Let me tell you about a great new film – ‘Listen Up Philip’

I really loved the newly released film Listen Up Philip, so I wrote about it! Have a read and go and see the film, its out in cinemas now. Even the art work for the film is super cool!

https://www.eurekavideo.co.uk/

Film poster for ‘Listen Up Philip’. Image from https://www.eurekavideo.co.uk/

 

US indie flick Listen Up Philip from director Alex Ross Perry engrosses us in the world of New York based writer Philip Lewis Friedmann, who as he finds success with his latest book, experiences overwhelming disinclination in regards to pretty much everything, resulting in a tragicomic viewing experience full of laugh out loud witticism and a sense of sadness.

Jason Schwartzmann visibly delights himself and therefore the audience in playing Philip, perfectly. Watching him, you want to punch Philip in the face, he is obnoxious in every way – not even trying in the relationship with his photographer girlfriend Ashley (Elisabeth Moss, Mad Men) and doing anything he can to make things difficult for colleagues at his literary agency to work with him.

Philip becomes frustrated with the New York City environment and decides for the sake of his art and sanity it seems, to go upstate and spend time with his idol, the older, novelist Ike Zimmerman (Jonathan Pryce). The film then follows the verging on bromance literary scene style misadventures of the two characters, then shifting to Ashley back in the apartment previously shared with Philip in NYC. There are certainly moments of homage to Woody Allen with a bit of Noah Baumbach thrown in and of course some Wes Anderson inspired stuff, familiar to Schwartzmann as one of the director’s frequent collaborators.

Exasperating relationships feature throughout – Ike cannot get along with his daughter Melanie (Krysten Ritter) and when taking on a cushy academic job that Ike lands him, Philip eventually is unable to keep a relationship going with associate scholar Yvette (Joséphine De La Baume). In their behaviour, Ike and Philip are as bad as and deserve each other. Ike is a preview to Philip’s possible future and the troubles of these males, serve to only highlight the success of rising star Ashley in her career and comparatively flourishing personal life away from Philip.

Stylistic elements keep this feature fresh. Particularly enjoyable is the radio style voiceover narration throughout the film that allows the audience to concentrate on Schwartzmann’s portrayal of Philip that is both magnetising and maddening. Moss’s performance is exceptional, her face giving us an intelligent reading of human emotion, especially during relationship break up, when it’s all convincingly raw. Frequent use of close up camerawork also contributes to the sensation of characters feeling trapped. The set of book covers mocked up especially for the film used when the credits roll, with their retro look give more than a nod to American Jewish writer Philip Roth whose influence is felt through many parts of the film.

What makes Listen Up Philip memorable and such a delight to watch, are certainly the terrific performances and the characters themselves. Philip is so unpleasant but in such an amusing way. Like a Larry David, he does what he likes without concern for others and we revel in it …. Listen up, Philip does not and that makes everything more of a struggle for him and absolutely entertaining for us.

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Interview with artist Brian Chalkley. On painting, fashion, clothes, cross dressing, clubs, art college, teaching, diamond shoes, galleries, Düsseldorf and more…

Brian Chalkley is Course Director of MA Fine Art at Chelsea College of Art and Design. He graduated from the BA Fine Art at Chelsea College of Art and Design in 1973 and MA Fine Art in 1975 from Slade School of Fine Art .

Brian’s practice is an ongoing discussion with gender, sexuality and identity. His work is based around two characters Brian and Dawn, Dawn being a transvestite personality. The practice manifests itself through painting, performance and video work. The construction of narrative and story telling are central to the work. Brian’s work has been written about in Judith Halberstams’ ‘In a Queer Time and Place: Transgender Bodies, Subcultural Lives’ (NYU Press).

Recent shows include ‘Nothing is Forever’ at South London Gallery, ‘Dandyism and Contempt’ at Camden Space, ‘Der Meschen Klee’ at the Kunst im Tunnel, Dusseldorf, Germany and a solo show at the Horst Schuler Gallery also in Dusseldorf.

Brian Chalkley at the Regency Cafe, 8th November 2012, photograph by the interviewer Kate Eleanor Ross – Curious Curator.

