Online Covid-19 Art

National Museum of Wales – Collecting Covid: Wales 2020 – They are collecting the story of now.

“We want to hear about your experiences and feelings of living in Wales during the coronavirus (COVID-19) pandemic. Since 1937, we have been using questionnaires to collect information on how people in Wales live their lives.

By responding to this questionnaire, your story will become part of the national memory at St Fagans National Museum of History, ensuring that future generations will be able to learn about life in Wales during this extraordinary time.

At the end of the questionnaire, you can also contribute up to 5 digital files (photographs, voice recordings or videos), and let us know if you have an object you’d like to donate.”

Safe House Project – instagram page Link Here – Swansea College of Art UWTSD students’ art page on instagram

Freedom in Isolation – Creative Arts Online Exhibition Link Here A 24 hour stream of 55 videos of artists in lockdown with link to twitchTV.

Camden Art Centre – Botanical Art: The Botanical Mind: Art, Mysticism and The Cosmic Tree

“Drawing on indigenous traditions from the Amazon rainforest; alternative perspectives on Western scientific rationalism; and new thinking around plant intelligence, philosophy and cultural theory, The Botanical Mind Online investigates the significance of the plant kingdom to human life, consciousness and spirituality across cultures and through time. It positions the plant as both a universal symbol found in almost every civilisation and religion across the globe, and the most fundamental but misunderstood form of life on our planet.

This new online project brings together digital commissions, podcasts, films, texts, images and audio in an expanding archive that will be updated and added to regularly over the coming weeks.”

Foundation Beyeler – has Hopper videos, that are quiet good.

White Chapel Gallery – I receive their email newsletter and througout the lockdown their Blog has continued to demonstrate a commitment to current affairs associated to art. Also each week:

we are screening a film from our extraordinary Artists’ Film Internationalproject, and in the near future we will add audio-recordings featuring some of the greatest thinkers and creators of our time. 

Culture Colony – Love the Shani Rhys James videos they have (part 1and part 2), but they are also doing a range of art in isolation articles.

TATE – due to closures some very large profile exhibitions are not being seen, but the TATE and other institutions have virtual tours and videos of some of them. As a member they send me the email links to them such as: Andy Warhol,

RA – I am a member of the RA as well. They too have put on tours and videos. I have seen some of the exhibitions already but having this to refresh my memory is fabulous. they also provide interviews. Such as: Picasso, Hockney, Monet to Matisse, Hogarth (I was fortunate to have a tutor create a Hogarth module at Uni for myself and other interested students.), Manet,

National Gallery – has Highlights from the Collection, Behind the Scenes, and Virtual Tours

Artfund – has been collating virtual tours too. Some of them are repeats of the above though.

Misc – Antony Gormley, The Price of Everything, Grayson’s Art Club

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Becoming – Final Exhibition Space

The work for this exhibition explores constructs of female identity. How our experiences fragment, layer and form over time to establish a sense of self.

Through materials and objects, the work investigates how autonomous the assemblage of this self actually is and considers what toll the act of becoming has on the individual and society.

Mae fy gwaith at yr arddangosfa yma, yn archwilio lluniadau o hunaniaeth fynwaidd;  Syt mae yr darnau o’n profiad yn haen a ffurf dros amser i creau synnwyr o’n hunan. 

Trw deunyddiau a gwrthrychau, mae fy gwaith yn ymchwilio syt ymreolaethol ydi yr cydosod, ac yn ystyriwch beth ydi yr gost o’r weithred o ddod ar yr unigolyn a’r gymdeithas.

Link to Instagram page HERE

Coleg Menai Degree Show Exhibition Website HERE

Link to Rene’s Degree show page HERE

Link HERE for a video of me talking about my work. This college blog won’t let me have videos on it anymore unless I pay an annual payment, which I already do on my website.

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Spinning Torso Video: HERE

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“One is not born, but rather becomes, woman.” Simon de Beauvoir

Reflective Statement

The work for this module considers constructs of female identity. It began with exploring personal connections to my past in module one, and the dissertation on black identity. Through images of my great-grandmother, my interest was sparked by intriguing differences she made to her appearance from that of her sisters through dress and hair. 

