I was invited to write a preview article for the first issue of the CCW listings guide What’s On about the CHELSEA space exhibition A Good Design?.
This essay, co-written with CHELSEA space Director of Exhibitions Donald Smith, explores the various curatorial and pedagogic contexts of the 1913 Omega Workshops’ Ideal Home Exhibition Rug.
The text is published in the University of the Arts London’s peer-reviewed Bright Light Journal, in the first issue titled Implicit Geographies, edited by Dr David Dibosa.
Full-colour, A5 90pp book, published by the Slow Textiles Group (launching 19 July 2014), is fully-illustrated with images from textile designers and artists with texts by Daisy McMullan, Emma Neuberg and contributing artists. This volume forms the second in The Slow Textiles Group’s future anthology of geometric textiles.
Each artist specialises in geometric pattern and form and features together for the first time. The anthological format is designed to describe a narrative of geometrics in art and design that goes beyond fashion and tells a timeless design story. The underlying theme of sustainable development for materials practice promotes and makes public the publisher’s longterm research in Timeless Aesthetics for Textiles ®.
Featuring artists: Suzanne Antonelli | Lisa Bloomer | Melanie Bowles | Ele Carpenter | Bridget Harvey | Tanvi Kant | Katherine May | Marie Molterer | Marie O’Connor | Emma Neuberg | Geraldine Peclard | Egle Vuleviticiute | Samantha Warren | Camille Walala | Clare Willard
This article, titled ‘The Archive and the Museum: framing contemporary art practice’ was published in Engage Journal 31: The Past in the Present in December 2012.
It examines the ways in which artists use appropriated curatorial devices to examine the relationship between past and present.
The archive and museum have been the subjects of artistic exploration in the twentieth and early twenty-first centuries, from Claus Oldenburg’s Mouse Museum (1965 – 77) to Grayson Perry’s recent exhibition Tomb of the Unknown Craftsman (2011). Museum practices are exploited and subverted not only to challenge the institution, but to also create the effect of a mimesis, whereby the contemporary mimics the apparatuses of display, which in turn bestows some of the aura of the historical artefact upon the artwork. In this article I examine the ways in which the creative appropriation of museological and curatorial tools, such as labels, vitrines, plinths and archival modes of presentation, sets up a relationship between the past and the present.
Engage Journal is the international journal of visual art and gallery education. Each edition of this twice-yearly publication focuses on a separate theme to form a definitive collection of work on all aspects of visual art and gallery education. The article is available here.
Young Masters Art Prize 2012 – Curatorial Statement
Below is the introduction to the Curatorial Statement that was included in the Catalogue for the Young Masters Art Prize 2012:
As a curator, this year’s Young Masters Art Prize has posed some significant challenges: a group of diverse artists from across the world, each with a unique relationship to the Old Masters and to art history, to be presented in two contrasting spaces. For the 2012 edition of the Prize, the two exhibitions will examine the shortlisted artists’ work in relation to the art-historical genres that traditionally define the art-historical canon. The genres used to categorise painting ranked from allegory, history and still life to landscape, animal and portraiture. The 26 shortlisted artists have responded to the past, sometimes adhering to art-historical traditions, often breaking and reinventing them for our contemporary epoch. Others look at contemporary methodologies such as appropriation, narrative, site-specificity and kitsch, in a riposte to the structured conventions of the past.
Each artist possesses an interest in the discourse between past and present, taking inspiration from themes, concepts, skill, technique and media, both working within the rules of the Old Masters and breaking conventions in order to create something new and innovative. The works that are presented for the exhibitions are diverse across genres, media and themes…
To view the full text, download the catalogue here