Talk by Dr Mike Collier, The Dawn Chorus – Tuesday 31st March

Tuesday, 31st March, Nibbles 6 pm talk 6.30 to 7.30 pm,
Seminar Room, Hatton Gallery, Newcastle upon Tyne.

Mike is Professor of Visual Art, University of Sunderland and will talk in conversation with composer and musician Dr Bennett Hogg about their ongoing project with master printmaker Alex Charrington, and Natural History Sound Recordist Geoff Sample.

Together they have been developing work that explores the relationship between the natural world, its specific cultures and cultural ecologies and our own sense of culture/s. In particular, they have embarked on a three-year study of a dawn chorus in Northumberland representing their research variously as digitally manipulated sonograms and musical transcriptions.

The idea of the ‘dawn chorus’ vies with nightingales song as the aspect of birdsong most engaging to the general public.

Although the established understanding of birdsong is rooted on the premise that each singing bird is only, or predominately, concerned with intra-specific communication, listening to the mass of birds singing at dawn we intuitively describe the phenomenon as a chorus. However, new analysis of the whole auditory scene suggests inter-specific structure as well, giving rise to the ‘chorus’ impression, rather than random cacophony. This is the ‘area’ that our project specifically focuses on.

Contemporary understandings of the relationships of humans to a ‘more-than-human-world’ have begun to move away from a ‘preservation’ model to one of ‘sustainability’ and we now recognise the inescapable interdependence of humans and their environments, a model that sees humans as participant members of a world rather than its users. This project links the Arts and the Environmental Sciences, human expression and bird communication in a collaboration, exploring ways of presenting and re-imagining our complex, embodied and participatory engagement with a particular aspect of local ecosystems – a dawn chorus.

For a place please email Josephinecousin@googlemail.com.

Talk by artist Ruth Bond – Tuesday 21st April

Outer Hebrides and Northumberland captured in oils – a journey of colour

Tuesday 21st April, Nibbles 6 pm – talk 6.30 to 7.30 pm,
Seminar Room, Hatton Gallery, Newcastle upon Tyne.

Born under African skies, Ruth Bond has worked in many countries across the globe, absorbing cultures, colours, textures and especially the beauty of the natural world. Ruth studied Fashion at Newcastle University and then went on to become a multi-award winning Interior Designer. Now, the light and subtle colours of the Northumberland countryside infuse her painting of some of the most dramatic skies and strikingly beautiful beaches in the world.

Ruth’s recent work reflects her visit to the Outer Hebrides. She realised that the colours of the landscape reminded her of the colour combination of renowned Harris Tweeds. As a result, the landscapes resemble not just the purple, peaty rivers, vibrant turquoise of the seas, blindingly white beaches and heathery moors, but also the natural ingredients that went into dying the yarns.

“Colour has always been the most important element of my landscapes and seascapes. The colours I discovered in the Outer Hebrides were astonishing. Attempting to capture these in my paintings has been a beautiful experience.”

Trips to the Farne Islands during the spring nesting season, where the quirky and flamboyant Puffins caught her eye, inspired a painting that was shortlisted for the David Shepherd Wildlife Artist of the Year 2019 at the Mall Galleries, London.

Ruth’s talk will take us through her personal journey from a career in fashion and interior design to the joys of painting with oil, inspired by the seascapes of the Western Isles and Northumberland.

For a place please email Josephinecousin@googlemail.com.

Dates for your diary – Spring 2020

Further details of the following events and talks will appear in the next bulletin issue.

In the meantime, please make a note in your diary where appropriate.


FotH Annual General Meeting 2020

Saturday 18th April 10.00 – 12.30. Learning Room at the Gallery.

The agenda and programme are on pages 5 & 6 of this issue. While it is not necessary to book for the AGM, please let us know if you wish to stay for a complementary lunch afterwards (about 12.30pm).


Summer Exhibition 2020

Looking ahead we are again planning to arrange for our annual Members Summer Exhibition which will take place in July/August.  Full details with entry forms etc. will be included in the May bulletin.


Booking forms and further details will be available in the September bulletin.

What’s on at the Gallery? Spring 2020

Illuminating the Self

Illuminating the Self

Featuring original work by Susan Aldworth and Andrew Carnie it is a response to ground-breaking research led by Newcastle University into developing a new treatment for epilepsy.

Themes within the two exhibitions include the human perspective of living with epilepsy and the potential impact of technological interventions within the brain. Until 9 May 2020

Origins & Endings
This exhibition brings together the work of an artist and a musician who have collaborated with PEALS academics and scientists.

