Outsider Art & Grayson Perry
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Diminishing Connections Mary Jane King Clemson University, M.J [email protected]
Clemson University TigerPrints All Theses Theses 5-2016 Diminishing Connections Mary Jane King Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation King, Mary Jane, "Diminishing Connections" (2016). All Theses. 2369. https://tigerprints.clemson.edu/all_theses/2369 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. DIMINISHING CONNECTIONS ___________________________________________________ A Thesis Presented to the Graduate School Of Clemson University ___________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts Visual Art ___________________________________________________ by Mary Jane King May 2016 ___________________________________________________ Accepted by: Professor Todd McDonald, Committee Chair Professor Kathleen Thum Professor Todd Anderson Dr. Andrea Feeser ABSTRACT I explore our skin’s durability as it protects our inner being, but its fragility in our death. Paint allows me to understand the physical quality of skin and the structure underneath it’s surface. We experience the world and one another through this outermost layer of our selves, providing the ability to feel touch and to establish corporeal bounds and connections. Skin provides a means of communication and interaction, of touch and intimacy. It contains, protects, and stretches with the growth of the body, adapting to the interior bodily demands. It is through this growth that there is also a regression or a slow decay of the body. In addition to exterior exploration, I also investigate the vitality of our viscera even when disease destroys it and claims our lives. -
Rose Wylie 'Tilt the Horizontal Into a Slant'
Rose Wylie Tilt The Horizontal Into A Slant 4 TILT THE HORIZONTAL INTO A SLANT TILT THE HORIZONTAL INTO A SLANT 5 INTRO Rose Wylie’s pictures are bold, occasionally chaotic, often unpredictable, and always fiercely independent, without being domineering. Wylie works directly on to large unprimed, unstretched canvases and her inspiration comes from many and varied sources, most of them popular and vernacular. The cutout techniques of collage and the framing devices of film, cartoon strips and Renaissance panels inform her compositions and repeated motifs. Often working from memory, she distils her subjects into succinct observations, using text to give additional emphasis to her recollections. Wylie borrows from first-hand imagery of her everyday life as well as films, newspapers, magazines, and television allowing herself to follow loosely associated trains of thought, often in the initial form of drawings on paper. The ensuing paintings are spontaneous but carefully considered: mixing up ideas and feelings from both external and personal worlds. Rose Wylie favours the particular, not the general; although subjects and meaning are important, the act of focused looking is even more so. Every image is rooted in a specific moment of attention, and while her work is contemporary in terms of its fragmentation and cultural references, it is perhaps more traditional in its commitment to the most fundamental aspects of picturemaking: drawing, colour, and texture. 8 TILT THE HORIZONTAL INTO A SLANT TILT THE HORIZONTAL INTO A SLANT 9 COMING UNSTUCK the power zing back and forth between the painting and us, the viewer? It’s both elegant It may come as a surprise to some, when and inelegant but never either ‘quirky’ or considering Wylie’s work that words like ‘power’ ‘goofy’. -
Who Owns the Art World? an Online Panel Discussion with Hayley Newman, Morgan Quaintance and Richard Parry. This Short Panel
A DACS panel discussion, 14 March 2018 Who Owns the Art World? An online panel discussion with Hayley Newman, Morgan Quaintance and Richard Parry. This short panel debate took place during DACS’ Annual Strategy Day, as we thought about the context in which artists are currently working and how best DACS could best support artists and artists’ estates in the future. The Panel Mark Waugh (Chair) is the Business Development Director at DACS. Hayley Newman, Artist and Reader of Fine Art, Slade School of Fine Art, UCL. Morgan Quaintance, writer, musician, broadcaster and curator. Richard Parry, Artist. Mark Waugh (MW): Welcome, and we’re live again at DACS, this time from RIBA, and we’re live with a specific question, it’s quite a simple question – “Who Owns the Art World?” And to answer that, what we’re going to have three presentations, one from Richard Parry, one from Hayley Newman and one from Morgan Quaintance. They come from very particular positions and I think you’ll be able to understand what those positions are after the presentations. Essentially, all three of them share a discourtesy of concern with that question of ownership - and not only the ownership of the art world in a conceptual and a material sense - but also in what the role and agency of the artist is, and indeed, art is, in that context. And we’re asking that in the context of DACS as an organisation which has a 30-year history of thinking about what artists can do to empower themselves and support each other. -
