Article in Art Space, local Leamington Spa magazine

For the summer 2016 issue of ‘Art Space’, a local magazine in Leamington Spa, I wrote a short history about the art gallery and museum and its collection of paintings. It covers key bequests, individual artworks (including the oldest painting in the collection), collecting strategies, and current exhibitions.

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Presenting 18th-century English drinking glasses

Recently, as research curator at Leamington Spa Art Gallery & Museum, I gave a ‘Friday Focus’ talk about the new display of 18th-century English drinking glasses that I have curated. This talk looked at the collector of the glasses, including an aspect of his life in Leamington, and then considered the different types of glasses that were created throughout the 18th century – and the various techniques used to decorate them. Lastly, I looked at why I chose to display the collection as I did:

Background to the collection and collector

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‘The Collector’ by Henry Holland, 1918, LSAG&M

This display highlights a selection of Leamington Spa Art Gallery & Museum’s collection of 160 English drinking glasses from the 18th century. They were purchased from the collector Francis Jahn in 1955 with the help of the National Art Collections Fund and the V&A Purchase Fund.

Jahn, who was born in 1871 and died in 1967, was a collector of oriental art, ceramics and 18th-century glasses. He followed his German father, Louis Jahn, a curator at the Hanley Museum, who built up a vast private collection of 18th-century Staffordshire pottery during his lifetime, which he left to his son. Many of the finest items were later bequeathed by Francis Jahn himself to Leamington Spa Art Gallery & Museum.  Continue reading

How to make the most out of a visit to an art gallery

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‘Impressionist Exhibition’ etching by my grandmother, Jennifer Beales (nee Caplan)

I’ve written an article about how to make the most out of a visit to an art gallery for Art UK’s new website. It includes eleven tips and also offers a fun challenge to readers, helping people to feel more comfortable with being in an art gallery environment and looking at art.

 

It is primarily aimed at people who may find the experience overwhelming, but can hopefully also give more regular gallery goers some fresh ideas for engaging with art.

A link to the article on Art UK is here.

If you fancy getting involved and sharing your recent experiences of being in an art gallery or your thoughts on particular artworks you see there, please let me and Art UK know by tweeting with the hashtag #visit_art

 

 

 

17th-century Netherlandish paintings at Leamington Spa

My role as the Research Curator at Leamington Spa Art Gallery & Museum involves researching into aspects of the permanent collection and interpreting it for different visitors. Recently, the gallery has had an unusual acquisition of twelve 17th-century Netherlandish paintings, which are all on permanent display. I have been studying them in order to create a handout for visitors and give a talk as part of the gallery’s weekly ‘Friday Focus’ events. My 8 page handout is below:

wall handout - final copy

Continue reading

Writing for The Friends of The Wilson Newsletter

Front cover of the Autumn NewsletterThe Wilson Newsletter is a publication produced for (and largely by) The Friends of The Wilson, Cheltenham’s art gallery and museum. When the editor invited me to write a ‘What’s On’ article for the Autumn 2015 issue, I was pleased to have the opportunity to be involved. It enable me to write about and reflect upon a temporary exhibition in The Friends Gallery, entitled ‘Interior Life: Portraits and Private Space’, which I had assisted the curator of fine art with in terms of research and display. A copy of the text is below.

My article in the Autumn issue of the Newsletter

Interior Life: Portraits and Private Space

The Friends Gallery has an area for dynamic temporary displays, the latest being Interior Life: Portraits and Private Space, which opened in July and runs until 8 November. This is an intimate and intriguing exhibition, celebrating a selection of portraits from The Wilson’s collection. It presents oil paintings from the 17th to the 20th century, and includes two works from the founding collection, donated by the Baron de Ferrieres in 1898.

The paintings have shared themes of privacy and contemplation, hinting at the emotional lives of the people portrayed. Thus, the interior spaces that exist in these works are not just the physical spaces that the figures inhabit, but are also the spaces that belong to their minds. This focus on interiority is reflected in the solitary activities depicted, such as reading in Hendrick Cornelisz. van Vliet’s painting A Woman Reading, about 1630-1650. It is also enhanced through the sensitive use of personal or even spiritual places, such as the cosy domestic sitting room in The Artist’s Wife, Evelyn, Seated Reading, about 1935, by Gerald Gardiner, or the interior of the church in Malvern Abbey, Worcestershire, 1892, by Sarah Paxton Ball Dodson.

