I'm ultra happy to announce that my application for the BALTIC Artists Development programme was successful. I will have two studio visits from Katherine Welsh, curator at the BALTIC.
Showing posts with label Curator. Show all posts
Showing posts with label Curator. Show all posts
Tuesday, 23 November 2021
Thursday, 1 February 2018
David McLeavy talk at The NewBridge Project
As part of the Practice Makes Practice programme, The NewBridge Project invited David McLeavy to give a talk.
David began by demonstrating how his practice has shifted from being an artist, to an artist and curator, to what he now identifies as; a curator and writer.
He spoke about some of the works/projects that he has worked on, starting with his older work and moving onto his most recent activity with BLOC Projects.
YAC | Young Artists in Conversation was set up in October 2013 to provide critical conversations and interviews with the most exciting emerging artists currently working in the UK.
YAC now work with a growing team of writers who have the opportunity to interview the artists that they are interested in and to ask the questions that they want answering.
YAC continuously aims to provide critical and compelling interviews along with helping to uncover some of the emerging talent currently working in the UK.
Work! Work! Work!, Primemover, Sheffield (Part of Art Sheffield 13 Parallel Projects programme)
This was a solo project in which David invented a new sport to be played in front of a live audience by artists from around the UK. He was interested in bringing people together in a kind of alternative networking event.
Funhaus, Toast, Manchester, 2014
This was a solo project by David McLeavy taking the work of an interactive re staging of the CITV children's television show Fun House.
Putt Putt #2, Turf Projects (offsite), Croydon, 2014
David worked with Alice Cretney to curate a group exhibition of new sculpture in which the work took the form of crazy golf holes of varying difficulty. Participating artists were AV CO-OP, Natalie Finnemore, Iain Hales, Holly Hendry, Nicolas Henninger, Mark Scott-Wood, W A V E Y B O Y Z, WELCHWHITAKER and Liz West.
Picnic Picnic, Sheffield, 2015
Along with Pippa Cook, David was the co-founder of Picnic Picnic; a year long, fully funded international artist residency programme and contemporary art exhibition. Artists from around Europe were invited to live and work in a house in Sheffield resulting in public exhibitions of their work.
Along with exhibitions and events by Internationally renowned artists, Picnic Picnic also presented a series of exhibitions of regional artists work based around a number of current themes.
Bloc Projects
Bloc Projects is an artist-led project space in the centre of Sheffield, UK, which presents exhibitions, events, residencies, exchange projects and educational activities. Established in 2002, the organisation provides a platform for early-mid career artists, encouraging experimentation, collaboration across disciplines and critical dialogue among artists, audiences and partners in the city and further afield.
The Bloc Projects Open Residency provides audiences with a unique perspective on how artists work. By turning the gallery space into a working studio and inviting the public to engage in open conversation, the Open Residency programme aims to break down the formal barriers between artist and audience.
Bloc Projects’ Test Bed series is focused on providing artists with a publicly facing gallery space to experiment with new approaches, and techniques and to engage with audiences in new ways.
Sunday, 14 January 2018
Curator studio visit for Assembly House exhibition
Today Liam McCabe and Emily Garvey came for a studio visit.
Liam McCabe is a visual artist, curator, writer and works on the Programme Team at East Street Arts based in Leeds. His artwork explores data, repetition and information overload.
Emily Garvey is a visual artist based in Newcastle. Her interests lie partially within the realm of the digital. Using 3D modelling software, she produces fantastical virtual worlds, which echo not only ideas of paradise but also well-known mundane environments, of which we are all familiar. Emily and Liam are curating BITTER SWEET, a group exhibition that will take place at Assembly House in Leeds in March this year.
We met to discuss ideas and plans for the exhibition.
This is the space
http://assemblyhousestudios.co.uk/project-space
The exhibition will include the following artists
Neil Carrivine
Emily Garvey
Jawbone Jawbone
Oliver Perry
Helen Shaddock
It was really good to share my ideas with Liam and Emily and to hear about what some of the other artists are working on for the exhibition. It is shaping up nicely!
