Clapping Drives, Gallery The Exchange, Penzance UK 2018
stephanebissieres.com
Penzance chapel/new street fire gallery exchange
Allahu akbar
Top 17. Best Tourist Attractions and Beautiful Places in Penzance - Travel Cornwall, England
Top 17. Best Tourist Attractions in Penzance - Travel Cornwall, England: Minack Theatre, Penlee House Gallery & Museum, Tremenheere Sculpture Gardens, Trengwainton Garden, Penzance to Marazion, Tanglewood Wild Garden, Merry Maidens, Men-an-tol, Morrab Gardens, Chapel Street, Trewidden Garden, Chysauster Ancient Village, The Egyptian House, Newlyn Art Gallery, Lamorna Cove, The Exchange Gallery, National Dahlia Collection
Andy Currie The Exchange Penzance
Andy Currie
Jeremy Deller In Conversation with Dawn Ades
Turner Prize-winning artist Jeremy Deller will be in conversation with art historian and curator Dawn Ades to discuss his work, and the exhibition All that is Solid Melts into Air, curated by Deller and on display at Nottingham Castle Museum & Art Gallery. In All That Is Solid... Deller takes a personal look at the impact of the Industrial Revolution on British popular culture, and its persisting influence on our lives today.
Deller is a British artist who represented Britain at the Venice Biennale in 2013, and Dawn Ades is Professor of Art History at the University of Essex and was Associate Curator of Manifesta 9.
All that is Solid Melts into Air is a Hayward Touring exhibition and opens at Nottingham Castle on Friday 31 January 2014 and runs until Sunday 21 April.
Bedwyr Williams Newlyn Art Gallery pt1
Bedwyr Williams
Jeremy Deller, Love is Enough: William Morris & Andy Warhol, installation
A timelapse video of preparations for Love is Enough, an exhibition of works by William Morris and Andy Warhol, curated by Jeremy Deller.
Harold Harvey, 1874-1941 (Newlyn School)
Music: “ Im Glanz des Morgennebels” Gregor Daniel
Harold Harvey (1874-1941)
Harold Charles Francis Harvey was born on 20 May 1874 in North Parade, Penzance, Cornwall, the eldest of eight children. His father was a bank clerk. Harvey trained in painting at the Penzance Art School under Norman Garstin, and attended the Academie Julian in Paris between 1894 and 1896.
Before the First World War (1914-18) his style was impressionistic and his works mostly depicted scenes of the local fishing and agricultural communities, such as ‘In the Whiting Ground’ (c1900, now in Penlee House at Penzance). His work matured from about 1905 with brighter colours, and simpler compositions.
He married Gertrude Bodinnar on 19 April 1911 at St Peter’s church, Newlyn, and they moved to Maen Cottage, high on Chywoone Hill overlooking Newlyn and Penzance. Gertrude herself became a painter, and took an active part in applied arts, particularly concerning fabrics. They had no children.
He exhibited at the Newlyn Gallery and major provincial galleries, and had his first London show in 1913. From 1914 he created a long series of interior views, often set in his own home, and featuring his wife, friends and local people. These scenes are often painted in a crisper style than previously, and several include small still-lives of tableware. He was exempted from military service, presumably for reasons of health.
In the 1920s he achieved the full development of his ability and command of different subjects. Using a clearly-defined style of depiction he continued the series of interior views (eg ‘The Critics’ (1922) now at Birmingham), but he also created many notable outdoor scenes (eg ‘Girl on a Cliff’ (1926, now at Penleee House in Penzance) with either a landscape or seaside setting. He also began painting works with a religious theme. He achieved public recognition, and was selected to take part in the Venice Biennale of 1924. During the 1920s he ran a school of painting with his friend Ernest Procter (1886 – 1935).
Harvey’s last decade displayed all the remarkable abilities he had developed, and the wide range of his subject matter which included interiors, portraits, landscapes, religious themes, and the industrial landscape of Cornwall. In 1938 he featured in an article in Picture Post about the artistic colony at Newlyn. He continued painting up to his death on 19 May 1941.
