Posts Tagged Visual Art
Guest blog by Annie Harrison.
This article draws on the work Annie is doing for her MA by Research in Art Practice at MIRIAD, Manchester Metropolitan University and an associated artists’ residency at Lime, an arts and health organization. Annie also works as a Project Assistant in the School of Medicine at the University of Manchester.
My art practice is concerned with place and memory.
I’ve been involved in the visual arts for a long time now. First, through working at the – now largely demolished – Psalter Lane Art College site of Hallam University, and subsequently as a member of the board of trustees for S1 Artspace. I didn’t anticipate that working with physicists and astronomers would give me another, equally rewarding, chance to engage with artists and creativity.
Some years back, a colleague in the department sent an email round, asking if anyone else, like him, was doing creative things in their spare time. The result surprised us all. We’re now in our sixth year of holding an exhibition of work by staff and students – now from across the University – and each year people emerge from the shadows, often apologetically offering their work with disclaimers about being an amateur, a novice, not being sure if it’s good enough to be seen in public, but thrilled by the opportunity to take that chance. It’s an annual celebration of creativity.
It’s caused me to ponder on the gulf that often seems to yawn between the two art worlds that I am involved in. One is rooted in the art colleges’ and fine art departments’ contemporary practice, and ideas about that practice. The other is rooted in the individual discovery of the life enhancing and affirming value of creativity, with or without external validation or theoretical context. There’s no value judgement involved here, for me at any rate. But the two worlds communicate very poorly with one another. The contemporary artists often struggle to value work that has no theoretical context. The ‘amateurs’ struggle to comprehend work that requires that kind of context in order to be appreciated. Both are baffled, both lack the language to mediate their own work to the other.
I love both worlds. I’m fascinated and challenged by many contemporary artists whose work I’ve seen – many here in Sheffield at S1, Bloc or Site (Becky Bowley, James Price, Charlotte Morgan, Haroon Mirza, Richard Bartle, George Henry Longly, Jennifer West, Allie Carr, Nicolas Moulin, amongst many others). And I’m exhilarated and moved by the work that is presented to us each year, to go in display in a physics lab, by professors of physics, sociology or medieval French; researchers in electrical engineering, infection & immunity or cosmology; librarians and technicians, receptionists and administrators.
I’m awed by creativity, because I’m not capable of it myself. I envy those who are. I’ve tried – playing the guitar, writing poetry, sketching – but there’s some essential spark missing. That’s OK, this blog is my creative output now, and in connecting with artists, musicians and writers I can share in the magic. I believe utterly and passionately in the creative enterprise – Michel Butor said that ‘every word written is a victory against death’ and with Butor you know that he means not just words but sounds and images.
So this week we’ll be celebrating lots of victories.
The exhibition is open from Wednesday 16 to Friday 18 May, 10 am to 4 pm, in E32, Hicks Building, University of Sheffield, Hounsfield Road, Sheffield S3 7RH.
See below for details of a new Butor exhibition/event at MUAC, Mexico City:
The MUAC, through the Arkheia Documentation Center will present an exhibition on the french writer Michel Butor’s (France, 1926) file, including some of his works and books about artists and contemporary art.
Michel Butor has over 1500 publications covering various fields such as music, science, philosophy, literature and the arts. He is known in the field of French literature, mainly due to his most famous novel The Amendment, considered one of the pillars of what is known as the new novel (Nouveau Roman) written from start to finish in second person singular, the spanish equivalent to “thou”.
This novel was adapted by Michel Worms into a film in 1970 with the same title. After posting grades in 1960, Michel Butor stopped writing novels and by 1991 he abandoned teaching and retired to a village in the Haute Savoie. Since 1986 he has worked with over two hundred painters, sculptors, printmakers and photographers from different nationalities and published with them essays and books.
As part of this exhibition, a group of Mexican intellectuals close to Butor, undertake a series of conversations to be held in the auditorium of the MUAC.