• as logical as possible

      Harrison, Paul; Wood, John (Kunstverein Arnsberg, Germany, 2017-02)

      Harrison, Paul; Wood, John (MUSEO DE ANTIOQUIA, MEDELLIN, COLUMBIA, 2014)
      John Wood (b.1969, Hong Kong) and Paul Harrison (b.1966, Wolverhampton) met in 1989 at the Bath College of Higher Education, and have worked together since 1993. John Wood and Paul Harrison make single-channel videos, multi-screen video installations, prints, drawings, and sculptures that elegantly fuse advanced aesthetic research with existential comedy. The artists’ spare, to-the-point works feature the actions of their own bodies, a wide variety of static and moving props, or combinations of both to illustrate the triumphs and tribulations of making art and having a life. The videos maintain a strict internal logic, with the action directly related to the duration of the work. Inside this 'logical world' action is allowed to happen for no apparent reason, tensions build between the environment and its inhabitant, play is encouraged and the influences on the work are intentionally mixed. In their not-always- successful experiments with movement and materials, many of which critic Tom Lubbock has described as “sculptural pratfalls,” Wood and Harrison employ exuberant invention, subtle slapstick, and a touch of light-hearted melancholy to reveal the inspiration and perspiration — as well as the occasional hint of desperation — behind all creative acts.
    • 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.
    • The Ends of Art (curated by Euripides Altintzoglou)

      Altintzoglou, Euripides; Altintzoglou, Euripides; Abernethy, Jim; Bracey, Andrew; Cornford & Cross; Kelland, Dean; Kossoff, Adam; Timberlake, John; Payne, Alistair; Dalgleish, Mat (2013-07-05)
      From Marius de Zayas to David Rabinowitch Richard Huelsenbeck and, and from Arthur Danto to David Kuspit art is declared dead every time it goes through a critical stage in its course of development. Post-modern stylistic plurality posed as the end of art history but recently relational aesthetics placed Pluralism under dispute and in doing so signaled the dawn of a new era. Instead of joining conservative historians in a post-apocalyptic religiosity about the loss of all that was great in art we need to turn to critical self-reflective strategies that echo the spirit of conceptualism. The intention of this group of works is not to simply demonstrate ways by which there can be art after the ‘end of art’ and thus to seek for means to satisfy Arthur Danto’s uncertainty about the future of art after Plurality by sustaining a purist approach to art history. Rather, each work included in the Ends of Art deals solely with the nature of a given discipline through another and, thus investigates the potential for an even more radical and thorough process of examination of the changing nature of art through interdisciplinarity; expanding the field of each discipline is the methodology of this exhibition, not the aim. At the core of this methodology is the intention to eradicate the last remaining traces of humanism in art history: the dissolution of distinct art disciplines for the means of theoretical analysis.
    • Falling Slowly

      Kelland, Dean (Asylum Art Gallery, 2016)
      Kelland’s practice examines the construction of masculine gender stereotypes in comedy. The research draws from historical contextualisation of comedy within Post War Britain: autobiographical account, historical figure and comedy character. Cultural context, defines comedy socially and politically, and the comedian in return acts as a mirror that reflects the era’s motifs back upon itself. Dean’s practice utilises multi-disciplinary approaches that encompass performance, photography, filmmaking, and mixed media processes.
    • Flawed Masculinities: The Englishman's Panacea (Performance Film)

      Kelland, Dean (Show One, 2016-05-23)
      In this window exhibition, PhD Fine Art graduate (2016) Dean Kelland will be exhibiting sketchbooks relating to his PhD research entitled Flawed Masculinities: “Rupturing” 1950s/60s/70s British TV Sitcom via a Performance-led Interdisciplinary Arts Practice and screening a film The Englishman’s Panacea. Dean’s research project examines the construction of masculine gender stereotypes in selected situation comedies from the 1950’s, 1960’s and 1970’s. The research draws from historical contextualisation of situation comedy within Post War Britain: autobiographical account, historical figure and sitcom character. Dean’s practice utilises multi-disciplinary approaches that encompass performance, photography, filmmaking, and mixed media processes.
    • Fully Awake, Forthcoming

      Harris, Simon J. (House for an Art Lover, 2017-11-03)
      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.
    • Futurology: The Black Country 2024

