Showing posts with label library. Show all posts
Showing posts with label library. Show all posts

Friday, 20 July 2018

Women Artists of the North East Library at Workplace, Gateshead

Throughout the Great Exhibition of the North 2018 Women Artists of the North East Library are resident at Workplace Foundation in Gateshead and available to the public as an evolving exhibition, library, and platform for events and discussions. Works by Phyllis Christopher, Tess Denman-Cleaver, Kate Liston and Harriet Sutcliffe are also exhibited in the gallery.

The project aims to use the premise of presenting artists work as an opportunity to explore the act of building such a library;

In what ways do artists make work in relation to, or with, other artists?

How can a library of women artists associated with a region, exist for a community?

How do we find our role models?

Can archival strategies contribute to intergenerational conversations and art making?

I enjoyed looking at the range of material included in the library, and appreciated how the gallery has been set up so as to encourage visitors to spend time with the items and choose their own path through the contents, rather than being presented with a selection of texts pinned to a wall.

It was as I was flicking trough one of the publications that I came across the following text by Lydia Davis that really resonates with me.






Wednesday, 2 September 2015

Newcastle University MFA Summer Exhibition 2015 - Nigel Morgan - Hiraeth

"In Welsh the word hiraeth offers a way into understanding our yearning for the elusive something that nature and landscape means to us; analogous to an unattainable longing for a place, or perhaps a person, the language of landscape becomes metaphoric to an emotional language of the soul. The language of landscape is a language of loss, of distance, of longing, and the more we try to define it the less clear it becomes."


"Landscape is made and it is the mediator by which nature has been perceived as something other. This continues to be a cultural problem:the measurement and technological representation of landscape reinforces an anxiety over our distancing from nature; however now, in the Anthropocene, everything is landscape and landscape can re-connect us to nature, it is a real material connection."


"This work is an attempt to understand this longing, through the use of nature, the matter of landscape."



Being Landscape: The Landscape is a creation of and by ourselves and our imagination. It is ‘the peculiar moment of being present to perception [the] ‘matter of experience’… the materiality of what is otherwise an ephemeral and contingent snatch of lived experience.’ J. J. Marshall, p202, Landscape Theory. 2008.

Monday, 31 August 2015

Newcastle University MFA Summer Exhibition 2015 - Sarah Dunn

Sarah Dunn is an artist whose practice focuses very clearly upon the observation and consideration of her immediate cultural and natural landscape. Through a process of careful documentation and patient archiving a catalogue of elements is built, within this, its many indexes may now evolve and shift. This ‘catalogue’ may be regarded as an accumulation of stimuli, one in which objects transmute sensibilities; buildings become new habitats, patterns become language and books become birds.


The work uses drawing and writing to begin, it is sculptural, sensitive to changes, personal, social, political, but firmly rooted in the traditions of form, craft and observational relationships.







In Between Fear and Mother Love is an entry into the index of observation. It uses the three totemic birds, the Bittern, the Woodcock and the Nightjar as symbolic chapter headings into which the objects, textiles and elements within the work are placed. These objects carry more than the sum of their parts. However, The canny observer will also find memories, emotions and experiences. The library of these birds is an echo chamber, a place of responses.


Tuesday, 5 May 2015

Out of Kansas - a collaborative exhibition by artists Jodie Dunnill and Helen Shaddock - Preview: 6pm-8pm Tuesday 12th May 2015 - The Lit & Phil, Newcastle

PRESS RELEASE
Out of Kansas

Preview: 6pm-8pm Tuesday 12th May 2015
Exhibition continues: 13th – 21st May 2015
Monday – Thursday : 9:30am - 7pm
Friday : 9:30am – 5pm
Saturday : 9:30am – 1pm

The Lit & Phil
23 Westgate Road
Newcastle upon Tyne
NE1 1SE

Out of Kansas is a collaborative exhibition by artists Jodie Dunnill and Helen Shaddock, in which they have responded to the architecture and atmosphere of the Main Library in the Lit & Phil. This is the first time that the artists have collaborated with each other, encouraging them to use unfamiliar materials and work on an ambitious scale.

Out of Kansas is a sculptural installation that incorporates the upper and lower levels of the main library. Made from reflective and coloured surfaces, the work acts as a device for the audience to view the space differently, exploring it in new ways from different perspectives.

Both artists recognised that the Lit & Phil is a library with a difference, and time in the library revealed particular aspects that help create this distinctive space. The artists sought to capture the essence of the library in their artistic response, as oppose to change it.

Jodie Dunnill and Helen Shaddock are currently studying at Newcastle University on a Master of Fine Art course.  Dunnill completed her BA degree from Liverpool John Moores in 2014.  Recent exhibitions include 8BA2, St Helens (2014), and Snippet, Newcastle (2015). 


