Collections

Collections

Acquired

Between poles and tides, Kate V Robertson: Object (hood), Michael Barr: HOSTIPITALIDADE and The Torrie Collection, all coming to a close this week, have each used, appropriated and explored various facets of the University of Edinburgh’s art collection.

We spoke to Edinburgh University’s Art Collections Curator Neil Lebeter to understand the process behind building a public facing, contemporary, university collection.


#1 FIND YOUR ARTISTS AT THE DEGREE SHOW

The ECA final year degree show happens every summer, around the beginning of June. This is an opportunity for graduating art and design students to show case their new work, often as an amalgamation of their research and practice throughout their degree.

It is also an opportunity to get their name and practice recognised and to (hopefully) sell a few pieces. Since Edinburgh University began building a contemporary art collection, the degree show has been the first port of a call when purchasing new artworks.

Each year, a group of four to five academics attend the degree show in the hopes of scouting out exactly what they need to build upon and diversify the growing collection. This group of individuals includes both Neil Lebeter and the academic honorary curator, Gordon Brennan ever year, after that a selection of academics from across disciplines are asked to attend to help decide which artists to pick.

ARTIST ROOMS

Ian Hamilton Finlay

 

During 2013, Ian Hamilton Finlay was exhibited as a part of the touring exhibition series, ARTIST ROOMS, produced in collaboration with Tate and institutions throughout the UK. ARTIST ROOMS, was established in 2008, through the donation of over 1,600 pieces of contemporary art by the collector Antony D’offay. It aims to provide the public with regular and accessible opportunities to view work from important contemporary artists.

Finlay was exhibited at: The Park Gallery, Falkirk

Nature over again after Poussin 1979–1980

24 August 16 November 2013
artist_rooms_ian_hamilton_finlay_-_falkirk
Image: Tate Modern

The Sound Of

artists, Katie Paterson

The use, application and exploration of sound has played an important, if somewhat under acknowledged role throughout both modernism and postmodernism.

Beginning with the infamous composition of John Cage’s ‘4″33‘ (1982), silence was used as artistic medium as an invitation to listen to all sounds both natural and man-made. Cage’s explorations into the function of sonic interventions within art set about a generation of sound artists; Annea Lockwood, Bill Fontana, La Monte Young, MaryAnne Amacher, Bernhard Leitner, Max Neuhaus. These artists began a long and far reaching journey into the limits of sound when used within sculpture, exhibitions and public space.

Bill Fontana was a pioneer of the term ‘sound sculpture’. A process of using naturally occurring sounds to pose interventions into public space.

Image courtesy of Tate

His Harmonic Bridge (2006), was an installation installed at the Millennium Bridge, London which used vibration sensors to reveal the innumerable hidden sounds of the bridge.

In a different fashion, Bernhard Leitner, used the gallery, rather than the public space to create sounds installations or ‘sound-space-objects’. His work is often refereed to as sound architecture, using sound to create spatial models of geometry.

Katie Paterson is one such artist who uses sound to create and sculpt sonic interventions within the exhibition space and beyond.

A number of her previous projects have explored the use and appropriation of sound when taken from its natural context….

 

Every Night About This Time

A series of occurrences, simultaneous happenings/events/scores

 

Langjökull, Snæfellsjökull, Solheimajökull

Three glacier ice records, played until they melt.

 

Earth–Moon–Earth (4’33”)

Four minutes and thirty three seconds of silence reflected from the moon to earth.

 

Read more details of Paterson’s works on her artist website:

http://www.katiepaterson.org/

 

 

 

 

 

 

 

 

 

 

 

 

Tuymans + Sasnal

about, artists, Luc Tuymans

A lot has been written about the relationship between the Polish artist Wilhelm Sasnal and Luc Tuymans. Both artists (each represented by Saatchi Gallery) incorporate found, banal and everyday images of mass media into a wider socio-political narrative worked into their paintings, prints and drawings. Influences from art history and 20th century propaganda are used to heavily influence their works, presenting visually fragmented appropriations of historical events and persons; the stronghold of the Soviet Union, Alexander Rodchenko, suicide bombing, the holocaust and British celebrity culture.

The Arena | Luc Tuymans

Luc Tuymans

In anticipation of the exhibition Between poles and tides, Luc Tuymans gifted a series of prints of his triptych, ‘The Arena’ to the gallery.

The paintings, true to the style of Tuymans present a fragmented, and mysterious representation of everyday, human activities.

This is an exciting opportunity for the gallery to be able to both show and offer for purchase the work of an important contemporary artist practising today.

Read more details on the University’s website below:

http://www.ed.ac.uk/news/2017/rare-artworks-donated-to-gallery

Image courtesy of Chris Park

Literature

about, artists, Jessica Harrison

Jessica Harrison’s work has been widely accepted as iconic and subversive, aggressive and gory, beautiful and transcendent. Her work has inspired a great amount of press over the years, read a selection below:

The Skinny- Jessica Harrison Feminist Figurines 

“The thing about these figurines is they’re these beautiful ladies with their impossibly fair skin and their worry free expressions and their buoyant skirts, but they’re hollow and empty; I wanted to turn them inside out and expose that hollowness,”

http://www.theskinny.co.uk/art/interviews/jessica-harrison-feminist-figurines