#firstsit

[downthetubes]

Doctor Who artist’s work included in  “Lunar Lullabies” exhibition

 “Lunar Lullabies”, an exhibition offering “A Galactic Journey Through 200 Years of Space Exploration” is currently running at Colchester’s Firstsite gallery

[221177]

Me and Maggi … tonight at @Firstsite’s grand opening of amazing new exhibition BIG WOMEN @firstsitecolchester #firstsite @maggihamblingartist @sallysarahshaw @colchartscentre #essex @artineastanglia #magnificent-women https://www.instagram.com/p/Cofx8xxIpes/?igshid=NGJjMDIxMWI=

[streetart-nightly]

COMMUNITY VOICE COLCHESTER

come and join THE DIGGERS - 370 YEARS ON

in the cultural quarter next to Firstsite

Sat. 13th July [2019] building wooden containers Sun. 14th July [2019] planting wooden containers

bring: wood - tools - screws - plans & compost - plants - seeds

[keithbloodymaryexhibitions]

Exhibitions

2021 Group Exhibition, Analog – An Exhibition of Contemporary Collage, Tarpey Gallery, Castle Donnington, UK 2021 Open Exhibition, International Postcard Show, Surface Gallery, Nottingham, UK 2020 Solo Exhibition, CollAge (a collaboration with University of Nottingham School of Veterinary Medicine), Hockley Arts Club, Nottingham, UK 2020 Open Exhibition, HOME Open 2020, HOME, Manchester, UK 2019 Collaborative Project, Culture Cure Late, Museum of Science and Industry (MSI), Manchester, UK 2019 Group Exhibition, Aintree University Hospital, Liverpool, UK 2018 Group Exhibition, Manchester School of Art Master’s Show, Manchester, UK 2018 Collaborative Project, Absolute Beginners, King’s Arms, Manchester, UK 2018 Collaborative Exhibition, Cluster Collective, OA Studios, Manchester, UK 2018 Collaborative Project, Soapbox Science, Gravity Fields Festival, Grantham, UK 2018 Solo Exhibition, Unfashioned Creatures, Wigan STEAM, Wigan, UK 2018 Residency, Natus residency progamme, Wigan STEAM, Wigan, UK 2018 Collaborative Project, Soapbox Science, Bluedot festival, Macclesfield, UK 2018 Group Exhibition, To Board a Plane, OA studios, Manchester, UK 2018 Group Exhibition, The Museum of Everyday Life, Manchester School of Art, Manchester, UK 2017 Collaborative Project, Get It Done, Goodstock, Manchester, UK 2016 Solo Exhibition, Just your average private view, Drs Orders, Nottingham, UK 2016 Collaborative Exhibition, Dizzy Ink Brexit project, Quad, Derby, UK 2016 Solo Exhibition, What a thing to say – and on my birthday! Pepper Opal Gallery, Brussels, Belgium, UK 2016 Group Exhibition, SHE UK, Tanner Street, London, UK 2015 Group Exhibition, Yours Comes Comitis, Firstsite, Colchester, UK 2015 Residency, Circuit / Organisational Change, Wysing Arts Centre, Cambridge, UK 2014 Group Exhibition, Five, Bohunk Institute, Nottingham, UK

Publications

Consilience Journal (2022), Field Notes, vol.1. ‘Perceptions’ issue, [online] Here Comes Everyone (HCE) (2019), The Classified Issue, vol.9., issue 1., Coventry, UK Planet Bee (2019), vol. 2, Manchester University, Manchester, UK JAWS (Journal of Arts Writing by Students) (2019), Unfashioned creatures: A study of photo-collage and its relevance in the twenty-first century, Intellect Books, vol.5., issue 1., London, UK Leftlion (2018), The first 100 covers, Leftlion Ltd, Nottingham, UK Phox Pop Magazine (2018), Phox Pop - Art | Science | History, issue 5., UK Siege Magazine (2018), Siege Magazine, vol.1, Manchester, UK Leftlion (2018), Leftlion Magazine #99, March 2018, vol. 99, Nottingham, UK Sober Magazine (2018), Issue One: Identity, SOBER., vol.1., [online] Timmins, B. (2016) Gender neautral artist and bad taste curator: Keith Mary, XXY Magazine, 21 Nov 2016 [online] Sweet’art (2016), SHE, Sweet’art, London, UK Average Art Magazine (2016), Average Art 1, vol.1

[biglisbonnews]

Sarah Lucas Delves Into Her Rebellious New Exhibition of Women Artists “It aspires to be thought-provoking, funny, serious, attractive and fun,” says Lucas of her new all-women exhibition in Colchester, which includes work by Gillian Wearing, Maggi Hambling and Sue Webster https://www.anothermag.com/art-photography/14672/sarah-lucas-big-women-exhibition-firstsite-gillian-wearing-maggi-hambling

[worldpluginsgpl]

Firstsite Pro

Take advantage of the quality and functionality of Firstsite Pro!