Artist of the Day 2016 F: +44 (0)20 7439 7733
PRESS RELEASE T: +44 (0)20 7439 7766 ARTIST OF THE DAY 2016 F: +44 (0)20 7439 7733 21 Cork Street 20 June - 2 July 2016 London W1S 3LZ Monday - Friday 11am - 7pm [email protected] Saturday - 11am - 6pm www.flowersgallery.com Flowers Gallery is pleased to announce the 23rd edition of Artist of the Day, a valuable platform for emerging artists since 1983. The two-week exhibition showcases the work of ten artists, nominated by prominent figures in contemporary art. The criteria for selection is talent, originality, promise and the ability to benefit from a one-day solo exhibition of their work at Flowers Gallery, Cork Street. “Every year we look forward to encountering the unknown and unpredictable. The constraint of time to install and promote an exhibition for one day only ensures there is a tangible energy in the gallery, with each day’s show incomparable to the other days. Artist of the Day has given a platform and context to artists who may not have exhibited much before, accompanied by the support and dedication of their selectors. The relationship between the selector and the artist adds an intimate power to the installations, and as a gallery we have gone on to work with many of the selected artists long term.” – Matthew Flowers Past selectors have included Patrick Caulfield, Helen Chadwick, Jake & Dinos Chapman, Tracey Emin, Gilbert & George, Maggi Hambling, Albert Irvin, Cornelia Parker, Bridget Riley and Gavin Turk; while Billy Childish, Adam Dant, Dexter Dalwood, Nicola Hicks, Claerwen James and Seba Kurtis, Untitled, 2015, Lambda C-Type print Lynette Yiadom-Boakye have featured as chosen artists. -
PRESS RELEASE Face Time: an Exhibition in Aid of the Art Room
PRESS RELEASE Face Time: An exhibition in aid of The Art Room Threadneedle Space, Mall Galleries, London SW1 Monday 16 – Saturday 21 June 2014 10 am – 5 pm, Free Admission Over 60 works of art by international leading artists will be offered for sale in aid of The Art Room in Face Time, a week-long exhibition at the Threadneedle Space, Mall Galleries, London, SW1. Working in partnership with the Threadneedle Foundation, The Art Room, a national charity offering art as a therapeutic intervention to children and young people, have invited artists to contribute a clock or original piece of work for this important fundraising exhibition. Painters, sculptors, illustrators, architects and photographers have all contributed to Face Time and many have chosen to produce a clock face which reflects a key element of The Art Room’s methodology and practice. Face Time artists include: Emma Alcock ▪ Nicola Bayley ▪ Paul Benney ▪ Alison Berrett ▪ Tess Blenkinsop ▪ Anthony Browne ▪ Sarah Campbell ▪ Jake & Dinos Chapman ▪ Lauren Child ▪ Robert James Clarke ▪ Lara Cramsie ▪ Martin Creed ▪ Miranda Creswell ▪ Emma Faull ▪ Eleanor Fein ▪ Jennie Foley ▪ Antony Gormley ▪ Nicola Gresswell ▪ David Anthony Hall ▪ Maggi Hambling ▪ Kevin Harman ▪ The Art Room (Oxford) Oxford Spires Academy, Glanville Road, Oxford OX4 2AU (Registered Address) T 01865 779779 E [email protected] W www.theartroom.org.uk Founder Director Juli Beattie Chair Jonathan Lloyd Jones Patrons Micaela Boas, Anthony Browne, His Honour Judge Nicholas Browne QC, Dr Mina Fazel, MRCPsych -
Grayson Perry
GRAYSON PERRY Born in Chelmsford in 1960 Lives and works in London SOLO EXHIBITIONS 2017 The Most Popular Art Exhibition Ever!, Serpentine Galleries, London; travelling to Arnolfini, Bristol (2017) 2016 Hold Your Beliefs Lightly, Bonnefantenmuseum, Maastricht, The Netherlands; travelling to ARoS Aarhus Art Museum, Aarhus, Denmark My Pretty Little Art Career, Museum of Contemporary Art, Sydney 2015 Provincial Punk, Turner Contemporary, Margate Small Differences, Pera Museum, Istanbul, Turkey 2014 Who are You?, National Portrait Gallery, London Walthamstow Tapestry, Winchester Discovery Centre 2013 - 2017 The Vanity of Small Differences (UK Art Fund/British Council National and International Tour): Sunderland Museum & Winter Gardens, Tyne and Wear; Manchester Art Gallery, Manchester; Birmingham Museum and Art Gallery, Birmingham; Walker Art Gallery, Liverpool; Leeds City Art Gallery, Leeds; Victoria Art Gallery, Bath; The Herbert Museum and Art Gallery, Coventry; Croome Park, Worcester; Beaney House of Art and Knowledge, Canterbury; Izolyatsia Platform for Cultural Initiatives, Kyiv, Ukraine; Museum of Contemporary Art Vojvodina, Novi Sad, Serbia; National Gallery, Pristina, Kosovo; Art Gallery of Bosnia and Herzegovina, Sarajevo, Bosnia 2012 The Vanity of Small Differences, Victoria Miro Gallery, London The Walthamstow Tapestry, William Morris Gallery, Walthamstow 2011 Grayson Perry: The Tomb of the Unknown Craftsman, The British Museum, London Grayson Perry, Louis Vuitton Maison, London Grayson Perry: Visual Dialogues, Manchester Art -
'The Neo-Avant-Garde in Modern Scottish Art, And
‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ CRAIG RICHARDSON DOCTOR OF PHILOSOPHY (BY PUBLISHED WORK) THE SCHOOL OF FINE ART, THE GLASGOW SCHOOL OF ART 2017 1 ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ Abstract. The submitted publications are concerned with the historicisation of late-modern Scottish visual art. The underpinning research draws upon archives and site visits, the development of Scottish art chronologies in extant publications and exhibitions, and builds on research which bridges academic and professional fields, including Oliver 1979, Hartley 1989, Patrizio 1999, and Lowndes 2003. However, the methodology recognises the limits of available knowledge of this period in this national field. Some of the submitted publications are centred on major works and exhibitions excised from earlier work in Gage 1977, and Macmillan 1994. This new research is discussed in a new iteration, Scottish art since 1960, and in eight other publications. The primary objective is the critical recovery of little-known artworks which were formed in Scotland or by Scottish artists and which formed a significant period in Scottish art’s development, with legacies and implications for contemporary Scottish art and artists. This further serves as an analysis of critical practices and discourses in late-modern Scottish art and culture. The central contention is that a Scottish neo-avant-garde, particularly from the 1970s, is missing from the literature of post-war Scottish art. This was due to a lack of advocacy, which continues, and a dispersal of knowledge. Therefore, while the publications share with extant publications a consideration of important themes such as landscape, it reprioritises these through a problematisation of the art object. -
My Article in the Last Issue of Finch's Quarterly About the Royal Academy's Summer Exhibition Achieved a Very Modest Degree
Hungary for Culture Charles Saumarez Smith takes issue with the line of Brian (Sewell) and looks forward to the Royal Academy’s Treasures from Budapest exhibition My article in the last issue of Finch’s Quarterly about the Royal Academy’s Summer Exhibition achieved a modest degree of fame by being quoted in Brian Sewell’s review of this year’s exhibition in the Evening Standard: As its chief executive put it in the current edition of a journal of which he is arts editor, the Academy holds “the 18th-century view that the best judges of art are not the critics but the public. Critics may sneer, but the public continues to enjoy the Summer Exhibition precisely because it gives them an opportunity to make up their own minds about what to like.” Sewell went on to say: The public can make up its mind about fish and chips and jellied eels, but to put it in charge of the kitchens of The Ritz would not be wise. And I am less sure that Charles Saumarez Smith’s contempt for critics was widely held anywhere in Europe in the 18th century, the Age of Reason, when the Enlightenment held sway; and even if it were, then the public to which he refers was not the ancestor of some bloke on the Clapham bendy-bus, but an educated gentleman with the benefits of private tutoring, Eton, Oxbridge and the Grand Tour, as ready with a Greek or Latin tag as our beloved Boris Johnson. The chief executive will find little of that background among the old biddies from Berkshire up for the day. -
Art Catalogue Introduction
Art Catalogue Introduction Welcome to the inaugural Green Creates… art exhibition. Artistic expression, in its many forms, has existed in every age, every culture, and every country. Art can be both rooted in history and a catalyst for change. It connects us to the past, expresses our views of the present and suggests new ideas and visions for the future. As such, it is only fitting that we should call upon the support of the arts’ community today, as we stand on the brink of an uncertain future, attempting to hold onto the values and achievements that make us proud to be British, whilst working towards a new and better tomorrow. ‘‘Green’ suggests healthy options and therefore Green Creates… is an opportunity for the arts community to show their support for the Green Party, our policies healthy outcomes. Green issues should be the first and our work, but also an example of art as a social commentary in a time of social, economic and political consideration in everything from housing, to health unrest. The theme of Green Voices called for artists to express their opinions on the issues of the day and they to education and beyond.’’ have produced work that encompasses everything from climate change to the ephemeral beauty of nature. Ralph Steadman We are delighted at the richness and diversity of the work that we have on display and to welcome you to this celebration of some of the different interpretations of what it means to be green today. Best wishes, Jonathan Bartley and Caroline Lucas Co-Leaders - Green Party of England and Wales 4 -
THBT Social Disgust Is Legitimate Grounds for Restriction of Artistic Expression