Thursday, 9 November 2017
Artists as curators on Front Row
Monday's edition of Front Row featured a discussion about artists curating exhibitions.
This coincides with the opening of two exhibitions curated by artists, namely Shonky : The Aesthetics of Awkwardness at The Mac, Belfast and Paul Nash & the Uncanny Landscape at York Art Gallery.
John Stezaker has curated Paul Nash & the Uncanny Landscape at York Art Gallery, an exhibition which in which Paul Nash’s groundbreaking inter-war landscapes which transformed the genre of British landscape painting are exhibited along with works by Stezaker.
In Shonky : The Aesthetics of Awkwardness, the artist John Walter has brought together international artists and architects to explore the nature of visual awkwardness.
John Walter and Jill Constantine, curator and Head of the Art Council Collection reflected on what artists can bring to the curation of an exhibition.
When asked how the process of curating for an artist is different to that of a curator, Jill Constantine remarked that artists tend to adopt an intuitive, immediate, emotional and personal approach whereas curators tend to look for thematic and interpretative material and do a lot of research in order to contextualise.
John Walter recognised that as an artist, he can use his practice as the starting point to make the exhibition, perhaps choosing to to show out of fashion or less popular work. He explained that in the current exhibition at The Mac, Belfast he used the fourteen artists in the show to make a bigger picture. It was encouraging to hear Jill Constantine speak so positively about artists curating exhibitions. She was quick to dismiss the idea that artists that curate make random choices, and did not think that they undermined the position of curators.
To listen to the programme visit:
http://www.bbc.co.uk/programmes/b09cvwx7
John Walter recognised that as an artist, he can use his practice as the starting point to make the exhibition, perhaps choosing to to show out of fashion or less popular work. He explained that in the current exhibition at The Mac, Belfast he used the fourteen artists in the show to make a bigger picture. It was encouraging to hear Jill Constantine speak so positively about artists curating exhibitions. She was quick to dismiss the idea that artists that curate make random choices, and did not think that they undermined the position of curators.
To listen to the programme visit:
http://www.bbc.co.uk/programmes/b09cvwx7
Monday, 6 July 2015
Painting in Time Symposium
Today's Painting in Time Symposium at The Tetley Gallery in Leeds proved to be an excellent way to pull together and scrutinise some of the thoughts behind, and issues surrounding the exhibition which ends tomorrow.
The exhibition has been co-curated by Sarah Kate Wilson and stems from her practice and PhD research at The University of Leeds.
Speakers for the symposium were drawn from a network of academics, curators and artists. Each presented their research on painting and its relationship to time.
"The work explores and utilises the material properties of polythene dustsheets 1 as a painting support and their ability to retain static charge - resulting in the contact-electrification of the painting. The thin plastic, electrostatically charged, is a responsive ‘film’ that clings, shifts and moves on the wall. It responds to touch, rubbing and buffing, to atmospherics in the exhibition space, gravity, and the weight of paint. Holes in the surface, drafts, and moisture – all these things shorten its ‘life-span’. As paint is applied, it stretches, puckers and falls into holes, so that paint is deposited on the wall underneath: the polythene creating its own repertoire of ‘gestures’ in the wake of painting activity.
A number of paintings on polythene are made, one after the other, in the same space. As each painting is finished, it is discarded, leaving behind paint marks and gestures on the wall where the plastic has torn – these then become reconstituted into the painting that follows."
She explained how her paintings in the exhibition were painted when she was pregnant, and struggling to come to terms with what she thought was going to be the end of life as she knew it. Hawkins believes that an artwork should exhibit tenderness and love to the viewer, and commented that the spectator should be treated as an equal.
The theatricality of the work is enhanced by the three-dimensional supplements that are added to the two-dimensional surfaces.