The British Museum across the UK
The British Museum’s collection is for the whole of the UK. From Aberdeen to Anglesey, Belfast to Blackburn, Perth to Penzance, thousands of objects are lent to other museums and galleries every year.
Last year 3 million visitors saw British Museum objects on display in museums and galleries across the UK. Find out how we work with 250 organisations across the UK to make the Museum’s collection and expertise available to the widest possible audience.
Find out more:
artists and luggers.
the artists day with the luggers at newlyn.
Jeremy Deller Interview
Ellen Berkovitch of AdobeAirstream.com interviews Jeremy Deller on the Santa Fe Plaza. Deller made a stop on his Conversations about Iraq cross-country trip. The event is sponsored nationally by Creative Time and the New Museum and locally by Site Santa Fe.
IMAF 2012_HOME IS WHERE THE HEART IS by Rebecca Weeks & Ian Whitford (UK)
About festival: imaf-festival.weebly.com
Place: SULUV Gallery, Novi Sad, Serbia
Title of performance: HOME IS WHERE THE HEART IS
About artists: Rebecca Weeks & Ian Whitford
C.V. :
Rebecca Weeks and Ian Whitford have been working together since 2004. First as 'ArtDept' making live art, video, installation and performance. Writing in order to usurp and parody the institutional and bureaucratic. Aparatus of power, to redirect systems and structures and to question their validity. In 2010 they began to work as 'Weeks and Whitford' making performance and writing in order to more directly address the boundaries between
life, experience and art. They began working to confront their own social and emotional limits and the limits of others, to allow themselves to be vulnerable, to fail, to not offer answers, to not entertain, and to achieve a disintegration within performance in order for meaning to come through from beyond rationality, from where words run out. Weeks and Whitford utilise low and high cultural forms, images and significations, borrowing from diverse figures such as the stand up comedian, the clown, the tour guide, the pin up, and the lecturer. Influenced
by literature, visual art, philosophy, performance, horror, porn and punk they blur the boundaries of performance art and common culture, theatre, academia, the private and the personal, art and life. Their work touches upon issues of class, gender, sexuality and marginalised identity both in terms of modes of expression and in terms of the content of works. They work in galleries, and often in non art specific contexts. Recent highlights include 'Transition', The Exchange Gallery, Penzance, November 2011, 'British Art Show Fringe', Theatre Royal, Plymouth, November, 2011, 'Site Festival', Stroud Valley Arts, Stroud, June 2011, On Site/Off Site, Stroud, June 2011, 'The Supper Club', The Basement Brighton, December 2010. They are co -- founders and co - directors with Andy Whall of Cornwall Autonomous Zone, an independent artist led project space/network. CAZ was founded in 2010 and is focused on supporting local emergent artists, performance, installation, video, art writing and research.
Highest English garden opens atop the UK’s tallest building
Highest English garden opens atop the UK’s tallest building
The View from The Shard partners with Grow Wild to launch a nationwide campaign to encourage the growing of wildflowers
The UK’s biggest ever campaign to help grow the number of wild flowers across the UK will soar to new heights in London this summer as The View From the Shard, the viewing platform on the 72nd floor of The Shard, plays host to the nation’s highest English garden.
Grow Wild is the UK’s biggest-ever wildflower campaign, bringing people together to transform local spaces with native, pollinator-friendly wild flowers and plants. An increase in the number of wildflowers nationwide is need to boost the UK’s dwindling bee population – that is integral to many of the fruits and vegetables that we eat. The campaign will also bring neighborhoods together, connect people to nature and boost our wellbeing.
Since the 1930s, the UK has lost 97% of its wild flower meadows. This has had a significant impact on populations of butterflies, bees, pollinating bugs and birds, the loss of which impacts, in turn, the wider environment and the food available for many of the animals we consumer.
Supported by the Big Lottery Fund, Grow Wild is the national outreach initiative of the Royal Botanic Gardens, Kew.
Every summer The View from the Shard has a summer-themed makeover. This year they plan to create a garden featuring flowers 310 metres above London. The display will feature planters of wildflowers supplied by the Grow Wild team signposting to their community projects across London.
