Browsing by Author "Clarke, Louise"
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Item Metadata only 200 Words(2017-04) Clarke, Louise200 Words is one of two short texts in the book of ideas by performance and endurance artist John Court published in 'an idea of performance a idea of art: By John Court' (Frame Contemporary Art, Finland 2017). This is a large collation of many notebooks which contain John Courts drawings, notes, sketches and ideas for drawing based performances, spanning a period of five years. Other contributing authors include Márcio Carvalho, Phil Sawdon, Sandra Johnston, Victoria Gray, Jonas Stampe, Yingmei Duan, Deborah Harty, Nathan Walker, Shannon Cochrane and Dider MorelliItem Metadata only Ark2000(Kunstbrucke Project Group and Bermondsey Artists' Group, 2000) Clarke, LouiseItem Metadata only Art Open Competition(2014-11) Clarke, LouiseThe Art Open at Harlow in an annual competition organised by The Gibberd Gallery. Louise Clarke was invited to be a judge along with Paul Hedge from Hales Gallery, London. The prize winner: Siobhan Dehaney, 'Nude Man', clay sculpture This invitation to judge the open with Paul Hedge came as evidence of peer recognition and of her presence in reviewing and commentating on art through the articles she has written for The Saatch Gallery Magazine: Art & Music This annual Harlow Open has been established for nine years and offers the opportunity for artists who have a connection with Harlow to submit work for exhibition. This year saw a record number of entrants with 165 pieces entered with 116 pieces being exhibited.Item Metadata only The Art World Whodunnit(The Times Magazine, 1998-11-21) Clarke, LouiseA hugely publicised and popular fund raiser exhibition the brainchild of Suzie Allan at the Royal College of Art. Both students and famous, established artists exhibit small works together, their identities only revealed after the event.Item Metadata only Artificial Limbs(Angel Row Gallery, 2004) Clarke, LouiseDevices - or any contrivance designed to mediate the artist's default mark making gestures - need not remove consciousness or intellect from the drawing process. Like a true artificial limb, they employ the pragmatic and the mechanistic to harness reasoned thought and human impulse. The finished drawing can be seen as the pure expression of system or machine as mediated by the artist's consciously imposed strictures, while, at the same time, the system implicitly challenges the democracy and meritocracy of drawing, shedding new light on romantic notions of 'the muse' and lending a provocative ambiguity to the authorial hand.Item Metadata only Assembly(2000) Clarke, LouiseItem Metadata only Bugbear(Fika Recording, 2014-06) Clarke, LouiseThe musician Darren Hayman invited artists to select a song from his concept album Bugbear and respond by producing a visual artwork. All the images were printed in the albums booklet. Darren Hayman's LP of seventeenth century folk songs called Bugbears is encased in deluxe packaging and accompanied by a massive booklet of Darren's notes, lyrics along with artwork by various artists; the 13 songs are illustrated by 13 artists, including Ant Harding of Hefner, Jonny Helm of The Wave Pictures, Pam Berry of Black Tambourine, Dan Wilson of Withered Hand, Robert Rotifer, Sarah Lippett of Fever Dream, Louise Clarke, Joe Besford, James Paterson and Matthew Sawyer.Item Metadata only Calendar Girl(The Saatchi Gallery Magazine: Art&Music, 2015) Clarke, LouiseIn the latest of her regular drawing columns, artist Louise Clarke divulges how links between the Moon, menstruation and mark making were instrumental in forging her art practice.Item Metadata only The Case For Pencils(The Saatchi Gallery Magazine: Art&Music, 2015) Clarke, LouiseLouise Clarke's regular drawing column is almost literally that, a column of books, currently in her studio each of them about, obliquely referencing or tangentially inspirational toward drawings that she is currently working on, planning or fantasising about. Consider it a recommendation to anyone who might be looking for something to put the lead back in their pencils.Item Metadata