Curator and artist Sarah Kate Wilson used the rainbow as a figure, and presented a case for painting as a time-based medium. She discussed how viewing paintings during World War 2 was an event as one artwork per week was removed from the mines where they were being kept for safe keeping, and made accessible to the public. Similarly, in his work Act III, Daniel Buren made an event of viewing an artwork as his positioned a painting on the stage of a theatre and the audience were forced to pay attention to this artwork as nothing else happened on the stage. Wilson used Jutta Koether's 'Hot Rod' to illustrate how painting can be a social space, and cited Oscar Murillo's work as a way in which viewing painting can be a performance.
The symposium concluded with a question and answer session involving all of the days speakers, and was chaired by Dr Joanne Crawford.
It really was a fascinating event to complement the varied and exciting exhibition, with lots of very interesting and inspiring people both in the audience and as speakers.
The exhibition has been co-curated by Sarah Kate Wilson and stems from her practice and PhD research at The University of Leeds.
Dr. Joanne Crawford’s paper focused on American abstract art in 1952 where painting’s role became one of the deferred ‘revolutionary moment’.
Through her own painting practice Nadine Feinson discussed how a painting might be understood to be in motion, despite its material fixity. She spoke about Triboelectric Series 2, a site-specific work made for RIFF/T, an exhibition at the BALTIC Centre for Contemporary Art's project space BALTIC 39, Newcastle, 11th December 2013 - 2nd March 2014.
California-based Curator, Sinead Finnerty-Pyne examined the act of viewing and exhibiting painting as a time-based experience, posing questions such as 'can artwork rebel against our fast nation society?' She spoke of the current exhibition, Expanding on an expansive subject, that she has curated at Armory Centre for the Arts, California.
"Expanding on an expansive subject is a group exhibition that explores the expanded field of painting through nine artists’ investigations into painting’s range and potential as a cross-disciplinary medium. The exhibition presents a unique model, a group exhibition displayed as individual solo projects that unfold (or expand) over the course of time, offering the possibility of an exhibition as a temporal experience. Since May 2014, Expanding on an expansive subject has featured six-week projects by Margie Livingston, Analia Saban, John Burtle, Liat Yossifor, John Knuth, Kendell Carter, and continues through November 2015 with shows by Kate Gilmore, Sarah Kate Wilson, and Constance Mallinson. While each artist’s approach to the discursive nature of painting is unique, the exhibition as a whole asks how painting today is distinct from its art historical predecessors."
Artist Kate Hawkins’ paper set out to explore durational modes of address and spectatorship in relation to contemporary painting. With reference to her work included in the exhibition, Hawkins discussed explorations of mourning in art from Picasso's Weeping Woman to Chris Ofilli's No woman, no cry.
Dr. Catherine Ferguson talked about how paintings make time in relation to history.
Natasha Kidd, used Huberman’s text ‘Take Care', 2011, to discuss how her new work in the exhibition Painting in Time was set loose in the world, what it wants and how it behaves or misbehaves. She talked about how an instruction to attend to the work was essential in order to keep it alive and her curiosity around the word “care” in relation to the systems she makes. Kidd is interested in "unlocking the artwork as static". She used her contribution to the Test Run exhibition at Modern Art Oxford as an example of how an artwork can provide access to the creative process and to demonstrate her interest in learning.
Saturday, 28 September 2013
Anne-Marie Watson
This afternoon I had the pleasure of introducing Anne-Marie Watson to the First year Painting and Printmaking students at Glasgow School of Art. She delivered an excellent lecture about 'Drawing', referencing a wide range of historical and contemporary artists and covering drawing in it's many forms.
Anne-Marie Watson is an independent Curator, Writer and Artist. Like me, she went to Leeds College of Art and Design to do an Art Foundation course, before moving to Glasgow to study Environmental Art at Glasgow School of Art.
After graduating Watson co-ran an organisation in Glasgow called SEAM (2003 - 2005) where they organised a programme of exhibitions with young Glasgow-based artists including Camilla Low, Charlie Hammond, Nick Evans and Lynn Hynd.
