This Is How It Feels explores the intimate stories of eighteen transgender men and their journeys of transition from female-to-male. Holcombe uses new media art techniques, including augmented reality, to give audience members a glimpse of the FTM transgender experience through their own perspective. The exhibition features manipulated QR (quick-response) codes that explore the relationship between the lived experiences of the transgender man and the fabricated world of social media. These codes, in turn, ask audience members to participate in a new context of social media, both inside and out of the gallery space.
Postgraduate Show September 2018 – Some Impressions
Our Postgrads have worked hard to create this exhibition and they can be proud of what they have achieved. Here are some impressions of the show and the private view, which was on Saturday, 19th September.
The show is still open Monday, 24th & Tuesday, 25th, 10am-5pm, and Wednesday, 26th September, 10am-3pm. You’re very welcome to visit and explore the postgraduate show and the Sea Change & Discourse: Reynolds to Rego exhibitions in our public galleries! The latter are still on until Friday, 28th, 10am-5pm daily.
(Click on the images to enlarge them.)
5. German Talk, 19th September 2018, School of Art
When: 19th September 2018
Time: 5pm – 6pm
Where: School of Art, room 206
Topic: ‘Powell & German Culture’
For more information about the German Talks and how to find us:
Degree Show & Postgraduate Show Opening, Saturday 19th May 2018 – A Photo Gallery
‘Sea Change’- exhibition at the School of Art, 21st May – 31st August 2018
Sea Change is a student-curated exhibition of prints, paintings, photographs and ceramics from the School of Art collection. The exhibition borrows for its title a phrase from Shakespeare’s Tempest to explore its metaphorical potential.
‘To hell with nature!’ A Reappraisal of Charles Tunnicliffe Prints – at the School of Art Gallery, 12/02/-16/03/2018
‘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
Free ‘Mighty Joe Young’ Workshops
“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: email@example.com
“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: firstname.lastname@example.org
Ceramics Gallery Talk 07/11/2017
“Recapturing ‘Mighty Joe Young’: The Movie, the Memory, the Make-believe.” Exhibition 20 November 2017 – 02 February 2018
Postgraduate Exhibition at the School of Art, 11 – 28 Septemer 2017
This year’s postgraduate exhibition features a variety of media such as photography, painting, illustration, printmaking and video installation.