Patrons Programme 2020

Total Page:16

File Type:pdf, Size:1020Kb

Patrons Programme 2020 THURSDAY 7 MAY FRIDAY 17 JULY ‘Untitled: Art on the Conditions of Our 'Material Power: Palestinian Embroidery' FRIDAY 13 NOVEMBER Time’ Reception and curator-led tour, 5pm 'Sutapa Biswas' Reception and curator-led tour, 5pm Exhibition preview, 6 - 8pm Reception and curator-led tour, 5pm Patrons Programme 2020 Exhibition preview, 6 - 8pm Kettle’s Yard Exhibition preview, 6 - 8pm Kettle’s Yard Kettle’s Yard Join us for a curator-led tour of Material WEDNESDAY 29 JANUARY Join us for a curator-led tour of Untitled, Power, followed by the exhibition Join us for a curator-led tour of Sutapa Annual Ede Dinner followed by the exhibition opening. This opening. Ancient, complex, intimate Biswas, followed by the exhibition Drinks reception group exhibition, which will feature new and political, embroidery is arguably opening. Sutapa Biswas' artistic practice Dinner in the House and existing work by British African the foremost cultural material of maps an intellectual landscape of diaspora artists will present a range of Palestine. The exhibition will celebrate feminism, diaspora, cultural identity You are invited to the annual Ede Dinner works that speak to the complexity of the the brilliance of embroidered dresses, and playfulness onto powerfully visual in the House with special guest speaker uncertain, and the transformative social explore embroidery’s role in resistance images. Biswas works across different Rowan Williams, Baron Williams of and political times in which we live; from and include political posters and archival media including painting and drawing, Oystermouth. shifting racial and gendered identities to photographs. film, digital video, performance and migration, queer histories, popular culture photography. FRIDAY 14 FEBRUARY and conflict. THURSDAY 24 SEPTEMBER 'Linderism' 'This Living Hand: Edmund de Waal NOVEMBER - DATE TBC Reception and curator-led tour, 5pm WEDNESDAY 24 JUNE presents Henry Moore' Director's Drinks Exhibition preview, 6 - 9pm Visit to Charleston Private tour with Sebastiano Barassi 6 - 8pm Kettle’s Yard 10.30am - 3pm Timings TBC, approx. 11am - 3pm Kettle's Yard Charleston, Sussex Henry Moore Studios and Gardens, Perry Join us for a curator-led preview of Green Join us for drinks and an introduction to Linderism, followed by the exhibition A trip to the beautiful country house the programme of exhibitions taking place opening. Linder (b. 1954) presents a new and gardens of Vanessa Bell and A private tour of an exhibition curated at Kettle's Yard in 2021. solo exhibition spanning five decades of Duncan Grant, considered the home by Edmund de Waal at Henry Moore her distinct practice. A retrospective of the of Bloomsbury art and ideas. There Studios and Gardens. This Living FRIDAY 4 DECEMBER artist’s work, the exhibition will explore will be the opportunity to visit the new Hand will explore the role of touch 'The EY Exhibition: Rodin' the diversity of Linder’s practice. Known Exhibition Centre designed by Kettle's and iconography in Henry Moore's art. 8.30 - 10am primarily for her photomontage, she is also Yard architect Jamie Fobert. The tour will be led by Head of Henry Tate Modern a performance artist, zine-maker, musician, Moore Collections and Exhibitions, documentary-photographer, collaborator Sebastiano Barassi. Spaces limited to 15. You are invited to an out-of-hours and muse. viewing and curator-led tour of The EY Exhibition: Rodin at Tate Modern. This FRIDAY 27 MARCH major exhibition will present Auguste The Edes in Hampstead tour Rodin as a radical artist who rebelled 10.45am - 1.30pm against sculptural traditions and invented Hampstead, London new ways of making sculpture. Join us for an introduction by Director, Andrew Nairne to Jim and Helen Ede's time in the artistic atmosphere of 1930s Patrons will also be offered VIP tickets Hampstead. This will be followed by to national art fairs throughout the year. a guided tour of 2 Willow Road, the These will be sent out individually. modernist home designed by Ernö Goldfinger near to the Edes' former home Henry Moore holding plaster maquette for on Elm Row and its significant collection Reclining Figure: Hand 1976. Photo: Henry Moore of twentieth-century art including Henry Archive. Please note, RSVPs are essential for all Moore and Max Ernst. This will be events. Guests are required to make their followed by a visit to nearby Fenton House Charleston. Photo: Paul Massey. own travel arrangements. and its art collection, including work by For further information or to RSVP, William Nicholson. Spaces limited to 12. please call +44 (0)1223 764114 or email .
