Category Archives: Exhibition Studio Workshop Archive

JOCELYN HERBERT AND DAVID STOREY

From the Jocelyn Herbert Archive at the National Theatre

Curated by MA Curating & Collections

Private View: Tuesday 12 March, 5.30-8pm
Exhibition: Monday
12 March – Friday 16 March, 11am – 5pm 2018

Cookhouse, Chelsea College of Arts, 16 John Islip Street London, SW1P 4JU

Jocelyn Herbert , Lindsay Anderson& David Storey

Jocelyn Herbert, Lindsay Anderson and David Storey. Photograph © John Haynes

This exhibition provides insights into the professional and personal relationship between renowned theatre designer, Jocelyn Herbert (1917-2003), and writer and artist David Storey (1933-2017). The show is curated by MA Curating and Collections at Chelsea College of Arts and is the fourth in a series of collaborations with the Jocelyn Herbert Archive at the National Theatre.

Jocelyn Herbert designed sets and costumes for seven David Storey plays: Home (1970) at The Royal Court Theatre; The Changing Room (1971) at The Royal Court Theatre; Cromwell (1973) at The Royal Court Theatre; Life Class (1974) at The Royal Court Theatre: Early Days (1980) at Brighton Theatre Royal and The Cottesloe at the National Theatre; The March on Russia (1989) at the Lyttelton Theatre at The National Theatre; Stages (1992) at the Cottesloe Theatre at The National Theatre. This exhibition focusses on material relating to five plays: Home, The Changing Room, Early Days, The March on Russia and Stages.

The exhibition is composed of four main themes: set design; costume design; Jocelyn Herbert’s aesthetic approach and work ethic and correspondence from friends and admirers. The show includes a wide range of materials loaned from the Jocelyn Herbert Archive at the National Theatre including photographs, sketches, drawings, models, notebooks, diaries and postcards. The curators have also collaborated with the British Library to include edited oral history audio recordings from the National Life Stories archive, enabling the audience to hear extracts from Richard Eyre’s 2010 Jocelyn Herbert Lecture, and Cathy Courtney’s interviews with Jocelyn Herbert and David Storey, and experience the designer and writer in their own words.


To view the Workbook published by the MA Curating and Collections students to coincide with this exhibition, please click here .

 

The curators would like to thank Cathy Courtney and Eileen Hogan for introducing us to the National Theatre Archive, and for supporting this curatorial project. Erin Lee, Anastasios Tzitzikos and Malcolm Mathieson from the National Theatre Archive for your kind assistance in making the exhibition and publication a success. Dave Govier, Charlie Morgan and Mary Stewart from the Oral History/National Life Stories at the British Library. Photographs have been reproduced with the kind permission of John Haynes. All photographs remain in © of John Haynes. We would like to kindly thank the Estate of David Storey and the Estate of Jocelyn Herbert. Lastly, to Donald Smith and Cherie Silver for your guidance in curating the exhibition.

 

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JOCELYN HERBERT: Design for Film

 Jocelyn Herbert Archive at the National Theatre:

Design for Film

Curated by MA Curating & Collections

Private View: Tuesday 14 March 2017, 6-8.30pm
Exhibition: Monday 
13 March – Friday 17 March 2017, 11am – 5pm 

Cookhouse Gallery, Chelsea College of Arts, 16 John Islip Street London, SW1P 4JU

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Jocelyn Herbert, polaroid and text from journal (1968) related to the production of ‘The Whales of August’. From the Jocelyn Herbert Archive at the National Theatre JH/3/101.

For the third year, the Exhibition Studio Workshop collaborates with the National Theatre Archive to highlight the seminal work of Jocelyn Herbert (1917 – 2003) who was among the most important and innovative theatre designers in the UK since the 1960s.

This year, the exhibition focuses on Jocelyn Herbert’s design for film. Reflecting on her working processes, personal and professional experience, the following films are represented: Tony Richardson’s ‘Ned Kelly’ (1970) and ‘Hotel New Hampshire’ (1983); Karel Reisz ‘Isadora’ (1968); Lindsay Anderson’s ‘O’Lucky Man!’ (1973) and ‘The Whales of August’ (1987); and, Tony Harrison’s ‘Prometheus’ (1988).

Categorised as pre-production, production and post-production, the exhibition will showcase photographs, sketches, drawings, costumes, diaries and correspondence from the Jocelyn Herbert Archive at the National Theatre, from the time when these films were made.

