Artists in Birmingham (In Progress*)
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Jesse Bruton 6 July – 11 September 2016
Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS 0121 248 0708 / www.ikon-gallery.org Open Tuesday-Sunday, 11am-5pm / free entry Jesse Bruton 6 July – 11 September 2016 Jesse Bruton, Devil's Bowl (c.1965). Oil on canvas. Image courtesy of the artist. Jesse Bruton is one of the founding artists of Ikon. This exhibition (6 July – 11 September 2016) tells the fascinating story of his artistic development, starting in the 1950s and ending in 1972 when Bruton abandoned painting for painting conservation. Having studied at the College of Art in Birmingham, Bruton was a lecturer there during the early 1960s, following a scholarship year in Spain and a stint of National Service. He went on to teach at the Bath Academy of Art, Corsham, 1966-69. He exhibited in a number of group shows in Birmingham, especially at the Royal Birmingham Society of Artists, and had a solo exhibition at Ikon shortly after the gallery opened to the public in 1965, and again in 1967. Like many of his contemporaries, Bruton developed an artistic proposition inspired by landscape. Many of his early paintings were of the Welsh mountains and the Pembrokeshire coast. Alive to the aesthetic possibilities of places he visited, he made vivid painterly translations based on a stringent palette of black and white. They reflected his particular interest “in the way things worked, things like valleys, rock formations and rivers ...” “I wasn’t particularly interested in colour. I wanted to limit the formal language I was using – to work tonally gradating from black to white, leaching out the medium from the paint in order to enhance a variety of textures. -
Gallery Guide Is Printed on Recycled Paper
THE PLACE IS HERE 22 JUN – 10 SEP 2017 MAIN & FIRST FLOOR GALLERIES ADMISSION FREE EXHIBITION GUIDE THE PLACE IS HERE LIST OF WORKS 22 JUN – 10 SEP 2017 MAIN GALLERY The starting-point for The Place is Here is the 1980s: For many of the artists, montage allowed for identities, 1. Chila Kumari Burman blends word and image, Sari Red addresses the threat a pivotal decade for British culture and politics. Spanning histories and narratives to be dismantled and reconfigured From The Riot Series, 1982 of violence and abuse Asian women faced in 1980s Britain. painting, sculpture, photography, film and archives, according to new terms. This is visible across a range of Lithograph and photo etching on Somerset paper Sari Red refers to the blood spilt in this and other racist the exhibition brings together works by 25 artists and works, through what art historian Kobena Mercer has 78 × 190 × 3.5cm attacks as well as the red of the sari, a symbol of intimacy collectives across two venues: the South London Gallery described as ‘formal and aesthetic strategies of hybridity’. between Asian women. Militant Women, 1982 and Middlesbrough Institute of Modern Art. The questions The Place is Here is itself conceived of as a kind of montage: Lithograph and photo etching on Somerset paper it raises about identity, representation and the purpose of different voices and bodies are assembled to present a 78 × 190 × 3.5cm 4. Gavin Jantjes culture remain vital today. portrait of a period that is not tightly defined, finalised or A South African Colouring Book, 1974–75 pinned down. -
Donald Rodney (1961-1998) Self-Portrait ‘Black Men Public Enemy’ 1990
Donald Rodney (1961-1998) Self-Portrait ‘Black Men Public Enemy’ 1990 Medium: Lightboxes with Duratran prints Size: 5 parts, total, 190.5 x 121.9cm Collection: Arts Council ACC7/1990 1. Art historical terms and concepts Subject Matter Traditionally portraits depicted named individuals for purposes of commemoration and/or propaganda. In the past black figures were rarely portrayed in Western art unless within group portraits where they were often used as a visual and social foil to the main subject. Rodney adopted the portrait to explore issues around black masculine identity - in this case the stereotype of young black men as a ‘public enemy’. The title ‘Black Men Public Enemy’ comes from the writings of cultural theorist Stuart Hall about media representations of young black men as an ‘icon of danger’, a metaphor for all the ills of society. Rodney said of this Art History in Schools CIO | Registered Charity No. 1164651 | www.arthistoryinschools.org.uk work: “I’ve been working for some time on a series…about a black male image, both in the media and black self-perception. I wanted to make a self-portrait [though] I didn’t want to produce a picture with an image of myself in it. It would be far too heroic considering the subject matter. I wanted generic black men, a group of faces that represented in a stereotypical way black man as ‘the other’, a black man as the enemy within the body politic” (1991). Rodney is asking the question: ‘Is this what people see when they see me?’ He has created a kind of ‘everyman’ for every black man, a heterogeneous identity. -