Recommended publications
  • Land at 10 King Henry's Road, London, NW3
    Our ref: APP/X5210/C/18/3219239 Rebecca Anderson Iceni Projects Da Vinci House 44 Saffron Hill Farringdon EC1N 8FH 12 March 2020 Dear Madam, TOWN AND COUNTRY PLANNING ACT 1990 – SECTIONS 174 & 177 APPEAL MADE BY THE GOVERNMENT OF MAHARASHTRA LAND AT 10 KING HENRY’S ROAD, LONDON, NW3 3RP ENFORCEMENT REF: EN18/0027 1. I am directed by the Secretary of State to say that consideration has been given to the report of Mr K L Williams BA, MA, MRTPI, who held a public local inquiry on 24 September and 11 October into your client’s appeal against an enforcement notice issued on 16 November 2018, by the London Borough of Camden. The enforcement notice is summarised by the Inspector as follows: • The breach of planning control as alleged in the notice is a change of use from 2 residential units (Class 3) to museum (Class D1) including the erection of a single storey rear conservatory, alteration to boundary treatment including addition of metal railing and alterations to existing entrance steps including the installation of a disabled platform lift to access the upper ground floor. • The requirements of the notice are to cease the use of the memorial/museum (Class D1) and revert to previous use and layout as 2 residential units (Class C3). • The period for compliance with the requirements is 6 months. 2. On 20 September 2019, this appeal was recovered for the Secretary of State's determination, in pursuance of section 174 of, and paragraph 2(a) of, the Town and Country Planning Act 1990.
    [Show full text]
  • East of England
    EastEast of of England England Berwick-upon-Tweed Lindisfarne Castle Giant’s Causeway Carrick-a-Rede Cragside Downhill Coleraine Demesne and Hezlett House Morpeth Wallington LONDONDERRY Blyth Seaton Delaval Hall Whitley Bay Tynemouth Newcastle Upon Tyne M2 Souter Lighthouse Jarrow and The Leas Ballymena Cherryburn Gateshead Gray’s Printing Larne Gibside Sunderland Press Carlisle Consett Washington Old Hall Houghton le Spring M22 Patterson’s M6 Springhill Spade Mill Carrickfergus Durham M2 Newtownabbey Brandon Peterlee Wellbrook Cookstown Bangor Beetling Mill Wordsworth House Spennymoor Divis and the A1(M) Hartlepool BELFAST Black Mountain Newtownards Workington Bishop Auckland Mount Aira Force Appleby-in- Redcar and Ullswater Westmorland Stewart Stockton- Middlesbrough M1 Whitehaven on-Tees The Argory Strangford Ormesby Hall Craigavon Lough Darlington Ardress House Rowallane Sticklebarn and Whitby Castle Portadown Garden The Langdales Coole Castle Armagh Ward Wray Castle Florence Court Beatrix Potter Gallery M6 and Hawkshead Murlough Northallerton Crom Steam Yacht Gondola Hill Top Kendal Hawes Rievaulx Scarborough Sizergh Terrace Newry Nunnington Hall Ulverston Ripon Barrow-in-Furness Bridlington Fountains Abbey A1(M) Morecambe Lancaster Knaresborough Beningbrough Hall M6 Harrogate York Skipton Treasurer’s House Fleetwood Ilkley Middlethorpe Hall Keighley Yeadon Tadcaster Clitheroe Colne Beverley East Riddlesden Hall Shipley Blackpool Gawthorpe Hall Nelson Leeds Garforth M55 Selby Preston Burnley M621 Kingston Upon Hull M65 Accrington
    [Show full text]
  • Sarah Van Sonsbeeck
    Ryan Gander 1976 Born in Chester, UK Lives and works in London and Suffolk, UK Education 2001-2002 Post-Graduate Fine Art Participant - Rijksakademie van Beeldende Kunsten, Amsterdam, NL 1999-2000 Post-Graduate Fine Art Research Participant - Jan van Eyck Akademie, Maastricht, NL 1996-1999 First Class Degree, BA (Hons) Interactive Art - Manchester Metropolitan, University, Manchester, UK, Solo Exhibitions 2019 To employ the mistress… It’s a French toff thing, 2015, Eden Project, Cornwall, UK Ghostwriter Subtext – (Towards a significantly more plausible interrobang), Sala Diaz, Texas, USA The Annotated Reader, The Fruitmarket Gallery, Edinburgh, UK Some Other Life, Esther Shipper, Berlin, GR I see you’re making progress, Lisson Gallery, Shanghai, China The Green and The Gardens, Cambridge Biomedical campus, Cambridge, UK 2018 Moonlighting, TARO NASU, Tokyo, JP The Self Righting of All Things, Lisson Gallery, London, UK Old Languages in Very Modern Style, GB Agency, Paris, FR Time moves quickly, The Bluecoat, Liverpool Biennial, UK Good Heart, BASE / Progetti per l’arte, Florence, IT Other Places, 21st Biennale of Sydney, Sydney, AUS From five minds of great vision (The Metropolitan Cathedral of Christ the King disassembled and reassembled to conjure resting places in the public realm), The Metropolitan Cathedral, Liverpool Biennial, UK 2017 These wings aren't for flying, The National Museum of Art, Osaka, JP Faces of Picasso: The Collection Selected by Ryan Gander, Remai Modern, Saskatoon, Canada The Day-to-Day Accumulation of Hope, The