London’s highest English Summer Garden will be open throughout the summer and visitors to The View From The Shard will be able to get their hands on their own seed kits supplied by Grow Wild to encourage them to plant wild flowers in their gardens and local spaces following their visit.
Two local schools are involved in this campaign and will be helping with the final installation as well as receiving planters at their schools in Southwark in September.
Research Staff Profile: David Cross
David Cross has given lectures internationally and chaired events at the South London Gallery, Tate and Whitechapel. As an artist, he began collaborating with Matthew Cornford while studying at St Martin’s School of Art in 1987, and graduated from the Royal College of Art in 1991.
David Cross:
In London, the work of Cornford & Cross has been exhibited at the Camden Arts Centre, the ICA, the Photographers’ Gallery and South London Gallery. They completed a solo touring exhibition at the Northern Gallery for Contemporary Art, Aspex Gallery, Portsmouth, and the Exchange Gallery, Penzance. They have carried out an Arts Council residency at the London School of Economics, and a British Council residency at Vitamin in Guangzhou, China. In Europe, they have exhibited in Bologna, Rome and Stockholm; in the USA, they have exhibited in San Francisco, Philadelphia and New York. Perceiving a conflict between his values of internationalism and environmentalism, Cross stopped using jet travel in 2005.
Cross' research, practice and teaching have long been informed by a critical engagement with the relationship between visual culture and the contested ideal of ‘sustainable’ development. More recently, his focus has been on financial systems, fossil energy dependency and climate breakdown. He is now shifting towards promoting a cultural transition to a post-carbon society.
In addition to producing aesthetic experiences, he maintains that a key function of contemporary art is to test concepts, assumptions and boundaries. In public debate, he explores the ‘instrumental’ potential of contemporary art – not as a channel for didactic messages, but as a space for dialectical propositions. In making such propositions, he aims to stimulate the kind of debate that is at the heart of active social agency.
In 2012, in homage to the Artist Placement Group, Cross designated his employment at UAL as an artist’s placement, as a way to move beyond the separation between his artistic and academic activities. In September 2015, he began working with students (especially Georgia Brown) to initiate and run a campaign to persuade UAL to divest from fossil fuels. In November 2016, UAL announced not only that it would divest its £3.9 million endowments from fossil fuels, but also sign the UN Principles for Responsible Investment. Cross is now proposing that students and staff work together to identify and map the extra-economic value produced in the University/art school, as a prelude to producing a viable model of the University as a not-for-profit co-operative.
Recent work Cross has undertaken to develop this proposal includes, ‘Radical Rethink’ at the Institute of Contemporary Arts in London, and ‘What Happens if We Push This?’ at the Tate Exchange.
Spare Part Art (1963)
London.
Artist Professor Bruce Lacey makes art from junk.
Three people look into the window of an art gallery, we see them from inside. There are bubbles floating in the shop. C/U of a strange machine that is pumping out bubbles. It has one of Bruce Lacey's strange automatons which features a male dummy's head and hand and various bits of machinery. We see Lacey fiddling around with his work of art. Another mechanical man is seen, his head spins around. Bruce makes a new mechanical artwork featuring the top part of a skull and two eyeballs stuck on poles.
Narration is quite funny. Clap hands machine, you have export value. The nation is proud of you, let's have proud music. Various shots of Lacey's weird and wonderful artworks. Too bizarre to describe in full. They feature found objects and plastic body parts.
A man walks past Lacey's gallery carrying a large piece of metal. Lacey asks him if he can have it. The man agrees and hands it over. Lacey walks off with it.
Note: two spellings in paperwork - Bruce Lacy and Bruce Lacey. See also CP 699 - NIGHTMARE ROBOTS (*PM0427*).
Cuts exist - see separate record.
FILM ID:245.09
A VIDEO FROM BRITISH PATHÉ. EXPLORE OUR ONLINE CHANNEL, BRITISH PATHÉ TV. IT'S FULL OF GREAT DOCUMENTARIES, FASCINATING INTERVIEWS, AND CLASSIC MOVIES.
