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Patrick Keiller at Tate

September 12, 2011 / / 0 Comments

Tate Britain commissions Patrick Keiller artwork

Still taken from Keiller's 2010 film Robinson in Ruins
2010’s Robinson in Ruins is Keiller’s third film to feature the eccentric Robinson

Artist and film-maker Patrick Keiller, will create a new installation for the Tate Britain Commission next year, it has been announced.

Keiller, who has not revealed exactly what the artwork will be, will develop the piece for the neoclassical Duveen galleries.

He said he was “delighted” to be asked. His work will be unveiled on 27 March.

Every year Tate Britain commissions an artist to “develop a new work in response to the Tate Collection”.

Artists who have previously taken on the Duveens Commission include Eva Rothschild, who filled the galleries with a huge black sculpture.

Over the past 30 years Keiller has made several documentary films, including The Dilapidated Dwelling and Robinson In Space.

“As someone most usually involved with images and the linearity of narrative, I’m delighted by the invitation to devise an exhibit for a sculpture gallery,” he said.

Tate Britain director Penelope Curtis said: “Patrick Keiller’s sustained interest in understanding the British landscape, and how it is represented, strikes a perfect chord with the Tate Collection.

“We are delighted that he has accepted our invitation to work with us in compiling a new installation which brings the old and the new together, and shows how similar concerns run through time.”

Darren Almond and Trains in Cinema

September 12, 2011 / / 0 Comments

Trains in Cinema : http://theartofmemory.blogspot.com/2007/03/trains-in-cinema-part-1.html

 

http://www.steidlville.com/books/510-Journey-Time.html

http://theartofmemory.blogspot.com/2007/03/trains-in-cinema-part-1.html

 

 

Journey Time

by Darren Almond

Steidl & Partners

One of the most significant British artists of the past decade, Darren Almond has established a richly complex,  emotive, and flexible practice which centers on time and history, often focusing on the dark traces of industrialization from the last century but firmly rooted in present-day concerns. Raised in the coal-mining heartland and transport hub of northwest England, Almond became a keen train-spotter as a youth and has since made numerous works involving railways, from station-style clocks enlarged into kinetic sculptures to a profusion of text works that take as their format the embossed metal signs affixed to rolling stock.The focus of Journey Time is one of his most ambitious projects in this field and one of the milestones of his career so far: a trilogy of films devoted to remarkable trains. Schwebebahn (1995) was shot in Germany, upside-down on the first monorail. Running in slow-motion, disorienting and defamiliarising, it conveys a sense of modernity’s aspirations being inverted in an era where much twentieth-century idealism now seems bankrupt. Geisterbahn (1997) was filmed in Vienna on an old-fashioned ghost train. Shot in an expressionistic, shadowy style and punctuated by skulls, the journey becomes a gothic metaphor for mortal life. The third and final part of the trilogy was shot in 2006 on a hugely ambitious railway line built by the Chinese government, leaving from Beijing and stretching 1,200km into Lhasa, striking deep into Tibet. At certain points this will be the highest railway in the world, necessitating oxygen masks for the passengers. Currently it is oxygenated by publicity, having attracted a storm of protests from Tibetans who fear it is intended to bring in large numbers of Chinese migrants to colonise the country. As such, this work extends Almond’s exploration of how transport’s symbolic function as a flashpoint for human struggle. Published to accompany Darren Almond’s exhibition of all three films in Essen, Germany, this handsome catalogue features a substantial selection of images from all three productions.

Patrick Keiller Bibliography

September 12, 2011 / / 0 Comments

 

Patrick Keiller bibliography

Keiller, Patrick:”Imaging” in Matthew Beaumont and Gregory Dart (eds): Restless Cities (London: Verso, 2010), pp.139-154.

Keiller, Patrick: “Landscape and Cinematography”, Cultural Geographies, Vol. 16, No. 3, 2009, pp.409-414; http://cgj.sagepub.com/cgi/pdf_extract/16/3/409

Keiller, Patrick: “Popular Science” in Anthony Kiendl (ed.): Informal Architectures: Space and Contemporary Culture (London: Black Dog, 2008), pp. 32-37.

Keiller, Patrick: “Urban Space and Early Film” in Andrew Webber and Emma Wilson (eds): Cities in Transition: The Moving Image and the Modern Metropolis (London, New York: Wallflower, 2008), pp. 29-39.