      Hewitt, Andy; Jordan, Mel (2004)
      The collaborators developed, curated and organized an exhibition of work produced by artists and school children; all working together to examine the social-economic conditions of the Black Country. Informed by the histories of practitioners such as John Latham, Barbara Steveni, David Harding, Stephen Willats and others; the project was concerned with the relationship between arts practice, regeneration and education. The focus was upon conceptual thinking, rather than material output. Artists worked in collaboration with school children on issues concerning culture-led regeneration with the intent of questioning the role of children within such change. The artists explored and critiqued notions of collaboration and participation when aligned with the relationship between education and social control. Hewitt and Jordan began by negotiating enough critical space for the project to be attractive to nationally respected contemporary artists. They sought to convince Creative Partnerships to allow the artists to make a proposal without a brief. They matched the artists to appropriate schools where they then developed individual approaches to working with the students. In some cases, the young people became the subject of the work, and others encouraged them to take responsibility for the finished artwork.
    • Glass Routes: from Wolverhampton to China

      Garfoot, Stuart (University of Wolverhampton: CADRE Publications, 2008)
      The ‘GlassRoutes’ exhibition and catalogue examines the role and impact of Professor Keith Cummings upon glass education in the UK and China. Through his work at Stourbridge College and the University of Wolverhampton Keith has proved guidance, support and career advice to some of the most important international glass artists. The exhibition looks back through forty years of work; examining the range of work produced by Cummings in glass and metal as well as in drawings and paintings. His work is contextualized amongst his colleagues in the glass world, which include a range of former students who are now academics, artists, designers and respected glass makers. Over the last forty years, Keith has influenced the present and future generations of glass artists and designers all over the world. The exhibition and catalogue specifically examines the effects of the University of Wolverhampton glass programme upon newly established university programmes in studio glass in Shanghai and Beijing.
    • Grand Detour

      Altintzoglou, Evripidis (Beton7 Arts, Athens, Greece, 2016-02)
      Euripides Altintzoglou returns to Beton7 Arts with a new group of works that engage with a range of issues related to the crisis of late capitalism. The collection of works does not simply address socio-economic phenomena and their effects but attempts to stimulate the generation of new forms of political agency. True to the avant-garde ethos Altintzoglou’s methods draw from the radical approaches of Situationism, while he breaks new ground by using ‘theft’ objects as a creative mode of production.
    • Heritage and Diversity

      Jones, David (2017)
    • "Just Like That" (Performance Film)

      Kelland, Dean (http://www.deankelland.com/films/#just-like-that, 2014-11)
      Ikon, in partnership with Hippodrome Plus, presents an exhibition of international video art in the Southside district, showcasing a wide variety of free night-screenings by artists from the UK and abroad, in unusual urban spaces.
    • Light and Paint (art exhibition)

      Sherwin, Guy (2017-03)
      Light & Paint is a return to Guy Sherwin’s early practices where acrylic painting is animated by projected light. Colours in the hand-painted mural, measuring 9 metres by 3.3 metres, are affected by the changing coloured light of digital projection. You can see a time-lapse film of the installation here:
    • Light Cycles

      Sherwin, Guy (Christine Park Gallery, 2016-02-02)
    • Line & Surface

      Harris, Simon J.; MacIver, Steven; Dubrey, Henrietta; Beattie, Mark (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.
    • My name is Nobody

      Jones, David (Grassi Museum, 2017-06)
    • Oh Yeah Decca!

      Fahy, Su (Minnesota Center for Book Arts, 2015)
    • other plans

      Harrison, Paul; Wood, John (Vera Cortes, 2017)
      Solo exhibition by Paul Harrison and John Wood at Vera Cortes gallery, Lisbon, Portugal
    • Paper Shadows

      Sherwin, Guy (Studio Kura, 2016-10)
      We are happy to announce an exhibition Paper Shadows 2016 by Guy Sherwin, as a result of his activity during his stay at Studio Kura. This will be shown as a part of Itoshima International Art Festival 2016, Itoshima Arts Farm. Guy Sherwin is an artist based in London who works with 16mm film and other forms of moving image. He studied painting before becoming involved with the London Film-Makers Co-operative. The work is about elemental ideas of form, pattern, light and rhythm, either shot with a camera or hand-made directly on film. The films are sometimes shown in galleries but more often presented as projection events, using several projectors and live interventions. For these he collaborates with Lynn Loo (also on the residency) and together they have toured programmes of live cinema internationally. Here are some words from the artist himself. An installation made for the missing Shoji screens in the large tatami room at House 2. The projected images were recorded in the same space at different times of day and night. The aim is to (re)direct viewers attention to the presence of space and time and is a continuation of my previous work.