Recent Submissions

  • Heygate Estate Sketches (Drawing)

    Read, Howard (UCL, Urban Laboratory, 2013-09-09)
  • Public Relations and Discourses of Professionalisation

    Williams, Sarah; Apperley, Alan (Tritonic, 2009-11-01)
  • The Konvas Autovat, The Toxic Camera (2012)

    Wilson, Jane; Wilson, Louise (Seoul Museum, 2016-09-01)
  • Azeville (2006)

    Wilson, Jane; Wilson, Louise (Tate Britain, 2014-03-04)
    Ruin Lust, an exhibition at Tate Britain from 4 March 2014, offers a guide to the mournful, thrilling, comic and perverse uses of ruins in art from the seventeenth century to the present day. Ruin Lust will include work provoked by the wars of the twentieth century, including Graham Sutherland’s Devastation series 1940–1, which depicts the aftermath of the Blitz and Jane and Louise Wilson’s 2006 photographs of the Nazis’ defensive Atlantic Wall. Paul Nash’s photographs of surreal fragments in the 1930s and 40s, or Jon Savage’s images of a desolate London in the late 1970s show how artists also view ruins as zones of pure potential, where the world must be rebuilt or reimagined.
  • Mind The Gap: Developing Contexts for Practice

    Ayliffe, Maggie; Harris, Simon J.; Onions, Laura (Taylor & Francis, 2018)
  • Line & Surface

    Harris, Simon J. (Sarah Wiseman Gallery, 2016-06-11)
    An exhibition examining the work of Simon J Harris, Steven MacIver, Henrietta Dubrey and Mark Beattie, making connections across the fields of painting and sculpture. Simon J Harris paintings have a cinematic presence and are concerned with the idea of abstraction and place emphasis on interaction between the viewer and the surface of the artwork. Having recently completed his PhD in Fine Art Practice to high critical acclaim, Simon has thrown himself into an extraordinarily refined approach to his artistic practice. Working with intensely pigmented layers of oil on fine linen, he 'traps' the image in between the layers of the paint, creating a sumptuous high-gloss finish just like a piece of celluloid film. His paintings are large-scale with a potent, awe-inspiring presence.
  • Forthcoming

    Harris, Simon J. (House for an Art Lover, 2017-11-02)
    House for an Art Lover is pleased to present Fully Awake, a group exhibition featuring work by over 30 artists that celebrates the intergenerational effects of teaching painting. Curated by Ian Hartshorne and Sean Kaye the show invites several artists to submit a piece of work, as well as invite two ‘guest’ artists to be presented alongside them; an artist that they have been taught by, and an artist that they have taught. This unorthodox approach creates engaging and surprising relationships between those participating. Fully Awake is a five part cycle of exhibitions. This is the second iteration, the first being presented in Leeds earlier this year. The cycle of shows eschews thematic, aesthetic or theoretical concerns but aims to reveal instead much deeper levels of incidental human, personal, psychological connections and occasional rejections between student and teacher.
  • Electric Cherry Blossom

    Harris, Simon J. (Sarah Wiseman Gallery, 2018-03-03)
    'Electric Cherry Blossom' was inspired by a recent visit Simon made to the Van Gogh Museum in Amsterdam. He is in essence concerned with painting as an act in and of itself, exploring the interplay between the recognisable and abstracted expression. His influences are varied; he cites Van Gogh and Japanese printmaking; Vermeer and Rembrandt; Cinematography. These influences all reference developments in our understanding and preoccupation with pictorial space, and how abstract, apparently empty spaces can carry so much more weight in a painting or an image than we might first realise.
  • A Duality of Sorts

    Stewart, Max (Bruntnell-Astley Gallery, 2017-08)
    A glass sculpture detailing my research into pate de verre and metallic salts. An investigation into the precise nature of glass paints made by the kiln firing process with metallic salts.
  • The Sense of My Screaming Skin: Manifesting My Bipolarity

    Stewart, Max (White House Cone Museum of Glass, 2017-08)
    An investigation into the nature of chemical serendipity within the kiln forming process using metallic salts and glass. Glass sculpture in international selected exhibition of contemporary glass artists who have a working and artistic relationship with Allister Malcolm – one of the UK’s leading glassmakers. The exhibition was in celebration of 25 years of his making glass artefacts. All participants were invited by Allister Malcolm to exhibit because of their considered impact on the contemporary glass world.
  • Split Head, Leather Mask