She then became Assistant Curator (2004 - 2006) at Dundee Contemporary Arts, Scotland, followed by Curator (2006 - 2007), working with artists including Johanna Billing, David Shrigley, Ahlam Shibli, Christopher Orr, Ilana Halperin, Bridget Smith and Jordan Baseman.
In 2007 she relocated to London where she was Exhibitions Programmer at Camden Arts Centre, London until April 2013. In this role, Watson worked closely with a number of artists on solo exhibitions including Claire Barclay, Allen Ruppersberg, Chantal Akerman, Anya Gallaccio, Christine Borland, Mathilde Rosier and Haroon Mirza. In 2009 she worked with Paulina Olowska on her selected group exhibition Head-Wig.
HOUSE is a series of collaborations between artists, dwellers,
curators and writers taking place in domestic settings across London.
Through public facing interventions into these private, lived spaces,
HOUSE thinks through the relationships between people, spaces they
inhabit, art and process.
HOUSE developed after an invitation from a friend to use their home for an exhibition. In response, co-curators Alex McDonald and Anne-Marie Watson were interested in instigating an on-going, open ended creative process involving artists and others in discussions around the spaces and places of their life and work. Over plates of food, on studio visits and in coffee shops around the city, conversations have taken place where diverse subjects have been tossed around from Inuit throat singing to rats living under the floor-boards.
Three houses were selected for the project in three diverse areas of the city; Clapton, Forest Gate and Notting Hill and six artists were chosen to take part. Through these relationships with different places, spaces and people a narrative begins to emerge which draws individuals’ stories of living in London into a shared public experience.
The six artists, through their work, are interested in space in different ways; environmental, the space of the body, intimacy, non-space, undefined spaces, exotic, hidden spaces, memory, affect and psychological effect of spaces on people.
HOUSE, in opening up these intimate places for living and working, creates imaginative spaces of vulnerability, risk and the unknown for dwellers, artists and audiences.
HOUSE 1: Anne Hardy & Stephen Setford
Preview Sat 14 Sept 6 – 8pm / Sat 14 & Sun 15 Sept 2013, 11am-6pm
19 Kinnoul Mansions, Rowhill Rd. Hackney. E5 8EB
Hallway – Anne Hardy, Soundtrack (Fieldwork), a work in progress (2013)
Living room – Stephen Setford, Torrent (2013)
Clapton (Mat Jenner) is in the midst of the regeneration of Hackney. This is a shared house, occupied by different people, differing in life-style and age.
HOUSE 2: Angus Mill & Jo Addison
Preview Fri 4 Oct 6 – 8pm / Sat 5 & Sun 6 Oct 2013, 11am-6pm
62 Cranmer Rd. Forest Gate. E7 0JL
Forest Gate (Anne-Marie Watson) is on the edge of Epping Forest in the outer borough of Newham. This house is a typical terrace occupied by four people who are connected via threads of friendship and art.
HOUSE 3: Rachael Champion & Renee Vaughan Sutherland
Closing Sun 20 Oct 4 – 6pm / Sat 19 & Sun 20 Oct 2013, 11am-6pm
2 Londsdale Rd. Nottinghill. W11 2DE
Notting Hill (Daniel Fitzpatrick) is in West London. This house, traditionally built for railway workers and their families has subsequently been owned and occupied by a variety of people who have changed along with the transforming area.
Anne-Marie Watson is an independent Curator, Writer and Artist. Like me, she went to Leeds College of Art and Design to do an Art Foundation course, before moving to Glasgow to study Environmental Art at Glasgow School of Art.
After graduating Watson co-ran an organisation in Glasgow called SEAM (2003 - 2005) where they organised a programme of exhibitions with young Glasgow-based artists including Camilla Low, Charlie Hammond, Nick Evans and Lynn Hynd.
