Robert Holyhead: Open Ground.
A solo exhibition of paintings and drawings, accompanied by a bilingual (Dutch/English) monograph with new essay by Dutch art historian Judith de Bruijn, and a multiple of commissioned watercolour drawings.
- Submitting institution
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Anglia Ruskin University Higher Education Corporation
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 909
- Type
- M - Exhibition
- Venue(s)
- Parts Project, The Hague, The Netherlands
- Open access status
- -
- Month of first exhibition
- -
- Year of first exhibition
- 2016
- URL
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https://figshare.com/s/3c912be8cff16b471bd5
- 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
-
-
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The research was the outcome of a collaboration between artist, art historian and collector through which a new body of research was produced. The output included a solo survey exhibition; a monograph and essay on the research; a public talk; and a commission of five drawings.
The research allowed new and original insights into how the work is developed within the context of painting – concerning contemporary living and the impact on the medium of painting. The research made active links to external theoretical concerns – the idea of painterly passage (microscopic and macroscopic) - the microscopic (individual marks on the canvas where passage denotes the physical movement of paint) and macroscopic – the circulation of painting in the world – paintings’ passage into social networks and structures.
It highlighted critical ‘markers’ relating to the digital within painting today and examined the role and digitalisation of
painting within the work of Laura Owens, Robert Ryman and Imi Knoebel, introducing concerns for the future of my work and the language of painting.
A rigorous process of investigation allowed a collaborative object reflection (democratic) to develop the work presented including research through studio practice (inside of the painting), and the development of the work through a site responsive approach (outside and around the painting).
The significance of the research is evidenced by its reach to 1347 visitors including senior representatives of Gemeentemuseum, Kunstmuseum, Mauritshuis, Stroom Den Haag, and Royal Academy of Art students. It was reviewed by Dominic van den Boogerd, Director of De Ateliers, Amsterdam and supported by the Mondriaan Fund. The commissioned drawings sold out and two paintings were acquired by private collectors. 500 copies of the publication were distributed including the first essay on my work in Dutch. It led to an exhibition in 2017 at Gillmeier Rech, Berlin.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
