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DTSTART:20190331T010000
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DTSTART:20191027T010000
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DTSTART;VALUE=DATE:20190425
DTEND;VALUE=DATE:20190513
DTSTAMP:20260810T073645
CREATED:20190306T152509Z
LAST-MODIFIED:20190720T103401Z
UID:6044-1556150400-1557705599@project-space.london
SUMMARY:Rear View Mirror: Jack Milroy\, Five Decades of work
DESCRIPTION:Rear View Mirror: Jack Milroy\, Five Decades of work\n25 April – 12 May 2019\n  \nThis is a celebratory exhibition to chart Jack Milroy’s artistic evolution from art school rebel of the late 1950s\, to his heretical ‘evisceration’ of books and printed matter\, which continues to this day. The recent works are consummate examples of his pioneering treatment of the printed page\, revealing him to be a gentle and wry surrealist commentator. There is genuine astonishment at his virtuosic facility – but it is a skill that is simultaneously underpinned by a steady intellect and purpose.\nJackie Wullschlager\, chief visual arts critic of the Financial Times\, has commented on Milroy’s output in her round-up pieces for ‘Critic’s Choice’ observing that “Jack Milroy’s sculptural collages blend fairy tale and conceptual art\, mediations on rhythms and shapes with references to Darwin”. She points out that sometimes his rearrangement of species\, gravity\, day and night – is fraught with twenty-first century tension about science and nature. This is clearly the case in the two metre tall Grey Skies\, 2015\, where the metallic greys of aeroplanes designed for war dominate the upper section\, with bountiful cottage flowers clustered in colourful array beneath them\, tended in the margins by pretty butterflies innocently echoing the perilous pattern of flight implied above.\nMilroy’s titles alone tell you that he is a man of verbal as well as visual wit. There is often brevity and subversion: he uses his scalpel cut things up\, but in doing so\, he sets things free\, revealing them\, reordering them\, liberating or juxtaposing them to convey his point of view. His overall interest lies in regeneration\, and the paradox of creation through destruction. His work in the Victoria & Albert Museum’s collection is called ‘The Librarian’s Garden’\,1999. It is a table top piece in which the prickly cacti emerge in three dimensional form from the book’s pages onto a rectangular surface – ‘a beautifully evocative piece which uses the book as both container and liberator’\, the label explained.\nLatterly\, digital prints have emerged from the studio – one of them an arrangement of words from a lively collaboration with the author A S Byatt called Into the Dark Wood\, 2002. And there are still actual books\, hard covered and sculptural\, with their contents popping out of their covers as in Francis Chichester\, 1992\, or in Surgery as a Pastime\, 1997\, where anatomical body parts tumble down from the book’s pages\, suspended in streams of cut up medical text.\n‘Ophelia’ 2015 belongs to Milroy’s ‘art about art’ output\, like the earlier Garden of Earthly Delights series\, inspired by Hieronymous Bosch or Le Rouge et le Noir\, 2010 which is Milroy’s version of a Jackson Pollock. He takes liberties with his updated renderings\, paying tribute to the original painted compositions\, while using digital printing methods and exploiting the three dimensional possibilities of his paper or acetate film constructions\, which he arranges in Perspex boxes with topical inclusions (spot the Tesco plastic bag floating in Ophelia’s watery world).\nMilroy’s developments within different series over five decades consistently demonstrate the range and the calibre of his ideas alongside the constant testing\, teasing\, thoughtful approach to the codification of knowledge\, the products\, and the art of the times in which we live.