If it is true that, “one is not born, but rather becomes, woman.”  this becoming is shaped by how life’s experiences fragment, layer and form over time to establish a sense of self. I wondered then what influenced my great-grandmother’s choices and to what degree she was aware of the interaction between object and observer. 

With further reading of existentialism, and through materials and objects, the work investigates how autonomous the assemblage of this self actually can be and considers what is the toll in the act of becoming.

The wire mesh and mod-roc material used in the cuirass bodice and sculptures suggests armour and protection, and maybe cages too. Clothing can be used to camouflage or reflect a persona that is put on like a mantle. However, these materials are also vulnerable constructions, like our inner selves. The fragmented collages on the screen and sculpted torsos hint at juxtapositions, illusion and changeability. They are also a commentary on what we consume intellectually, and, like experiences, effect who we become.

This illusion continues into other pieces like repurposed glossy bags, and artist’s books. The use of sewing patterns in these items develops the conceit of self-made. In the drive for creating our personal brand of being and becoming a lot of consumption occurs that requires management. Christina Rossetti’s ’Come buy, come buy,’ rings in my ears and makes me question at what cost? What cost does this have on the individual, society and environment? The fabricated instagram selfie culture and fast fashion clogs our minds and rivers.

I believe the work aligns with my dissertation artists’ representation of identity in their work. For instance, the bodice torsos act like a Walker silhouette, seducing by shape and curve of the waist, reminiscent of Hogarth’s line of beauty and stereotypes both these artists use. Their hollowness is a reminder that the shell is skin deep and engages with Gallagher’s ‘Deluxe’ adverts on beauty. The underlining conceptual struggles on the female individual remind me of similar struggles in B Walker and Himid’s work.

Key Pieces and Analysis

The pieces below are in the final exhibition. They have analysis below the images along with links to some additional research and influence not found in other places on the blog.

I like how these represent the backbone of something like vertebra. In the fashion magazine it’s the catwalk and idealised model shape that so few of us actually have in real life. Body image and clothing can, for some, be an all consuming obsession and the repetitious line of these models emphasises this.

I also like the way some of the images are rather Barbie dollish. Growing up in the States this iconography formed part of my formative years. These representations are all part of the experiences that form the self as we make comparative speculations about other and self.

The use of the crossword effect of “object” is meant to symbolise the way we’re all connected and complicit in the perpetuation of woman as object rather than subject in terms of my existential reading of “Second Sex”. I also wanted it inside the torso to represent the internalisation that occurs over our lifetime so that we don’t even recognise that we have arrived at this state. The mirror, whilst it plays a practical role in showing the words inside, also reminds us of the male gaze. Although the UK doesn’t have the problem to the extent that the USA does the ‘Stop Telling Women to Smile’ work of Tatyana Fazlalizadeh is called to mind here in the gaze and consciousness of woman in public.

Furthermore, the piece could be set above a pedestal to signify one way in which woman has been represented throughout the ages along with witch, goddess, temptress, maternal. This is not how the final configuration is presented, but I like how it works as well. Instead it is part of the column with the mirror and roses under it.

Roses are added to reflect on youth and transcience, but having it on the floor also takes on how Ruth Asawa uses platforms underneath her work and how it becomes part of the dynamics of the sculpture. The torsos all together occupy the space and as they spin they change shape. Likewise the shape is shifting below in the mirror and interaction is occuring with the printed fabric collage behind. This changebility is inherent in the ideas of becoming – a state that is always changing and being added to, but never finished. The roses are discussed in another section of the blog, but also remind me of the resilence of woman.

This torso suggests that beauty is only skin deep. The layered dress-pattern paper hints at a thin veneer with its fragile material and its transparent illusion. The deliberate crease-like wrinkles remind us of ephemeral beauty and marching time. The origins of the dress patterns original use reminds us of the self made and a stereotype of one of the virtues of a perfect woman/wife of the 50/60s.