Sveučilište U Rijeci Filozofski Fakultet U Rijeci Odsjek Za
SVEUČILIŠTE U RIJECI FILOZOFSKI FAKULTET U RIJECI ODSJEK ZA KULTURALNE STUDIJE PLAN I PROGRAM SVEUČILIŠNOGA DIPLOMSKOGA JEDNOPREDMETNOG STUDIJA „KULTUROLOGIJA“ Datum inicijalne akreditacije studijskoga programa: lipanj 2005. Datum posljednje izmjene i dopune studijskoga programa: travanj 2017. Mjesto: Rijeka Kazalo Obrazac za izmjene i dopune studijskoga programa kulturologija …………………..….1 Popis predmeta studijskoga programa kulturologija …………………………………….3 Opis predmeta studijskoga programa kulturologija ……………………………………..6 Sveučilište u Rijeci • University of Rijeka Trg braće Mažuranića 10 • 51 000 Rijeka • Croatia T: (051) 406-500 • F: (051) 216-671; 216-091 W: www.uniri.hr • E: [email protected] OBRAZAC ZA IZMJENE I DOPUNE STUDIJSKIH PROGRAMA Opće informacije Naziv studijskog programa Sveučilišni diplomski studij kulturologije Nositelj studijskog programa Filozofski fakultet u Rijeci Izvoditelj studijskog programa Odsjek za kulturalne studije Tip studijskog programa Sveučilišni Razina studijskog programa Diplomski Akademski/stručni naziv koji se stječe Magistar/magistra kulturologije završetkom studija Naziv i šifra standarda kvalifikacije koja se stječe završetkom studija (ako je program upisan u Registar HKO-a) 1. Vrsta izmjena i dopuna 1.1. Vrsta izmjena i dopuna koje se predlažu Objedinjavanje postojećih modula u jedan cjeloviti program. 1.2. Postotak ECTS bodova koji se mijenjaju predloženim izmjenama i dopunama Navedene izmjene ne ulaze u postotak promjene ECTS-a na programu. 1.3. Postotak ECTS bodova koji je izmijenjen tijekom ranijih postupka izmjena i dopuna u odnosu na izvorno akreditirani studijski program 2. Obrazloženje zahtjeva za izmjenama i dopunama 2.1. Razlozi i obrazloženje izmjena i dopuna studijskog programa Objedinjavanje modula u jedan cjeloviti program u kojem je status svih predmeta izborni, osim predmeta Individualne mentorske konzultacije i izrada diplomskog rada (III. -
David Prentice 1936 – 2014
DAVID PRENTICE 1936 – 2014 A Window on a Life’s Work - a Selling Retrospective: Part II Autumn 2017 Period, Modern & Contemporary Art DAVID PRENTICE 1936 – 2014 A Window on a Life’s Work - a Selling Retrospective: PART II includes paintings of all periods but also features examples inspired by the Scilly Isles, City of London paintings, the Isle of Skye and The House that Jack Built. Saturday, 7th October 11am - 5pm Sunday, 8th October 11am - 3pm Continues through to 4th November Monday - Saturday 10am - 5pm Sligachan Bridge, Isle of Skye (2012) Watercolour, 23 x 33 ins The Old Dairy Plant · Fosseway Business Park · Stratford Road Moreton-in-Marsh · Gloucestershire · GL56 9NQ Front cover illustration: King’s Reach West (2003) Tel: 01608 652255 · email: [email protected] Oil on canvas, 46 x 56 ins www.johndaviesgallery.com DAVID PRENTICE 1936 – 2014 A Window on a Life’s Work: Part II From both a public perspective and a gallery point of view, range of what are widely regarded as under-appreciated part one of this two-part retrospective for David has been a works of art. distinctly rewarding and illuminating event. First and foremost, the throughput of visitors to the exhibition has been very high. Included in Part ll of A Window on a Life’s Work are five Secondly, the positive reaction of this elevated number of bodies of work – abstract works from the 1960’s and 1970’s observers to David’s work has been significant and voluble. (contrasting to those in Part I), a small group of significant and particularly dynamic paintings derived from the Scilly Isles, a I include in this ‘public’ many of David’s ex-pupils who have good number of the hugely impressive City of London displayed a strong, universal affection for their tutor of fifty canvasses; highly atmospheric works inspired by the Isle of years-ago. -
Bernard Fleetwood-Walker (1893-1965) By
The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits. -
Phillips, M. the Case of the Absent Artist. a Body Of
The Case of the Absent Artist A Body of Evidence of Mike Phillips 1 The Case for the Defence. On the seventeenth of April 1962 Perry Mason, the legendary defence attorney, faced one of his most pataphysical cases. ‘The Case of the Absent Artist’ (CBS 1962) is an account of a transmogrification that resonates through digital arts practice to this day. The author of the popular comic strip ‘Zingy’, Gabe Philips, transforms from a cartoon- ist to a ‘serious’ painter, bifurcating in the process to become Otto Gervaert. This transformation is only completed when he (both Philips and Gervaert) is/are murdered, the artist(s) remains as a body of evi- dence and a body of work. Mason is faced with the absence left by the transformation of the