Contemporary Visual Arts Network South East announces selection for Platform Graduate Award 2018 Thirty-three selected BA graduates from seventeen higher education institutions in South East England will exhibit in the seventh edition of Platform Graduate Award, an annual region-wide initiative supporting emerging artists based in the region.
Selected artists have been chosen by partnering galleries Aspex Gallery, Portsmouth, De La Warr Pavilion in Bexhill-on-Sea, MK Gallery, Milton Keynes, Modern Art Oxford and Turner Contemporary in Margate. From a series of exhibitions and events running September 2018 through to January 2019, one artist from each gallery will be nominated for the full award, which includes a £2,500 bursary and mentoring from an arts professional. The winner is to be announced in November 2018.
Ruskin School of Art, University of Oxford graduate Lukes Dawes (see feature image above), will exhibit a range of work in Modern Art Oxford’s Project Space from 1-14 October 2018. With an interest in visual clichés employed throughout the history of making and art production, his work attempts to break down the visual hierarchies between art and design, to explore the function of an artwork.
Paul Hobson, Director, Modern Art Oxford and Chair, CVAN South East, said:
“The Platform Graduate Award enables Modern Art Oxford and our partners within the network to nurture graduate artists in the South East as they begin to establish themselves.
“Now in its seventh year, Platform once again shines a light on the region’s brightest talents, stimulating artist networks and revealing the high quality and diversity of practice that has emerged from seventeen participating art schools.”
Tate recommends ‘slow looking’ at major Pierre Bonnard exhibition The gallery says the sessions will be particularly relevant as curators believe Bonnard’s work is enjoyed more if visitors take their time. Entitled ‘Pierre Bonnard: The Colour of Memory’ and showing from 23 January – 6 May 2019, this will be the first major UK exhibition for 20 years devoted to the artist and will trace four decades of his work.
The slow looking sessions are likely to be ticketed events with gallery visitors and a curator looking closely at a selection of works. The sessions will allow people to see things not immediately apparent, such as with Bonnard’s The Studio with Mimosa 1939-46, (loaned by the Centre Pompidou in Paris), in which it often takes time for observers to notice the figure in the left-hand corner.
Persuading museum-goers to spend more time looking at a painting will be no easy task. Says Matthew Gale, head of displays at Tate Modern and curator of the Bonnard show, “Obviously one can’t force people to look slowly but one can encourage it. [Bonnard’s] paintings really reward very close and extended scrutiny.”
Alan Bishop replaces John Kampfner as CEO of the Creative Industries Federation The former CEO of the Southbank Centre, Central Office of Information and Chairman of Saatchi & Saatchi International, began work on Monday 16 July, as Kampfner – who was instrumental in making the first phase of the Federation’s existence a success – continues to assist during a four month transition period.
As the future of the Creative Industries Federation lies in becoming more forensic and innovative, Bishop has been recruited with three goals in mind. To ensure its advocacy capabilities develop around strategic and creative content; to ensure its agenda fully reflects the needs and priorities of its members; and to guide the organisation, skills and culture to fit the demands of that agenda, with early emphasis on creative careers and the continuing need to help shape Brexit to the best interests of the sector.
The Federation was formed in 2014 as a membership-based movement to complement the advocacy, support and campaigning work of individuals, companies and trade bodies within the creative industries. Its work has played an important part in positioning the sector at the forefront of the Government-led Industrial Strategy formulation.
A giant replica of the moon displayed all over the world has gone missing in the post The 7m (23ft) floating orb created by Bristol-based Luke Jerram, was en route to a festival in Austria when it was lost by courier TNT, which is currently looking into its whereabouts.
The artwork, Museum of the Moon, had been booked for a series of public events across Europe over the summer. Its disappearance, as Jerram comments, “has huge implications” for people looking forward to seeing it, and there is no spare as a backup.
The artist used images taken by a National Aeronautics and Space Administration (Nasa) satellite to create the installation. Each centimetre of the internally-lit spherical structure represents 5km (three miles) of the moon’s surface. The artwork, which is illuminated and accompanied by music from different composers, was created in partnership with the University of Bristol and the UK Space Agency.
Images
1. Luke Dawes, Excavate, 2018.
2. Luke Jerram, Museum of the Moon. Instagram: @lukejerramartist.
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