Documentation from my exhibition at Bloc Projects as part of Platform 2019 exhibitions through Site.
Audio recording of performance Two Songs A Capella and gallery talk, on Bloc Project’s website.
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.
I’m putting together a group show for the Market Gallery, Huddersfield. It is based on the conclusion of my recently published book. Come join me for the opening 11th October.
I had so much fun showing my work at Abingdon Studios in Blackpool. Here’s the documentation. I am so grateful to show my new video work Felicity Means Happiness for the first time in Blackpool.
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
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.
Sean Williams’s exhibition For A Burning Love has transferred to The Old Lock Up, Cromford.
Contemporary British Painting featured the show in it’s newsletter:
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
Photo credit courtesy of HOME, Manchester
I took part in an innovative panel discussion, a symposium created by Victoria Lucas, in January, at HOME in Manchester. You can watch the event here.
At present I’m at Shows of Sheffield at Castle House most days, as part of Festival of the Mind. I’m presenting my cigarette cards and theatre flats and having some great conversations with the public!
Last night the exhibition London Life opened at Art Bermondsey/LA Noble Gallery. Two of my cigarette card recreations are in the show, and I was third prize winner for the work. (Thanks to Katherine Angel and Kate Enters for the photos!).
My work will be in Act II and Act III of S1 Member’s Show, Three Act Structure at S1 Artspace, Sheffield. Act II is open 6th August–23rd August and Act III which is a re-mix of Acts I and II featuring all of the works is open 27th August–13th September. The opening of the whole show was on 11th July, and now there is a programme of events that will take place during the subsequent Acts.
In particular there will be a publication and print portfolio launch on Friday 15th August and a screening and performance event on Saturday 6th September. For the latter I am working on a new performance.
I’ll post more about the up-coming events–it’s a very exciting project to be involved in!
I instigated a video show collaboratively curated with Megan Cotts, Alexis Hudgins, Ali Prosch & Brica Wilcox shown at SIA Gallery in May. The show featured ten video works by Alison J Carr, Alexis Hudgins, Ivan Iannoli, Julie Orser & Jon Irving, Ali Prosch, Elleni Sclaventis, Matt Siegle, amy von harrington, Brica Wilcox, that respond to the provocation of Hollywood Forever: the dream, the film industry, the cemetery on Santa Monica Boulevard. Each takes a different approach to Hollywood—from considering the myth, the geography, the surplus of images it gives us, the imperative to perform, the seduction and the make-believe.
More information about the project Hollywood Forever Bios.
image credit Julie Orser & Jon Irving, from The Viewer
Sharon Kivland instigated a call for agents to research in Leeds College of Art library on her behalf. The culmination of the project was a closing event, documented here: Rebecca Lowe. The research I undertook can be seen here (I was looking for the mucky pictures in the library): Flickr
I’ve put together a selection of videos to be screened at S1 Artspace, Thu 20 Feb, 6 – 8pm:
Alison J Carr | Lindsay Foster | Alexis Hudgins | Stephanie Owens | Isabella Streffen | Katy Woods
S1 Artspace is pleased to present You Me You Me You Me, a screening of six short video works which will be followed by a discussion between artists Alison J Carr and Lindsay Foster.
In this screening, S1 Studio Holder, Alison J Carr, selected Lindsay Foster’s The Last Frontier as a starting point alongside which she presents four additional works: Notes on You and Me by Alexis Hudgins, The Pulse of Madame K by Isabella Streffen, Nadia by Katy Woods, and her own A Response to Unmastered by Katherine Angel; inviting Foster to select a final piece to sit alongside her own: Making A Past Present by Stephanie Owens.
The videos take different approaches to reflect on personal experiences and collective memories, on images and language and how we find ourselves formed through our encounters with culture. Across the selection are witty, playful observations as well as sincere enquiries. What is it to be a person?
I tested out some new, large work on the walls of the old S1 Artspace before we moved. My supervisors and I discussed the work and I stepped in and showed the work to my students in my crit group when the student showing texted me concussed in hospital. The work is an ongoing pairing of theatre interior and text bios. The bios are sourced from 1930s cigarette cards or online web presences. The work represents the public viewing spaces of the showgirl and theorists connected to my research.