Kate Eleanor Ross (author of curatorial curiosities) Interviewed artist Brian Chalkley on 8th November 2012 at the  Regency Cafe, Pimlico, London 

within the context of his  first solo exhibition in over ten years, Female Trouble at Ancient and Modern

KR – How did your solo show at Ancient and Modern gallery come about?

BC – Pure chance. I went to an opening of Marco Chiandetti who is an ex student of Chelsea College of Art & Design and he said he had this show at Ancient and Modern which I had never been to. I think this must have been about 5 or 6 months ago and I just got talking to Bruce Haines who is the owner of the gallery and I always remember this, because he said what do you do? I said I run the MA Fine Art course at Chelsea, but I said I don’t just do that, I make paintings. Then we talked a bit more and I said I’ve just had a sellout show in Düsseldorf last year. Well in fact what he then said was, can I see some work, which surprised me on a first meeting with a gallerist and I said no, you can’t see any work, because I’ve sold it all! So I sent him a catalogue and we had a bit of dialogue on the phone and then we met up and he said I really like the work and then he said this is only the second time I’ve done this in my life…I’ll offer you a show. This was even though he hadn’t seen the work.

KR – so you built up a good rapport with Bruce and maybe he was encouraged by how your Düsseldorf show had sold out?!

BC – that might have had some bearing on the matter, yes! Bruce then booked the show for September but at a later point he changed the date and said let’s do it during Frieze week which was good.

KR – in your show Female Trouble can you tell me about who are these girls?

BC Well I’ve always been interested in fashion and also being a cross dresser, that kind of gives me a relationship with these girls I thought and I just started looking through magazines really like Dazed and Confused and fashion magazines, images from 1940s film posters, ’50s film posters, looked at the way they were making images. But initially I guess I have to feel some contact with the image of the girl and the image of the girl seemed to have a kind of sense of anxiety or not exactly trouble, but anxiety

KR – yes, it’s quite apparent that there’s a certain atmosphere around them…

BC – yes, they are in some state of flux if you like. I think that through the act of painting… this might not be the right word, but a metamorphosis goes on. I begin to identify with the person, maybe through the act of painting.

KR – you get to know the characters

BC – yes, there are certain things that happen through the act of painting… like I might start with a hair or something, or I might start with an eye or a lip

KR – and so it evolves

BC – yeah and I think that then gives the work certain levels of completion. For instance, noses don’t get put in somehow… there might just be a blob of paint or something! So there is this sense of anxiety and kind of trouble. People were saying yesterday* that they felt with the images that the figures could be in the ‘60s or ‘70s rather than now. The other thing that came up was that the portraits of the head seemed more mature than what their body was or what they were wearing. There seemed to be a kind of distinction there.

KR – what do you like particularly about the medium of watercolour, because you haven’t really worked in that before?

BC – nothing, I’ve never used it before… there’s nothing I particularly like about watercolour, it just seemed like the appropriate medium. I’d never used it before.

Brian Chalkley – Female Trouble, installation Ancient & Modern, London (October-November 2012; photography by Andy Stagg).

KR – so did you enjoy that experimentation then?

BC – yeah, yes I did and I think it also fits, going back to those old movie posters, there are always thin washes of paint on those, they aren’t heavily impasto like an oil painting, so there’s a kind of graphic representation which I think poses a lot of problems – the graphic representation, because it’s against all of my education.

KR – how do you mean?

BC – I couldn’t have made those paintings… I mean, it’s taken me a long time to accept that way of working, because I was like an abstract painter or using thick paint, finding the image through the act of painting. Whereas these are not about finding the image through the act of painting, they’re about finding an image and then painting it, it’s not through the process of painting it. So moving out of a more romantic view of painting, for my generation I’d say

KR – do you think that’s to do with the experiences you’ve gathered through your career… you naturally change styles

BC – yes and the subject matter and the kind of history of cross dressing and clubs and stuff, forced me to reevaluate the painting process. It was very very difficult when I first started them, because I would paint the image in the evening, wake up in the morning and go my God, what is this! It looked like aesthetically all wrong, but it felt there was something going on.