FOR LICENSING ENQUIRIES VISIT
British Pathé also represents the Reuters historical collection, which includes more than 136,000 items from the news agencies Gaumont Graphic (1910-1932), Empire News Bulletin (1926-1930), British Paramount (1931-1957), and Gaumont British (1934-1959), as well as Visnews content from 1957 to the end of 1984. All footage can be viewed on the British Pathé website.
Where Angels Walk part6
A short film by Richard Conway-jones shot in 1987 as part of a sequence of six as a meditation on England at that time features Andrew Hall the artist Nicola Bealing Ali Edney and Matthew Edgington
Penzance Time Lapse
Time lapse video of some of Penzance's best assets late afternoon in December.
Starting of with the Promenade I made my way along to Battery Rocks and the harbour. A brief stop at the bottom of Abbey Slip to film cars crossing Ross Bridge then up to the top.
Some footage of the LED installation on the Exchange Gallery changing colour as people walk past then on to the Christmas lights.
For more info on Penzance try
Music was a YouTube freebie.
The Wills Lane Gallery - August 2011
WORKS BY THE FOLLOWING ARTISTS ARE AVAILABLE AT
THE WILLS LANE GALLERY
PAINTINGS
NICOLA BEALING
STEPHEN CHAMBERS
DAISY COOK
RICHARD COOK
BARBARA DELANEY
MAGGI HAMBLING
DAVID INSHAW
TORY LAWRENCE
LOUISE McCLARY
MARGARET MELLIS
MICHAEL PORTER
DRAWINGS
KATIE CUDDON
IRENE LEES
REBECCA OLINER
SHEILA OLINER
COLLAGE
MICHAEL GINSBORG
PRINTS
STEPHEN CHAMBERS
DAVID INSHAW
SHEILA OLINER
ANA MARIA PACHECO
PHOTOGRAPHIC WORK
SUSAN DERGES
BRIGID EDWARDS
ANDER GUNN
GLASS
TAVS JØRGENSEN
JAMES LETHBRIDGE
METALWORK
DRUMMOND MASTERTON
WOODWORK
GARY ALLSON
JEWELLERY
KELVIN BIRK
MELANIE GEORGACOPOULOS
MARLENE McGIBBON
ANETA REGEL DELEU
CAROLINE SCHUCK
FURNITURE
PETTER SOUTHALL
CERAMICS
MICK ARNOLD
MARCIA BLAKENHAM
KATIE BUNNELL
EMMANUEL COOPER
TAVS JØRGENSEN
ANETA REGEL DELEU
DANIELLE SPELMAN
SUTTON TAYLOR
NICOLA TASSIE
JANICE TCHALENKO
CLEMENTINA VAN DER WALT
CONSTRUCTIONS
MARGARET MELLIS
WEAVING
ISMINI SAMANIDOU
VIDEO JAM: Manchester City Art Gallery - response to Jeremy Deller exhibition
A 10 minute digest of Video Jam's event at Manchester City Art Gallery (January 16th 2014) - a response to Jeremy Deller's touring Hayward Gallery exhibition 'All that is Solid Melts into Air' in its last few days of residency.
Zierle, Carter & Vason - At The Edge, Kynance Cove
Zierle, Carter & Vason - At The Edge, Kynance Cove
Urgent, raw, precarious, spontaneous and embodied, this site specific performance for camera video work is the result of an artistic collaboration between Alexandra Zierle, Manuel Vason and Paul Carter, created by the artists in December 2011 on the wild cliffs at Kynance Cove in Cornwall (UK) during their 'Performance Transition' residency slot at The Exchange gallery in Penzance. During their 5 days together, the artists explored expanded and experimental notions of image, performance, and brought focus to their intricate relationship, navigating the new collaborative terrain together in preparation to working at greater length for Manuel Vason's latest upcoming publication 'Double Exposures'. Experimenting with various media as 'image' itself, this particular work organically developed out of an initial spirited atmosphere of play and improvisation at the edge in the cold, the wind, and the anticipatable rain at the veil of dusk, from which the artists immersed in the elements intently responded to the gale force winds with a critical, intense, symbolic and poetic relational action at the edge to keep the lifeline alive. Performed by Zierle & Carter and filmed by Manuel Vason. Edited by Manuel Vason, Zierle & Carter and Jo Hellier.