When constructing the fragmented features I was surprised by how similar the gaze was with the models. Unless for a deliberate reason, pages of magazines were filled with a particular look. That similarity made me understand why young women sculpt their faces with makeup for Instagram shots to compare and compete in the visual field.

If we are what we eat, the same must be said for what we read and watch. I had difficulty with this piece because it revealed me as a snob. The absolute drivel in between the pages of magazines sold at the checkout was shocking. I don’t think I am like normal people, I don’t care about what celebrities get up to and it is definitely attributed to an event in my life at 19. These magazines are full of it.

However, more disturbing was the amount of space dedicated to self destroying stories and stories of inferiority subtexted so subtly as to slip under the normal readers’ radar. We know how being told worthless enough times will erode our self esteem, surely the same can be said about what we feed our mind.

The two cuirass bodices presented here were influenced by images of my great grandmother. The one on the left comes from a family photo and the one on the right from her portrait. 1880s saw the cuirass bodice becomes quite popular. In the USA, it was easier for seamstresses to work on readymade clothing. On a practical side, women could dress themselves more easily. For bourgeoning and moving middle class it came at an opportune time. These hint at wire cages, corsets, confinement, armour, but they are also light and airy with beautiful line and shape. They were difficult to photograph in a way that showed their substantial existence. Most often they disappear.

Great grandmother on the left. I like how she is dressed differently to her sisters, not just in material but in style as well. She shows her exposed forearms with a touch of lace. Her bodice is cut like a man’s waistcoat at the bottom with a v or w, unlike the others. Her skirt also has a ruffle fully down the middle.

This image is after the first. She moved from Minnesota to Montana without her family to work on her uncle’s ranch. That in itself was a bold move. She’s cut her hair dramatically! For the time period anyway. She is wearing a sleeveless vest top that looks like a waistcoat embellished with flowers and leaves over her blouse. I like the duality of androgynous and feminine look. Her distinctive choices in appearance are intriguing and i wish I knew why she made them.

The printed receipt tills are various instagram selfie images of women. Everyone seems to be trying to look like the same. An illusion of themeselves at their best? For some women, they prefer the look of all that makeup rather than themselves and never go outside without it. I wonder if that is more self-destructive. Tinder images and the throw away culture of a swipe. The clothes, the image, the purchases, it all seems quite empty. The cutouts link to the work of Ellen Gallagher and Kara Walker from my dissertation. In the blog entry about the bags there are more cutout, but not used here. In isolation away from the sewing pattern packaging they begin to tell a new narrative.

The bags work better conceptually on top of the mirror and pedestal, but I like the way they look on the walls. What would have been interesting is to have one of those mirror framed mirrors with a bag at its centre – kind of like a double entendre, but visually. It would also look better if I had more, creating through multiples, but I have to accept that that is all I had.

The screen has changed throughout the module. Initially, it was supposed to be collaged and then key words cut from magazines applied to it. As it filled up, I found myself enjoying making little vignettes and new landscapes. Once filled it made it difficult to put the words into the environment of the screens. I thought to go back in with white gesso to create space and then the words. I had prepared some frames with gold leaf to add to them, but they didn’t work either as they were too small and too few. Eventually, however, the screens were themselves the piece, not the words frames or anything else. Like the concept of ‘becoming’ they developed a sense of themselves.

Because of the space in the garage is narrow and the ceiling is low, I’ve opted to not put feet on to the screen at the bottom. In a different venue I probably would do it. It depends how it feels. I think that the screen placed here on the left side balances the pieces in the garage.

The frame highlights some companies associated with luxury with the gold leaf emphasising it (LVMH, Kering, Richmont). When I was in London I visited the Rosenfeld Porcini Gallery to see the work of Verónica Vázquez. She put rusted metal into frames for some of her works. I liked this idea of containment, the way these conglomerates are gobbling up brands. Frames traditionally hold pictures and here it is empty, just as empty as endless consumption of goods can be. If the frame had been more baroque it could have also symbolised the importance of these establishments. Vogue was centrally placed as they play a major role in perpetuity of the practices of these companies.