artist; the absent artist (or artists) defines a new space, not emptiness but a place resonant with potential. The following is a re-investigation of this resonant place left by the artist – Philips/Gervaert and how this transformation of the artist is be- ing enacted with increasing frequency. This manifestation of trans- formation, duality and disappearance is symptomatic of a technologi- cal performativity evident in a series of projects and relationships that have informed the development of frameworks, articulated below as ‘Operating Systems’. As forensic tools these Operating Systems are ‘instruments’ or provocative prototypes that enhance our understand- ing of the world and our impact on it. In the case of the absent artist they probe the space that once held the artist to build a new body of evidence. This body of evidence itself builds on an evolutionary thread that has run through the collaborative work of i-DAT.org. -
Re-Recordings | List of Materials ------9 1) Selection of Material from the Recordings Project Archive, Policy 6 Documents and Art Documentation (ACAA)
Re-Recordings | List of Materials --------------------------------------------------------------------------- 9 1) Selection of material from the Recordings Project Archive, policy 6 documents and art documentation (ACAA) Recordings: a Select Bibliography of Contemporary African, Afro-Caribbean and Asian 5 British Art. London: INiva, 1996. Race, Sex and Class 5. Multi-Ethnic Education in further, Higher and Community Education, 1983 8 Box of Recordings Research Project and Drafts. Chelsea College of Art & Design Library Archive. Anti-Racist Film Programme. London, GLC, March/April 1985. London GLC/ London 3 Against Racism. 1985. The Arts and Ethnic Minorities: Action Plan. London: Arts Council of Great Britain, 1986 4 Ward, Liz. St.Martin’s School of Art Library: Collection Development, ILEA Muti-Ethnic 1 Review,Winter/Spring 1985 Chambers, Eddie. Blk Art Group Proposal to Art Colleges, 1983 Black Art in Britain: A bibliography of material held in the Library, Chelsea School of Art, 1986 Asian and Afro-Caribbean British art: a Bibliography of Material Held in the Library, 2 Chelsea College of Art & Design,1989. Art Libraries Journal, The Documentation of Black Artists, v.8, no.4 (Winter 1983) Black Arts in London no.50, 4-17 March 1986 7 African and Asian Visual Artists Archive (Flyer and cards) [Bristol],1990. Arts Council Arts & Ethnic Minorities Action Plan. London, February, 1996 ------------------------------------------------------------------------------------------------- 2) Artists’ multiples, artists’ books, ephemera and video Araeen, Rasheed. The Golden Verses: a Billboard Artwork… Artangel Trust, 1990 Chambers, Eddie. Breaking that Bondage: Plotting that Course. London: Black Art Gallery, 1984 Us and ‘Dem, The Storey Institute , Leicester, 1994. Postcard/Virginia Nimarkoh, 1993. Artist Book. The Image Employed, the use of narrative in Black art. -
Re Imaging Donald Rodney
Re imaging Donald Rodney 1 Introduction Reimaging Donald Rodney explores the work of Black British artist Donald Rodney (1961 – 1998). It is the first UK exhibition to examine Rodney’s digital practice, and through new commissions expands on the potential of Rodney’s archive as a resource for challenging our conceptions of cultural, physical and social identity. Donald Rodney was considered to be He developed his artistic skills during one the most significant artists of his prolonged periods of hospitalisation, generation. Mark Sealy, Director of resulting in him regularly missing Autography ABP stated in an online school, due to his sickle cell condition. interview with TATE Britain for their After taking an arts foundation collection of Rodney’s work; course at Bournville School of Art in Birmingham he went on to Nottingham “[Along] with Donald, Keith Piper, Eddie Trent, where he met Keith Piper and Chambers and people like Sonia Boyce, Eddie Chambers. Chambers and Piper Lubaina Himid. Those characters in my espoused the notion of Black Art/Black view are really quite seminal in terms of Power, which derived largely from beginning to create an articulate voice… the USA through black writers and he was really interested in working with activists like Ron Karenga. Becoming Exhibition new media and new technologies. One a prominent member of the Blk Arts of the great tragedies is that he was Group, RRodney highlighted the Reimaging Donald Rodney aims to The new works developed for the becoming very articulate within this sociopolitical condition of Britain in Donald Rodney, from encapsulate the digital embodiment exhibition include doublethink (2015), space around the end of his career”. -
Surrealism and Psychoanalysis in the Work of Grace Pailthorpe and Reuben Mednikoff