    [Show full text]
  • 'Kurt Schwitters in England', Baltic, No 4, Gateshea
    1 KURT SCHWITTERS IN ENGLAND, Sarah Wilson, Courtauld Institute of Art, ‘Kurt Schwitters in England', Baltic, no 4, Gateshead, np, 1999 (unfootnoted version); ‘Kurt Schwitters en Inglaterra el "Anglismo" o la dialéctica del exilio’, Kurt Schwitters, IVAM Centre Julio González, Valencia, pp. 318-335, 1995 ‘Kurt Schwitters en Angleterre’, Kurt Schwitters, retrospective, Centre Georges Pompidou, Paris, pp. 296-309 `ANGLISM': THE DIALECTICS OF EXILE' Three orthodoxies have dictated previous accounts of the life of Kurt Schwitters in England: that England was simply `exile', a cultural desert, that he was lonely, unappreciated, that his late figurative work is too embarrassing to be displayed in any authoritative retrospective. Scholars ask `What if?' What if Schwitters had got a passport to United States and had joined other artists in exile? He would have continued making Merz with American material. He would have had no `need' to paint figuratively.1 Would he have fitted his past into an even more `modernist' mould like his friend Naum Gabo, to please the New Yorkers?2 Surely not. `Emigration is the best school of dialectics' declared Bertold Brecht.3 Schwitters' last period must be investigated not in terms of `exile' but the dialectics of exile: as a future which cuts off a past which lives on through it all the more intensely in memory, repetition, recreation. `Exile' moreover is a purely negative term, foreclosing all the inspirational possibilities of a new `genius loci', a spirit of place: England. The Germany Schwitters knew was disfigured, disintegrating, self-destructing. His longing was for place which was no more. His Merzbau was destroyed by Allied bombing in 1943; Helma died in 1944: `Hanover a heap of ruins, Berlin destroyed, and you're not allowed to say how you feel.'4 The English period was a both a death and a birth, a question of identity through time, of new and old languages.
    [Show full text]
  • Redalyc.Ernö Goldfinger and 2 Willow Road: Inhabiting the Modern Utopia
    DEARQ - Revista de Arquitectura / Journal of Architecture ISSN: 2011-3188 [email protected] Universidad de Los Andes Colombia Mejía, Catalina Ernö Goldfinger and 2 Willow Road: inhabiting the modern utopia. Hampstead, London DEARQ - Revista de Arquitectura / Journal of Architecture, núm. 7, diciembre-, 2010, pp. 82-95 Universidad de Los Andes Bogotá, Colombia Available in: http://www.redalyc.org/articulo.oa?id=341630316009 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Ernö Goldfinger and 2 Willow Road: inhabiting the modern utopia Ernö Goldfinger y 2 Willow Road: habitando la utopía moderna Hampstead, London Recibido: 16 de junio de 2010. Aprobado: 10 de septiembre de 2010. Catalina Mejía Abstract Arquitecta, Universidad de los Andes, 1-3 Willow Road, houses built by Ernö Goldfinger facing Hampstead Heath Bogotá, Colombia, con maestría en Historia in London, stand out as a paradigmatic example of Modernist British de la Arquitectura, Bartlett School of Architecture. Displacing traditional notions and ideals of a modernist Architecture, University College of London, Reino Unido. Actualmente trabaja como house and of modernist inhabitation, what they ‘are’ goes somehow against asistente de investigación en la Bartlett to what they represent. Domesticity as well as concepts such as private and con los profesores Jonathan Hill y Philip public, or exterior and interior are dislocated. Considered as one of the most Steadman. distinguished manifestations of Modernity, in 2 Willow Road Modernism [email protected] is suggested, but also disrupted by postmodern gestures.
