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Yesterday, I blogged about my visit to Great Exhibition of the North at Baltic. I got as far as the ground floor and ran out of space. This morning, I woke up wanting to tell you more… Moving around Baltic, I enjoyed the playful speaking sculptural faces built into the internal walls by Joanne Tatham and Tom O’Sullivan. I also took […]
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So why might it benefit you to visit a degree show? All textiles students whether studying at a distance, like you, or in a ‘bricks and mortar’ university ought to take note of their contemporaries creative outcomes.
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This blogpost is an attempt to pass on some of what I’ve learned about drawing in a gallery. It’s not the only way to go about it, and it isn’t for everyone, but I hope that after reading it you feel that it might be something you want to try.
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If you aren’t too busy and find yourself at a loose end in New York, the exhibition runs until the 25 January, and as an added bonus, for the same entry fee you can see the “Demoiselles d’Avignon” by Picasso, “Starry Night” by Vincent and a host of other modern masterpieces too numerous to mention, five floors above “Greenberg Contradictions 1”, Mickos is on the low floor, of course, to catch the passing trade.
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This study visit brought together three very different gallery spaces, each with their own structure and agenda and a variety of work from emerging and established artists. There is value in exploring the many ways that artwork is seen, we can become more aware of the journeys that artists take and the way a practice can develop through public presentation of work.
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Last week I attended a day course at the Whitechapel Gallery called ‘Writing about Art’ it was led by author of the little red book of near enough the same name – Gilda Williams. It was a loaded day full of useful tips and advice and importantly diminished our pre-conceived ideas of what good art writing should look like.
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