 

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LAYERED SPACE

The Morgue – 04 / 06 July 2017

Private View – 1730 / 1930 – 04 July 2017

Exhibition & Autopsy conducted by

BIANCHI Benedetta & SIEGFRIED Malou

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Subject

Layered Spaces is a project coming from a shared interest regarding the concept of space and especially the history and atmosphere that a certain place lived and still lives in its years and times. As MA students at Chelsea College of Arts, we were interested in the discovery of the space’s layers of where the College is now existing. Therefore, with this exhibition we aim to investigate the history of the area and how the buildings changed their functions according to the context.

How could a thin layer of white paint completely change the use of something ?

The featuring of George Perec’s Species of Space (1974) represents the genesis of the spacial concept that Layered Space investigates. In his text, the author invites us to a journey through different dimensions illustrating how many layers and forms space could inhabit.

Where you are now, was once the Royal Army Medical College’s Morgue; the place where autopsy and studies of the bodies’ anatomies were developed and researched. The post mortem instruments set is here to recall the past medical function and yet to metaphorically represent the autopsical process the exhibition is illustrating.

The approach of dissecting the different layers and the evaluation of now present hidden or evident materiality of the building leads to a chronological and narrative journey of the history of Chelsea College original environments through the concept of space: from the present (Chelsea College of Arts) moving towards (Royal Army Medical College) to the very beginning of the places’s history: the Milbank Penitentiary.

Thus the visitor, once arrived in the Morgue, is invited to place himself as an atomist and to deeply investigate the layers of the space which shows the environments’ successions and changes.

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Brief History

For most of the 19th Century the river frontage to Millbank was dominated by the huge bulk of the Millbank Penitentiary (1816-1890), the first national prison. When it opened in June 1816, the Millbank Penitentiary was the largest prison in Britain.

Forged from Scottish Collalo stone, the penitentiary was set out in a hexagonal architecture encompassing six-petal shaped wings with a chapel in the centre. This particular typology is called Panopticon and it is a reference to Panoptes who is a giant with hundred eyes and known to be an effective watchman. The Millbank Penitentiary closed in 1890 and the lengthy demolition process commenced two years later.

Millbank Penitentiary (1816-1890) original area is the group formed by the now Tate Britain (1897), the Royal Army Medical College (1907-1999), the Queen Alexandra’s Military Hospital (1905-1970’s) and the Millbank Estate (1897- 1902).

The now Tate Britain opened in 1897 as National Gallery of British Art and the remaining vacant land became home to a housing estate, the Chelsea College of Art and Design and the former Royal Army Medical School. Today, the angled street layout surrounding Tate Britain gives an idea of where the Millbank Penitentiary once stood. The Millbank Estate, in the western part of the former penitentiary site, was one of the fist large council housing estate for the working classes, and accommodated 4500 people. It is, by reason of its date and design, an important milestone in the development of local authority housing and the evolution of ‘Arts and Crafts’ principles of architecture as applied to large-scale housing projects.

In 1986, Royal Army Medical College became what today is Chelsea College of Arts.

Curators would like to thank Colonel Frank Davis, Chairman of Friends of Millbank for his help on this curatorial project. We would like to thank Rob Macintosh, curator of Museum of Military Medicine in Aldershot for the loan of the artefact.

Thanks to City of Westminster Archive Centre and Allies & Morrison Studio for the documents and maps.

Thanks to Donald Smith, director of CHELSEA space for his support and the equipment during the installation.

Artists’ Lives & Chelsea College of Arts: an audio exhibition

Curated by Yuen Yu Ho, Georgia Keeling, Deborah Lim and Xiaodeng Zhou

29 June to 28 July 2017

In a special collaboration between National Life Stories and Chelsea College of Arts, four MA Curating and Collections students curated an exhibition featuring edited sound clips from the Artists’ Lives collection of recordings. The exhibition is divided into three zones, and this blogpost presents an outline of each section. This exhibition has been generously supported by the Rootstein Hopkins Foundation.

Image 1_Fourth Floor Studio

The first section contains interviews with former students and teachers at Chelsea, who provide an introduction to the history of the school. Jock McFadyen describes the architecture of the Manresa Road campus and the different art movements represented in the studios, such as Pop Art and Systems Art. David Nash and Flavia Irwin address the curriculum and learning experience, including lecture series with artists such as Claes Oldenburg, classes in the Life Room and the Fine Art programme schedule. Anthony Fry talks about teaching painting in art schools, and Bernard Meadows highlights Henry Moore’s tenure at Chelsea and his working process of creating sculptures. Finally, Barbara Steveni introduces a paper she wrote during her teaching stint at Chelsea, which led to the development of the Artist Placement Group with John Latham – addressing where artists would go once they graduated from art school. Photos showing images of the exteriors and interiors of the building, such as the studio departments and galleries, are presented in this section as well.

