Allie

Showgirl Manifesto Documentation

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Jan 052019
 

Here are some photographs from the exhibition I recently put together, based around my book, Viewing Pleasure and Being A Showgirl, How Do I Look? Thanks to the artists who took part: Sophie Lisa Beresford, Julie Cook, Nwando Ebizie as Lady Vendredi, Alice Finch, Laura Gonzalez, Lucy Halstead, Sharon Kivland, Britten Leigh, Chloe Nightingale, and Isabella Streffen. 

News Update

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Oct 152018
 

I’m delighted to share that my practice is going to be supported by A-N mentoring with the curator, Lucy Day over the next year and the Freelands Artist Programme over the next two years. I know both of these will help support my growth as an artist, so I am very grateful for these opportunities.

 Posted by at 8:35 pm

Abingdon Studios Exhibition Documentation

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Sep 202018
 

I had so much fun showing my work at Abingdon Studios in Blackpool. Here’s the documentation. Thanks to Abingdon Studios Project Space and images courtesy Matt Wilkinson. So grateful to show my new video work Felicity Means Happiness for the first time in Blackpool.

 

Felicity Means Happiness / Beam the play Double Bill at Theatre Deli, Sheffield

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Sep 082018
 

Double Bill afternoon with Beam the play and workshop

Monday 8th October, 2pm-4.30pm

Refreshments provided, £10, this is a dementia friendly event

 

Theatre Delicatessen, 202 Eyre Street, Sheffield S1 4QZ

Viewing Pleasure and Being A Showgirl, How Do I Look?

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Jul 162018
 

The book that emerges from my PhD thesis was recently published by Routledge. 

About the book: 

Drawing on interviews with a breadth of different showgirls, from shows in Paris, Las Vegas, Berlin, and Los Angeles, as well as her own artworks and those by other contemporary and historical artists, this book examines the experiences of showgirls and those who watch them, to challenge the narrowness of representations and discussions around what has been termed ‘sexualisation’ and ‘the gaze’. An account of the experience of being ‘looked at’, the book raises questions of how the showgirl is represented, the nature of the pleasure that she elicits and the suspicion that surrounds it, and what this means for feminism and the act of looking.

An embodied articulation of a new politics of looking, Viewing Pleasure and Being a Showgirl engages with the idea (reinforced by feminist critique) that images of women are linked to selling and that women’s bodies have been commodified in capitalist culture, raising the question of whether this enables particular bodies – those of glamorous women on display – to become scapegoats for our deeper anxieties about consumerism.

Space, Place, Action at Market Gallery/Temporary Contemporary, Huddersfield

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Apr 052018
 

Left to right: Manifesto (2017), Ascending A Staircase, Library Theatre, Sheffield, 2018, Ascending A Staircase, City Varities, Leeds

Rowan Bailey put together the first show at the Market Gallery as part of the Temporary Contemporary collaboration between the University of Huddersfield and Kirklees Council and the Huddersfield covered market. Space, Place Action brought together the research staff at the university. I used the opportunity to test out my new series of theatre interior photographs, Ascending A Staircase.

 

 

 

For A Burning Love, The Old Lock Up Gallery, Cromford

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Jan 202018
 

Sean Williams’s exhibition For A Burning Love has transferred to The Old Lock Up, Cromford. The exhibition opening afternoon was really great, the exhibition remains open until 25th February

 

Contemporary British Painting featured the show in it’s newsletter: 

For a Burning Love

In January ‘For a Burning Love’ moves to the Old Lock Up Gallery in Cromford, a space that, fittingly some might say, used to be a jail. ‘For a Burning Love‘ celebrates and demonstrates the breadth of contemporary painting and includes works by Mandy Payne and Sean Williams. It encompasses highly-detailed realism and gestural abstraction, paintings that are almost sculptures and photographs interrupted by the introduction of paint. In this way ‘For a Burning Love’ questions what a painting might be and so, in turn, questions our fixed ideas about most things. ‘For a Burning Love’ may also offer a clue into why artists choose to use paint over other media to express their ideas and explore possibilities.

The Old Lock Up Gallery
19 The Hill, Swifts Hollow, Cromford, Derbyshire, DE4 3QHJ

Preview: Saturday January 20th, 1 – 4pm
Exhibition dates: 20 January – 25 February
Opening times: Thursday – Saturday 11am – 6pm, Sunday 11am -4.30pm

Square Peg, Circle Gallery, Sheffield

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Jan 162018
 

Square Peg, an ArtCan Members exhibition at the Circle Gallery, Sheffield, is open from 2 February – 30 March 2018. The show restricts works to 2ft x 2ft dimensions and considers artist’s experiences of being square pegs in round holes, curated by my good friend, Kate Enters–lovely to have her visiting Sheffield to put it together! Exhibition catalogue online here.

I used the opportunity to show photographs from the Library Theatre.

The Routledge Companion to Media, Sex and Sexuality

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Jan 162018
 

A chapter I have written on the representation of strippers in the media and contemporary art has been published. It is in the Routledge Companion to Media, Sex and Sexuality by Clarissa Smith, Feona Attwood and Brian McNair.

In it, I write about pop videos, films, popular feminist critical perspectives, academic writing, and activism. I also write about artworks including the Girlie Show by Edward Hopper, Lucky 13 by Philip-Lorca Di Corca, The Politics of Rehearsal by Francis Alys, Abstraction Licking by Christina Lucas, Cosey Fanni Tutti’s collages, Strip by Jemima Stehli, performance pieces Strike a Pose by Kate Spence, and Sister by  Rosana and Amy Cade.