We went to see this exhibition in mid January 2017 and were really fascinated by how the questionnaires were presented. The answers they’ve got were both interesting and depressing.
Make sure you’ll find a time to visit this gallery.
Here are some photos from the exhibition.
We specially loved this one.
The list of UK institutions that didn’t answer to the questionnaire:
Bluecoat, Liverpool;CFCCA – Centre for Chinese Contemporary Art, Manchester; Collective, Edinburgh; Contemporary Art Society, London; Eastside Projects, Birmingham; Gallery of Modern Art, Glasgow; Leeds Art Gallery; mima – Middlesbrough Institute of Modern Art; Photographers’ Gallery, London; Raven Row, London; Saatchi Gallery, London; Serpentine Gallery, London; Southbank Centre, London; Tate Liverpool; Towner Art Gallery, Eastbourne; Walker Art Gallery, Liverpool
Watch this video as they’re explaining what they do.
An Iranian born artist now living in Columbus, Ohio, she attended the Faculty of Arts at the University of Tehran, and afterward studied under the mentorship of prominent Iranian painter Daruish Hosseini. She later began sculpting under the tutelage of eminent sculptor Behrooz Daresh.
Pastel & acrylic on cardboard, 20″x20″Acrylic & pastel on cardboard,25″x22″
“I am an expressive person. I enjoy watching people, in public spaces, at coffee shops, pools, beaches, painting their bodies, their emotions, capturing the other side of them. Not the realistic things everyone can see, but the hidden expressivity.”
Acrylic & pastel on cardboard, 22″x24″Acrylic & pastel on cardboard, 20″x24″Acrylic & pastel on cardboard, 20″x22″
“I like to make my viewers think. When they pass a piece at an exhibition they have to stop and wonder. I like to show non-artists the things they can’t see. Show them a different world. It’s sometimes hidden, and sometimes not real at all, but in my imagination, a fiction that the person inspires.”
Acrylic & pastel on cardboard, 18″x20″Acrylic and pastel on cardboard, 22″x26″
Raheleh’s work concentrates on abstractions of the human form and the emotional expressivity emanating from it, something not found elsewhere in nature. Each piece shows an alternate view of the subject, displaying a distinct beauty otherwise unseen. One cannot pass Raheleh’s pieces without stopping, and getting washed over by its startlingly unique perspective.
Pastel & acrylic on cardboard, 20″x16″Acrylic & pastel on card board, 20″x24″Pastel & acrylic on cardboard, 20″x22″
“For sculpting, I started because the canvas is not enough to show my emotion and excitement. I needed to make it in three-dimensional to get enough expression. To make the creatures I invented, and introduce them to the people.
I enjoy carving. When there’s a piece of wood or metal, and you can bring out art out of nothing — you give a little of your soul to these things. They have a part of you in them.”
Diving Bird – Aluminium 12″ x 10″
Since moving to the U.S., Raheleh has begun collaborating with an Iranian-American photographer, Arezoo Bijani, on a collection of works emanating from their experiences as artists in Iran, revealing the struggles they passed through in their home country, but also the distinct non-Western vantage point it gives them on male-female asymmetries even in the West.
Prints:
Lino print & collage on paper, 20″x8″Lino print with ink & collage on paper, 10″x8″Lino print & pen on paper, 10″x8″Lino print on paper,12″x10″
The super talented FKA twigs as the creative director of Nike Women’s Spring Zonal Strength Tights campaign.
This creative collaboration shows us the hard work and power that dancers put into their artistic and athletic work, and we all should express our ideas and feelings.
“Put Your Trust In Me”
‘I ACHED TO SUCCEED, TO HEAL, TO MAKE
A DIFFERENCE IN THE WORLD. TO MAKE DEEP AND
LASTING CONNECTIONS WITH THOSE WHO VIBRATE
AT A FREQUENCY I RECOGNISE WITHIN MYSELF’
FKA twigs always prefers to direct her own videos, in order to create the exact image she had in mind. This video was directed by herself.
I am a textile artist and a recent graduate from Manchester School of Art. I specialise in mixed media, with a focus on embroidery techniques. Concept and process are of equal importance to me, and I often use one to convey the other. I find inspiration in the way things make me feel and am drawn to details that are often overlooked.
As an artist, I am interested in pursuing ideas concerning motherhood, and specifically, the dynamic that surrounds the mother/daughter relationship.
