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
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
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.
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.
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 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.
In 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.
Together, 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.
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 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.
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 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.
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.
She 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.
Please tell us a little bit about yourself and your passion for art: I’m an outdoor landscape painter which involves painting directly from life on location in the open air or ‘en plein air’, a French term coined by the Impressionists. My passion for art was fostered throughout my education. I did a foundation Fine Art course at Cleveland College of Art and Design, and then went on to do a BA Hons Fine Art Degree at Northampton University.
I moved back to the North East and worked as an Art Technician in a secondary school and decided to take a two year MA in Fine Art at Newcastle University. This allowed me to experiment with my art practice though I ultimately turned back to my first love of drawing and painting after graduating.
I studied for a PGCE in Art and Design Education at Northumbria University and used these teaching skills as an Outreach Officer. After several years of teaching workshops and delivering community projects, I decided to focus on my own art practice again. My wife and I have two young children and I was able to work part-time, look after the children and pursue my passion for oil painting.
I couldn’t afford to rent an expensive studio and also felt that painting indoors didn’t offer enough excitement. I wanted to feel inspired by the places around me and so resolved to work almost exclusively outdoors, working quickly to get some energy and life into my paintings.
Everytime there is something new to take your interest. I love paining at the coast and it’s amazing how water can change its colour and appearance depending on the lighting conditions of the day.
Can you tell us more about the artwork featured on the title page? This is a plein air painting created during the summer, called Haybales in a Field, Blyth. I’d set up my equipment near a farmer’s field not far from the seafront promenade. I was interested in the familiar sight of haybales sitting in a field, working with the seasons and responding to the subject matter at hand. I also enjoyed the way the light was catching the very tops of the bales and the swirling straw effect, which was painted using a hog bristle brush as it leaves wonderful linear marks through the paint. Showing directional marks of the field and grasses, as well as hedges and a distant church helped provide a bit of context to the scene to tie it all together.
What are you currently working on/planning to work on? Currently I’m responding to an open call exhibition for Northumberland: Magic and Myth at Woodhorn Museum so am hoping to submit a piece to this in the new year.
I’ve been heading into Northumberland making paintings in which trees play a supporting role to a main subject, as I wanted to capture the changing Autumn colours with the burnt oranges and yellows coming through. With all the rain we’ve been having lately it has made it tricky to paint in oils and I have had to wipe a few boards that haven’t worked. That’s all part of the experience of painting plein air though.
When the Winter arrives, I’m looking forward to painting snow scenes in some of the local parks and families playing in the snow. It’s probably the only time of year when the ground appears as being a lighter value than the sky so it’s an interesting challenge observing and painting the various tints and chromatic whites.
Are there any events/exhibitions upcoming that you’re particularly excited about? I’m part of the group Winter Art Exhibition at Bistro Du Parc art café in Tynemouth from 22nd November 2019- 6th January 2020. As well as having original plein air oil paintings available on show, I’m also excited to offer limited edition archival quality prints for the first time.
Who is your favourite artist and/or what is your favourite art movement? My favourite art movement has to be the Impressionists for their painterly brushwork and vivid use of colour. I enjoy Camille Pissarro and British plein air artists like David Curtis ROI RSMA and cityscape painter Peter Brown. I recently saw the work of Spanish artist Joaquin Sorolla at the National Gallery in the exhibition Sorolla: Spanish Master of Light. His seascapes and ability to capture light on white fabric in his paintings were truly breathtaking and very inspiring.
When did you become a Friend of the Hatton Gallery and why? I became a Friend of the Hatton after graduating from Newcastle University in 2007/08 and again in around 2016. I felt having studied on the MA Fine Art course at Newcastle I wanted to continue having a link with the university and supporting the gallery that had displayed my work in the final degree show. It’s a great way to meet fellow artists in Friends of the Hatton and attend exhibitions by members. I think it’s important to be part of and actively support the arts community in Newcastle so that it grows for the benefit of new members and audiences.
What is your favourite part of being a Friend of the Hatton Gallery? I think it’s great we have access to learning opportunities as part of the group and are able to listen to presentations by staff, artists and lecturers about the exhibitions that the Hatton Gallery showcases. I also think having the opportunity to share your work in group exhibitions is an extremely positive part of being a member as it adds value to the group’s activity as being one that is engaged, active and is a champion for the visual arts to students and the public alike.