KR – so you accepted that it was a new phase of your work…

BC – yup, I did. I think the other very important factor is that I found patterns of working that I’m actually sticking to. I don’t move outside of the pattern of working now. For instance, when I first made the portrait, I made the figure and the body, but I didn’t have any background and I’ve said this a lot of times now, I got about 12 or 13 pictures into the group and I kept thinking there was something wrong and I realised, I haven’t got a background! So, how do you paint a background – I don’t know… so I started looking at the figure and thinking who is she, where is she and what context is she in. That helped a lot because then I could research different backgrounds. I mean she could be a housewife in Connecticut or she could be a croupier in Las Vegas… very different roles that these women were doing. In fact the women are very singular, they’re about survival.

Brian Chalkley, ‘The woman is always the pawn in a romantic comedy. Come together, break up, go chase him, role credits. I’m so bored with all that stuff.’
2012 watercolour 58 x 75 cm (framed)
Brian Chalkley – Female Trouble, installation Ancient & Modern, London (October-November 2012; photography by Andy Stagg).

KR – they’re alone and lone figures aren’t they

BC- they are, yes. They don’t have much support and they’re having to work for their living.

KR – like Working Girls, another series you’ve made

BC – yes, well in fact – working girls and Female Trouble the same.

KR – so you’re interested in the role of the female, their place in the world and how they deal with everything

BC – yes and what they have to do to survive

KR – so as you were saying, this was quite a move away from other work you’ve done but it’s obviously linked to your other work… would you say that this is linked to your past performance work and so on?

BC – very much so. but not intentionally at the beginning. But the more you make, the more there seems to be a relationship.

KR – do those performances and that way of working belong to another part of your life?

BC – yes, they’re really important

KR – so there’s you in your studio painting and then there’s you out there as Dawn for example… can you talk a bit about Dawn and how she came about?

BC – Yes, I first went out as Dawn in 1997, 1996 maybe, yeah ’96 and I never set out to… people used to ask me at the time, I used to go to openings and it was very very scary, very dangerous. Just turning up at an opening, dressed as a woman… anyway, I know that one or two artists said is this an art idea? I got really annoyed about that because, how can you make… well, it said a lot about their work.  So no it wasn’t an art thing and the first break came when I met Paul Noble in The Approach pub one opening and I talked about the cross dressing and he said oh that’s interesting he said, I’m just putting a show together at City Racing and he said send me some images tomorrow morning. I sent him some images and he put me in a show with Hilary Lloyd and Jemima Stehli and what I did is, I had a very small room at City Racing but I invited various artists like Grayson Perry, he did a piece and some people who weren’t artists as well. Dawn Mellor did something, it was a nice show really.

Brian Chalkley – Female Trouble, installation Ancient & Modern, London (October-November 2012; photography by Andy Stagg).

KR – so you became part of that zeitgeist and you were forwarding that whole movement

BC – yes well, an artist said at the time – Darrell Viner, who’s died now, he used to teach at Chelsea and I told him about my cross dressing and that I was trying to make some work with it and he said you either do it now or you wait another five years. I don’t know what he meant! But I think the fact that he said do it now, was good, it helped me. I can’t tell you what a sort of roller-coaster life it was, I mean teaching at Chelsea, going home to get dressed, going out clubbing til 2 in the morning, 3 in the morning, coming back and teaching, clubbing…

KR – two lives in one!

BC – totally and I was obsessed. Totally obsessed.

KR – so you became more and more involved the more you explored that side of yourself

BC – absolutely and then I made all these drawings. I’d come back in the middle of the night and I’d be drawing the people I’d met in clubs. I had a show in 2001 at platform gallery and made that publication Dawn in Wonderland which was great and I then started making video as well. There’s lots of that work which is quite confrontational.

KR – that was the best medium to really express what you were doing at that time

BC – yes and I found I was really into dialogue. I can remember dialogue. It’s funny actually because the first person who helped me with that was Donald* We would meet at the lecture theatre, early in the morning and he would record what I was saying. So I would just relay the previous night, the stories.