    [Show full text]
  • 200 2 Willow Road 157 10 Downing Street 35 Abbey Road Studios 118
    200 index 2 Willow Road 157 Fifty-Five 136 10 Downing Street 35 Freedom Bar 73 Guanabara 73 A Icebar 112 Abbey Road Studios 118 KOKO 137 Accessoires 75, 91, 101, 113, 129, 138, Mandarin Bar 90 Ministry of Sound 63 147, 162 Oliver’s Jazz Bar 155 Admiralty Arch 29 Portobello Star 100 Aéroports Princess Louise 83 London Gatwick Airport 171 Proud Camden 137 London Heathrow Airport 170 Purl 120 Afternoon tea 110 Salt Whisky Bar 112 Albert Memorial 88 She Soho 73 Alimentation 84, 101, 147 Shochu Lounge 83 Ambassades de Kensington Palace Simmon’s 83 Gardens 98 The Commercial Tavern 146 Antiquités 162 The Craft Beer Co. 73 Apsley House 103 The Dublin Castle 137 ArcelorMittal Orbit 166 The George Inn 63 Argent 186 The Mayor of Scaredy Cat Town 147 Artisanat 162 The Underworld 137 Auberges de jeunesse 176 Up the Creek Comedy Club 155 Vagabond 84 B Battersea Park 127 Berwick Street 68 Bank of England Museum 44 Big Ben 36 Banques 186 Bloomsbury 76 Banqueting House 34 Bond Street 108 Barbican Centre 51 Boris Bikes 185 Bars et boîtes de nuit 187 Borough Market 61 Admiral Duncan 73 Boxpark 144 Bassoon 39 Brick Lane 142 Blue Bar 90 British Library 77 BrewDog 136 Bunga Bunga 129 British Museum 80 Callooh Callay 146 Buckingham Palace 29 Cargo 146 Bus à impériale 184 Churchill Arms 100 Duke of Hamilton 162 C fabric 51 Cadeaux 39, 121, 155 http://www.guidesulysse.com/catalogue/FicheProduit.aspx?isbn=9782765826774 201 Cadogan Hall 91 Guy Fawkes Night 197 Camden Market 135 London Fashion Week 194, 196 Camden Town 130 London Film Festival 196 Cenotaph, The 35 London Marathon 194 Centres commerciaux 51, 63 London Restaurant Festival 196 Charles Dickens Museum 81 New Year’s Day Parade 194 Cheesegrater 40 New Year’s Eve Fireworks 197 Chelsea 122 Notting Hill Carnival 196 Pearly Harvest Festival 196 Chelsea Flower Show 195 Six Nations Rugby Championship 194 Chelsea Physic Garden 126 St.
    [Show full text]
  • Friends Indeed Gallery
    Friends Indeed Gallery Ryan Gander 1976 Chester, UK. Ryan Gander is an artist living and working in Suffolk and London. He has established an international reputation through artworks that materialise in many different forms from sculpture to film, writing, graphic design, installation, performance and more besides. Through associative thought processes that connect the everyday and the esoteric, the overlooked and the commonplace, Gander’s work involves a questioning of language and knowledge, a reinvention of the modes of appearance and creation of an artwork. His work can be reminiscent of a puzzle, a network with multiple connections, the fragments of an embedded story, a huge set of hidden clues to be deciphered, encouraging viewers to make their own connections and invent their own narrative in order to solve the charade with its many solutions, staged by the artist. Gander studied at Manchester Metropolitan University, UK, the Rijksakademie van Beeldende Kunsten, Amsterdam, NL and the Jan van Eyck Akademie, Maastricht, NL. He was awarded the 2007 Paul Hamlyn Award for Visual Arts, in 2006 won the ABN AMRO prize of the Netherlands, in 2005 he was short listed for the British art Prize ‘Becks Futures’ at the ICA in London and won the Baloise Art Statement Prize at Art Basel, in 2009 he was awarded the Zürich Art Prize. Alongside his artistic production, Gander is a visiting lecturer at a selection of art schools within Europe, previously being a Professor of Fine Arts at Huddersfield University, and has been presented the award of Doctor of Arts of the Manchester Metropolitan University, Honoris Causa, and at the University of Suffolk.