Surrealism and Psychoanalysis in the work of Grace Pailthorpe and Reuben Mednikoff: 1935-1940 Lee Ann Montanaro Ph.D. History of Art The University of Edinburgh 2010 Declaration I hereby declare that this thesis is my own work and has not been submitted for any other degree or professional qualification except as specified. ABSTRACT The story of the collaboration between the psychoanalyst Dr Grace Pailthorpe and the artist Reuben Mednikoff is indeed an extraordinary one. The aim of this thesis is to throw light upon their joint research project between 1935, when they first met, and 1940, when they were expelled from the British Surrealist group with which they had been closely involved since its official launch in 1936. The project that Pailthorpe and Mednikoff plunged into just days after they first met in February 1935 focused on how art could be used as a way of curing mental problems. Paintings and drawings produced ‘automatically’ were used as a means to bring memories to a conscious level. Many personal tensions, obsessions and fears that had lain dormant and repressed were released and detailed commentaries and explanations followed every work they produced in order for the exercise to be fully therapeutic. The aim was to externalise the unconscious and reintegrate it with the conscious. Despite the fact that Pailthorpe’s work was hailed as ‘the best and most truly Surrealist’ by the leader of the Surrealist movement, André Breton, at the 1936 International Surrealist exhibition in London, which brought the movement to Britain, the couple were expelled from the British Surrealist group just four years later and moved to America into relative obscurity. -
Download the Conference Program
A NOTE FROM THE HOST COMMITTEE For four days in November, Pasadena will serve as MSA’s base of operations. (We understand there’s some minor affair planned for the city on New Year’s Day, but we’re sure it pales in comparison.) Welcome to the joys of Southern California in the fall! None of this would have been possible without the generous help of our local collaborators in and around this lovely city, including the staffs at the Westin Pasadena and the Huntington Library, Art Collections, and Botanical Gardens. Our efforts have been guided along the way by the MSA Board. We’re particularly indebted to Treasurer Gayle Rogers, Program Committee Chair Lisi Schoenbach, and MSA President Stephen Ross. The seasoned advice from last year’s organizer, Carrie Preston, helped keep it all in perspective and Alex Christie, web-master extraordinaire, agreed once again to manage the medium for the MSA message (gratis). MSA 18 would never have happened without the help of our fearless assistant, April Anderson, the one who kept us on track so that fun could be had by all. So, here’s to the fun, however you define it, and to making MSA 18 a “conference to remember.” Kevin Dettmar & Eric Bulson, Yr Obt. Servants 1 A Message from the MSA President For this year’s conference we have taken special efforts to introduce streams within the program that are aimed at more fully integrating interdisciplinary approaches, and in line with the conference theme. “Dream Factories” focuses on topics such as surrealism, psychoanalysis, fashion, architecture, cinema and design; “California and the Cultures of Modernism” considers linguistic, cultural, and racial diversity. -
The Models of Space, Time and Vision in V. Nabokov's Fiction
Tartu Semiotics Library 5 2 THE MODELS OF SPACE, TIME AND VISION Tartu Semiootika Raamatukogu 5 Тартуская библиотека семиотики 5 Ruumi, aja ja vaate mudelid V. Nabokovi proosas: Narratiivistrateegiad ja kultuurifreimid Marina Grišakova Mодели пространства, времени и зрения в прозе В. Набокова: Нарративные стратегии и культурные фреймы Марина Гришакова University of Tartu The Models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Strategies and Cultural Frames Marina Grishakova Tartu 2012 4 THE MODELS OF SPACE, TIME AND VISION Edited by Silvi Salupere Series editors: Peeter Torop, Kalevi Kull, Silvi Salupere Address of the editorial office: Department of Semiotics University of Tartu Jakobi St. 2 Tartu 51014, Estonia http://www.ut.ee/SOSE/tsl.htm This publication has been supported by Cultural Endowment of Estonia Department of Literature and the Arts, University of Tampere Cover design: Inna Grishakova Aleksei Gornõi Rauno Thomas Moss Copyright University of Tartu, 2006 ISSN 2228-2149 (online) ISBN 978-9949-32-068-4 (online) Second revised edition available online only. ISSN 1406-4278 (print) ISBN 978–9949–11–306–4 (2006 print edition) Tartu University Press www.tyk.ee In memory of Yuri Lotman, the teacher 6 THE MODELS OF SPACE, TIME AND VISION Table of Contents Acknowledgements ................................................................... 9 Introduction ............................................................................... 11 I. Models and Metaphors..........................................................