Shaddock graduated from Glasgow School of Art in 2008 with a Degree in Fine Art: Environmental Art. Since 2014 Shaddock has been based in Newcastle. Shaddock has been involved in exhibitions nationally and internationally, and her work is in a number of public and private collections. Recent exhibitions include a solo exhibition of new work at 1 Royal Terrace, Glasgow (2014) and Snippet, a group exhibition at Newcastle University (2015). Forthcoming exhibitions include a group exhibition at the Hatton Gallery, Newcastle as part of The Late Shows this May.

Out of Kansas is supported by the Alumni Association Student Initiative Fund through Newcastle University.

Note to editors:
For more information contact: Helen Shaddock, 07845 579706, out.of.kansas.exhibition@gmail.com
To find out more about the Alumni Association Student Initiative Fund visit http://www.ncl.ac.uk/students/nclplus/funding/fund/
Copyright © 2015 Jodie Dunnill & Helen Shaddock, All rights reserved.

Our mailing address is:
out.of.kansas.exhibition@gmail.com

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Saturday, 2 May 2015

Building, filling, measuring, and more number crunching

We've spent another productive day in the wood workshop, beginning with building the first of many of the forms that are to be placed on top of the bookcases. We applied wood filler to a couple of the moveable sculptures ready to be sanded tomorrow. 



After calculating more of the dimensions and angles of some of the other forms (we are producing a number of different shapes for the bookcases) these pieces were cut and the appropriate edges were tapered. Moving one of the wheeled sculptures up to the studio was fun, and the ease of doing so reassured me that wheeling the sculptures through town to the Lit and Phil may not be such a crazy idea!




Sunday, 28 December 2014

History of the Lit and Phil

The Literature and Philosophical (Lit and Phil) Society was founded early in 1793 as a ‘conversation club’, with an annual subscription of one guinea. The subjects of the conversations - and the books that supported them - were wide-ranging, but religion and politics were prohibited.

From its outset, the Society had an enterprising, inquisitive and liberal nature: the first women members were admitted by 1804, various groundbreaking demonstrations of new technology took place, such as George Stephenson’s miners’ safety lamp in 1815. In 1820, The Newcastle upon Tyne Society for the gradual abolition of Slavery in the British Dominions was established at a meeting held in the Society’s rooms. The society’s lecture theatre was the first public room to be lit by electric light, during a lecture by Sir Joseph Swan on October 20th 1880.

In 1822 the foundation stone of the current building was laid by the Duke of Sussex, followed by a grand celebration and meal with 35 toasts and 53 speeches; it was finally opened in 1825.

Books were always at the heart of the Society’s interests, even though some early practices seem strange today. The first catalogues were sorted by the size of books, and it was only in 1891 that the decision was made to purchase novels; nobody seemed any the worse for this radical move excepting possibly, as one distinguished member pointed out, “those unfortunate enough to read them”. Novels now form a significant part of the collection of 150,000 books, and an active bookbinding and restoration programme manages the condition of the older volumes.

During the nineteenth and twentieth centuries the Society became involved in other spheres of activity. Chief amongst these were it's active contribution to the University Extension scheme and the establishment of a thriving lecture programme that continues to this day. Over the years it has attracted many eminent speakers; a scan through the list reveals names such as Oscar Wilde, Edith Sitwell, F.R. Leavis, Mary Kingsley, Dorothy Sayers and John Betjeman.

The Society also has a heavy involvement with music. Some one hundred years ago the library started to acquire scores, and in 1942 an official gramophone library was created that formed the basis of the current collection - one of the finest in the North of England.

The Society has been at the heart of activities in the region for over two hundred years - with interests in the arts, music and science. In 2012 membership of the Society reached over 2000, and there have been tens of thousands of visitors.

Notable members include:

W.G. Armstrong
President of the Society 1860-1900
Inventor, industrialist and businessman.

Sid Chaplin
Vice President of the Society 1976-1985
Prize winning writer and founder member of Northern Arts.

John Dobson
Architect.

Ruth Dodds
Author, councillor and the first woman 'Freeman' of Newcastle.

Richard Grainger
Architect

Robert Stephenson
President of the Society 1855-1860
Mechanical and structural engineer.

Joseph Wilson Swan
President of the Society 1911-1914
Pharmacist, chemist, electrical engineer and inventor.

Thursday, 6 November 2014

Visit to The Mining Institute and Lit and Phil Society

As part of our Professional Practice or Exhibition module, this morning we went to visit The Mining Institute and The Literary & Philosophical Society (Lit & Phil). Both of these could be potential venues for our group exhibition which will take place at the beginning of next year.