    [Show full text]
  • Hampstead POP 3B
    North London Hampstead POP 3B NORTH LONDON Hampstead: Village & Heath “A fine day should be set apart for this excursion, as a delightful ramble across Hampstead Heath can then be enjoyed. The village of Hampstead, too, boasts of such a number of charming houses, large and small, that it would be a pity not to see it at its best.” (H.E. Popham, The Guide to London Taverns 1927) Copyright © 2020 The Great British Pub Crawl Company All rights reserved. No part of this document may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of The Great British Pub Crawl Company, except in the case of uses permitted by copyright law. North London Hampstead POP 3B START: HAMPSTEAD HEATH Railway Station 1. From Hampstead Heath Station head northwards up South End Road (the Heath should be on the right-hand side of the road, with buildings on the left hand side). 2. Take the first turning on the left – Keats Grove. Keats House Keats Grove is so named because between December 1818 and September 1820 the English Romantic poet John Keats lived in the street, which was known as John Street at that time. He lodged with his friend Charles Brown in one of a pair of semi-detached houses known as ‘Wentworth Place’. These were perhaps Keats's most productive years. According to Brown, "Ode to a Nightingale" was written under a plum tree in the garden. While living in the house, Keats fell in love with and became engaged to Fanny Brawne, who lived with her family in the adjacent house.
    [Show full text]
  • Lawn Road Flats (The Isokon) Ing and Meal Deliveries from a Staff Kitchen Sent up by a Dumb Waiter in the Core of the — a New Vision of Urban Living Building
    DOCUMENTATION ISSUES Lawn Road Flats (The Isokon) ing and meal deliveries from a staff kitchen sent up by a dumb waiter in the core of the — A New Vision of Urban Living building. Wells Coates’ parallel interest in boat building and product design is evident in the intricate fitting out of the interiors, BY JOHN ALLAN which aimed to cater for young professionals with a mobile lifestyle. The studio units are So much of modern architecture’s early history depended on a handful of courageous pioneers. only 25 m2 in area but include a kitchen, a One of the first Modern Movement buildings in England was the achievement of an unlikely trio dressing room and a bathroom alongside the — a plywood salesman and his psychotherapist wife, and a Canadian part-time journalist turned main living/sleeping space. The importance architect. This article and the accompanying text by Magnus Englund tell the extraordinary story of the dressing room with its built-in storage of the Lawn Road Flats in Hampstead, London – their origins and heyday, the linked program of was particularly stressed as a key factor furniture design, their declining postwar fortunes and ruination, and then their recent and remarkable that distinguished the Isokon units from the rescue and restoration to become a beacon of modern heritage and the epitome of progressive average student bedsitter with clothes and st 21 century urban living. clutter typically strewn over the furniture or crammed into a clumsy wardrobe. The experiment showed that existenzminimum could be elegant as well as economical. Ad- “after all the energy and diversity of the The pioneering Pritchards vance lettings were stimulated by exhibiting Continent, England seemed about 50 years a showflat mock-up in 1933, and the building behind, as though lost in a deep provincial Lawn Road Flats in Hampstead, north London was successfully occupied soon after com- sleep”.