Published on idebate.org (http://idebate.org) Home > THBT social disgust is legitimate grounds for restriction of artistic expression THBT social disgust is legitimate grounds for restriction of artistic expression The history of art is full of pieces which, at various points in time, have caused controversy, or sparked social disgust. The works most likely to provoke disgust are those that break taboos surrounding death, religion and sexual norms. Often, the debate around whether a piece is too ‘disgusting’ is interwoven with debate about whether that piece actually constitutes a work of art: people seem more willing to accept taboo-breaking pieces if they are within a clearly ‘artistic’ context (compare, for example, reactions to Michelangelo’s David with reactions to nudity elsewhere in society). As a consequence, the debate on the acceptability of shocking pieces has been tied up, at least in recent times, with the debate surrounding the acceptability of ‘conceptual art’ as art at all. Conceptual art1 is that which places an idea or concept (rather than visual effect) at the centre of the work. Marchel Duchamp is ordinarily considered to have begun the march towards acceptance of conceptual art, with his most famous piece, Fountain, a urinal signed with the pseudonym “R. Mutt”. It is popularly associated with the Turner Prize and the Young British Artists. This debate has a degree of scope with regards to the extent of the restriction of artistic expression that might be being considered here. Possible restrictions include: limiting display of some pieces of art to private collections only; withdrawing public funding (e.g. -
Mark Fairnington Unnatural History
Mark Fairnington UnnaturalMarkFairningtonHistory Mannheimer Kunstverein Mark Fairnington Galerie Peter Zimmermann Mannheimer KunstvereinMannheimer GaleriePeter/ Zimmermann Unnatural History Mark Fairnington Unnatural History 1 Mark Fairnington Unnatural History 2 3 Published on the occasion of 6 The Observing Eye Unnatural History 8 Das beobachtende Auge at Mannheimer Kunstverein and Galerie Peter Zimmermann 11 Specimens in February 2012 29 Paradise Birds 22 Interview with Darian Leader by Mannheimer Kunstverein e.V. Augustaanlage 58 D-68165 Mannheim, Germany 39 Bulls www.mannheimer-kunstverein.de 50 Im Gespräch mit Darian Leader and Galerie Peter Zimmermann Leibnizstraße 20 D-68165 Mannheim, Germany 57 Flora www.galerie-zimmermann.de 69 Eyes with design – Jaakko / Supergroup Studios 80 How can I move thee? photography – Peter White, Simon Steven & ??? ??? english translation – Amy Klement german translation – Catrin Huber 83 Displays print – Die Keure, Brugge, Belgium 92 Wie kann ich Sie? © Peter Zimmerman Gallery, Mark Fairnington and FXP Photography ISBN 978-3-9808352-9-9 95 Storage 106 Curriculum Vitae 108 Acknowledgements 4 5 The Observing Eye Martin Stather “The eyes of an animal when they consider a man are causes a pulling away, that maintains a distance blocks of stone, finishes off her sketches, signs them with particularly unique. Although not portraits in the attentive and wary. The same animal may well look between the subject of the painting and the viewer. his stamp, impresses on them his artistic hall-mark.” conventional sense, these images are, nonetheless, at other species in the same way. He does not reserve The living now seems lifeless, excised from the (Huysmans, 1884) distinctive in their portrayal and in the respect a special look for man. -
The Uk's Most Iconic Living Artist
the UK’s most iconic living artist roMAnce And rivalry...IntrIgue And IntIMAcy... Lust And LyrIcIsM... bIogrAphy jacK VettrIAno obe born 1951, fIfe JAcK VettrIAno occupIes A unIque posItIon on the conteMporAry Art scene. consIdered by soMe to be courAgeous And by others outr Ageous, he Is soMethIng of A maverIcK fIgure who operAtes outsIde the estAbLIshMent, yet hIs worK Is coLLected by MoVIe stArs And prIced At sIx fIgures. he fIrst cAMe to pubLIc pro MInence At the royAL scottIsh AcAdeMy open exhIbItIon In 1989. out of nowhere, he erupted onto the scottIsh Art scene wIth A serIes of pAIntIngs, ALL of whIch were later soLd. Since then there have been seLL out exhIbItIons In edInburgh, London, hong Kong, JohAnnesburg And new yorK. In 2003, Jack Vettriano was awarded an Honorary doctorate from St Andrew’s University and an OBE for Services to the Visual Arts. In April 2004 ‘The Singing Butler’ was sold at Sotheby’s for in excess of £750,000, a record breaking price for a painting by a Scottish artist. In 2009, Vettriano was commissioned by the Yacht Club of Monaco to create a series of paintings to mark the centenary of their world famous yacht, Tuiga. The subsequent exhibition, ‘Homage a Tuiga‘, premiered in Monaco as part of Classic Yacht Week in September 2009, before touring to the UK in 2010. In March 2010, Days of Wine and Roses was opened by Scotland’s then First Minister the Rt Hon Alex Salmond SNP at the Kirkcaldy Museum, then transferred to London. Later that year, Sir Jackie Stewart presented Vettriano with the Great Scot of the Year Award which led to a Motion in Parliament calling for his contribution to Scottish culture to be recognised.