Unwin, Richard: review of The City of the Future, BFI Southbank Gallery, in Frieze 114, April 2008; http://www.frieze.com/issue/review/patrick_keiller

Dillon, Brian: review of The City of the Future, BFI Southbank Gallery, London in Modern Painters, March 2008, pp.84-85.

Keiller, Patrick: “Phantom Rides: The Railway and Early Film” in Matthew Beaumont, Michael Freeman (eds): The Railway and Modernity: Time, Space, and the Machine Ensemble (Oxford etc: Peter Lang, 2008), pp.69-84.

Hanks, Robert: review of The City of the Future in The Independent Extra, 22 November 2007, pp.14-15; http://www.independent.co.uk/arts-entertainment/art/reviews/a-cinematic-show-puts-a-new-twist-on-historical-perception-765004.html

Keiller, Patrick: feature article in Time Out, 21 November 2007, p.67; http://www.timeout.com/film/features/show-feature/3841/patrick-keiller-interview.html

Keiller, Patrick:”Phantom Rides”, The Guardian Review, 10 November 2007, p.14; http://www.guardian.co.uk/books/2007/nov/10/2

Hardingham, Samantha and Rattenbury, Kester: Supercrit #1: Cedric Price Potteries Thinkbelt (Abingdon: Routledge 2007), pp.110-111.

Walker, Ian: So Exotic, So Homemade: Surrealism, Englishness and Documentary Photography (Manchester: Manchester University Press, 2007), pp.160-186.

Keiller, Patrick: “Londres, Bombay” in Vertigo Vol. 3 No. 6 Summer 2007, pp. 38-39, 42-23.

Keiller, Patrick: “Film as Spatial Critique” in Mark Dorrian, Murray Fraser, Jonathan Hill, Jane Rendell (eds): Critical Architecture (London, New York: Routledge, 2007), pp.115-123.

Keiller, Patrick: ‘The City of the Future’ in Alan Burton, Laraine Porter (eds): Picture Perfect: Landscape, Place and Travel in British Cinema before 1930 (Exeter: Exeter University Press, 2007), pp.104-112, abridged at http://www.bftv.ac.uk/newslet/0304p3.htm

Anderson, Jason: “London Mapping: Patrick Keiller’s Peripatetic Hybrids”, interview with Patrick Keiller, Cinema Scope 26, 2006.

Keiller, Patrick:”Coal Hopper, Nine Elms Lane, ” in Iain Sinclair (ed): London: City of Disappearances (London: Hamish Hamilton, 2006), pp.292-295.

Burke, Andrew: “Nation, Landscape and Nostalgia in Patrick Keiller’s Robinson in Space”, Historical Materialism 14:1, 2006, pp.3-29; http://www.ingentaconnect.com/content/brill/hm/2006/00000014/00000001

Connarty, Jane; Lanyon, Josephine and others: Ghosting: The Role of the Archive within Contemporary Artists’ Film and Video (Bristol: Picture This, 2006), pp.106-109.

Mazierska, Ewa & Rascaroli, Laura: Crossing New Europe: Postmodern Travel and the European Road Movie (London: Wallflower, 2006), pp.57-78.

Dave, Paul: Visions of England: Class and Culture in Contemporary Cinema (Oxford, New York: Berg, 2006), pp.119-140.

Making History: Art and Documentary in Britain from 1929 to Now (Liverpool: Tate Liverpool, 2006), pp.38, 46-47.

Pile, Steve: Real Cities: Modernity, Space and the Phantasmagorias of City Life (London: Sage, 2005), pp.4-12.

Keiller, Patrick: “Motion Pictures”, The Guardian Review, 21 May 2005, pp.18-19; http://www.guardian.co.uk/film/2005/may/21/2

House, John & Keiller, Patrick: “River of Dreams”, Tate Etc. 3 (Spring 2005), pp.100-107; http://www.tate.org.uk/tateetc/issue3/riverofdreams.htm

Demorgon, Laurence: “Robinson, pélerin du monde global”, “Architecture d’aujourdhui“350, January-February 2005, pp.24-25.