KR – so that’s about the underground culture of London…

BC – yes and you see in those days there weren’t many of those clubs, now there are still not that many, but more and it was very moving emotionally because I was joining a community and I thought that was amazing, I loved that. But I have to say I was in a pretty desperate state. I didn’t have a choice really, it was either that or something worse, it was a really difficult time but I was still making paintings as well, these abstract paintings with blobs on them. You know they were very end game paintings. Paint the surface, paint the surface, and then just a big blob of paint in the middle of it and that was it, it was like there was a finality about everything. Quite a depressing time.

KR – so there’s a contrast that is reflected in the work that now it’s quite a controlled line with watercolour, very fine and enclosed.

BC – yes and this has brought so many facets of my painting over the years together and one of the things I was saying yesterday was that the big revelation as well was tracing and tracing paper, because when I was 16 I left school and got a job in an architect’s office through a friend. I mean I didn’t have any qualifications or anything but I managed to get a job as a tracer and one lunchtime I traced all the girls in the Pirelli Calendar and took them home and hid them under my bed! Students yesterday brought up a very interesting thing and put it much better than I could when they said that maybe that was the first point of identification of that kind… but now you see, when I’m making the figure, it was another big thing, because I thought if I paint the background and it’s wrong, I’ve messed it up, so I just covered the whole thing in tracing paper and made lots of different backgrounds

Brian Chalkley – Female Trouble, installation Ancient & Modern, London (October-November 2012; photography by Andy Stagg).

KR – so then you could try them out? In a way that’s just like what we do with clothes, the figure and the outfit

BC – yup, that’s a very good point. But this process also allowed me to have a whole set of drawings and with the drawings the head might be traced from an image I found in a magazine, or now I might get into designing the clothes. I do that, it’s really nice and when you’re designing clothes and making patterns, it brings out the things I learned from abstract painting, about abstract language and you can play about with being an abstract painter within that frame

KR – so you were being influenced by the history of abstract painting as well?

BC – yes, well I mean Jonathan Lasker I looked at a lot, the patterns that happened in his work and then reproduced them on the clothing. So it’s another strand of relationships maybe. With these paintings, Stephen Wilson said he’d like to see the videos with the paintings because they do give a harder core side to things I suppose the videos, the dialogues and they’re pretty heavy going really.

KR – that’s maybe for another show though

BC – yes, I think so, definitely.

KR – so moving on, would you say that your teaching at Chelsea College of Art & Design over the years has influenced your work?

BC – totally, yes, totally. I think one of the essential things is dealing with young people and they’ve got ideas and they’ve got energy and that dialogue, that engagement through teaching is so really, I mean I love it, I just absolutely love it and I just feel so honoured to be in that situation that I’m getting paid to do something I really love. But I feel more invigorated by that than I ever did now. I’ve set up all these seminars, we were doing seminars two days this week and one of them went from 10am til 7 o’clock at night, we just kept going.

KR – do you like that dialogue and exchange of ideas?

BC – yeah, totally and helping students to find a language. That’s really difficult, for some students it can happen very quickly and for others like myself it takes a long time.

KR – so you feel that you’ve arrived now at a good point

BC – yes, I’ve found a space. I think I’ve found a world that, actually has come out not from entirely making art but has come out of other desires. When I went cross dressing, I never thought about art, it wasn’t made as an art thing as I said earlier, it was just a compulsion

Brian Chalkley – Female Trouble, installation Ancient & Modern, London (October-November 2012; photography by Andy Stagg).

KR – you seem to be quite popular in Düsseldorf, can you talk a bit about how that happened?

BC – I don’t know if I’m popular there… but I get on with them there, yes.

