Tag Archives: Exhibition

Workplace Gallery: The Collective goes public

 

The Old Post Office in Gateshead, a 19th century grade 2 listed building that is now home to WorkPlace Gallery, was appropriately built on the site of the studio of the 18th century British artist and naturalist Thomas Bewick, so maintaining the location’s dedication to art.  Founded in 2002 to promote artists in the north-east, Workplace Gallery has now become an established part of the British cultural art scene with an additional gallery in Mayfair London opened in 2013.   For The Collective, founded in the same year as Workplace, it was a unique opportunity to open up a part of our collection to the public and introduce the idea of collective buying and sharing of contemporary art for domestic spaces to new audiences in the north-east of England.

As we entered the Gateshead gallery on a brilliant sunny afternoon in May, the first thing that struck me was the effect of seeing the works in a gallery space, rather than surrounded by the trappings of our various domestic existences.   Suddenly the diversity of our collection seemed all the more pronounced and intriguing with Gallery directors Paul Moss and Miles Thurlow quizzing us on possible themes within the collection.  This is usually difficult to determine as most works are bought on an individual basis by different buying panels within the Collective and the works then spread across six households.

Given this exhibition represented only half of the Founding Collective’s collection it was an eye-opener to see how far we had come with a limited monthly investment over the last 15 years. Artist names, once less known – now well-known!

As I looked at the works on the gallery wall what I began to see more vividly than before was the different acquisition “stories” behind each one, the different Collective members, the research, the learning, the gallery and studio visits with the artists.  Was it possible to determine, not themes, but the characters and influences of different Collective members over the choice of certain artists and works?  And then there were the memories of reactions to the art works within our households and the history of anecdotes that go with many of them.  Each work seemed to have a life of its own, now brought together in a single gallery space to an unsuspecting exhibition audience.

Workspace Gallery talkThe opening was preceded by an informal discussion chaired by the Gallery’s Co-Directors about the Collective, how it began, how it worked and expanded, and where we had got to today. Bob Lee and myself spoke about every aspect with contributions from members Tim Eastop and Paul Tanner.  The questions that followed were often focussed on the practicalities of the Collective objectives, the constitution, the insurance, succession, our families – all of them important elements in the success and longevity of such a co-operative way of collecting between households. Investment, however modest will always be a source of anxiety across a diverse group of people.  The individual discussions with participants after the panel discussion were equally illuminating often with very frank remarks about what they would find acceptable in their homes and what they would not!  I didn’t hesitate to remind them that having a work that was not to my taste was often part of the learning curve inherent in being part of a collective  – seeing how my relationship would change by living with the work over a period of months. It usually did.

Over the course of the evening the steady flow of visitors was impressive ranging from those working in the arts, fine art students, curators from Baltic and interested art collectors. This was especially gratifying as the exhibition was not about a represented artist(s) but about a different way of collecting amongst a group of households bound together by an interest in buying and sharing contemporary art at home.

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The Workplace Gallery start to fill up as the evening progresses

Towards the end one of the visitors said to me “I can tell how much you enjoy it from the way you talk about it” .  Fifteen years on that wasn’t a bad place to be!

Many thanks to Paul Moss and Miles Thurlow for all their hard work in putting together the Collective exhibition (on until the 3rd June) and ensuring its success at the wonderful Workplace Gallery, Gateshead!

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A view across the Tyne that bridges Newcastle with Gateshead

 

 

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Looking in from the shadows

IMG_0802The last 10 days of political turmoil in the UK has plunged us in to an unprecedented period of apparent chaos.  We’ve ejected ourselves from our European counterparts, hurled our two main parties into leadership uncertainty and contest, highlighted major divisions across the nation and left 75% of our youth who voted for “Remain” feeling betrayed and deprived of a future they thought would look very different.  With three young voters in our family alone our collective shock on that dismal Friday was palpable. We tried to understand the enormity of the news as we heard it.

“What’s happened?” was a question I was asked by friends outside of the UK.

It was difficult to answer, and I don’t intend doing so now. Tireless analysis has filled our ears and heads, outpourings of all kinds continue to emanate from our national news channels. The day after the result I missed my bus stop transfixed as I was by the haemorrhage of opinion flooding through social media.  I was well on my way in the wrong direction before I even thought to look up.

Reactions in the art world are no different in their divisions –  “business as usual” say the global collectors and auction houses – whilst acknowledging volatility in the financial markets may cause some fluctuations and a “few jolts”.

“the world isn’t moving backward, ….. We are moving backwards. Yesterday little England got a lot littler” said artist Ryan Gander to Artnet news

Artists, curators and galleries have shared their views and worries publicly just like everyone else – additionally concerned by the possible threat to the flow of European grants that currently arrive in the UK for the arts.  European students help support our higher education establishments including the art colleges – with £3.7billion worth of revenue generated by EU students every year.

Still too many unknowns to know what’s next.

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The Life Drawing Room at the Royal Academy of Art, London

But a visit with various Collective members to the Royal Academy of Arts to see the final show of this year’s selected group of 17 post graduate students was a welcome reprieve from the ever gathering clouds of this unusually gloomy summer.  It was refreshing to see a slice of some future emerging artists, wherever their journey might take them.  For me, the video and animation was the highlight , and stood in stark contrast to the the 200 year old life drawing room that we stumbled across in the middle of the exhibition rooms. A great insight in to the long history of the Academy, now interwoven with techniques that bridge drawing with the digital age.

Elliot Dodd’s surreal animated heads on human figures having a conversation in their BMW in his 4K digital film Limpid and Salubrious, was so transfixing that one felt almost absorbed in to it.

Because of the need to make time to watch film, it is always difficult to see how they can best be seen and appreciated in a domestic setting for a Collective group such as ours. Art on walls or free standing sculptures you can absorb and walk around as part of daily living- but not so easy with film.  Nevertheless there was an attraction that I found compelling.

Two friends, two curtains – Molly Palmers two channel HD video with sound had me sitting in the room watching for a while . Not easy to understand, I didn’t think that was the point, but more the connection with movement, colour, shapes and sound and how they interact together on screen for the viewer to interpret as they will.

 

Gery Georgieva was my other top attraction with her multimedia installation. She uses her own Bulgarian roots to explore cultural identities and pop cultures, often using herself as the main subject on which she builds her creativity.  The main projection spilled over the screen to the wall behind whilst two other screens displayed different topics including the view from behind a windscreen as it was being washed.

Finally I must mention Kira Freije’s installation A Rapid Succession of Noises That You Confuse For Danger – in fact a room full of steel sculptures and structures, that had an eerie and sinister quality despite the bright white walls and fine steel parts.  Particularly intriguing was the kneeling Holy Woman  which brought a smile to my face as I thought of the life size sculptures we’ve had in our house and the reaction they invoked. I tried imagining how this might go down….sitting with us in the living room..

 

There was more, so much more from these 17 Royal Academy students.

As we left the academy at the end of the evening and headed off to have a drink I knew what the topic of conversation was likely to be.  But at least I felt some restoration of spirit as  I looked in from the shadows at some bright futures.