Degree Show & Postgraduate Show Opening, Saturday 19th May 2018 – A Photo Gallery

 

 

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‘the TAKEOVER’ at the Arts Centre, 8th May 2018

Take Over 2018The Creative Arts 3rd year curatorial team and course director Miranda Whall are very excited to welcome you to the Arts Centre Aberystwyth on Tuesday May 8th from 12.00 – 3.00 for the third 2nd & 3rd year annual student TAKEOVER exhibition.

The exhibition includes performance, installation, text, video and audio projects.

You will be greeted at the welcome desk (outside the Great Hall) by Miranda and the students with various goodies, a publication and guide map and a cup of elderflower cordial.

Please arrive for one of the guided tours at either 12.30. 1.30 or 2.30 for the 40 minute (approx) tour, you can leave the tour at any time if you cannot stay that long.

 

There will be a Q&A in the cinema from 3.00 – 4.00 we would be delighted if you could also join us for that.

https://www.instagram.com/thetakeover2018/?hl=en

https://aberartexhibition.wixsite.com/thetakeover2018

‘Visual Theology 1: Transformative Looking Between the Visual Arts and Christian Doctrine (1850– Now)’

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Professor John Harvey will be keynote speaker at ‘Visual Theology 1: Transformative Looking Between the Visual Arts and Christian Doctrine (1850– Now)’, 19-20 October 2018, The Palace, Chichester, Sussex

For more information: http://www.visualtheology.org.uk

‘To hell with nature!’ A Reappraisal of Charles Tunnicliffe Prints – at the School of Art Gallery, 12/02/-16/03/2018

TunnicliffePrintsPoster_small‘To hell with nature!’ – A Reappraisal of Charles Tunnicliffe Prints

Painter-printmaker Charles Tunnicliffe (1901–1979) grew up on a farm near Macclesfield in Cheshire. A scholarship enabled him to study at the Royal College of Art in London. Soon after his studies, Tunnicliffe gained a reputation as an etcher of farming subjects. Today, he is widely regarded as Britain’s foremost twentieth-century wildlife artist.

Towards the end of a career spanning six decades, Tunnicliffe was awarded the Gold Medal of the Royal Society for the Protection of Birds. In an interview published in the Society’s magazine, Tunnicliffe stated:

‘I have shocked quite a lot of people by saying ‘To hell with nature!’ Nature is made to be used, not to be dictator, as far as the dyed-in-the-wool artist is concerned.’

Tunnicliffe’s exclamation expresses the frustration of an artist whose pictures are often judged on the strength of their fidelity to nature. Instead, Tunnicliffe’s prints show us nature transformed by culture and outdone by art. They demonstrate their maker’s knowledge of art history, his love of design, and the need to tell his own story.

Printmaking earned Tunnicliffe his Royal Academy of Arts membership in 1954. By then, he rarely produced fine art prints. For decades, Tunnicliffe’s work in various media appeared in magazines, on calendars and biscuit tins.

The stock market crash of 1929 had made it necessary for Tunnicliffe to rethink his career. Turning from etching to wood engraving, he became a prolific illustrator. His first project was Tarka the Otter.

Anglesey was no retreat for Tunnicliffe. Working on commission, he created colourful paintings he described as ‘decorations for modern rooms.’ He also continued to turn out mass-reproduced designs that promoted anything from pesticides to the Midland Bank.

Since the mid-1930s, Tunnicliffe’s work has been appreciated mainly second-hand. Until last year, when Robert Meyrick and I put together a catalogue raisonné of his etchings and wood engravings, Tunnicliffe never had a printmaking exhibition at the Royal Academy.

For some of his early prints, no contemporary impressions are known to exist. The plates were proofed by School of Art printmaker Andrew Baldwin.

Tunnicliffe’s career does not fit into the narrative of Modernism. It is a product of modernity. In his work, at least, he never said ‘to hell’ with culture. Pragmatic yet passionate, he made images to make a living.

Harry Heuser, exhibition curator

Curatorial team: Phil Garratt, Neil Holland, Robert Meyrick, Karen Westendorf

Karen’s Cabinet of Curiosities December 2017

 

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Curiosity: 2 miniature portraits of Napoleon Bonaparte

Created: 1824

Artist: Maestro di Pavia

Measurements: Full-length portrait: 183×118 mm

                              Head portrait: 74×62 mm

These two miniature portraits have come to the University museum’s collection through the bequest of George Powell of Nanteos. As with so many of his objects, we have unfortunately no idea how, when and where he bought them. Holland and Meyrick explain that “Powell was very taken with Romantic struggles for liberty and nationhood. Like many other collectors in the 19th century he collected material associated with Napoleon Bonaparte.” This and the exquisite execution of the portraits might have been his reasons for acquiring them. Continue reading

Free ‘Mighty Joe Young’ Workshops

Mighty Joe Young poster

 

“Re-animating ‘Mighty Joe Young’”: Free stop-motion animation workshops by Holden Holcombe, School of Art

Workshop 1: 28th and 29th November

Workshop 2: 12th and 13th December

For bookings, please contact Holden Holcombe: hoh10@aber.ac.uk

“Imaginary Worlds”: Free illustration workshops by Chris Iliff, School of Art

Workshop 1: Creating believable characters – 30th November
Workshop 2: Designing worlds to be lived in – 7th December

Time: 10:30 – 12:30

Location: To be decided

For bookings, please contact Chris Iliff: chi@aber.ac.uk