The works align with the current interest in the Medical Humanities, and the relationship between bioethics and arts practice as a medium for research and engagement. The exhibition features works by musician Mark Carroll and artist Marianne Wilde. Until 7 March 2020

Heather Ross: The Losses

This exhibition is the culmination of Heather Ross’s practice- based PhD research into the work of artist Kurt Schwitters, specifically focusing on his Merz Barn Wall.

The Losses refers to a term used in conservator’s reports, to describe the ephemera (or fragments) which have been detached or become displaced from the original artwork. Until 9 May 2020

Kurt Schwitters’
Merz Barn Wall

The Merz Barn Wall is one of the UK’s international art treasures and is on permanent display at the Hatton Gallery.

As part of the redevelopment of the Hatton, Schwitters’ Merz Barn Wall underwent essential conservation and is now presented alongside new interpretation.

On permanent display

 

 

 

Hatton Gallery Opening Times: Monday to Saturday. 10am to 5pm

What’s on locally March/April 2020

Baltic Centre for Contemporary Art

Judy Chicago, until 19th April 2020

Animalesque / Art Across Species and Beings (group exhibition), until 19th April 2020

Bringing together an outstanding selection of artworks that invite visitors to rethink the human position in the world.

 

The Laing Gallery

William and Evelyn De Morgan: ‘Two of the Rarest Spirits of the Age’
14 March to 20 June 2020

Chris Killip: The Last Ships, gallery reopens soon, check with the gallery for details.

 

Northern Gallery for Contemporary Art, National Glass Centre, Sunderland

Simon Martin, until 29th March 2020

Simon Martin’s work is in the permanent collections at the Tate and the Dallas Museum amongst other international institutions.  His works have been described by the New York Times as “masterpieces of poetic discretion”.

Chad McCail: Toy, until 19th April 2020

The artist Chad McCail has spent 3 years developing a single monumental new work specially for the Northern Gallery for Contemporary Art.  This exhibition presents an enormous 3 dimensional cityscape that fills the entire gallery.

 

The Biscuit Factory

Spring show, from 7th March 2020

headlined by the Contemporary Young Artist Award 2020 – an exhibition featuring the work of 45 artists, shortlisted from over 1200 submissions.

 

Side Photographic Gallery

Rena Effendi – Waiting for Winter,
until 5th April 2020

Effendi’s work focuses on themes of environment, post-conflict society, the effects of oil industry on people and social disparity.

Tessa Bunny, until 5th April 2020

For 25 years Tessa has photographed rural life, working closely with individuals and communities to investigate how the landscape is shaped by humans.

 

Oriental Museum, Durham

Pushing Paper: Contemporary Drawing from 1970 to now, until 17th May 2020

A British Museum touring exhibition illustrating how artists experiment with the power of paper to express their ideas pushing the medium in new directions.

Season’s Greetings…

… and the best of wishes for 2020

Welcome to the Friends’ bulletin for December and January 2020.

This issue includes an article on fellow Friend and “plein air” artist Stuart Jones. If you would like to be our “Featured Friend” in a future bulletin, drop us a line and we’ll send you our questionnaire, FotHevents@gmail.com.

We have included a profile of local artist Mike Collier along with two reviews of a talk, which the Northumbrian Milliner Margaret Woodliff Wright gave in November.

We have included details of up and coming talks and events, “What’s on” at the Hatton Gallery and also at other local venues.

As always, the committee appreciate members’ views and comments. If any member wishes to include an article in a future bulletin please contact the Secretary,  Richard Thompson.

Reaching a wider audience

Over the recent months we have been publicising our talks and events more widely on our website and on Facebook. This has raised the profile of the Friends of the Hatton and allows us to reach a broader audience with, and get new members.

At times, this has generated a lot of interest from Friends and non-Friends alike. For our free talks this isn’t that much of a problem (aside from the possibility of exceeding the capacity of booked rooms). For our paid activities and workshops with a limited number of spaces however it is more of an issue. The committee has decided therefore to introduce a two tier pricing structure for workshops and a waiting list to ensure Friends get priority and cheaper fees.

We will also be encouraging non-member attendees of our free talks to make a donation to Friends of the Hatton, or, even better, to join up.

Mike Collier – a profile

Mike Collier is a lecturer, writer, curator and artist.  He studied Fine Art at Goldsmiths College before being appointed Gallery Manager at the ICA in London.  He subsequently became a freelance curator and arts organiser, working extensively in the UK and abroad.

