This is part of Michael Oatman’s ‘All Utopias Fell’, a strange spin on solar energy and communication with the stars. The Jetstream is about 3 stories up and contains amongst other things a library and archive.
The three floors of Sol Lewitt’s work arranged Early, Mid and Late.
Explode Every Day – an inquiry into the phenomena of wonder – standout pieces by Michael Light’s ‘100 Suns’ (photos from the Los Alamos National Laboratories); Rachel Sussman’s ‘(Selected) History of the Space Time Continuum’; Ryan and Trevor Oakes’ drawings exploring perspective; Tristan Duke’s scratch holograms; and Julianne Swartz’ trembling, rattling ‘Bone Scores’.
Three works from the Hall Foundation by Anselm Kiefer, one of which immediately physically connected with Kilmahew.
In the Yellow Room we find Whistler’s ‘Nocturne, Blue and Silver: Battersea Reach’ along with a Matisse, a Degas, a Sargent and another Whistler. Having been to Hearst Castle last year, we wondered what the difference was?
Glasgow School of Art MFA at the Glue Factory. Liked Yeonkyoung Lee’s disco inspired installation – v nicely composed. Uesung Lee’s drawings and detritus of drawing as a form of labour. Also Jamie Green’s Shankland ‘Sun Never Sets’ – v clever curatorial exercise. Finally like Sian Collins and Westmoreland Stones.
photos: Chris Fremantle
How can art respond to complex social and ethical problems? When should the demand for solutions be resisted? And how might this affect our understanding of cultural leadership?
These were among the questions keenly debated in the first of our series of full day seminars on Cultural leadership and the place of the Artist which took place in Edinburgh on Friday 20th May. Our thanks go to the artists, researchers and cultural organisers who attended and contributed so fully. The day brought together participants from various phases of On The Edge research alongside new friends and colleagues from our project partners Creative Scotland and ENCATC.
Discussion ranged across different understandings of what is meant by leadership and how it relates to artistic production. This led on to questions about the role of art in public life. Some compelling suggestions were made about the distinctive capacity…
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Jacqueline Donachie’s exhibition at the Gallery of Modern Art in Glasgow. Three groups of work: drawings of lamposts – sources of illumination in the modern urban landscape; sculptures which use the materials of accessibility infrastructure (ramps and handrails) but perhaps seen from the perspective of someone for whom they don’t work or maybe just that they evoke the precariousness of the people for whom they are designed; finally videos speaking to sisters, speaking to feelings of doubt, but also playful. Powerful stuff. (Oh and a piece of armour – a boot – that could flex more than you expected.)
Scottish Endarkenment at the Dovecot.
Elizabeth Reeder and I are going to be talking about failure at the Scottish Graduate School for the Arts and Humanities in June and the reversal that this achieves is exactly the point. Like Hockney including an apology letter from a photolab in a collage or Deller exhibiting his failed design for the cover of the Tube map, failures are materials for new things. http://www.theguardian.com/education/2016/apr/30/cv-of-failures-princeton-professor-publishes-resume-of-his-career-lows?CMP=Share_iOSApp_Other