Making a Masterpiece: Bouts and Beyond 1450 - 2020
- Submitting institution
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University of Plymouth
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 1764
- Type
- M - Exhibition
- Venue(s)
- York Art Gallery, UK
- Open access status
- -
- Month of first exhibition
- -
- Year of first exhibition
- 2019
- URL
-
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- Yes
- Double-weighted statement
- Sequence of 50+ works commenced 2015 as singular studio focus, ended 2020. 33 physically exhibited, many repeatedly (15 internationally, 18 in UK). Sequence underpinned by primary research, secondary reading, extensive reference collation; developed through iterative studio processes, continual experimentation, trial and error, developmental shifts, refinement. Constant re-evaluation through contextual research, repeated testing in group and solo exhibitions, especially New York (submitted supplementary catalogue 2018), and Nicosia (submitted supplementary catalogue), involving formative dialogues with curators, academics, critics. Concept for York evolved over 3 years. Period incorporated related funded residencies generating new works in context: Nicosia Cyprus; Groningen Holland; York Art Gallery.
- Reserve for an output with double weighting
- No
- Additional information
- Ten works in monochrome liquid graphite exhibited at York Art Gallery, selected from an extensive monochrome sequence developed over five years, hence a conclusive moment. The works reposition C17th Dutch Still Life genres through integration of multiple sources, including contemporary militaristic/industrial components, to indicate origins of consumerism/capitalism inherent in the historical genres. Radical curatorial format interspersed initial five images among historical works as intellectual provocation. Five additional works were commissioned to respond to exhibited historical paintings, (a methodological shift), in which market scene and Vanitas sub-genres were fused into hybrid memento mori images, presented in mid-exhibition rehang. ‘Golden Age’ catalogue features all ten works with contextual essay by curator.
Archive (500+ images) of historical works and contemporary elements developed over four years, collated from books, magazines, internet. Key contextual background included Bryson’s Looking at the Overlooked, Schama’s The Embarrassment of Riches; Blaut, J. The Colonisers' View of the World; Gersht, O. videos; Cheung, G. algorithm prints. Images continuously tested through iterative studio process, and within Nicosia residency (+ thematic exhibition); three group exhibitions; solo exhibition New York (supplementary catalogue submitted). Critical development via preparatory dialogues for essays (three catalogues) and gallery interviews. York exhibition included ten National Gallery loan works, selection involved negotiation with exhibition and collection curators.
Repositioning of Still Life genre highlights issues of colonialism, migration, protectionism, consumerism, relevant to global audiences. Catalogues enhance debate and influence. The commission element updated models for artistic intervention in permanent collections. Extensive contextualisation (gallery talks, workshops, University visits) engaged large range of audiences. Individual works from sequence awarded first prizes in two major competitions (Sunny catalogue submitted). One commissioned work (+ contextualising video) entered York Art Gallery permanent collection. Nine works from York exhibited in touring solo show, Manchester/London; one commissioned work awarded Jacksons’ Painting prize (still life category) 2020.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