KR- but you found a gallery who showed your work there

BC – yes, Galerie Horst Schuler is great, they’re really supportive. But I didn’t turn up there at the gallery with the work they thought I would… when they first saw my work I was in a group show at Kunst im Tunnel which was curated by Cornelius Quabeck who is an ex student from Chelsea and I showed one video, Dancing on the Car video, I was dancing to The Supremes “Stoned Love” and then I also showed two collages that I’d made and I’m still interested in those, where I took fashion models’ photographs and then collaged them slightly so it might change their clothing or something like that. I always remember the way I got to talk to that gallery because I was at that opening and there was a man who was looking very elegant, he was probably seventy and he had these diamond shoes on. I went up to him and wanted to talk to him about his diamond shoes! I was very nervous but I thought sod it, I’m in Germany, I can do anything, I’m not going to be back again… and he couldn’t speak English very well but he pointed to another man (Horst) who speaks very good English. We got talking and he said lets meet for coffee the next morning and it started from there. It was again a bit like with Bruce, it was very instant. The other thing was, Horst said he’d like to do a show in 2012 when it would be like a year on and Neal Tait went back to the gallery, he was still in Germany (I’d gone back to London) and he went to see Horst as well and he said well, why so long? Then Horst immediately phoned me and said let’s do it this year. So it was done in a very short period of time, 4 or 5 months, very similar to with Bruce. So both shows have some kind of commonality with them. I got on with the people very well and then it happened very quickly. I had to really work fast to get the shows done.

KR – so it’s always been about having to balance for you between being a tutor and a practicing artist

BC – yes and you have to keep making art to be able to teach I think. I didn’t want to end up as a 60 year old, 65 year old boring abstract painter you know, like that generation. I’ve never been happy with that. I found a language, I had to find a language, wherever that took me.

KR – so what’s next for you on the horizon, will you continue in that same style of painting?

BC – yes I want to develop them more. I was kind of thinking they could be quite big paintings as well. Someone did relate them to Alex Katz a bit… I know I can see a connection there possibly but I think they’re more weird than his. Clothing is so important and fashion. I went to see this show at the Barbican, it was the Surrealist show recently and they had these little sort of puppets and I was thinking about maybe constructing clothing of making it and one of the ideas I had about this show (Female Trouble) was although it was far too quick to do much, was to have fashion models wearing the same clothes that were in the paintings and to do a fashion show…

The influences on my work are much more varied that I thought – there’s fashion and film and so on and desire. For example, I was on the tube and I saw this woman, she had a pink jacket on and it was so beautiful and the desire was so strong to touch it and I’d got this painting at home but I hadn’t got anything for what she was wearing and once I saw that jacket, there was such an emotional pull, so I went home and painted that pink jacket. But I wasn’t just painting it, I was painting that sense of desire for it. Sometimes in a painting you make you put things in that you just have to put in. But there are other things in the painting where its so full of desire and wanting in it…the whole sexuality in it that certain things become much more important than others. They have different weight, different meanings attached to them.

* yesterday – 7th November 2012 Brian Chalkley took a group of his MA Fine Art (Chelsea College of Art & Design) students to see his Female Trouble exhibition at Ancient and Modern.

**Donald Smith (Director of Exhibitions at CHELSEA space)

——

Kate Eleanor Ross would like to thank Brian Chalkley for his enthusiasm, support and sense of fun during a few enjoyable years working together on MA Fine Art and other postgraduate courses at Chelsea College of Art and Design 2009 – 2012. It was a pleasure to interview him.

Thanks also to Bruce Haines, owner of Ancient and Modern gallery for his interest and images he provided.


Exhibition Review – Young Masters Art Prize part I at Sphinx Fine Art

my latest exhibition review for One Stop Arts  discusses the Young Masters Art Prize part I at Sphinx Fine Art.

You can read the review here and you can my interview with Daisy McMullan – curator of the Young Masters Art Prize is here.

Installation view of Young Masters Art Prize exhibition 2012 at Sphinx Fine Art gallery. Photograph by Daisy McMullan and Young Masters Art Prize.


Curating Young and Old Masters. Interview with Daisy McMullan – Curator, Young Masters Art Prize 2012

Daisy McMullan, curator of the Young Masters Art Prize 2012 tells Kate Eleanor Ross about curating  Young and Old Masters at Sphinx Fine Art gallery in London. We discussed the role of the curator, the challenges involved with this exhibition and found out more about Daisy’s curatorial practice and interests.  Daisy is my colleague at CHELSEA space where we both work. I am the Chelsea Arts Club Trust Research Fellow (which I write about in this post here ) and Daisy is the Ashley Family Foundation Research Fellow.