The rag rug has more information in another post about 1 Kilo. The magazine titles are more sarcasm than anything else. So much that we buy is not essential and trends is just another way of trying to keep up with the Jones by buying more new things. The linen place holder was to project my great grandmother’s image on to it. That has now moved to the left side of the garage.

I’ve since added one of the print and collage pieces to the carpet and moved the placeholder for my great grandmother’s portrait on the left wall. The collage is a monoprint made and then steel mesh added to it along with clothing tags I have collected over the years. The idea of purchasing and recycle is contained in the collage and it surprised me because I am not one who abstracts like that normally.

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The printed fabric was completed from collaged fragements from the ‘Skin Deep’ torso. I had it printed from ‘Contrado’. I had wanted the images from the left hand side of the garage to be printed as well, but the cost of the new images made it quite expensive. The intention had originally been to print the family images on a gauzy fabric (chiffon silk for vibrant images), which I felt hinted at a layered past and something not quite distinct or tangible. I tried to have the images projected on the wall and then another camera taking the picture but the low light made it difficult. Instead, what you see above is the two images photoshopped into place where I have kept the fabric ‘placeholders’

Hangout Session to Present Installation Ideas and Trialling Ideas in the Garage

Notes for the video call.

This is a basic layout with the primary pieces I am likely to present for the final display. I have been considering Simon de Beauvoir’s quote, “one is not born, but rather becomes, woman”. The work investigates constructs of femaile identity, the process of becoming, how we are seduced in it being autonomous, but also the cost of becoming has not just on ourselves, but the environment.

There are still different configurations to tinker with. By suspending the plain torso above the pedestal and mirror you are able to see the word object inside. I had it reversed so that it is visible in the mirror. It is another way in which woman has been presented in history.

I have also considered how the torsos could be attached to the wall as objects. I like the wire bodices up in low light. However, this is my least favourite for the modroc torsos because it changes some of the sculptural qualities. Also, I don’t like hiding parts whilst others face out. If that had been my original intention from the outset I would have collaged them differently with this in mind. At this stage you wouldn’t see all the collaging. Depending how they are placed impact how they are read. However, this could be a positive thing as it might bring new interactions to the pieces but I want them read as a whole, not parts.

I have also considered putting them in one long column as it represents a unity in woman, but with each torso being different. The irony is, I don’t believe woman is united. De Beauvoir points this out when she states that woman aligns herself more with her class than she does with her gender and points out that people of colour will align themselves with colour before gender. I believe this to be true after what happened with the Clinton/Trump election and the way that women voted. However, visually I like it. It is also changeable like a person and experiences and I suspect I’ll keep it. However, as can be seen, I am still struggling with placement of the wire bodices, primarily because they are difficult to see.

Having them scattered around the room and suspended means you have to walk around them, which I quite like as it is moe emersive. If I had more of them I think this is the route I would have gone down.

Tiny projector set up

It projects the image of great great grandparents and the portrait of my great grandmother onto the fabric place holders and then I use the big camera to take an image of that. This wasn’t working because of the low light required so in the end I had to photoshop the images into the final exhibition lay out.

I also have some fancy Moment lenses for my phone. Picked them up in the states last year. These have been helpful in taking better images with the phone when it is likely to be my first go to for documenting my work. They are also good when visiting exhibitions.

Sketchup Mostyn Tutorial

I took advantage of the Mostyn Sketchup Tutorial before the deadline of the 29th May, 2020. I knew I wouldn’t be able to do a mock up then so I watched the list of videos and then recorded any sections I thought I might need later.

I practised the skiIls as suggested within the videos and saved my attempts, but I haven’t created the virtual room as they have done. As I have the garage to work in and my visual concept for the final exhibition has been adapted as a result of the changes I am not certain I will. However, I like the overall idea to work on this in the future.

I had measured the space given to me for the exhibition before lock down.

Practice on Sketchup2017

I liked taking out the walls too. both on hexagon and the circle.