\nCut Out\, (Black Dog Publishing\, 2016) is a fully illustrated monograph on Jack Milroy’s work\, containing essays by Philip Hensher\, A S Byatt\, and Andrew Lambirth\, with William Packer as the overall author and co-ordinator. It offers a most engaging lexicon of the artist’s work over a 50 year period. Copies are available from the gallery during the exhibition\, and from Art First thereafter.\nFor further information and exhibition\, biographical and collection history\, please visit our website: www.artfirst.co.uk or contact us for the pricelist and out of hours visits :\nClare Cooper: clare@artfirst.co.uk\nBenjamin Rhodes: Benjamin@artfirst.co.uk\nInstagram: @artfirstlondon\nFacebook: @artfirstlondon\nExhibition opening times are Tuesday – Saturday 11am – 6pm Venue Tel: 0203 441 5152\, email: abps@project-spacelondon\n  \n \n  \n  \n  \n 
URL:https://project-space.london/event/rear-view-mirror-jack-milroy-five-decades-of-work
CATEGORIES:Events,Previous Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20190521T110000
DTEND;TZID=Europe/London:20190615T180000
DTSTAMP:20260810T073645
CREATED:20190523T123115Z
LAST-MODIFIED:20190720T103401Z
UID:6165-1558436400-1560621600@project-space.london
SUMMARY:British Painting II: A Summer Show By Independent Artists
DESCRIPTION:British Painting II: A Summer Show By Independent Artists\n21 May – 15 June 2019\n  \nExhibiting Artists\n\nFelicitas Aga\, John Atkin\, Philippa Beale\, Day Bowman\, Laurence Causse-Parsley\, Mercedes Carbonell\, Stella Carr\, Francesca Cho\, Mi-Young Choi\, James Cockburn\, Kate Cragg\, Claudia De Grandi\, Paul Finn\, Andrew Flint-Shipman\, Martin Galton\, Carolyn Gowdy\, Adam Gray\, Elizabeth Hannaford\, Connie Harrison\, Frances Hatch\, Adrian Hemming\, Marguerite Horner\, Gennadiy Ivanov\, Michael Jarvis\, Robyn Litchfield\, Martin Harrison-Priestman\, Alan Rankle\, Robert Sample\, Rob Reed\, Pauline Smith\, Charlotte Snook\, Helen De Sybel\, Richard Walker\n  \n \n\n\n\nSabine   \nacrylic on canvas \nFELICITAS AGA \n\n\n  \n  \n\n \n  \nVanishing Point No. 2   2018/19 \ncollage\, oil\, perspex\, MDF on board \nJOHN ATKIN \n\n  \n  \n \n  \nThe Poplars Across the Road  2018 \noil on canvas \nPHILIPPA S BEALE \n  \n  \n \nStudy I  Fortress  2019 \noil\, charcoal and conte on canvas \nDAY BOWMAN \n  \n  \n \norders II   2019 \nmixed media on board \nLAURENCE CAUSSE-PARSLEY/LAC \n  \n  \n \nJuanito Asencio  2017 \noil on linen \nMERCEDES CARBONELL \n  \n  \n \nI Will Hold You In The Heat   2018 \noil on board \nSTELLA CARR \n  \n  \n \nTwin but Twin V   2018-9 \n(from ash & wind)  ash and mixed media \nFRANCESCA CHO \n  \n  \n \nCase for the Defense   2019 \noil on linen \nMI-YOUNG CHOI \n  \n  \n \nTartan Road\, Argyll. Scotland    2019 \noil on canvas \nJAMES COCKBURN \n  \n  \n \nGirl\, 5    2018 \ngouache on canvas \nKATE CRAGG \n  \n  \n \nWaves & Horizons – Graphite 17  2019 \noil and graphite on aluminium \nCLAUDIA DE GRANDI \n  \n  \n \nSan Gimignano Autumn    2011 \noil on linen \nPAUL FINN \n  \n  \n \nIn honour of Ianna  2018 \nacrylic\, liquid metal & whisky on linen \nANDREW FLINT SHIPMAN \n  \n  \n \nMartin Sibley and the Austin 10   2019 \noil pastel and house paint on paper \nMARTIN GALTON \n  \n  \n \nUnwrap Your Inner Magic   2018 \noil and mixed media on canvas \nCAROLYN GOWDY \n  \n  \nLosing Faith  2018 \noil on burlap \nADAM GRAY \n  \n  \n \nBlack Hole  2019 \noil\, grit on canvas \nELIZABETH HANNAFORD \n  \n  \n \nGrid III 2018 \noil paint and wax on canvas \nCONNIE HARRISON \n  \n  \n\n \nPerigree Supermoon Smudge  2018 \ngouache lay-by litter and earths on paper \nFRANCES HATCH \n  \n  \n  \n \nHeliconia  2016 \noil on canvas \nADRIAN HEMMING \n  \n  \n \nExit   2011 \noil on linen \nMARGUERITE HORNER \n  \n  \n  \n \nEgyptian Emotions II   Division series 2018 \noil on canvas \nGENNADIY IVANOV \n  \n  \n \nAlbens  2018 \nmixed media \nMICHAEL JARVIS \n  \n  \n  \n \nLake Brunner  2017 \noil and acrylic on canvas \nROBYN LITCHFIELD \n  \n  \n  \n \nWall Scape  2018 \nposter monoprint\, collage\, pencil\, acrylic on paper \nCHRISTIANNA MARION MITCHELL \n  \n  \n  \n \nA Requiem for Industry   2019 \noil on canvas \nKATE MIECZKOWSKA \n  \n  \n  \n \nIn the Cafe   2019 \nacrylic on canvas \n  \n  \n  \nWILLIAM OXER  F.R.S.A. \n \nLe Jokey 2019 \noil on linen \nM. HARRISON-PRIESTMAN \n  \n  \n  \n \nUntitled Painting XXII (Bodiam)  2017 \noil on canvas \nALAN RANKLE \n  \n \nAvenue  2017 \noil on canvas \nROB REED \n  \n  \n \nHead Down Duvet  2018 \noil on board \nROBERT SAMPLE \n  \n  \n \nBlossom in Twilight in Brixton   2012 \noil on canvas \nPAULINE SMITH \n  \n  \n  \n \nNude in the Studio with Dogman  2018 \noil on board \nCHARLOTTE SNOOK \n  \n  \n  \n \nLandscape Bucks  2018 \nmixed media \nHELEN DE SYBEL \n  \n  \n \nWest End Boy  2019 \nacrylic and pencil on canvas \nRICHARD WALKER
URL:https://project-space.london/event/british-painting-ii-a-summer-show-by-independent-artists
CATEGORIES:Events,Previous Exhibitions
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DTSTART;TZID=Europe/London:20190528T183000
DTEND;TZID=Europe/London:20190528T213000
DTSTAMP:20260810T073645
CREATED:20190511T134940Z
LAST-MODIFIED:20190720T103401Z
UID:6143-1559068200-1559079000@project-space.london
SUMMARY:MASTER YOUR FLASH AND START GETTING PAID (WITHOUT BREAKING THE BANK!)
DESCRIPTION:Master your flash and start getting paid\n(without breaking the bank)\n\n\n  \n  \nIt goes without saying that knowing how to properly use on and off camera flashes enables you to work everywhere with confidence and increases the chances of you getting hired by a potential client. That being said many photographers find flashguns confusing due to their wide range of functions and settings as well as the vast choice and high cost of flash accessories available on the market. After completing this workshop\, you will have a very good understanding of a variety of accessories\, including shapers\, modifiers\, triggers and light-stands including some tips on how to save money on your equipment. In addition\, not only will you be able to take full control of your flash but also achieve the results that will help you get paid for your next commission. \nRequirements \nIt is not necessary to bring your own equipment to attend this workshop\, however should you wish to get bespoke advice you will only need to carry a digital SLR Camera and a dedicated flash unit. \nTopics covered \n– Flash settings including zoom\, TTL and manual\n– Fill flash and flash exposure compensation\n– How to balance ambient light with flash\n– Bouncing flash off ceilings and walls\n– Working with off camera flash\n– Off camera flash lighting set ups for portraits and events\n– How and when to use reflectors\, diffusers and umbrellas\n– Posing the model\n– Flash modifiers\n– Marketing and insider tips\n– Who is this course for \nThis course is aimed at photographers wanting to push their creative image-making skills to the next level and get the most out of their flashguns in order to start their own business without breaking the bank. \nAbout the workshop leader \nBaldo Sciacca is a London based photographer\, originally from Sicily with a degree in Photojournalism and Documentary photography from the London College of Communication. He has been exhibited worldwide and was shortlisted commended photographer for the 2015 Sony World Photography Awards. His work ranges from commercial assignments and time pressure portraits of personalities to more personal and thought-provoking projects during which he frequently uses speedlights.\nwww.baldosciacca.com \nPlease Note: This workshop is limited to small groups therefore booking in advance is strongly recommended. \n  \nBOOK YOUR PLACE AT:\nhttps://www.fillerproduction.co.uk/workshops
URL:https://project-space.london/event/master-your-flash-and-start-getting-paid-without-breaking-the-bank
CATEGORIES:Events,Previous Exhibitions
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