I have spent 19 out of the last 21 days at the day jobs (long days, mind, not short-arsed ones) dreaming of today, a day at home, making art. Now I’m in a stew about not having enough time left to finish my work for the Barbican Library exhibition next month.
My mad day-jobs frenzy came to head on Saturday with the Preview of an exhibition I’ve been curating at Tension Gallery. It looks great, thanks to quality artwork and installation help from the ever-patient punk legend, Nick Cash*. I’ve never curated a show. I’m knackered, but proud, and grateful to Ken Turner for putting his trust in me. If you are in a position to visit, I’ll be invigilating throughout, and up for a chat. I have nailed this year’s faces (unfinished, obvs) to the wall, as my contribution.
Airing: Tension Fine Art, 135 Maple Road, London SE20. Until 26th June. Fridays and Saturdays 11am - 5pm, closing at 4pm on the final day. Coffee morning 11am, 11th July. Artists’ Talk 2pm, 19th July.
Back to the Barbican. It’s mainly going to be old work, of course, because TIME. However, although I haven’t touched it for a month, I have been spending early mornings and evenings butchering ‘Civilisation’. That’s the book to accompany the ancient TV series by Lord-Sir-Kenneth-Clark, a man born into a wealthy ‘textiles family’ and responsible for my questionable early art education (didn’t include female artists and missed out a huge chunk of non-western culture). Anyway, I’ve never cut up a serviceable book before, due to deeply ingrained ‘respect’ for the printed word. But after seeing Mutant Library (my favourite Tension exhibition) I decided not to give a shit, and crossed the floor. Zero remorse, so far. Turning the pages (along with old Tate/ V&A magazines) into collages with a joyful vengeance. They’re not signed yet, but I’ll add a few images (scroll to end for credits).
I’ll be sharing the space with Kemi Athene Pennicott, but it’s two completely different exhibitions.
Civilisation: Barbican Library, London EC2. 1st - 28th August. Mon, Wed + Fri 9.30am - 5.50pm; Tues + Thurs 9.30am - 7.30pm; Sat 9.30am - 4pm. Check the library website for time changes. I intend to be there every Monday and Saturday, with daily updates on my website/Instagram informing of my whereabouts should you wish to avoid me, or not.
Some other exciting news is that my Exile Textiles will be in a book by Julia Triston. Textile Protest: Artists, Activism and the Historical Power of Cloth in Protest, published by Batsford Books and out on 14th August. It’s ‘thoughtfully illustrated with examples that include heavily embroidered suffragette and trade union banners, the knitted pussyhats of the 2017 Women’s March, protest textiles from the Guerrilla Girls, Pride flags that celebrate the LGBTQ+ community, and the vast variety of textile art in support of the Black Lives Matter movement. It also covers the rich history of fine art textiles with a political theme, such as Judy Chicago’s iconic 1970s installation The Dinner Party, and includes interviews with prominent activist artists that give further insight into the way everyday materials can be repurposed to create arresting political art’. Get me.
Back to the stitching,
A x
* Nick has a very niche touring exhibition (Crash Ride Snare) of drummers’ art. Thing is, most of his artists are over 50. Some youth is required. If you are a young drummer, who is also an artist (or you know someone who fits the bill) give him a shout on his Instagram and tell him I sent you @crash_ride_snare
Page 92. St Augustine, Sandro Botticelli, 1480. Fresco. Ognissanti, Florence. Glove puppet of Judy, Fred Tickner c 1975. Given by the British Puppet and Model Theatre Guild. Cut from V&A Magazine, Summer 2019. Photo V&A*
Page 316. Men setting their watches by the noon gun (lithograph), Gustave Doré. Yoko Ono with Glass Hammer, 1967, from HALF-A-WIND SHOW, Lisson Gallery, London, 1967. Photo by Clay Perry. Cut from Tate ‘Exhibition Highlights 2023-24’.