She then became Assistant Curator (2004 - 2006) at Dundee Contemporary Arts, Scotland, followed by Curator (2006 - 2007), working with artists including Johanna Billing, David Shrigley, Ahlam Shibli, Christopher Orr, Ilana Halperin, Bridget Smith and Jordan Baseman.
In 2007 she relocated to London where she was Exhibitions Programmer at Camden Arts Centre, London until April 2013. In this role, Watson worked closely with a number of artists on solo exhibitions including Claire Barclay, Allen Ruppersberg, Chantal Akerman, Anya Gallaccio, Christine Borland, Mathilde Rosier and Haroon Mirza. In 2009 she worked with Paulina Olowska on her selected group exhibition Head-Wig.
Now working as an independent Curator, Writer and Artist, Watson has been busy with a project called HOUSE.
HOUSE developed after an invitation from a friend to use their home for an exhibition. In response, co-curators Alex McDonald and Anne-Marie Watson were interested in instigating an on-going, open ended creative process involving artists and others in discussions around the spaces and places of their life and work. Over plates of food, on studio visits and in coffee shops around the city, conversations have taken place where diverse subjects have been tossed around from Inuit throat singing to rats living under the floor-boards.
Three houses were selected for the project in three diverse areas of the city; Clapton, Forest Gate and Notting Hill and six artists were chosen to take part. Through these relationships with different places, spaces and people a narrative begins to emerge which draws individuals’ stories of living in London into a shared public experience.
The six artists, through their work, are interested in space in different ways; environmental, the space of the body, intimacy, non-space, undefined spaces, exotic, hidden spaces, memory, affect and psychological effect of spaces on people.
HOUSE, in opening up these intimate places for living and working, creates imaginative spaces of vulnerability, risk and the unknown for dwellers, artists and audiences.
HOUSE 1: Anne Hardy & Stephen Setford
Preview Sat 14 Sept 6 – 8pm / Sat 14 & Sun 15 Sept 2013, 11am-6pm
19 Kinnoul Mansions, Rowhill Rd. Hackney. E5 8EB
Hallway – Anne Hardy, Soundtrack (Fieldwork), a work in progress (2013)
Living room – Stephen Setford, Torrent (2013)
Clapton (Mat Jenner) is in the midst of the regeneration of Hackney. This is a shared house, occupied by different people, differing in life-style and age.
HOUSE 2: Angus Mill & Jo Addison
Preview Fri 4 Oct 6 – 8pm / Sat 5 & Sun 6 Oct 2013, 11am-6pm
62 Cranmer Rd. Forest Gate. E7 0JL
Forest Gate (Anne-Marie Watson) is on the edge of Epping Forest in the outer borough of Newham. This house is a typical terrace occupied by four people who are connected via threads of friendship and art.
HOUSE 3: Rachael Champion & Renee Vaughan Sutherland
Closing Sun 20 Oct 4 – 6pm / Sat 19 & Sun 20 Oct 2013, 11am-6pm
2 Londsdale Rd. Nottinghill. W11 2DE
Notting Hill (Daniel Fitzpatrick) is in West London. This house, traditionally built for railway workers and their families has subsequently been owned and occupied by a variety of people who have changed along with the transforming area.
For more information please visit
housemcdonaldwatson.wordpress.com
Monday, 26 August 2013
Mark Devereux Projects
I've been meaning to do this for a while now, but I have finally got round to joining as an Associate Member with Mark Devereux Projects.
Mark Devereux Projects is an artist production-development organisation established to help increase the national and international profile of early-career visual artists. With each practitioner’s artistic and career development paramount, emphasis is placed upon mentoring and helping the individual to place themselves within the industry through concentrated critical engagement and promotion.
As the cost of education is rising and more and more creative people are unable to commit to long-term education, artists are turning to the DIY approach. This means there are substantial numbers of creatives with the talent, ambition and drive to succeed within the market but lack support and direction to get there. Mark Devereux Projects provides a generous and thoughtful approach to working with artists.
