Posts tagged ‘art’

May 18, 2011

It’s Nice That : Tom Berry

Over at “It’s Nice That”  check out Tom Berry’s pen and ink drawings

“Some seriously intense, kaleidoscopic pen and ink drawings-cum-doodles from Tom Berry. The nature of the work is often quite fantastical, borrowing motifs from a myriad of myths and visual folklore. Some of the work reminds me of the Japanese artist Hokusai echoing the dynamic movement in his representations of waves. Confident, controlled mark-making and lines, regular repeating patterns, and the tension between the ink versus white space of the page all add up to something quite hypnotic. It’s almost as if you are staring at a magic eye image.”

via It’s Nice That : Tom Berry.

April 14, 2011

RADAR volume 2

Welcome to RADAR, the Review of Art, Design and Architecture Research, University of Huddersfield

“This RADAR is part of a series, which is published annually by the school. RADAR is intentionally compiled to highlight the growing range of researchers and their broad research work and experiences from early career to established researchers. Its intention is to communicate and signal our research both internally and more importantly externally. We hope that RADAR acts as an open invitation for further collaborations in the education and creative industry sectors.”

March 29, 2011

Do We Really Want Judges Determining What Art ‘Says’?

from the freedom-of-expression dept

There was a very big legal ruling last week having to do with copyright in the art world. It involves the artwork of Richard Prince, an appropriation artist, who took some photographs from Patrick Cariou’s book Yes, Rasta, of various Rastafarians, and then used them in various paintings…. read on at

Do We Really Want Judges Determining What Art ‘Says’? | Techdirt.

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July 16, 2010


An exhibition by artists who depict urban scenes.

Preview tonight Friday 16th July 6.30 – 8.30pm- meet 3 of the artists

Anne Desmet – Liam Spencer – Emelbi -Clare Caulfield

TALK – Liam Spencer – Sunday 18th July – 2.00-4.00pm – booking essential Email
Please book immediately as the talk will be canceled later this evening if there are no further bookings.

EXHIBITION – July 20th – August 12th
Tue – Wed – Thurs 10.30 am – 6.00pm
Saturday 10.30am – 3.00pm
Free all welcome

May 25, 2010

LONDON CALLING « Chance Collective News Feed

re blogged from LONDON CALLING « Chance Collective News Feed.

Andrew Farrington

We are all getting very excited here at the IG gallery for the fast approaching London Calling exhibition that will pay tribute to one of the art/punk/rock&roll greats – Ray Lowry.

Originally conceived by art curator and founding member of the Ray Lowry Foundation, Julian Williams, The Right Hand Man: A Tribute Exhibition to Ray Lowry, saw a fantastic collection of Lowry’s photographs, sketches and paintings brought together and exhibited in Manchester’sSee Art Gallery, marking the first anniversary of Ray’s death and coinciding with the 30thanniversary of The Clash album London Calling.”


Photogrpah by  Andrew Farrington

April 15, 2010

Patrick Procktor: The lost dandy | Life & Style

Patrick Procktor: Art and Life, by Ian Massey. Ian is our subject leader for Communication Design here at the School of Art Design and Architecture, University of Huddersfield.

There was a time when the artist Patrick Procktor was as famous as his great friend David Hockney.

‘You couldn’t really mention one without the other. It was like Castor and Pollux. They were the dandy twins of the art world,’ explains the art critic John McEwen in a new book, Patrick Procktor: Art and Life, by Ian Massey. The artists met when they were still at art school: Hockney at the more experimental Royal College of Art; Procktor at the Slade. It was February 1962, the sending-in day for Young Contemporaries, the annual exhibition showcasing work by selected students. ‘We started talking, and we just became friends quickly,’ says Hockney.” …. read on Patrick Procktor: The lost dandy | Life & Style.