    Stewart, Max (Collect 17, Saatchi Gallery, 2017-02-02)
    An interrogation of the possibilities of fusing and casting metallic salts with coloured glass in the kiln forming process. Glass sculpture detailing my research into pate de verre casting and the use of metallic slats. A co-curated exhibition of international glass and ceramics.
  • Publication Review

    Stewart, Max (Intellect, 2014-10-01)
    FUSION: Glass Art of Shelly Xue (2013) Shanghai Museum of Glass, p/bk catalogue, 47 pp.
  • Painting, the Virtual, and the Celluloid Frame

    Harris, Simon J. (Oxford University Press, 2018-06-29)
    This chapter discusses and progresses through an aesthetic enquiry into a relationship between the virtual and the actual surface of painting. It is through the inherent temporality of both painting and cinema that the notion of a dynamic duration is interrogated. At the core of this investigative methodology the philosophies of both Henri Bergson and Gilles Deleuze are employed to examine how duration in painting can be experienced outside of the static recollection. Fundamentally this follows Deleuze’s seminal writing about the cinematic and the function of the image in relation to time. The author accepts Deleuze’s invitation to employ his concepts as a toolbox for dynamism. Thus a model is assembled in which the notion of the “recollection-image” and its relationship to the temporality of the “movement-image” is developed through the potential of the figural as a space between the figurative and the abstract in painting.
  • Fugitive Testimonies: an artist archive

    Fahy, Su (Auckland University of Technology, 2017)
    How does a whole society or nation remember or forget the age of analogue film photography and its methods of documenting memory and identity? Inspired by procedures such as the sixteenth-century artificial memory systems presented in the writings of Frances Yates, I examine in my research the workings and subversions of memory through appropriation and reworking of fragments from the analogue photographic archive. The material photographic print reminds us of fugitive memories of family, events, wars, propaganda, the role of witness and visual testimony. I construct new artificial memories from the gleanings of the flea market, second hand shops, the attic, the shoebox, and archival researches. The objects I encounter offer a haptic visual prompt for new works that pose questions of memory and artificial memory, and identity within the visual ecology of a fast-eroding analogue tradition. I present case studies that demonstrate the intimate scale and fragility of such photographic scraps, showing my re-working of found objects to create small visual series accompanied by narrative encounters with each of the photographs. In the process, I also indicate the unique contribution of studio culture in this complex tentative multisensory interrogation.
  • Pottery after Auschwitz

    Jones, David (Jewish Museum, London, 2016)
  • Diversity and Unity

    Brennand-Wood, Michael (2015-04-23)
  • Restored and Remixed

    Brennand-Wood, Michael (2013-04-03)
    Restored and remixed is a title indicative of reinvention, the maintaining and reimagining of an idea via the employment of additive and subtractive process. Within music and textiles restoration, remixing and recycling are primal activities.Splicing, cutting, editing, patching, erasure refer in equal part to both sound and textile composition. My interest in the past revolves around its interpretation within the present; each successive generation reinterprets those ideas that have the closest affinity with their own time. The precursor to creativity is selection; the works in this exhibition are formed in part by the integration of exiting materials and objects. I'm interested in how we build an idea, via the choices we make, at what point the familiar evolves into something new and unexpected. My fascination with older, previously experienced materials is that they contain a cultural, evocative visual DNA that allows an echo of past lives to drift into the present.
  • The Graphic Design Exercise Book: Creative Briefs to Enhance Your Skills and Develop Your Portfolio

    Glaser, Jessica (HOW Books, 2014)
    The book provides beginner, intermediate and advanced challenges in the areas of branding, packaging, page layout and more. Each challenge, constructed like a recipe, also includes possible solutions from professional designers. The book functions as a series of exercises, an introduction to different design disciplines and a collection of inspiring solutions.
  • The Graphic Design Exercise Book: Creative Briefs to Enhance Your Skills and Develop Your Portfolio

    Glaser, Jessica (Frances Lincoln, 2014)
    The Graphic Design Exercise Book provides a series of challenging design briefs that reignite a designer’ s creativity while also imparting new skills. Whatever their age or experience, graphic designers like to be creatively challenged, and may also want to broaden their skill-base in order to break into new and lucrative areas of the design industry. A range of industry insiders share their specialist knowledge by way of briefs that stretch the imagination and encourage the development of new skills across a range of genres, including logos, packaging, branding, identity, promotion, publication design, music graphics, and web design. Organized much like a recipe book, each brief lists the required materials and equipment so that designers can pick and choose. Interviews and in-progress work is included, while a number of fully realized projects illustrate the possible outcomes.

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