Initially trained as an artist, Mark Devereux founded and Directed Blank Media Collective from 2006-2012. Working with early career visual artists, performers and writers, Devereux curated and produced numerous exhibitions, events and publications, showcasing the work of these practitioners. He was pivotal in the acquisition of BLANKSPACE gallery, Manchester in 2011, in which he was Director until leaving the organisation.
For further information and details about Mark Devereux Projects visit the website:
http://markdevereuxprojects.com/site/homepage
Mark visited me during my residency at Market Gallery earlier this year, and it was then that he told me about the organisation that he was (at that time) setting up.
Mark Devereux Projects was launched in July 2013 at CUBE, Manchester with an exhibition featuring the three selected artists that Mark is working with, namely Nicola Dale, David Ogle and Nicola Ellis. More information about the artists can be found on the website
http://markdevereuxprojects.com/artists
Mark Devereux Projects is an artist production-development organisation established to help increase the national and international profile of early-career visual artists. With each practitioner’s artistic and career development paramount, emphasis is placed upon mentoring and helping the individual to place themselves within the industry through concentrated critical engagement and promotion.
As the cost of education is rising and more and more creative people are unable to commit to long-term education, artists are turning to the DIY approach. This means there are substantial numbers of creatives with the talent, ambition and drive to succeed within the market but lack support and direction to get there. Mark Devereux Projects provides a generous and thoughtful approach to working with artists.
Initially trained as an artist, Mark Devereux founded and Directed Blank Media Collective from 2006-2012. Working with early career visual artists, performers and writers, Devereux curated and produced numerous exhibitions, events and publications, showcasing the work of these practitioners. He was pivotal in the acquisition of BLANKSPACE gallery, Manchester in 2011, in which he was Director until leaving the organisation.
For further information and details about Mark Devereux Projects visit the website:
http://markdevereuxprojects.com/site/homepage
Mark visited me during my residency at Market Gallery earlier this year, and it was then that he told me about the organisation that he was (at that time) setting up.
Mark Devereux Projects was launched in July 2013 at CUBE, Manchester with an exhibition featuring the three selected artists that Mark is working with, namely Nicola Dale, David Ogle and Nicola Ellis. More information about the artists can be found on the website
http://markdevereuxprojects.com/artists
Friday, 1 March 2013
Market Gallery Residency - Day 19
I began the day with a walk to Allscot, a company specialising in glass fibre products. I have done some research into strengthing plaster, and it would seem that putting a layer of glass fibre in between 2 layers of plaster would strengthen the plaster. John, the guy I spoke to at Allscot was ever so helpful and suggested that a fabric would be better than glass fibre as glass fibre needs to be used with resin.
Back in the Market Gallery I had a good review of my work, and drew an inventory of all the work that I have made during the residency to date. I now realise how much I have to play with for the exhibition. I had a bit of a clear-up and thought about specific things I want to make.
I began a new hollow cylinder form, added another grey layer to the cardboard form, and tested out a small sample of the fabric weave that I hope will strengthen the plaster.
In the evening I had a wonderful studio visit from artist Liz West and Mark Devereux, Independent Curator, Artist & Tutor based in Manchester, UK. Blank
Media Collective Founder & Director 2006-2012. I will post more about their work in later blog posts, so keep your eyes peeled! Meanwhile, here are some links to have a look at:
http://www.liz-west.com
http://liz-west.blogspot.co.uk/
http://www.axisweb.org/seCVPG.aspx?ARTISTID=14896
https://twitter.com/LizWest_Art
https://twitter.com/mark_devereux
http://www.markdevereux.co.uk/
I began a new hollow cylinder form, added another grey layer to the cardboard form, and tested out a small sample of the fabric weave that I hope will strengthen the plaster.
http://www.liz-west.com
http://liz-west.blogspot.co.uk/
http://www.axisweb.org/seCVPG.aspx?ARTISTID=14896
https://twitter.com/LizWest_Art
https://twitter.com/mark_devereux
http://www.markdevereux.co.uk/
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