This was a very early mock up before we were assigned our space and before lockdown

Louise Bourgeois Research

Give or Take (2002), Louise Bourgeois. Photo: Christopher Burke, © The Easton Foundation/Licensed by VAGA, NY

It was suggested by Emrys to have a look at Louise Bourgeois in one of his email tutorials. Having already studied her work about 6 years ago, I wasn’t sure what I would get out of revisiting an artist I believed did not pertain to my work, but I always believe it’s important to still have another look when someone makes a suggestion like that.

It was as if I had not ever read a thing about her. I guess the first time I’d looked, I just wasn’t ready. I feel now, conceptually, it is right up my alley. I think my recent use of the torso as a body part is also similar. However, for me it’s her motivation and exploration of the human condition that has really captured my attention. I also appreciate that she has used her art as a form of catharsis as I found it helpful when my brother died.

? L’Infini 2008-9 Louise Bourgeois 1911-2010 ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Artist Rooms Foundation 2013 http://www.tate.org.uk/art/work/AL00357

I like the grid like pattern of display and how reminiscient it is of Ellen Gallaghers’s work on ‘Deluxe’ that was studied in my dissertation. Whilst quite abstract ,the bodyparts, figures and title ‘into infinity’ suggests life cycles and changebility. The flowing lines suggest a continuity and yet there are distinct fragments, which I think corrolates with what I have been working upon in my collages.

Her fabric work, both in artist books and woven works as below also appeals to me. Her experience with tapestry and her prolififeric printing history all make her an interesting artist for further study in the future.

I Am Afraid 2009 Louise Bourgeois 1911-2010 ARTIST ROOMS Tate and National Galleries of Scotland. Lent by the Artist Rooms Foundation 2013 http://www.tate.org.uk/art/work/AL00341

I AM AFRAID OF SILENCE
I AM AFRAID OF THE DARK
I AM AFRAID TO FALL DOWN
I AM AFRAID OF INSOMNIA
I AM AFRAID OF EMPTINESS

IS SOMETHING MISSING?
YES, SOMETHING IS MISSING AND ALWAYS WILL BE MISSING
THE EXPERIENCE OF EMPTINESS

TO MISS
WHAT ARE YOU MISSING?
NOTHING
I AM IMPERFECT BUT I AM LACKING NOTHING
MAYBE SOMETHING IS MISSING BUT I DO NOT KNOW AND THEREFORE DO NOT SUFFER

EMPTY STOMACH EMPTY HOUSE EMPTY BOTTLE
THE FALLING INTO A VACUUM SIGNALS THE ABANDONMENT OF THE MOTHER

As this was Emrys’ suggestion it reminds me of what will be missed when the course ends – those nudges in directions you probably wouldn’t explore, but others see in your work. I would not have concidered this artist to be relevant to my practice had he not suggested it. How many more are out there?

Höch Research

Although stylistically Hannah Höch (HH) is not an artist I gravatate to, I believe her ideas regarding gender and identity are of a similar vein, especially that of the female as Other. In the ‘Indian Dancer’ below she splices together the face of an actress with cammeroon mask and domestic crown of cutlery combining ideas of goddess, pedestal, domestic perfection whilst maintaining one’s glamour as seen on the screen. We can do it all and still look good for when the man comes home.

I would normally say that I would not be a collage artist that would meld together faces for representation. To be honest, they put me off, not in an uncomfortable way. It’s just that so many collage artists do them that it’s hard to find those that are good and not cliché, that still say something. However, after much resistance, it was surprisingly easy to reassemble faces in the ‘Skin Deep’ torso and print. It is about the perpetual gaze – for woman – as in the female audience. There is so much talk about the male gaze, but what I saw in these magazines was women representing women as Other continuing the process of comparison and socially constructed roles for women.

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In other works from Höch, I like her simplification of the background. She tends to have little to distract from her photomontage centre of focus. I liked the space she created for things to breathe. As my screens and one of the torsos were fully covered in collage I wanted some pieces with less. The ‘Skin Deep’ torso is in between and I like how it brings in similar styles to ‘Fashion Show’ below in that it questions notions of beauty through fragments of femininity.