Image 2_Chelsea School of Art

In the second section, the friendship between John Hoyland and Patrick Caulfield is explored in the form of two interviews. Hoyland’s recording begins with a reading of the address that he gave at Caulfield’s funeral, and goes on to honour in greater detail his friend’s life and work. This is a composite clip edited together from the recording of John Hoyland (1934-2011) interviewed by Mel Gooding, 2005-2007, National Life Stories: Artists’ Lives, C466/205 © British Library Board. You can listen to the full tracks at British Library Sounds: Tape 4 side B/track 8Tape 6 side B/track 12Tape 11 side A/track 20Tape 11 side B/track 21.

Caulfield in his interview discusses his first encounter with Hoyland, as well as his own teaching experiences. This is a composite clip edited together from the recording of Patrick Caulfield (1936-2005) interviewed by Andrew Lambirth, 1996-1998, National Life Stories: Artists’ Lives, C466/64 © British Library Board. You can listen to the full tracks at British Library Sounds: Part 6Part 12Part 13Part 14. Both recordings also provide reflections on Chelsea at the time they were both teaching.

Finally, the last section features five excerpts from an interview with Clive Phillpot, exploring his eight-year tenure as librarian at Chelsea and his acquisitions of Artists’ Books. These recordings also reference his colleagues such as Frederick Brill, Anthony Hill, Norbert Lynton and Edward Wright who inspired and supported Clive Phillpot to produce critical reviews in magazines and exhibition catalogues. Phillpot’s influence on the development of artists’ books is reflected in two recordings by Jock McFadyen, a former student of Chelsea, and artist Telfer Stokes. Accompanying the recordings is a vitrine containing Telfer Stokes’ first book, ‘Passage’, published in 1972. Clive Phillpot wrote a review of the book in a monthly column of Studio International magazine in 1973. A series of black and white photographs documenting individuals in Chelsea, taken by Dick Hart in the early ‘70s, is also presented.

Image 3_'Passage'

Material from the exhibition comes from: the Artists’ Lives section of National Life Stories courtesy of the British Library, the Special Collections section of the Chelsea College of Arts Library courtesy of Gustavo Grandal Montero, and archival images courtesy of Donald Smith.

Special thanks to Cathy Courtney, Mary Stewart, Gustavo Grandal Montero, Donald Smith, Cherie Silver for their assistance in making this exhibition possible. This exhibition is generously supported by the Rootstein Hopkins Foundation.

The curators would like to thank the late Patrick Caulfield, the late Anthony Fry, the late John Hoyland, the late Flavia Irwin, Jock McFadyen, the late Bernard Meadows, David Nash, Clive Phillpot, Barbara Steveni and Telfer Stokes for sharing their experiences through the Artists’ Lives project. Listen online to these recordings at British Library Sounds.

The exhibition runs from 29 June to 28 July 2017, and is installed at Chelsea Landing, E-Block (first floor), Chelsea College of Arts, 16 John Islip Street, Westminster, London SW1P 4JU. It is curated by Yuen Yu Ho, Georgia Keeling, Deborah Lim and Xiaodeng Zhou.

Sean Mullan | Blaupause

Private View: 18 August 2017 6 – 9 pm

Exhibition continues: 18 – 22 August 2017

Site-specific installation curated by Nadine Cordial.

Sean Mullan Side Room (14 von 18)

In Blaupause the German-Irish artist Sean Mullan explores the immeasurable zone in which an old state passes into a new. When experimenting with light, Mullan came across the photographic technology of Cyanotopie in which a chemical reaction with UV light causes the creation of Prussian Blue – a cool, greenish-blue mineral colour pigment also called Berlin Blue, whose story bears a lot of mystery. Coincidentally discovered in 1704 and widely used throughout history across various disciplines, it did not only become an important artists’ pigment in the 18th century, it also serves as an antidote to eliminate radioactivity or as a marker in pathology to diagnose defect heart cells.

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Side Room

Project space, currently residing at Chelsea College of Art
16 John Islip Street
SW1P 4JU London

Gallery Directors: Ilana Blumberg  and Mark Lungley

www.sideroom.co.uk

Corridors of Power #1

A Brief History of Broken Cricket Bats

Curated by: Ryan Blakeley, Feini Chen, ZiZhen Cheng, Gaia Giacomelli, Shu Chang Liu, Ksenia Stepanova, Xinjiang Zhuang.