Installation view of Young Masters Art Prize exhibition 2012 at Sphinx Fine Art gallery. Photograph by Daisy McMullan and Young Masters Art Prize.

KR: Please introduce the Young Masters Art Prize for those of us who haven’t heard about it yet.

DM: The Young Masters Art Prize is for emerging and established artists who are inspired by the Old Masters and art history. It encourages artists to look back to the past for inspiration, whether that takes the form of a theme, such as mythology, a genre such as portraiture, a technique such as chiaroscuro, or a more literal sort of appropriation.

The Prize started in 2009, and this time around we had over 400 applications, from all over the world. Gallerist Cynthia Corbett, the founder of the Young Masters Art Prize, saw a real need for a prize such as this that recognises contemporary art’s debt to the past.

The winner of the Prize will win £5,000 and two runners up will receive £500 each. The winner will be decided by a panel of judges, which is chaired by Godfrey Barker, a journalist and critic. The other judges include artist Adam Dant, Colin Wiggins who is Curator of Special Projects at the National Gallery, Anke Adler-Slottke who is a director at Christie’s, and Roy Bolton who is director of Sphinx Fine Art, who are also hosting the first of our two exhibitions. All of the shortlisted artists are featured in two London exhibitions; the first part is at Sphinx until October 27th where the contemporary works are hung alongside the gallery’s Old Master Collection and the second will be at Gallery 27 Cork Street, from the 19th – 24th November, when our winner will be announced.

Installation view of Young Masters Art Prize exhibition 2012 at Sphinx Fine Art gallery. Photograph by Daisy McMullan and Young Masters Art Prize.

KR: Name a favourite museum/gallery.

DM: My favourite historical gallery is the Courtauld, it’s full of incredible works, and the collection is really well curated, with an excellent balance between the scholarly and a more general approach.  It also has that wonderful Manet painting of the A Bar at the Folies-Bergère which I find completely absorbing.

I would choose the Camden Arts Centre as my favourite contemporary gallery, I think the range of artists, projects and exhibitions they have is great, and I always enjoy the exhibitions they have there.  I particularly liked Simon Starling’s exhibition Never the Same River, I thought it was a clever play with past, present and future.

Installation view of Young Masters Art Prize exhibition 2012 at Sphinx Fine Art gallery. Photograph by Daisy McMullan and Young Masters Art Prize.

KR: Tell me about your role with the Young Masters Art Prize?

DM: My role has been primarily curatorial, so thinking about how to present the artists in the best way for each of their practices, liaising with the artists to research their work and how it can engage with two quite different exhibition spaces.  I also edited the catalogue and wrote a Curatorial Statement about the Prize and the artists.  For this show at Sphinx I also did a lot of work looking through their collection (which contains over 800 works) to find paintings and drawings that could be juxtaposed with the contemporary pieces.

Installation view of Young Masters Art Prize exhibition 2012 at Sphinx Fine Art gallery. Photograph by Daisy McMullan and Young Masters Art Prize.

KR: What were the most significant challenges of curating the exhibition whether that is in terms of the show hang or organising the exhibition logistically?

DM: Aside from cutting the hundreds of applications down to a shortlist of 26, the most significant curatorial challenge has been working out these juxtapositions, not only between the Old Masters and the shortlisted works, but creating a scheme for the whole exhibition around art historical genre, so that each floor has its own feel and atmosphere.  In the basement there is a busy, salon-type display around still life, nature and animals, which works really well.  The first floor is a quieter room with red walls, that is dedicated to interiors, portraits and feels a lot more domestic.

 

Installation view of Young Masters Art Prize exhibition 2012 at Sphinx Fine Art gallery. Photograph by Daisy McMullan and Young Masters Art Prize.

KR: What is your favourite piece of work in the exhibition and why?

DM: I think I should tell you my favourite shortlisted artists after the judges have decided on a winner?  There is a really great Franz Hals portrait of a young man which I really love, and it works so perfectly next to Charles Moxon’s portrait Contemporary Reminiscence.  We also have a guest artist Ali Assaf, who has been invited to show alongside the shortlisted artists.  He is showing stills from his video work Narciso which was originally shown in the Iraq Pavilion at the Venice Biennale.   The work is really powerful, based on a Caravaggio painting of the same name and Assaf appropriates the composition to ask questions about personal memory and identity.