Parallels can be made between some of these ideas and those of contemporary artist, Bill Viola (b. 1951). In Viola’s film pieces, private moments, devotion and the passing of time are common themes. Viola’s work can be seen on display in the third floor gallery of The Wilson from 3 October 2015 – 7 February 2016 as part of ARTIST ROOMS On Tour.

Gloucestershire newspaper article: Rodin sculpture at The Wilson

My Rodin article in Gloucestershire EchoI was very pleased to write a second article for the local newspaper, Gloucestershire Echo, during my internship in the Collections department at The Wilson, Cheltenham’s art gallery and museum. The Wilson had just put their newly acquired Rodin sculpture on display and I thought this would be a good topic to write about – plus, I had written the gallery label for this artwork, and studied some of Rodin’s later sculptures (and photographs) for my MA dissertation.

This Echo article was published on Saturday 29th August.

Dance Movement E by Auguste Rodin, about 1911, bronze, edition 3 of 11, 430 x 124mm

This striking sculpture, entitled Dance Movement E, captures a full figure in the middle of a lively dance. Designed by Auguste Rodin (1840-1917) in about 1911, it was never shown in Rodin’s lifetime, but was cast posthumously in bronze. Dance Movement E was given to the art gallery and museum by PJ Crook, President of the Friends of The Wilson, Cheltenham Art Gallery & Museum, in May 2014 to celebrate the 30th birthday of the Friends.

My Rodin article in Gloucestershire EchoIt is particularly exciting to have the sculpture here at The Wilson as Rodin has several links with Cheltenham. The artist stayed in the town for five weeks in 1914, visiting the art gallery and museum numerous times during his stay. Then nineteen years later, the curator at the time, Mr Herdman, requested that Rodin’s sculpture The Kiss be shown at the art gallery and museum. It was on display for three years before being transferred to the Tate. The Kiss returned to The Wilson last year as a loan for a temporary exhibition, entitled Embrace.

Rodin rarely took traditional anatomical rules or details into consideration. Instead, he created increasingly abstract sculptures, noting the shapes produced by flexible body parts during specific expressive moments. Critics believed that many of Rodin’s creations were merely studies or unfinished works. In contrast, much of the sculpture produced by Rodin’s contemporaries tended to be highly conservative and a large quantity was commissioned by the French government for heroic public monuments. Among his peers, however, were the Impressionists (Rodin and Monet were born the same year), whose innovations in painting moved away from the constraints of classical imperatives. Rodin also moved away from conventional boundaries and his inventive and ‘modern’ approach is one of the reasons why he is one of the best-known sculptors of the late nineteenth century.

It was Rodin’s novel subject matter as well as his style that made his art stand out and appear radical. For instance, as his sculpture Dance Movement E suggests, Rodin was inspired by modern dance. In particular he was fascinated by Alda Moreno, an acrobat and dancer at the Opéra Comique, Paris, who became his regular model from 1910 to 1913. This subject marks one of his later, and largely private, prolific investigations; indeed, Dance Movement E is one of a series of nine figures that are individually labelled from A to I.

We are delighted that now, over one hundred years on from Rodin’s visit to Cheltenham, we can enjoy another of his sculptures here, as part of the art gallery and museum’s collection. You can see Dance Movement E on display in the Friends Gallery at The Wilson, a venue managed by The Cheltenham Trust.

My 3rd review for Crafts magazine: Kate MccGwire at the RWA

Crafts Magazine, September/October 2015International artists Peter Randall-Page and Kate MccGwire have a wonderful joint exhibition at the Royal West of England Academy (RWA). I was very pleased to write a review of it for the Craft Council’s ‘Crafts’ magazine, issue September/October 2015.

This is now the third time that I have written about Kate MccGwire’s work (please see my interview with Kate on IdeasTap, and my blog post about writing for the Young Arnolfini zine); it is also my third review for ‘Crafts’ magazine.

My review in Crafts magazine

My review in Crafts magazine

Review of ‘Ahead of the Curve’ exhibition, on contemporary Chinese ceramics

My review of ‘Ahead of the Curve: new china from China’, a touring exhibition on contemporary Chinese ceramics, is published on a four page spread in the latest ‘Craft Arts International’ magazine, issue no. 94. This exhibition started at The Wilson, Cheltenham’s art gallery and museum, in October 2014 and then moved on to Bristol Museum & Art Gallery, before going to The Potteries Museum & Art Gallery in Stoke on Trent.

