An Introduction to 2013 Northern Art Prize; words by Jessica Peace …
Last night I went to the Culture Vulture bloggers we were granted access to the Northern Art Prize in the Leeds Art Gallery, before the spilt champagne of the private view and whilst two of the artists were still dressed in soiled overalls and straddling ladders. No photo’s to be published until after Wednesday we were told. From what I can gather the artists are nominated as artists as opposed to specific pieces exhibited; only work stemming from the past two years is considered and all artists must be based in the North of England. Four artists are shortlisted and exhibited.
Emily Speed’s work incorporates performance and though we did not see the dancers interact with the structure, the structure and pieces hung close by were interesting in themselves. The dull grays and terracotta’s used, the delicacy of the sketches; the connotations of the aprons and cushioned seats inserted into mock brick walls. And not just to stare at – the audience can move around and sit their bottoms inside. I am intrigued as to how the performance will unfold and Emily’s direction and use of the dancers technique.
Rosalind Nashashibi shares the space with Emily Speed. Her pieces here seem to bring up issues of gender and a tongue-in cheek-gesture towards spirituality and the West; Mickey Mouse’s hands forming a Buddhist pose, a tree with a crotch. Rosalind’s short grainy film captures the Scottish Ballet Theatre in rehearsal as the public are brought in to watch and comment.
Joanne Tatham and Tom O’Sullivan were still working as we stepped around their scaffolding. They have inserted a site specific archway; which if viewed from the Leeds Art Gallery entrance frames works from the permanent collection from the Victorian era which is when the gallery was first established. Leading past from beneath the archway is an archiving of the pairs previous works.
Margaret Harrison makes references to Greenham Common and Tennyson regarding overlapping themes. A reconstruction of the barbed wired fence of the Common and a take on Waterhouse’s ‘Lady of Shalott’ (which is in the Gallery, I think). Both the Lady of Shalott and the women protesters of Greenham Common used mirrors and reflection as a source of protection and information. They were women trapped, if by differing constraints.
Thank you to Sarah Brown and Amelia Crouch for guiding us so wonderfully and informatively through the works and explanation of the prize.
Quote of the evening ‘I just look at that and all I think of is male crotches’
I found myself in an exhausting yet necessary discussion at the end of the evening regarding Contemporary Art and its potential to glorify unauthentic works. This I must construct a more concise answer for before I am battered to the gallery floor under regurgitated arguments of aesthetics, concepts over output and the problem of the use of the word ‘beauty’ regarding contemporary art. (Yes, I did find Rosalind’s tree ‘beautiful’) The moral of this particular battle would be; If you like a piece of art, that is valid. If you don’t like a piece of art this is also valid, the reasons that lead to this opinion can be your own and do not require a reference point…
If you don’t like the gherkin in your burger then I will eat it for you.
Northern Art Prize 2013
28th March to 16th June, Leeds Art Gallery, The Headrow
Emily Speed’s ‘Carapaces’ will be performed every Wednesday during the exhibition 12.20 till 1.30
ALL FREE ADMISSION
There are conversations with the artists throughout the show which require booking, all cost £5 or concessions £3.
Winner announced 23rd May