Recent work is sculptural in its outcome and is site-specific in both its design and articulation. Embroidery techniques such as the buttonhole rouleaux fastening are utilized and then pushed to epic proportions. Soft cloth is utilized to form heavy sculptural line qualities that sweep and soar through the air or hang limp and lifeless. This cloth based line has its origination in drawings made on paper; ink, gouache and pencil that moves at different speeds as it is pushed and teased around a sheet of paper. Cloth enables this line to escape the two-dimensionality of the paper and to literally become ‘drawn’ within an actual three-dimensional space. The scale of the work directly aims to engage the viewer; but it is not particularly embracing. It shields, it dissects but it is also black and monolithic. There is much discomfort here.
I respond primarily to spaces. I am fascinated by the way people use spaces, particularly public spaces, and find it interesting to consider the way I could change the way people respond. I am enthusiastic about showing my work in non-traditional gallery spaces. The way in which a person behaves in a space is really interesting to me. It is something that is often dictated by social norms. For example in traditional art galleries, members of the public are more than likely forbidden from touching and interacting with the work. This is an idea that I aim to challenge within my work. It is important to me that people engage with my work, and feel comfortable to touch and manipulate what they see.
Textiles in Practice
Detail (rubber binding)
My practice is very process led. My textiles background has encouraged me to be very tactile. This has coloured my view of my own practice, and has led me to create work that people are drawn to interact with. I’m interested in texture and line, and the use of scale to engage the audience. I am mostly inspired by space- particularly the idea of using space as a canvas. I enjoy the notion of using “dead spaces” and voids to create something where there was once nothing.
I’m currently studying to become a Higher Education lecturer and my aims for the future are to teach alongside continuing my practice. I would also like to undertake an MA in Fine Art in the near future.
Formed in 1985, the Guerrilla Girls are an anonymous activist group who highlight discrimination in the art world. Their targets include museums, dealers, curators and art critics.
They fly-posted their first posters overnight in the fashionable New York art district of SoHo, and have also displayed their work as advertisements on city buses.
Over the years their attacks on sexism have widened to other areas of social, racial and gender-based inequality.
The Guerrilla Girls wear gorilla masks for public appearances and use the names of famous deceased artists and writers as pseudonyms.
“How do we define a gentlewoman today? The word itself is an interesting one, so quaint in one way, yet so throughly contemporary in another. As it’s not such a commonly used word (other than in the title of the influential magazine, the gentlewoman), I’ve infused it with my own meaning, which takes a pinch of inspiration from its male equivalent, while adding plenty more spirit, style and individuality.” Navaz Batliwalla
We live our lives in colour. Each one of us perceives colour differently, and how we react to colours might depend on our eyesight, or mood or where we are from. Artists often use colour to explore their thoughts or feelings or their place in the world. Artists in the 20th and 21st centuries have tried to expend the way colour is used, from paint to photography to new materials.
“Strip”, 2011
Gerhard Richter
Digital print on paper between aluminium and acrylic.
In 2011, at the age of 80, he used computer software to divide a photograph of one of these paintings into thin strips, splitting and dividing it again and again.
Ellsworth Kelly
“Yellow Curve” 1996
Oil paint on canvas
Ellsworth Kelly explored colour and shape or ‘from’. He was interested in how we experience his art physically.
Kelly repeated shapes he saw in the world around him, such as shadows or spaces between objects. But his yellow triangle doesn’t represent anything other than what it is. He said the space he was interested in was not the surface of the painting, ‘but the space between you and the painting’.
Benode Behari Mukherjee 1904 – 1980
Born and worked India
Coloured paper collage on card
He was born blind in one eye and when he lost the sight in both eyes he began to make paper collages (like Henri Matisse).
He said he could tell the colour of the paper by touch and his inner eye guided his fingers to create art.
Brooklyn-based pop artist’s iconic characters are now at Yorkshire Sculpture Park until 20 November 2016.
“I’m thinking about how these cartoons and objects operate in your life… I feel like this visual vocabulary has such a reach and and it’s amazing to think that people are growing up on the same sort of imagery. I like to take elements of that and put it into the work and redistribute it.”
Brian Donnelly is professionally known as KAWS.
Small Lie, 2013. Wood. 1000 × 464 × 427 cm
This is KAWS’ first major exhibition in the UK and is now displaying at Yorkshire’s open-air gallery.
Enjoy the rolling hills of Yorkshire Sculpture Park while observing KAWS’ work of art with your family or on your own.
Large-scale sculptures are talking about childhood and how they keep staying with us as we grow up.