7In 1985, he moved to Newcastle upon Tyne to run the Arts Development Strategy at the Laing Art Gallery, where he initiated the Tyne International Exhibition of Contemporary Art.

For the last 25 years he has worked in education and is currently Professor of Visual Art at the University of Sunderland and has a studio in Newcastle at Cobalt Studios.

Mike’s most recent project has involved a collaboration with Dr Bennett Hogg (composer/musician, Newcastle University https://soundcloud.com/bennetthogg), master printmaker Alex Charrington (a Newcastle University Alumni http://www.platformagallery.net/artists/alexcharrington) and natural history sound recordist Geoff Sample, who has his own label called Wildsong (http://geoffsample.com/wildsong.html).

8Together, they have been developing new work that explores the relationship between the natural world, its specific cultures and cultural ecologies, and our own sense of culture/s. In particular, they have embarked on a three-year study of a dawn chorus in Northumberland, representing their research variously as digitally manipulated sonograms and musical transcriptions. This work has formed the basis of a series of screen prints, music and digital prints – work that has been widely seen and enthusiastically received in venues across the North East and the South West of England over the last two years.

The idea of the ‘dawn chorus’ vies with nightingale song as the aspect of birdsong most engaging to the general public, as evidenced by attendance on dawn chorus walks and the gradual proliferation of events celebrating International Dawn Chorus Day. Although the established understanding of birdsong is rooted on the premise that each singing bird is only, or predominantly, concerned with intra-specific communication, listening to the mass of birds singing at dawn we intuitively describe the phenomenon as a chorus. However, new analysis of the whole auditory scene suggests inter-specific structure as well as intra-specific relationships, giving rise to the ‘chorus’ impression, rather than random cacophony. This is the ‘area’ that our project specifically focuses on.

6Contemporary understandings of the relationships of humans to a ‘more-than-human-world’ have begun to move away from a “preservation” model to one of “sustainability”, and we now recognise the inescapable interdependence of humans and their environments, a model that sees humans as participant members of a world rather than its users.  This project links the arts and the environmental sciences, human expression and bird communication in a collaboration, exploring ways of presenting and reimagining our complex, embodied and participatory engagement with a particular aspect of local ecosystems – a dawn chorus.

Mike runs WALK (Walking, Art, Landscape and Knowledge) a research centre at the University of Sunderland which he co-founded with colleagues Tim Brennan and Brian Thompson. WALK aims to explore how cultural practitioners creatively engage with the world as we walk through it.

Mike is on the Advisory Committee for NECVAN; is a Director of Cobalt Studio and is the Visual Art Advisor for The Wordsworth Trust. He has shown and published widely in the UK and abroad and his work is a number of public and private collections.

For more information see http://mikecollier.eu

The Northumberland Milliner reviewed… twice

On 19th November, local milliner Margaret Woodliff Wright came in to talk to the Friends about her work. The following responses to her talk are from two of our fellow members:

A talk by Margaret Woodliff WrightHat and photo © Margaret Woodliff Wright

Margaret introduced her talk by showing a video about the large variety of hats that were available.  Margaret then went on to describe her journey of becoming a Milliner, her training, her exhibitions, her workshop themes and the materials she uses to make her hats. Everyone was very interested in the talk and numerous questions were asked. Margaret brought with her an extensive collection of her hats which were amazing – each one completely different.  It was a very enjoyable evening talk.

Jo Cousin


Hatton’s for Hats

During her talk, Margaret Woodliff Wright led us through her professional and academic career from her position as a Buyer at Fenwick, as a mature graduate in Couture Millinery at Leeds University, to being an exhibitor at London Hat Week.

IMG_9152She explained the inspiration and background to her numerous collections and how she sourced materials to construct her head pieces.

Margaret frequently uses recycled and repurposed materials in her work. It was amazing to see an unwanted jumper donated by a friend designed and created into a unique, couture masterpiece.

Another one of the wonderful exhibition pieces was made from recycled metal formerly part of a weaving loom.

My personal favourite was the carefully researched and inspirational WW1 Collection. In particular the Sweetheart Pincushions, with their most beautiful linings.

Not only does Margaret design hats and fascinators she also has a new range of headbands which are also proving to be very desirable.

As well as her internationally featured millinery business, Margaret accepts commissions and holds teaching workshops and masterclasses to share her expertise.

She is truly an Artist Maker.

Doug Howell MBE.