Modenschau (Fashion Show), 1925-35

MOMA have a fabulous resource HERE about her work. It’s ‘The Photomontages of Hannah Höch’ 1996 on PDF along with the exhibition view HERE. They now have a massive archive online of publications in PDF format and all their exhibitions are online for installation images. Although, they are mostly in black and white, I find it very userul when researching work you are unfamiliar with as it gives a notion of size and presentation of the work.

Hannah Höch. German, 1889-1978 Cut with the Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany (Schnitt mit dem Küchenmesser durch die letzte Weimarer Bierbauchkulturepoche Deutschlands). 1919-1920 Photomontage and collage with watercolor, 44 7/8 x 35 7/16” (114 x 90 cm) Staatliche Museen zu Berlin, Nationalgalerie © 2006 Bildarchiv Preussischer Kulturbesitz, Berlin, © 2006 Hannah Höch / Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn, photo: Jörg P. Anders, Berlin

Her work, like Nigel Henderson’s below, often has a narrative undercurrent. However, even when they have political content I think they are elegent and I like that they retain the feminine quality about them that can sometimes be erraticated in photomontage.

Nigel HendersonScreen1949–1952 and 1969. PallantHouse Gallery, Chichester (Wilson Gift through The Art Fund 2006).

1 Kilo of Fabric Recycled

This post is an expansion upon my comment in the reflective statement: “In the drive for creating our personal brand of being and becoming a lot of consumption occurs that requires management.” and “What cost does this have on both the individual and society as a whole.”

Mountains of clothes bundles made up from western countries’ cast off clothes.

Because the initial interest for this module began with the cuirass bodice, I began researching fashion. In particular, I began looking at the big fashion houses and Vogue advertised brands. I was surprised to learn how luxury brands were umbrelled under a handful of conglomerates, with few popular companies owning themselves outright. It made me realise how little autonomy we had in choosing our look.

This led to further research into working practices of the companies. The most obvious avenue to look down would be to consider overseas factories and modern day slavery. I learned that laws changed to force companies like Louis Vuitton and other luxury leather goods to complete a portion of their work in the country of origin. This led to research on practices like in this NewYorker article explains how immigrants in Europe, especially Chinese, meet the demand.

For many people it’s less about what the label actually means and more about what it signifies: status and luxury, which means you’re buying a fantasy. It’s quite empty. There is a toll to this purchasing and branding of the self. It’s a cost to one’s self-worth and to the planet. In particular, Fast Fashion, is second only to aviation in terms of pollution. A number of videos highlight the problem: video, video. Our consumption drives a second hand clothes market of staggering proportions.

These videos highlight how little we understand about the process of giving to curbside pickup and charity shops. Some may believe it is going to the homeles or local community, but in reality only a small percentage is actually sold in shops or recyled into new goods. The majority of it is sold in bundles to companies who then ship it abroad with a large proportion of it ending in various zones in Africa. NGOs call it “transforming material donations in to financial donations” first in their stores and then onto the middle man in the next chain of the cycle. What we really should be thinking when we donate a sweater is we giving a small donation of money instead. Actually it is also more about making space for more consumption.

According to recent Times articles (14/04/2020) and here (08/04/2020), the average consumer used to buy 5.9kg of clothing in 1975. In the UK, that average is now 26.7kgs. With that in mind, during the lockdown I went in search of clothing that could be recycled into somehting usable. In my naivete I thought I could somehow work that into my project. It is a lot of clothes. Embarrassing so. So I downsized it to 1kg. It’s still a lot.

The resulting woven rug represents a drop in the bucket to what waste is consumed and thrown away for someone else to deal with. In the end, that actually is quite relevant to my point, even 1kg of waste garment requires waste management. There is 8 million tonnes of it every year. That is just the garment waste and does not include textile manufacturing waste. I was surprised how large the rug turned out to be in the end.

Setting Up the Space

Due to the exhibition not being held at Coleg Menai I had to adapt my plans accordingly. I was fortunate enough to use my husband’s garage.