only The Case For Pencils: Pencils(The Saatchi Gallery Magazine: Art&Music, 2016-12) Clarke, LouiseImage of Louise Clarke's tools - drawings of and by pencilsItem Metadata only Casting(Fermynwoods Contemporary Art, 2016-04) Clarke, LouiseFermynwoods Contemporary Art works with vulnerable young people through their CE Academy Programme. Louise Clarke was invited to devise and deliver a workshop using her practice as the driver for pedagogy, communication, discussion and learning new skills and as part of Louise Clarke's commitment to engaged practice and alternative education. The CE Academy provides alternative education for young people who are permanently excluded from school, dual registered and for school age mothers. They work with practicing artists: 'To be an artist is often to be an outsider, and ..... we have watched how young people who have been excluded, find it easier to establish a rapport with our artists. They have an ability to connect with young people partly because they are not mainstream, but primarily because they have a passion for their practice that engages, enthuses and in many cases ignites in young people a desire to learn that has lain dormant for a long time.' (CE Academy, publication isbn: 978-1-36-7276345)Item Metadata only Clothes, Clothes, Cloths. Music, Music, Music. Boys, Boys, Boys.(The Saatchi Gallery Magazine: Art&Music, 2014) Clarke, LouiseItem Metadata only Colleen(The Saatchi Gallery Magazine: Art&Music, 2013) Clarke, LouiseItem Metadata only Cutting up rough(The Saatchi Gallery, 2017-07) Clarke, LouiseMontage is now firmly embedded in fine art education and practice, with John Stezaker's decisively cut photographic collages now as ubiquitous as Picasso's drawings in a Foundation courses' arsenal of references. In her latest column, Louise Clarke uses an invitation to hold a workshop at Fermynwoods Contemporary Art, in Northamptonshire, as a timely excuse to re-engage in the punk-style liberation of cutting out, photocopying and collaging.Item Metadata only Dirty Hits(The Saatchi Gallery Magazine: Art&Music, 2010) Clarke, LouiseItem Metadata only Do Not Abandon Me(The Saatchi Gallery Magazine: Art&Music, 2011) Clarke, LouiseItem Metadata only Drawing Now: Between the Lines of Contemporary Art(I.B. Tauris, 2007) Clarke, LouiseTRACEY is an online peer reviewed journal hosted by Loughborough University (School of Art and Design), that publishes and disseminates material concerned with contemporary drawing. Drawing Now: Between the Lines of Contemporary Art is a publication offering a survey of contemporary drawing practices. A gallery in book form, this showcase of the best of drawing now features over one hundred works by almost fifty artists, including Susan Hauptman, Paul Noble, Jeff Gabel, Tracey Emin, Jane Harris, Erwin Wurm, Cornelia Parker, David Shrigley and 2004 Jerwood Drawing Prize winner Sarah Woodfine. Carefully 'curated' with many new drawings specifically commissioned for the volume, the book also includes an introduction for the Editors which lays out the themes underpinning this diverse and exciting selection of work. With a revival of interest in drawing in recent years, Drawing Now is a timely collection of the work of artists intent on giving a contemporary twist to this most traditional of forms.Item Metadata only Drawing The Space Between(2014-10) Clarke, Louise; Davies, Emma; Shepherd , L.; Barnett , H.A collaborative performance and public participation workshop: Drawing the Space Between. An experiment devised and created by four practitioners from theatre and the visual arts. The coming together of two disciplines: movement and drawing, with each being inspired by the other. Artists are: Emma Davies and Louise Clarke (Visual Artists) Lisa Shepherd (Drama Therapist) and Helen Barnett (Theatre Director)Item Metadata only Dub It Out And Start Again(The Saatchi Gallery Magazine: Art&Music, 2016) Clarke, LouiseItem Metadata only Exquisite Corpsing(The Saatchi Gallery, 2018-03) Clarke, LouiseIn her latest drawing column, Louise Clarke enjoys the frisson of 'picture consequences'.
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