Keiller, Patrick: “Tram Rides and Other Virtual Landscapes” in Simon Popple, Patrick Russell, Vanessa Toulmin (eds): The Lost World of Mitchell & Kenyon: Edwardian Britain on Film, (London: BFI, 2004), pp.191-200.

Mayer, Robert: “Not Adaptation but Drifting : Patrick Keiller, Daniel Defoe, and the Relationship between Film and Literature”, Eighteenth-Century Fiction 16:4, July 2004, pp.803-827; http://digitalcommons.mcmaster.ca/cgi/viewcontent.cgi?article=1721&context=ecf

Misselwitz, Philipp: “Reichtmer im Zerfall”, interview with Patrick Keiller in Philipp Oswalt (ed): Schrumpfende Städte, (Berlin: Hatje Cantz Verlag, 2004), pp.554-559; English edition 2006, pp.554-559.

Keiller, Patrick: ‘The City of the Future’ in City 7:3, November 2003, pp.376-386.

Dillon, Brian: ‘London Calling’, interview with Patrick Keiller in Frieze 78, October 2003, pp.78-81 http://www.frieze.com/issue/article/london_calling/

O’Pray, Michael: Avant-Garde Film: Forms, Themes and Passions (London, New York: Wallflower, 2003), pp.107-118.

Keiller, Patrick: ‘London in the Early 1990s’ in Andrew Gibson and Joe Kerr (eds): London from Punk to Blair (London: Reaktion, 2003), pp.353-361 and AA Files 49: London: Postcolonial City (London: Architectural Association, 2003), pp.20-24.

Keiller, Patrick: ‘London-Rochester-London’ in Cedric Price and others: Re:CP (Basel, Boston, Berlin: Birkhäuser, 2003), pp.168-185.

O’Neill, Eithne: London and Robinson in Space review in Positif 509/510 (July/August 2003), p.138.

Keiller, Patrick: ‘The Poetic Experience of Townscape and Landscape’ and ‘Atmosphere, Palimpsest and Other Interpretations of Landscape’ reprinted in Nina Danino & Michael Mazière (eds): The Undercut Reader (London, New York: Wallflower, 2003), pp.75-83, 204-208.

Keiller, Patrick: ‘Sexual Ambiguity and Automotive Engineering’ in Peter Wollen and Joe Kerr (eds): Autopia (London: Reaktion, 2002), pp.342-353.

Evans, Gareth: The Dilapidated Dwelling review in Time Out (8-15 May 2002); http://www.timeout.com/film/reviews/65464/the-dilapidated-dwelling.html

Keiller, Patrick: ‘Architectural Cinematography’ in Kester Rattenbury (ed): This Is Not Architecture (London, New York: Routledge, 2002), pp.37-44.

Martin-Jones, David: interview with Patrick Keiller, Journal of Popular British Cinema, 5-2002, pp.123-132.

Keiller, Patrick: The Robinson Institute, eBook in series Species of Spaces for diffusion.org.uk, 2002; http://diffusion.org.uk/?p=62

Keiller, Patrick: ‘Port Statistics’ in Iain Borden, Joe Kerr, Jane Rendell, Alicia Pivaro (eds): The Unknown City (Cambridge MA, London: MIT, 2001), pp.442-458.

Eisner, Ken: The Dilapidated Dwelling review in Variety, December 18-31, 2000; http://www.variety.com/review/VE1117796949.html?categoryid=31&cs=1

Bruzzi, Stella: New Documentary: a critical introduction (London: Routledge, 2000), pp.99-123.

Dave, Paul: ‘Representations of Capitalism, History and Nation in the Work of Patrick Keiller’, in Justine Ashby and Andrew Higson (eds): British Cinema, Past and Present (London: Routledge, 2000), pp.339-351.

Smith, Claire: ‘New Art Cinema in the 90s’, in Robert Murphy (ed): British Cinema in the ’90s (London: BFI, 2000), pp.145-155.

Keiller, Patrick: ‘Popular Science’, in Landscape (London: British Council, 2000), pp.60-67.

Kerr, Joe: interview with Patrick Keiller in Bob Fear (ed): Architecture + Film II, Architectural Design, 70:1, January 2000, pp.82-85.

Keiller, Patrick: Robinson in Space and a Conversation with Patrick Wright (London: Reaktion Books, 1999).

Richard Wentworth’s Thinking Aloud (London: National Touring Exhibitions, 1998), p.33.