    [Show full text]
  • Authenticity in the Conservation of Historic Houses and Palace-Museums
    International Conference ICOM DEMHIST-ARRE AUTHENTICITY IN THE CONSERVATION OF HISTORIC HOUSES AND PALacE-MUSEUMS ‘The Truth is rarely pure and never simple.’ OSCAR WILDE Palace of Compiègne and Palace of Versailles, France 7 – 11 October, 2014 International Conference ICOM DEMHIST-ARRE AUTHENTICITY IN THE CONSERVATION OF HISTORIC HOUSES AND PALacE-MUSEUMS Palace of Compiègne and Palace of Versailles, France 7 – 11 October, 2014 Proceedings of the International Conference AUTHENTICITY IN THE CONSERVATION OF HISTORIC HOUSES AND PALACE-MUSEUMS L’AUTHENTICITÉ DANS LA CONSERVATION DES DEMEURES HISTORIQUES ET CHÂTEAUX MUSÉES ICOM Comité international DEMHIST Historic House Museums – Demeures historiques Musées – Residencias Históricas-Museos and ARRE Association of European Royal Residences Association des Résidences Royales Européennes Palais de Compiègne, 7-11 octobre 2014 This volume is a collection of the presentations made by speakers at the international conference which was held at the Palace of Compiègne on 7-11 October, 2014. This publication was made possible by the contributions and the work of ICOM DEMHIST (ICOM’s International Committee for Historic House Museums) ARRE – Association of European Royal Residences National museums and domain of Compiègne and Blérancourt Selection Committee: John Barnes, ICOM DEMHIST and Historic Royal Palaces Céline Delmar, Association des Résidences Royales Européennes Peter Keller, Museum Kirchen Bertrand Rondot, Etablissement Public du Château, du Musée et du Domaine national de Versailles Emmanuel Starcky, Musées et domaine nationaux de Compiègne et Blérancourt Marie-Amélie Tharaud, Musées et domaine nationaux de Compiègne et Blérancourt Luc Vanackere, Kasteel Van Gaasbeek Editorial Committee: Elena Alliaudi, John Barnes, Céline Delmar, Juliette Rémy, Bertrand Rondot, Ayşen Savaş and Ann Scheid.
    [Show full text]
  • Bibliography Sources for Further Reading May 2011 National Trust Bibliography
    Bibliography Sources for further reading May 2011 National Trust Bibliography Introduction Over many years a great deal has been published about the properties and collections in the care of the National Trust, yet to date no single record of those publications has been established. The following Bibliography is a first attempt to do just that, and provides a starting point for those who want to learn more about the properties and collections in the National Trust’s care. Inevitably this list will have gaps in it. Do please let us know of additional material that you feel might be included, or where you have spotted errors in the existing entries. All feedback to [email protected] would be very welcome. Please note the Bibliography does not include minor references within large reference works, such as the Encyclopaedia Britannica, or to guidebooks published by the National Trust. How to use The Bibliography is arranged by property, and then alphabetically by author. For ease of use, clicking on a hyperlink will take you from a property name listed on the Contents Page to the page for that property. ‘Return to Contents’ hyperlinks will take you back to the contents page. To search by particular terms, such as author or a theme, please make use of the ‘Find’ function, in the ‘Edit’ menu (or use the keyboard shortcut ‘[Ctrl] + [F]’). Locating copies of books, journals or specific articles Most of the books, and some journals and magazines, can of course be found in any good library. For access to rarer titles a visit to one of the country’s copyright libraries may be necessary.
    [Show full text]
  • Situating LGBTQ Voices in National Trust Historic Houses
    Queer activism begins at home: situating LGBTQ voices in National Trust historic houses Sean Curran UCL Institute of Education Supervisors: Professor Pam Meecham & John Reeve I, Sean Curran confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 1 _______________________________________________________________ _______ 2 Abstract Despite a growing body of literature and practical examples of lesbian, gay, bisexual, trans and queer (LGBTQ) interventions in museums, there is a dearth of research in equivalent initiatives in historic houses, specifically in those owned and managed by the National Trust. My research aims to address that gap, by using a creative intervention in the form of an exhibition for LGBT History Month. This queered action research involved curating an intervention, using a crowd-sourced exhibition, at the National Trust’s Sutton House in Hackney, London. The exhibition and the process of curation is the primary case study in my thesis. The exhibition 126, saw 126 LGBTQ identified volunteers submitting smartphone recordings of Shakespeare’s Fair Youth Sonnets and short video portraits of themselves as contributors. These were edited into a film, and exhibited at the first ever ‘Queer Season’ at Sutton House in February and March 2015. While feedback from visitors and contributors was analysed, the video portraits formed the primary data in the thesis. The videos are presented as a means through which LGBTQ people have chosen to represent their queer identities in a National Trust property. The results are noteworthy for the diversity of ways that LGBTQ people choose to visually signify their queer identities when given autonomy to do so.
    [Show full text]