Using my husband’s garage. He was starting to clear it out to make room for some shelves so we’ve temporarily converted it into the exhibition space. It needs more painting done and there’s a large gap in the wall that needs filling due to subsidence, but it’ll do for playing around with setting up a space.

Starting to move things into the space. The massive gap on the left that let in light is now gone! And walls painted. Time to begin.

Cutting Edge: Collage in Britain 1945 to Now

Nigel HendersonScreen1949–1952 and 1969. PallantHouse Gallery, Chichester (Wilson Gift through The Art Fund 2006).

The following was taken from the Tate Britain site and researched. I was supposed to have attended the conference on 27-28th of March, but the lock down and closures meant it could not go ahead. Instead, I have gone through and looked up each of the named speakers and artists mentioned. Links provided for a basic intro to the person. A few of the speakers have been researched more extensively. There is a series of 12 videos made for the Nigel Henderson exhibition HERE.

Tate Britain Conference – cancelled

Friday:

16.00–16.15 Introductory comments by Mark Hallet and Rosie Ram.

16.15–17.15 Panel 1, chaired by Barry Curtis

• Ben Cranfield: Fragmenting Practices of the Contemporary: The Queer Timeliness of the Collage and the Curatorial
• Craig Buckley: An Architecture of Clipping: Reyner Banham and the Definition of Collage

17.15–18.15 Keynote by Claire Zimmerman, chaired by Victoria Walsh

Saturday

10.00–10.10 Introductory remarks

10.10–11.30 Keynote by David Alan Mellor and Thomas Crow, chaired by Elena Crippa

• Ev’ry Which Way: Kensington Phantasmagorias and Californian Dreamings

11.30–12.00 Coffee break12.00–13.00 Panel 2, chaired by Andrew Wilson

• Nicola Simpson: Not this and not that. Cutting a(way) to a Tantric Buddhist Collage in the work of Dom Sylvester Houédard
• Andrew Hodgson: Xeroxing Surrealism: TRANSFORMAcTION and Collage as Aesthetic Continuity

13.00–14.00 Lunch break14.00–15.00 Panel 3, chaired by Jo Applin

• Amy Tobin: ‘I Can’t Swim I Have Nightmares’: Linder and Photomontage 1976–2019
• Alice Correia: Chila Kumari Burman: Punk Punjabi Protest 

15.00–15.30 Tea break15.30–16.30 Panel 4, chaired by Hammad Nasar

• Amna Malik: Collage as a Poetics of (Self) Exile? Gavin Jantjes’s A South African Colouring Book (1974-5) and the Black British Arts Movement
• Allison Thompson: Come Together: Collage Aesthetics in the Work of Sonia Boyce 

16.30–16.45 Closing remarks by Elena Crippa

Speakers

Mark Hallett, Paul Mellon Centre for Studies in British Art
Rosie Ram, Royal College of Art 
Ben Cranfield, Royal College of Art 
Craig Buckley, Yale University
Barry Curtis, University of the Arts London
Claire Zimmerman, University of Michigan
Victoria Walsh, Royal College of Art 
David Alan Mellor, Independent Scholar 
Thomas Crow, NYU’s Institute of Fine Arts 
Elena Cripp, Tate Britain 
Nicola Simpson, Norwich University of the Arts 
Andrew Hodgson, Université Paris Est. 
Andrew Wilson, Tate Britain 
Amy Tobin, Kettle’s Yard, University of Cambridge
Alice Correia, University of Salford
Jo Applin, The Courtauld Institute of Art
Amna Malik, Independent Scholar 
Allison Thompson, Barbados Community College
Hammad Nasar, Paul Mellon Centre for Studies in British Art

This two-day conference is organised in conjunction with the Tate Britain Spotlight display Vital Fragments: Nigel Henderson and the Art of Collage, curated by Mark Hallett and Rosie Ram with Zuzana Flaskova. The display is open until 5 April 2020.

Cutting Edge: Collage in Britain, 1945 to Now is supported by the Paul Mellon Centre for Studies in British Art.