Ffrom the Inside Flap

“Patrick Procktor RA (1936-2003) has been one of the least
documented of the artists who came to prominence in
London in the Sixties. A notable painter and printmaker, he
was also a portraitist of distinction: his subjects include many
of the Sixties and Seventies figures with whom he associated,
and his portraits of the actress Jill Bennett and playwright Joe
Orton are amongst the iconic images of the era. Procktor
designed for the stage at the Royal Court Theatre and for
Sadler’s Wells, and exhibited his paintings internationally. His
travels in India, Italy, China and Egypt inspired important
bodies of work in painting and printmaking.
Ian Massey’s comprehensive and copiously-illustrated study
draws on original interview material with those who knew
Procktor at all stages of his life and career, including many key
names of the period: the cast list includes Celia Birtwell,
Christopher Gibbs, Gilbert and George, David Hockney, Lord
Snowdon, David Oxtoby and Kyffin Williams. The text
includes previously-unpublished archive material and personal
The book examines Procktor’s relationships with gallery
director Bryan Robertson, the artist Michael Upton,
model/pop singer Gervase Griffiths and restaurateur Kirsten
Benson, whilst also documenting the wider circle of his
acquaintance. A renowned dandy and wit, described by his
friend Roger Cook as `a social genius’, Procktor’s friends
included Cecil Beaton, Richard Buckle, Ossie Clark, Derek
Jarman, David Hockney, Peter Langan, Princess Margaret, and
Keith Vaughan. From his schooldays to training as a Russian
linguist in the Royal Navy, to study at the Slade School of Fine
Art in the late Fifties and early Sixties and his first major
success in 1963, the author charts Procktor’s life and career.
He describes the development of the artist’s work – much of
which is intensely autobiographical – and the ways in which
its critical reception was informed by Procktor’s persona.
His later years were blighted by alcoholism and loneliness, but
Procktor continued drawing and painting very nearly to the
The book includes more than a hundred colour and black and
white reproductions of works from throughout the artist’s
career, many of them never before published, with fascinating
documentary photographs of Procktor and his friends.

This is the first major study of the British artist Patrick Procktor RA (1936-2003), a key figure of the Sixties and Seventies. The book draws on original interviews with those who knew Procktor at all stages of his life and career: amongst the large cast list are Celia Birtwell, Kaffe Fassett, Christopher Gibbs, Gilbert and George, David Hockney, Lord Snowdon and Kyffin Williams. The text draws also on unpublished archive material, including personal correspondence. The book is profusely illustrated with reproductions of the artist’s work, many of which have never before been published, along with fascinating documentary photographs of Procktor and his circle.”

The book includes 177 colour illustrations and 49 in black and white. details from amazon

January 22, 2010

V & A appoints digital artist in residence

reblogged from  | News | Design Week

V&A appoints digital artist in residence | News | Design Week.

“The Victoria & Albert Museum has appointed its first ever digital artist in residence.Christian Kerrigan will be based at the V&A’s Sackler Centre until June, creating new pieces for his ongoing body of work, The 200 Year Continuum, which he began in 2007.Kerrigan will work with the V&A’s collection and its research and conservation departments, and will make use of the new digital media studios in the Sackler Centre. He will hold open studios and host public events alongside the V&A’s ongoing digital exhibition, Decode: Digital Design Sensations.Kerrigan will also be exploring the V&A’s digital archives, focusing on the prints and drawings collection. He is planning to explore mythical landscapes in Japanese prints to create new works.”

see also these events hosted at the V & A –  check the details on their website follow the link to open studios

Open Studios Christian Kerrigan – Digital Design Resident

Free, drop-in – Supported by the Paul Hamlyn Foundation

20, 29 January
10, 13, 14, 19, 24 February
3, 12, 13, 14, 24 March
9, 10, 11, 16, 21 April
Residency Studios, Sackler Centre

Christian uses digital technology to make objects, installations, and drawings which draw out an array of ideas about nature, technology and mortality.
Visit the Residency webpages to find out more about Christian’s work

The Residency Programme is supported by the Paul Hamlyn Foundation and the Esmée Fairbairn Foundation

January 5, 2010

Lucy Orta exhibits a land without borders | Design Indaba

Lucy Orta exhibits a land without borders

reblogged original Posted December 18th, 2009. Maciek Dubla

Lucy Orta doesn’t just stand by and watch the world change. She creates the change she wants to see giving those who see her work a glimpse into a world with a better future.