Installation view of Young Masters Art Prize exhibition 2012 at Sphinx Fine Art gallery. Photograph by Daisy McMullan and Young Masters Art Prize.

KR: Describe a best and toughest moment of working on the Young Masters Art Prize.

DM: The best moment so far has been seeing this show finished and seeing all the work in the flesh for the first time, although I’m excited to find out who the winner will be. There are several very strong contenders.  The toughest thing has been coordinating so many international artists, the logistical side has been harder than I imagined. But, seeing the finished exhibition here at Sphinx has made it feel worthwhile.

 

Installation view of Young Masters Art Prize exhibition 2012 at Sphinx Fine Art gallery. Photograph by Daisy McMullan and Young Masters Art Prize.

KR: How do your research interests or curatorial practice connect with what you’ve been working on for the Young Masters Art Prize?

DM: My research interests are around contemporary artist’s interventions in the museum and the museum as a site of modernity. I am also interested in documentation, archives, and the relationship between the past and the present, so the Prize fits very well with my own research. I have recently written for engage journal about contemporary artists who appropriate museological forms of display.  I am also working on several new projects next year including two exhibitions with a group of textile artists.

Installation view of Young Masters Art Prize exhibition 2012 at Sphinx Fine Art gallery. Photograph by Daisy McMullan and Young Masters Art Prize.

KR: What is next for Daisy McMullan, curator and where can we go to find out more about you also to keep up to date?

DM: Right now I am planning the second Young Masters exhibition at Gallery 27 in Cork Street which will be really exciting, and look very contemporary, completely different to the show at Sphinx. We will also have a work byYinka Shonibare who has kindly agreed to be a guest artist for that show, which is very exciting as a young curator.

Website for YM:  www.young-masters.co.uk

Twitter @corbettprojects

DM twitter: @daisy_mcmullan

All photographs are by Daisy McMullan and Young Masters Art Prize

————

Kate Eleanor Ross, author of the blog Curatorial Curiosities would like to thank Daisy McMullan for being the first to be interviewed for this blog. Here’s to many more! If you’re interested in being interviewed by me, please read details for how to get in touch by clicking here or go to the contact me page.


Reviews and Interviews

I have started a new category to my blog here, which is Reviews and Interviews. In this section, I will post links to the exhibition and museum/ gallery reviews that I write for One Stop Arts and more. I will also be interviewing artists, curators, gallerists and museum professionals in my network of my world of work.

 

 

If you are an artist, curator or work in a gallery, museum or cultural institution or you have put on a performance, exhibition or cultural event and would like me to review it or interview you about your work or venue, please let me know by emailing me curatorialcuriosities@gmail.com

I will be able to publicise you and your work through my blog and social media outlets and it’s always good for both parties to exchange knowledge, experience and to collaborate!


Anish Kapoor at Lisson Gallery

Last week I went to the press preview of the new Anish Kapoor exhibition at Lisson Gallery on Bell Street in London, which shows the work of the past year from this Turner Prize winning artist.

I enjoyed this colourful, playful exhibition which explores texture, pigments and materials.

You can read my review of the exhibition for One Stop Arts here

The exhibition is at Lisson Gallery until 10th November 2012.

Other reviews of art exhibitions that I’ve written for One Stop Arts can be read here.


Outsider Art from Inside

please do take a look at my latest exhibition review for One Stop Arts

The Papacy – HM Prison Peterborough, Jeffrey Archer Platinum Award for Matchstick & Mixed Media  http://www.koestlertrust.org.uk/pages/uk2012/exhib2012gal2.html

I have reviewed ‘FREE Art by Offenders Secure Patients & Detainees’ which is an exhibition on at the Southbank Centre (Spirit Level of the Royal Festival Hall) until 25th November.

The review can be read here  and if you are interested in reading other reviews by me for One Stop Arts, they can be seen here