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The curators with Syd Shelton (credit: Donald Smith)

Corridors of Power #1, the first in a series of exhibitions by curators on the MA Curating and Collections course at Chelsea College of Arts, displays multiple works from the Chelsea Space collection. It highlights the gallery’s ongoing relationship with and focus on popular culture and punk rock. The works displayed are from many different generations of exhibitions that Chelsea Space has created throughout its 11 year history, including its most recent exhibition on the photography of Sheila Rock – Sheila Rock: From Punk To The English Sea. The exhibited exhibition posters by Hatch Show Print, Frank Sidebottom, Mark Titchner and Mick Jones (also photographed by Syd Shelton with The Clash band member Paul Simonon on the second floor) highlight the diversity of the 66 exhibitions that Chelsea Space has produced so far.

This show was conceived in reference to the exhibition space’s unique history that resonates with the anti-establishment values that punk rock perpetuated. Once the Commandant’s headquarters, these corridors and the offices within them were re- appropriated as the offices for Margaret Thatcher’s Chancellor of the Exchequer, Sir Geoffrey Howe. It was in the now Pro Vice Chancellor’s office that Howe wrote his famous resignation speech about ‘playing with broken bats’ that would eventually lead to the end of Margaret Thatcher’s eleven year term in office.

The exhibition revolves around Howe’s statement as a fitting metaphor for the inadequate social structures that gave birth to the rebellion that punk was. This is perhaps most poignantly exhibited in Syd Shelton’s two Jubilee photographs. The two works juxtapose the celebratory nature of the Queen’s Jubilee with the anxious social reality of Great Britain at that time. The pairing of the 1977 and 2012 works brings focus to the question of how much has changed in the interim. Time and change are themes that punctuate this exhibition, and they are characteristic of punk’s evaluating, questioning nature. In Sheila Rock’s recent photograph of the punk muse Jordan (commissioned for Chelsea Space’s 66th exhibition), where the model wears an image of her younger self printed on her t-shirt, Rock brings these reflective themes to the foreground.

When the buildings of Chelsea College of Arts were home to Millbank Penitentiary they were the staging point from which prisoners were sent to Australia. Syd Shelton’s Redfern, therefore, holds a special relevance to its surroundings and their role within the context of British colonialism. The work also reflects the feelings of despondent isolationism felt amongst the marginalised within British society. These play a key role in understanding punk aspirations. It is a theme that Barney Bubbles’ work Frogs, Sprouts, Clogs and Krauts playfully meditates on within the context of Britain’s intercontinental relationships. The multiple cross references between Gilbert & George’s Hope Fear Life and Peter Blake’s work referencing their quotation of Flannagan and Allen’s song Underneath The Arches, which is about homeless men who would sleep underneath railway arches during the great depression, also respond to aspirations of the isolated and outcast.

A Brief History of Broken Cricket Bats pays tribute to the enduring relevance of punk rock values in popular culture and maintains that these are still valuable agents for contemporary political debate.

The curatorial team would like to thank Donald Smith for providing art objects from his personal collection and Mike Iveson for his support during the installation.

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Co-Thinking About Future: SELF/CONTROL

SELF/CONTROL

Mustafa Boga, Where for we go now, performance video, 2016

Mustafa Boga, Where for we go now, performance video, 2016

28 June – 2 July 2016 | Punctum Gallery, Chelsea College of Arts

PRIVATE VIEW: Tuesday 28th June at 6:30PM

EXHIBITING ARTISTS: Natalie Anastasiou, Mustafa Boga, Irini Folerou, Maria Luigia
Gioffrè, Nicola Lorini, Lazeez Raimi, Juan Covelli Reyes, Ilia Rogatchevski, Lorraine
Williams, Neale Willis.

Technology is an intrinsic part of everyday life that constantly changes the way we navigate our world. With the internet bridging distances of physical space, human communication becomes instant. But technology also allows itself to disappear: the way it operates is hidden; starting from the way data is collected to the construction of our online newsfeeds and timelines. How well do we really know this virtual extension of ourselves and of our world?

SELF/CONTROL is a collaborative exhibition that explores how technologies have affected how we construct identity, how information is controlled, and how collective and individual memories are made. The display is a conversation between the immediate present, the long forgotten past and the impending future.

The ten artists exhibited investigate how well we know the digital spaces we have now adopted as second nature. They question and problematize our relationship with technology. They analyse, with different medium and works, key issues of our imminent future. You are invited to witness the rhythms, processes and dissemination of the digital world.

Collectively, we ask you the question: Are you in control?

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Made possible through the Postgraduate Student Communities Fund, University of the Arts London.

Opening hours: Wednesday to Saturday 11:00am – 6:00pm

Punctum Gallery, Chelsea College of Arts
16 John Islip St., London SW1P 4JU
The exhibition is free and open to the public.