Antarctic Village – No Borders is an installation by Lucy Orta and her partner Jorge Orta, in which tents are hand-stitched by a traditional tent-maker using sections of flags from countries around the world. For the artists, Antarctica represents a neutral land and a land free of conflict. The artwork embodies the global village, a place where people are allowed to move freely, unaffected by the political and social strife of society.

Orta is a contemporary visual artist realising her work through sculpture, public art, video and photography. Although trained as a fashion designer she began to focus on work that she called “architectures with souls” – art that evokes the need for change, poetically heralding reality and advocating alternative lifestyles.

This incredibly evocative artwork, first installed in Antarctica in 2007 is now on exhibition at the Royal Academy of Arts in London until 31 January 2010. Since the war in Iraq and the conflict between Palestine and Israel, the dome-dwelling artwork has come to represent the plight faced by many struggling to gain freedom by escaping social and political conflict within their countries.

via Lucy Orta exhibits a land without borders | Design Indaba.

December 20, 2009

If You Could : Collaborate

“If You Could CollaborateIf You Could Collaborate is the fourth annual If You Could exhibition. Aiming to provide a platform for the finest creatives from all over the world to question their conventional working methods and outcomes. The contributors have been challenged to produce something a little unexpected, by working with a partner of their choosing from any discipline, profession or background. There is no brief to answer, or format to honour – the only limit being the enterprise and imagination of the artists involved, and a liberal 12 month deadline. Below are all of the pairings, and their outcomes.”

reblogged from If You Could : Collaborate.

December 11, 2009

Creativity, risk and madness debated at The Edge – Design Week

interesting debate he Edge conference in London yesterday. the report below is from Design Week – please follow the link for more

Creativity, risk and madness debated at The Edge | News | Design Week.

“Designers Erik Spiekermann, Oliviero Toscani and Michael Wolff debated themes of risk and creativity at The Edge conference in London yesterday, while neuroscientist Baroness Susan Greenfield explored the link between madness and creativity.

The inaugural Edge conference, organised by the Design Business Association, took place at Circus Space in London’s East End. The event saw delegates invited to take part in circus-skills classes including trapeze-flying and stilt-walking as part of its risk theme.

During her presentation, Greenfield informed the audience that creativity often occurs in people with impaired or lower cognitive functioning. She cited children, dementia-sufferers, schizophrenics and people on drugs as showing heightened creativity.

During a panel discussion about the nature of success, the typographer Spiekermann and photographer Toscani clashed over the design and the applied arts business. Toscani objected to the use of the word ‘client’ and to implications that designers take risks.

‘We don’t work down mines – we are a bunch of privileged people who decided to be designers,’ said Toscani.

Wolff raised the point that designers can risk ‘other peoples’ money’, while Spiekermann added that he feels responsible for paying his staff’s wages every month.

Said Spiekermann, ‘You occasionally worry that no one will come to your door to offer you work ever again’, to which Toscani replied, ‘If you don’t have enough clients it is because you are not good enough.’

Richard Seymour of Seymour Powell closed the conference, recommending that designers ‘break out’ of presenting with laptops and Powerpoint, and return to drawing and painting.

He said, ‘I presented a large-scale watercolour of a dashboard to Ford and the client asked me what “cool software” I had used to do it. He was amazed and impressed when I told him I had done it by hand. It makes people realise that there is no button marked “design” on a computer keyboard.’

Seymour also recommended that designers ignore research and instead video people using products or services.

He said, ‘At least three quarters of my job is trying to find the truth in a brief. If I can really work out what the problem is, the solution designs itself. Don’t base your design on expensive and poorly executed research – watch the person instead.’

via Creativity, risk and madness debated at The Edge | News | Design Week.

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