Keiller, Patrick: ‘The Dilapidated Dwelling’ in Sarah Wigglesworth and Jeremy Till (eds): The Everyday and Architecture, Architectural Design 68:7-8, 1998, pp.22-27.

Dave, Paul: ‘The Bourgeois Paradigm and Heritage Cinema’, New Left Review 224, July-August 1997, pp.111-126; http://www.newleftreview.org/?view=1914

Barwell, Claire: interview with Patrick Keiller, Pix 2, 1997, pp.158-165.

Sinclair, Iain: Lights Out For the Territory (London: Granta, 1997), pp.306-317.

Sorensen, Colin: interview with Patrick Keiller, London on Film (London: Museum of London, 1996), pp.160-161.

Daniels, Stephen: “Paris Envy: Patrick Keiller’s London“, History Workshop Journal, 40:1, 1995, pp.220-222; http://hwj.oxfordjournals.org/cgi/pdf_extract/40/1/220

Keiller, Patrick: ‘The Tourist Poem’, Umeni XLIII:1-2, UDU AVCR, Prague, 1995, pp.45-47.

Price, Anna: interview with Patrick Keiller, Artifice 1, 1994, pp.26-37.

Keiller, Patrick: ‘The Visible Surface’, Sight and Sound, November 1994, p.35.

Keiller, Patrick: 1994 Berlin Film Festival programme text for London, reprinted as ‘Filming London Obliquely’, Regenerating Cities 7, 1994, pp.54-55.

Sinclair, Iain: ‘Necropolis of Fretful Ghosts’, Sight and Sound, June 1994, pp.12-15.

The British Art Show 1990 (London: South Bank Centre, 1990), pp.76-77, 134.

Keiller, Patrick: ‘Modern Architecture in Czechoslovakia 1919-1939’, published as ‘Czech Perspective’, Building Design, 13 March 1987, pp.22-25.

O’Pray, Michael: review of Norwood, Monthly Film Bulletin, October 1984, pp.322-323.

Keiller, Patrick: ‘Atmosphere, Palimpsest and Other Interpretations of Landscape’, in Undercut 7-8, 1983, pp.125-129.

Keiller, Patrick: ‘The Poetic Experience of Townscape and Landscape’, in Undercut 3-4, 1982, pp.42-48.

see also:

http://www.rca.ac.uk/patrickkeiller

http://thefutureoflandscape.wordpress.com

 

Hockney and Film

September 8, 2011 / / 0 Comments

David Hockney moves into film with Royal Academy exhibition

Hockney’s multi-camera films of the east Yorkshire countryside ‘could save cinema’, according to the artist

Mark Brown
guardian.co.uk Wednesday 7 September 2011 18.35 BST
Article history


David Hockney in 2009 at his exhibition at Tate Britain, with his painting Bigger Trees Near Warter. Photograph: Graham Turner for the Guardian

Seven years’ worth of David Hockney’s work are to be exhibited in a major show at the Royal Academy next year, including, for the first time, film.

The artist has some valuable pointers for television and Hollywood. “It has occurred to me that it could save cinema,” Hockney said, outlining plans to exhibit his landscape films, in which he used nine cameras to create large moving images across multiple screens.

“I’m going to show these to friends in Hollywood in a few weeks..”

The films show the same landscape in each of the four seasons and were taken when he lived in Bridlington, capturing the changing beauty of the east Yorkshire countryside.

They will be among 150 works in Hockney’s show, which will include paintings, drawings, sketchbooks and drawings made on his cherished iPad.

The show stems from an approach the RA made to Hockney in 2004, putting much of its grand gallery space at the artist’s disposal.

“It did give me a terrific boost,” he said. “I thought, they’re giving me wonderful great big walls that were made for big paintings right in the middle of London. I think we’ve risen to it.”

Hockney has managed to make east Yorkshire his landscape, much as Constable did with Suffolk.

“Nobody directed what David was going to do for this exhibition,” said co-curator Marco Livingstone. “He had the galleries at his disposal and he made the work that he wanted to make.”

Livingstone said the technical skill, the brushwork and the confidence in the works were all of the highest order. “I think the paintings he has made since 2005 are the most impressive body of work he’s made in his life.”

Did Hockney agree? “Any artist will tell you that the work he did yesterday was the best,” he said.