"The North of England Institute of Mining and Mechanical Engineers is often abbreviated to “the Mining Institute”.




The Mining Institute owns one of the finest buildings in Newcastle, Neville Hall, a Victorian building built at the time when high-Gothic architecture was coming into fashion. The outside of the building is known to hundreds of thousands of people, it is next to the Central Station, but few people realise what is inside. Neville Hall houses the memorial to the Institute's first President, Nicholas Wood, an outstanding Victorian Library resplendent filled with superb stonework, redolent with exquisite carved stone, wood and paintings with a beautifully decorated ceiling, a vast glass roof and filled with furniture designed for the library in 1872. Below the Library is the Edwardian Lecture Theatre, modeled on the Royal Institution in London and constructed in deep red Cuban Mahogany."




The librarian was ever so helpful and was enthusiastic about working with Art students from the University. She mentioned that the building had been used in the past for exhibitions and once a circus had a trapeze in the library.

We then went to The Literary & Philosophical Society (Lit & Phil); the largest independent library outside London, housing over 150,000 books. A wide selection of current fiction and non-fiction can be found alongside historical collections covering every field of interest.



The music library is without equal in the North of England, including 8,000 CDs and 10,000 LPs.

The Grade II* listed building was opened in 1825 and the magnificent reading rooms remain largely unchanged. The collection is coupled with an extensive set of periodicals.

When thinking about making work in such loaded spaces, I have a feeling of dread as I feel as though there are already so many existing things of interest in the building, that I feel as though my work would be overlooked, and question whether it would have a meaningful presence. 

One way of tackling this would be to create an event in which something happens, emphasising the qualities of the space, or drawing upon what happens in the space.

For example, Irene told me that the Lit and Phil society used to hold events called 'The Philosophical Table' at which members of the Lit and Phil would discuss ideas. The only topics which were banned were religion and politics. Unfortunately these discussions no longer happen, and one idea that I have is to reinstate them. I would want to add my own take on the 'Philosophers Table', in order to differentiate it from what used to happen.

I was taken by the fairly large group of readers who were sat eating their sandwiches whilst reading books and chatting as a group. There was a little kitchenette in the library at which one could purchase tea, coffee and biscuits, creating a warm, welcoming atmosphere. I imagine that there is a regular group of individuals who spend hours in the library, and it could be interesting to hear about their lives and experience of the library.

Perhaps I could hold a 'Philosophers Table' event at which members are invited to talk about one book in the library that particularly interests them. Rather like a show and tell event, this could be a great way of getting to know both the individuals and the content of the library.

Monday, 29 September 2014

Generous Interfaces for Cultural Collections - Mitchell Whitelaw

This lunchtime I went to a lecture by Mitchell Whitelaw in which he talked about Generous Interfaces for Cultural Collections.

"After a decade or more of digitisation, the collections of galleries, archives, libraries and museums are increasingly available in digital form. But I argue that our interfaces have not kept up; the standard search-and-list approach demands a query, shows too little, and discourages exploration. In this talk I will introduce and demonstrate what I call “generous interfaces”: rich, explorable, browsable representations of cultural collections."


The first part of the lecture focused on how digital archives can be organised to enable people to engage with a collection and explore it without having a specific area of research or academic background.





Techniques such as grouping associated material and providing images have been used to prompt people to discover different aspects of a collection that they would not have otherwise have looked at.





Australian Prints and Printmaking have an original way of showing their collection, grouped by decades and in the various types of printmaking e.g. intaglio, relief


http://www.printsandprintmaking.gov.au/explore/decade-summary/






Whitelaw questioned whether we can reintroduce serendipity into digitally, and used serendip o magic as an example








http://serendipomatic.org



The second part of the lecture was about generative interfaces i.e. interfaces that make stuff





I understand this to be DOING something with the information, not purely presenting it, and therefore I see Whitelaw's role as an artist.






http://mechanicalcurator.tumblr.com





He has used software to follow rules to create an endless collection of images that he hopes will lead people to see the material in different ways and will make meaning.


The software chooses 5 images, applies different effects to them (there is a choice of 3 effects that can be used), and then blends these images together to form a new image. This new image can be sourced back to its original components, and therefore if someone sees the image and goes on to investigate it further, it can lead them to a new area of investigation that they wouldn't have otherwise visited.


Mitchell Whitelaw is an academic, writer and practitioner with interests in new media art and culture, especially generative systems and data-aesthetics. His work has appeared in journals including Leonardo, Digital Creativity, Fibreculture, and Senses and Society. In 2004 his work on a-life art was published in the book Metacreation: Art and Artificial Life (MIT Press, 2004). His current work spans generative art and design, digital materiality, and data visualisation.

http://mtchl.net