An early documentary by filmmaker Jenny Gilbertson, one of Scotland’s film pioneers. It records a traditional way of life which was about to disappear for ever and captures the annual farming year of the crofting communities of the Shetland Isles.
Karla Black’s unorthodox and innovative approach to sculpture has led to a nomination for the Turner Prize 2011. Using established art materials alongside more unusual items such as nail varnish, cellophane and bath salts she creates work whose fragility seems to echo her fascination with pyschological vulnerability. In this interview she talks about what sculpture means to her, and its power to evoke a physical response.
Andrea Mina. Intimate Immensity: The miniature as spatial discourse
My work is concerned with the possibilities of constructing spatial dialogue through the making of small objects at enigmatic scale. Through the use of common materials and in some instances their seemingly unlikely application, architectures at full-scale are constructed following working methods that have as their premise notions of architectures at their points of destruction/disintegration being redeemed through concerns for the ‘interior’. The work is predicated on ideas of tensions; tension between durability and fragility, between completion and destruction, between erosions and revelations, between the object and the frame and between making and the exclamation thereof.
PARTICIPATION AND SPECTACLE: WHERE ARE WE NOW?
Claire Bishop is an Associate Professor in the Ph.D. Program in Art History at The Graduate Center, The City University of New York, as well as an internationally recognized scholar and curator of contemporary art. Her critical work focuses on socially engaged art and theories of spectatorship
Claire Bishop (May 18), Brian Holmes (June 30), and Living as Form curator Nato Thompson (August 2) delivered presentations that framed key questions about the complex field of cultural production, followed by moderated conversations with art historians, artists, and educators. All talks were presented in partnership with The Cooper Union School of Art and were free and open to the public.
Hundreds of volunteers have helped to create 9,000 sand drawings on a beach in France to remember those who lost their lives during the D-Day landings.
Sand was raked within stencils to create silhouettes of civilians, German forces and Allies who died on Arromanches beach on 6 June 1944.
The artwork, called The Fallen, was the brainchild of Bradford sculptors Jamie Wardley and Andy Moss.
This caught my eye – and it made me think of Tino Sehgal
‘There’s too much stuff in the world—that’s the contention of Tino Sehgal. So The Berlin-based artist constructs experiences, not objects, that can nevertheless be bought and sold.’