Hockney, a regular Guardian letter writer as well as reader, used the launch to get a few longstanding gripes off his chest. It’s not two thousand and twelve, for example, it’s twenty twelve. He also held forth on smoking, of course. He has cigarette packet warning signs all over his house saying “death awaits you even if you do not smoke”. And while he was there, he bemoaned the wrongheadedness of Hollywood in thinking 3D was the way forward: “A big error, a mistake,” that is only good for pornography, he said.

Filming in east Yorkshire was straightforward because nobody interfered or interrupted, he said. “In LA it would have been permits, all kinds of things.”

Using so many cameras exposed the comparative limitations of TV, he said. “You notice how pokey the television picture is, actually. It’s always edges, edges. We’re moving the edges now. You move the edge by putting a great deal more in the middle of the picture.”

After devoting so long to landscapes, the 74-year-old Hockney thinks he will now return to portraits. “That’s normally what happens,” he said.

The show is not a retrospective, but will include works from the 1950s to the 1990s, to allow his new work to be seen in context.

The stars of the show may well be multi-canvassed depictions of east Yorkshire, which Hockney painted after driving around the countryside with a chair in the boot of his car, then sitting and smoking and looking.

“Most people glance or scan but don’t look,” he said. “I love looking, I get intense pleasure from my eyes. There’s a lot of blindness. I’m not sure television has made people look very hard. I always thought television couldn’t show you the beauty of the landscape because it can’t show you space that well. The enjoyment of landscape is a spatial thrill.”

The show will be part of the 2012 Cultural Olympiad programme. Ruth Mackenzie, the programme’s director, said one of her first acts after being appointed had been to approach the RA and beg them to allow the Hockney show to be part of it.

As the Hockney show was scheduled for January to April and the London 2012 Festival is in June, Mackenzie had to think creatively. “We decided to invent a category of ‘countdown’ events and countdown events are in honour, really, of David Hockney.”

David Hockney: A Bigger Picture will be at the Royal Academy between 21 January and 9 April.

Re-Toons = research theory via cartoons

August 17, 2011 / / 0 Comments

Track abstract

May 12, 2011 / / 0 Comments

Track: Metaphors and a sense of belonging in a networked field of vision.

Blewbury Postcards by EWB pre-1945

Abstract:
Does the viewing and deployment of traditional art practices within augmented reality locative multimedia applications alter the relationship between creator, viewer and traditional notions of an artistic sense of place?
TRACK is a multimedia/fine arts project which examines the wider implications of disrupting conventional fine art notions of landscape by using pervasive media on location in a particular area loaded with art historical and poetical signifiers. Through art practice and research in local history archives it will examine how the disruption of traditional modes of ‘confined’ or ‘static’ viewing may subvert or divert traditional fine art practice and historical explication. This will be contrasted with traditional literary conventions of a sense of place.
Drawing on contemporary new media and locative arts practice and theory especially Coyne’s ‘Tuning of Place’ (Coyne, order 2010) and Kieller’s ‘City of The Future’ (Kieller BFI, viagra 2008) this paper investigates notions of ‘english rural idyll’ ‘mythopoeic’ and ‘place-myth’ (Shields, 1991) in the creation of a specific Berkshire artist’s retreat (The Blewbury Artists, 1880-1999). It will examine how this may be re-conceived or re-investigated through a pervasive media ‘lens’. This is a work in progress and conclusions will be gathered from extensive field-testing of devices and further local history archival investigation.
The presentation will deliver findings so far and make tentative conclusions.

Keywords: Place-myth, mythopoeic, artist’s colonies, hand-held devices, pervasive media, place, landscape painting, drawing, land-writing, deep mapping.

What is Rural Symposium: report

March 29, 2011 / / 0 Comments

Photo: Nick May from Food Chain Exhibition

These observations base on notes taken on day. Thoroughly enjoyable but as notes reveal patchy.

Full website here : http://www.thecollaborators.org.uk/What_is_Rural.html

Steve Messam: Site-specific public artist
First speaker was standing in for Ian Hunter from Littoral.

