. The current exhibition and book have received press from The Observer and the British Journal of Photography.

Established in 1988, Autograph ABP is a charity that works internationally in photography and film, cultural identity, race, representation and human rights. Rock Against Racism is supported using public funding by Arts Council England. The publication of this work is supported by a grant from The Barry Amiel & Norman Melburn Trust.

Broadly Speaking: Carol Tulloch at Brighton Art Fair

CCW Professor, Carol Tulloch, recently showed her work at Brighton Art Fair, 26th -28th September 2014. Tulloch’s academic biography is as a writer and curator with a specialism in dress and black identities.

Describing her practice, Tulloch said, ‘In the development of my textile narrative I am drawn to the idea of rough simplicity. These works incorporate the dynamics of broad ink strokes and the unpredictability of torn paper. They are assembled like fragments of cloth secured by gestures of stitch. A graphic line anchors the composition. Here line is force.

The element of quiet and intensity connects with my interest in the street, the tension of divergent spaces—country, city, inland, coast—that are an integral part of my lived experience. The street is the exterior fabric of a place, necessary, pervasive, where society leaves its mark.

Within this maelstrom of the street lurks the X, which I am drawn to like so many before me. The X is present in the architecture of the street, it marks locations and represents the anonymity of the street. For me the X is reassurance and agency. It allows one to be.’ During the fair Tulloch was offered a gallery space to make a more installation-type piece to push the work, developing it in three dimensions. She hopes to create a publication about the process.


Colleague, Professor Jane Collins attended the Private View of the fair:

‘Thursday 25th September, 7pm

I am looking at Carol’s work at Brighton Art Fair. It is the Private View, packed and stiflingly hot!  In the midst of the hullaballoo I lean in.  They make you lean in, these works, up close you get the detail. Tiny stitches, ruched delicate torn black, black white and white black paper, a line of red, a gash. Curious compositions under glass, I am no artist-maker and these materials are strange to me.  I am intrigued.  Why did my friend place this on that on there?  The logic of following a thread. Where do they lead me? These are torn pages of a book I once read.  This one is a bird trying to raise itself up out of the frame – not quite done yet; this, a mountain; this a needle puncturing time – she did try to teach me to knit once. Pins and needles, bodies and flesh. Is that a family, man, woman and child etched out in simple lines of paper and nabbed with stitch? In this familiar unfamiliarity “Up Close and Personal”, I search for clues. My favourite, the cross, the X marks the spot, the meeting place, the loss, the possibility of …

Dear Carol, I want to match in words the eloquent gestures that you have wrought with these materials but as ever words fail me. So, back to the hullaballoo, a drink and a smile.’


Taste After Bourdieu: questions to the panels

Taste After Bourdieu is a two day conference exploring the relationship between aesthetic judgment and social distinction in the practice of taste.  Organised by CCW Graduate School, it was initiated and developed by a group of five academics at CCW and a graduate student group.  The panels are led by Dave Beech, who is the chair of the panel on ‘Taste and the Gallery’, Michael Lehnert, who is chair of the panel on ‘Taste and the Museum’, Stephen Wilson, chair of the panel on ‘Taste and the Street’ and Carol Tulloch, chair of the panel on ‘Taste and the Home’.  The graduate student group members are Chrissa Amuah, Caroline Derveaux-Berte, Jaime Greenly, Jessica Hart, Katasi Kironde, Mohammed Namazi, Alex Roberts and Kioka Williams, who have devised an installation project for the conference. We are delighted to be hosting a truly international event with an introductory panel, four panels of speakers and two keynote speakers who include arts practitioners, sociologists, philosophers, museum directors, curators, design historians and art historians from Asia, North America, Australia and Europe. Each of the four panels has formulated some key questions that address the condition of taste after Bourdieu:

Taste and the Gallery:

  • How is taste related to aesthetics and art?
  • What is a viewer of art and how do individuals inhabit this role?
  • What is the relationship between changing regimes of taste and revolutionary social transformation or resistant subcultures?

Taste and the Museum:

  • To what extent is discussing taste a relevant exercise for museums, in light of dispersed social practices, disaggregating cultural capital, current accessibility of aesthetic experiences and the diffusion of social emulation to achieve distinction?
  • When developing and executing a distinct institutional narrative or curatorial objective, what role and relevance is and can be given to the visitor, as individuals and cultural groups?
  • What influence on bildung, and leverage over gemeinschaft and gesellschaft do museums have today, to set cultural precedents, influence public discourses, and make societal impacts?

Taste and the Street:

  • How is the contemporary male gaze in Japan applied and reconfigured as a judgement of taste?
  • How are Bourdieu’s notions of taste subsumed by models of transnational awareness?
  • What happens to our understanding of taste in transnational Asian art practices that travel away from ‘home’ and return to a nation based, heritage driven context?

Taste and the Home:

  • While Bourdieu rightly points out that there are hierarchies of taste, do we live those hierarchies in our day-to-day sensorial existence?
  • What happens with the move of everyday object from one context to another, thereby pushing the boundaries of public and private and the devolution of taste and taste-making through the body?
  • How do we understand the incorporation of strategic and tactical code-switching of the presentation of self by individuals and cultural groups between one geographical space and another?

For more information and registration visit the conference website.

Follow us on twitter #tasteUAL.

The Rhythm of Action: Rock Against Racism

Mark Sealy MBE, Director of Autograph ABP, Syd Shelton and Professor Carol Tulloch are collaborating on a book about the Rock Against Racism (RAR) Movement, 1976-1981, when black and white people came together through gigs, demonstrations and carnivals, graphic design and personal styles to address the escalating rise of racism in Britain. Shelton, as a committee member of RAR (London), photographed many of its events and the contextual narratives that informed RAR. Shelton was also one of the graphic designers of the movement. His work during this period is the basis of the book that will be published by Autograph ABP.

In this discussion Shelton, Sealy and Tulloch will consider the processes they have engaged in to document a particular moment of activism that has lead to their collaboration. This discussion is hosted by TrAIN Research Centre.

The publication of the book follows the 2008 exhibition, A Riot of Our Own, originally shown at Chelsea SPACE, which was an archival narrative on the RAR movement. It was told through the personal archive of Ruth Gregory and Syd Shelton, both RAR (London) committee members.