In my teens in the 1980s, as I was becoming politically aware and active, (going on CND demonstrations and reading radical publications), it is difficult for me not to be very familiar with the work of Peter Kennard. I think I must have held several of his images in my hands as placards and certainly stuck some of his photomontages on my bedroom wall torn from pages in lefty rags. When I heard he was having a retrospective at the Imperial War Museum, titled Unofficial War Artist, I debated whether I should go or not, thinking that I knew what I would get and worried about it being an exercise in personal nostalgia. It wasn’t until I read Art-e-facts’ review of her several visits to the show that I decided to go, and without a shadow of a doubt it blew me away, (no pun intended).
Last week The Cabinet of Curiosities caravan pulled up outside University Campus Suffolk to coincide with an exhibition of the same project in UCS’s Waterfront Gallery.
This visit and exhibition is the culmination of a year long project by UCS Fine Art Senior Lecturer Jane Watt. Jane and her bright blue caravan have visited various locations, and in particular many around Cambridge throughout the Autumn of 2014, providing an opportunity for people to come and document curiosities via cyanotypes. “At each location my assistant Amy Sage and I went through the same ritual: paper ready, aprons on, lights on,” says Jane. “The blue door is opened, the sign put outside inviting people to ‘Bring in your curious object’. Each venue brought many new visitors with unexpected objects and related unique tales.”
A large corner of my loft is stacked with vinyl records, mostly 12″ LPs, but there is a smaller pile of 7″ singles. They are going to stay there, save for the odd time I want to change the artwork in my three album-art frames that deck our landing. It is fair to say I haven’t jumped on the supposed vinyl revival—there’s already enough nostalgia in the world, I don’t need any more.
I’d read about Ditchling Museum of Art+Craft on the Design Week blog last year when it reopened after being refurbished. It made the design press largely because of the rebranding by Phil Baines, in which he re-drew Gill Sans for all accompanying graphics. In truth, what Baines had done more than help advise on the dressing of the museum was to shine a light on an important historical design gem. And when I realised we wouldn’t be too far away while holidaying on the Kent / East Sussex boarder last week, it went on the itinerary of possible things to do. But rather than visit after going to the Chermayeff exhibition in Bexhill on our return journey home, we decided to go on a separate day, worried that two exhibitions in one day would be too much.
I was lucky enough recently that a holiday to the South Sussex coast coincided with the opening day of the Ivan Chermayeff: Cut & Paste exhibition at Bexhill-On-Sea’s De La Warr Pavilion, and it was truly inspirational.
A highlight of a recent trip to Manchester was a visit to the People’s History Museum. Housed in a specially converted pump-house, the museum hosts an amazing visual display of artefacts relating to political history of ordinary people in this country, with an obvious bent towards Manchester related events and organisations, from the Peterloo Massacre to celebrating 150 years of the Co-op.
It is always rewarding to come across an artist who has previously been completely off your radar. This was the case when Claire and I stumbled across Jeff Keen’s Shoot The WRX retrospective at Brighton Museum this weekend.