Site-specific ‘sculpture’ mostly financed by business and aimed at the spectacular rather than the sublime.
To me suffered from the ’roundabout art’ disease that aflicts much ‘public art’ i.e. it grand and spectacular bit like a firework display to draw attention to itself and satisfy the ‘sponsors’ but as actual art almost non-existent. Mr. Messam was genuinely concerned with local issues and genuinely believes he not only drawing down significant wads of sponsorship but also highlighting important issues. At time there some depth as in his sheep pen covered in hides but mostly it looked like big buck = big bang art and the actual art almost irrelevant…i.e. why not fireworks and be done with it?

EMMA HEALD: Advisor for Natural England
Good overview of Natural England remit and challenges in current economic climate. Little direct relationship to arts it seemed.

LIZ and PAUL GENEVER: Farmer
Excellent grounded non-academic highlighting of real issues affecting modern farming. Learnt something…

TALKSCAPE exhibition: KATE GENEVER and ADAM O’MEARA

Kate had been instrumental in bringing symposium together drawing on twin background in farming and the arts.

I found actual show confusing and the noble aspiration of rehanging it did not really help give a sense of artists in it. I reserve judgement and Adam’s drawings appeared interesting.


JOHN PLOWMAN: DAVID GILBERT: ROSALIND STODDART

Three speakers round table. Not very enlightening and revealed more about the scarcity of funding post ACE.
Plowman safely berthed in academia and as with all three there an almost missionary zeal to ‘bring’ art to the poor downtrodden masses or as in Norfolk these days Bankers in 4X4s. None seemed to exist in real world at all compared to the farmer.

Indeed it could be argued that projects like Beacon are actually part of the problem not the solution for rural communities if they actually still exist. The proportion of residents actually living in coastal holiday towns and villages is below 40%. No number of art interventions or decorative arts galleries can hide that. I was irritated by the religious opportunism of ‘metropolitan’ minds who without hesitation believe ‘rural’ people need a site-specific application or another dubious alter-modern happening. I was not the only one who felt this.

Top-down not bottom up attitudes despite the conviction by the instigators/curators (and funding recipients) that they doing just that…naive in extreme and very Old Labour approach..i.e. throw culture at masses they will like it…..now as empty as the towns they tried to save……

Sarcastic footnote: Stoddart calls herself an INDEPENDENT CULTURAL ENGINEER..this cuts no ice with me and just shows the ego inflation prevelent these days in the sector…..curators ten a penny so I suppose this cultural re-branding..god help us

DAVID WALKER-BARKER: Artist

Old-school approach (Royal College) actually made beautiful artworks and had a significant practice founded on genuine knowledge and a historic sense of place and history. Note I have to highlight this as this kind of work few and far between these days!

TIM NEAL: Anthropologist (Wildsite and Tourism)
Wild card literally and at time seemed a little out of place but in hindsght the area which actually provoked most interest for me.
Instead of art practice buffoonery we had some fairly in depth analysis of what actually made people consider places as ‘rural idylls’ from Samuel Palmer on. His observations of English in France chimed perfectly with my experience on the ground in NORTH NORFOLK.
The images of ‘rural myth’ created by artists are along with curators above seriously implicated in the destruction of viable healthy rural communities. To wander through a pitch dark rural idyll as second home owners and holiday properties lay empty is to experience first-hand the effect of rural gentrification. Abstract pontificating or arty musings do not hide this desperate state of affairs.

The rural landscape is an increasingly depopulated picture-postcard manned by the modern swains i.e. transient workers and illegal immigrants. They if employed in something more than service industries man increasingly ruthless mass food production facilities which hidden from the Range-Rovers gaze by screens of trees.

NICK MAY: FOOD CHAIN EXHIBITION

The following exhibition of farm workers in 21st century brilliantly spotlighted this and suggested that the true artform of the modern era is documentary photography as nothing else is keeping pace with the destruction of rural values.

http://www.skegnessinternational.com/nick-may.html

Nature of Landscape

March 19, 2011 / / 0 Comments

The Nature of Landscape – Visions & Distillations of Landscape & Place
David Ainley, Jeremy Leigh, Stephen Newton, Judith Tucker, Richard Kenton Webb & The Abbey Walk Gallery Artists Group

March 8th to March 19th 2011

This March Surface Gallery will play host to an exhibition that marks the culmination of an Arts Council funded project which includes the work of sixteen artists and a composer.