Cover page to Crafts Art International, issue no. 95

Cover page to Crafts Art International, issue no. 94

First page of my article in Craft Arts International

First page of my article in Craft Arts International

Native American painter Nocona Burgess exhibits at Rainmaker Gallery

Native American Artist Nocona Burgess Visits Bristol for Solo Exhibition at Rainmaker Gallery. Below is the press release for this exhibition, which I wrote, and then co-edited with the director of the gallery.

“White Belly” acrylic on canvas by Nocona Burgess for Rainmaker Gallery, Bristol UK.

Nocona Burgess pushes American Indian portraiture forward with strikingly modern depictions of people from tribal Nations of the Southern Plains.

Powerful portraits of Native American Indians by Comanche artist Nocona Burgess will be presented at Rainmaker Gallery, Bristol, from 16 July to 30 September 2015. These paintings mix careful research, firsthand knowledge and raw passion. Through combining brightly coloured shapes with crisply outlined facial features and traditional dress, Burgess explores the cultural context, life story and identity of each sitter. In this way, the artist urges us to update our perceptions of Native people and consider the intriguing and often highly politicised place of Native American portraiture.

Nocona Burgess, his wife Danielle and his son Quahada, will visit Bristol for a two-week residency, resulting from an ongoing collaboration between Rainmaker Gallery and the American Museum in Britain. During this residency the artist will attend the exhibition opening; teach workshops on colour theory; and give talks about his art, his life and his legendary family history.


“Huuinu Waiipu – Timber Woman”, acrylic on canvas by Nocona Burgess (Comanche) for Rainmaker Gallery, Bristol UK.

Burgess is a member of the Comanche Nation of Oklahoma. He is the son of a former tribal chief and the great great grandson of one of the most revered Native American leaders, Chief Quanah Parker. Burgess grew up surrounded by art. His father went to art school to focus on drawing and painting, and his grandparents made quilts and beadwork from their own designs.

In 1989, Burgess fully developed his artistic talents at the Institute of American Indian Arts (IAIA) in Santa Fe, NM. He was fascinated by how more traditional forms of Native art evolve into contemporary movements. This fascination came to define his focus, leading him to reinterpret traditionally inspired portraits with his own modern slant. It is the notion of the modern Indian that he seeks in his work and recognises in himself.

By painting with vibrant pigments onto dark backgrounds Burgess has perfected a method that he describes as “painting outward”. This approach produces the richly contrasting colours of his distinctive canvases and gives his art a vivid depth. Burgess’ paintings inspire and educate through their unusual techniques and positive dialogues between past and present.

Painting for Burgess is a way of reaching out to others. He strives for an intimate connection with each subject, eager to know their characters. Through his paintings Burgess says thank you to his ancestors for their sacrifices in helping to make the contemporary Native identity what it is today.

Burgess’ paintings have received numerous awards and have been featured in many publications. He exhibits throughout the USA and beyond and this summer alone sees his paintings in Australia, England and America. They can also be found in the permanent collection of the Smithsonian Institute’s National Museum of the American Indian in Washington, DC. His numerous collectors include the actor Johnny Depp.

Situated on the border of Redland and Westbury Park in North Bristol, Rainmaker Gallery is the UK showcase for the very best in contemporary Native North American Indian art and design. Founded in 1991 by Joanne Prince, to provide an authentic Native American Indian voice in the UK, Rainmaker promotes awareness, education and cultural exchange through artist talks, events and exhibitions. The gallery exhibits original paintings, drawings and fine art prints and carries a superb collection of high quality handmade American Indian jewellery, Zuni fetish carvings and Pendleton blankets.

Writing for Gloucestershire’s local paper: Contemporary take on the Arts & Crafts Movement

My Echo article, May 2015Last week I wrote an article for Gloucestershire’s local newspaper, Echo, on a new contemporary installation by Iavor Lubomirov at The Wilson art gallery and museum in Cheltenham, as part of their contemporary art exhibition ‘the open west’. My article was published on Saturday 23 May. Lubomirov’s artwork, ‘Wallpaper by the Roll’, 2013, is in dialogue with William Morris’s own art and ethos for living. It consists of a rolled paper sculpture and framed off-cuts, each comprised of delicately layered strips of Morris & Co Marigold Cowslip Wallpaper. This is historic and domesticized wallpaper that has been made tactile and dynamic.