The Nature of Landscape project was conceived of back in 2008 by artist–curator Linda Ingham, on seeing the work of Wirksworth-based artist, David Ainley on show at De-Da in Derby. “I was looking for a project to provide for the N.E. Lincolnshire Arts Forum”, says Linda, from her studio at Abbey Walk Gallery in Grimsby. “ . . . and as soon as I saw David’s work, I realised how interesting it would be to create a project that challenges the idea of how we think about landscape.” Ainley, who has a solo show running until the end of March at the New Court Gallery in Repton, makes subtle paintings and drawings that challenge the representation of landscape as ‘scenery’ or ‘nature’ and are at odds with the interpretative excesses of the heritage industry.

The curatorial approach has been to draw together work based on landscape, which contrasts visually as well as in terms of concept. Richard Kenton Webb’s work focuses very much on elements extracted and abstracted from the Cotswolds countryside, through which he has embarked on a systematic approach to explore colour; the work on show at Surface Gallery will be from the Red series.

Judith Tucker’s work concentrates on the mnemonic content and visually atmospheric subject of war-time German resorts, juxtaposed with contemporary timelines and their relationships in terms of historic resonance.

Jeremy Leigh’s work reflects very much the artist’s abstracted feelings in relationship to Yorkshire and Scottish landscapes that speak to him in terms of the open road, and the road less travelled.

Joined in this show by professor Stephen Newton, who wrote the introduction to the full colour catalogue that accompanies the work, the exhibition also includes the work of The Abbey Walk Gallery Artists group, and a film by Annabel Mc Court with a soundtrack by composer David Power.

The Nature of Landscape as a project grew out of the initial exhibition in 2009 at Abbey Walk Gallery, and has since consisted of subsequent shows at the gallery and at East Coast School of Art & Design, as well as a seminar, a series of workshops, the printed publication, and finally the Nottingham show. “Both the Abbey Walk Gallery artists and the degree students from ECSAD have benefited from the opportunity to develop their work as part of the project. Working with Judith, David, Richard and Jerry has been a positive and inspiring experience for all of us, and we are looking forward to showing the results at Surface Gallery”, says proprietor, Gillian Gibbon, “We hope that the public response to the very individual results of our broadened horizons will be just as positive.”

New RPT Practice: Original Project Proposal (amended March 2011)

March 16, 2011 / / 0 Comments

Having realised that original proposal had become over-complicated I have returned to original short proposal.

This then is a slightly amended version of that original idea. Basically I wish to revisit exact locations where I drew a series of landscapes around my Oxfordshire hometown in the early 1990’s.

https://shaunbelcher.com/archive/art/landscape.htm

Blewburton Hill Oxfordshire 1991

Using an as yet unpurchased Android slate.

I will draw on tablet from exact previous location and then merge either in adobe or through a purpose built android app. with original drawing and a photograph of the view. There is also the multimedia option of engaging with text and music too.

If this successful I will then take on to a more ‘public’ version of app. Posibly launched through an exhibition at local art centre. This however I will remove from the proposal timeline and place after the July 2012 M.A. deadline.

 

Here original proposal (amended March 2011)

M.A. RPT 2010-12
METAPHORS AND A SENSE OF BELONGING IN A NETWORKED FIELD OF VISION

A project focusing on site specific experimental multidisciplinary artworks merging traditional notions of practice with digital media,computation, and internet resources”

Multimedia – incorporating fine art and literary practice

The project is centred on site specific locations – a local art centre, an abandoned railway track (now a public thoroughfare) and a large area of downland previously documented in the 1990’s. The project will involve drawing/painting on a handheld device and access to internet resources specifically GPS locative applications.

I aim to draw together my multidisciplinary activities in one specific outcome. This may be an exhibition tied in with locative media that may involve public engagement depending on timeframe.

 

 

New RPT Theory

March 1, 2011 / / 0 Comments

I have spent this week reconsidering the M.A. totally. To be frank I was considering giving up as it hasn’t exactly been inspiring.. Because of this I have decided to make it work for me by doing exactly what I want.

Below images of the new plan..it leans heavily into art theory/history territory which far more interesting than either current fine art practice or multimedia technology. If I get an M.A. for it fine if not it really doesn’t matter….

From now on the title remains:

METAPHORS AND A SENSE OF BELONGING IN A NETWORKED FIELD OF VISION

 

 

 

 

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