Firstsite Pro is used by many WordPress and WooCommerce users. Firstsite Pro is available with its description, license and support on one of the official sites below. Link Demo: Link to buy: Read the full article

[th3purplemoon]

The first sitting and sources #1

The #Witness project, a rework of #history into the #story, took a different direction than anyone should think. It sounds easy to some, complicated to others. In the end, it is something else. It is fun. #historicalstory #study #sources #firstsitting

The Witness project, a rework of history into the story, took a different direction than anyone should think. It sounds easy to some, complicated to others. In the end, it is something else. It is fun. If the story is from the place, like in this case, from history, a source is needed. I need to study what should happen and then process it. It is a boring part of the work, but necessary. Making…

[queenkunt]

#FirstSit w/ @longtimedeadtattoo ✨ (at Long Time Dead Tattoo Studio)

[whitetaildrifter]

The original hang & bang ? @bowhuntingal310 You can hear the episode where this term originated by going to @workingclassbowhunter on any platform to tune into Danielle break it down. As for me, I applied this method to my hunting arsenal for the 2018-2019 season and had great success. You’ll hear a lot of successful veteran bowhunters talk about the key to the first sit “surprise” and how it plays a roll in success. I had the opportunity to hunt in 3 different states this season. Harvesting 3 public bucks in 3 different states but most importantly challenging myself every step of the way. If you’re finding your wheels just spinning in the mud give the outdoors a try. I neglected them in my late teens early 20s and found them before it was too late. I’ll never live another way. Give it a try! . . 🥾🏕🦃📹🚙💨 . . #solohntr #publiclandowner #hangNbang #budgetbowhunter #travelingbowhunter #firstsit #whitetails #missouri #publicland #shedreapers #milesforpiles #knowwhereyoustand #lifesapassionpursueit https://www.instagram.com/whitetaildrifter/p/BucW6qnBZE7/?utm_source=ig_tumblr_share&igshid=1rshr5uaxfq44

[ex-animo-corvus]

First sitting on this head tattoo. So swollen by the end😱Thanks for sitting so well @mattyjuice 🖤 #headtattoo #firstsitting #linework #mandala #blackwork #blackworktattoo #corvustattoos #kamakaziink #kamakaziedmonton #ladytattooers #edmonton #tattoo #tattoos #edmontontattoo #alberta #canada #780 #edmontonarts #canadiantattooartist #womenwhotattoo Email me @ corvustattoos@gmail.com to book! Or call the shop @ 780-702-7153 from 12-4pm on Wednesday, Friday and Saturday, and ask for Jeanette! She will find you a spot while you're on the phone! 💜🦄💜 (at Kamakazi Ink) https://www.instagram.com/p/Bqh5CzhAfmg/?utm_source=ig_tumblr_share&igshid=1xao3z5a9vdi0

[world4babies-blog]

SitUps! 👶 . Pulling your baby up into a sitting position is another good way to strengthen the muscles in her shoulders, core, arms, and back, says Steve Sanders, Ed.D., author of Encouraging Physical Activity in Infants. . #babysitting #firstsitting #babyactivity #morningbaby #cutebaby #fluffy . @smile4baby🐙 @locca.baby🐙 @children_play 🐙

[amyturner-posts]

Thursday 11th November

Trip to Firstsite

We looked at the remaining exhibition of ‘Essex Man’ by Micheal Landy. The exhibition ‘Bob’ Backgrounds, Guess who’s back?’ which a second exhibition from Noah Meaking. It started off from Noah’s idea of sending pieces of cardboard he had pointed to people for them to add on to it. It was posted on social media and hundreds of artists responded creating ‘Bob’ Backgrounds’ the pieces all sold for £100,000+ which was donated to the Colchester Child’s Hospital. The last exhibition was on contemporary art, which held my favourite pieces. I specifically like the oil pastel drawings (photos four and six)

[scottnickerson]

Start of portrait from live model 2 hours . Weekly sittings. #artistsoninstagram #demonstration #oilpaintinginstruction #oilpainting #color #skintones #livemodel #firstsitting #realism #eyesocket #norwegianman #norway🇳🇴 #instaart @timaanensenfineart @ccsfineartmaterials @newwaveart (at Ocean Township, Monmouth County, New Jersey) https://www.instagram.com/p/CUsVsAlAug2/?utm_medium=tumblr

[khabelone]

GAFA version 1.0 #gafa #google #facebook #linkedin #twitter #gafas #firstappearance #firstsite https://www.instagram.com/p/CT11soMAT3h/?utm_medium=tumblr

[womenartistszine]

“I don’t think I know Rose very well…” – Musings on; Power for the People (an exhibition of works by Rose Finn-Kelcey at Firstsite, Colchester)

Exhibition Review by Alison Humphrey 

As an exhibition, Power for the People is nearly perfect. There are few things I would change beside the inclusion of more work. Not to fill this space, but in further galleries. I want to see twice as much work in twice as much space, with twice as many people shouting more than twice as loud about the quality of the concepts on display. On the whole it’s aesetically minimal, characterized by order, simplicity and harmony. It is also conceptual, spacial and in truth I relish this opportunity to look, alone, around the exhibition, without the visual and aural interruption of other visitors, or other artworks. To quote Guy Brett, “no two works of hers are physically alike; each represents a fresh challenge…” * 

Installation images Photo: Wilf Speller, Courtesy Firstsite

Finn-Kelcey explores power and agency, there are political works, photo and video works, objects and interventions. Some works span these genres, including her striking ‘wind dependent objects’, or flag works. Fog, flown from Alexandra Palace in 1971, and Power for the People, hoisted briefly at Battersea Power Station in 1972. I like these artworks. I find them impactful, relevant and affecting. I’m reminded of political works by Vallie EXPORT and Yoko Ono, the text works of Jenny Holzer, Barbara Kruger even. The idea is the most important aspect, and the artwork exists in multiple times and in numerous guises. Although I like the interventions, performances and the photographs I’m drawn more to Finn-Kelcey’s intimate works, those which I feel, have a greater subtle poetry and poignancy.

Blushing Book Vol 1  1977 
Leather, paper, cardboard, dye
. Unique
. Approx. 16 x 23 cm

There is a quiet piece, Blushing Book Vol 1 (1977), which I feel excellently represents many of the artists’ key interests; feminism, spirituality, commodity culture and individual empowerment.  This piece demonstrates Finn-Kelcey’s faultless commitment to her concepts, where each page of the Blushing Book is individually hand dyed, each page coloured a shade of pink to simulate the intimate act of blushing. Blushing is involuntary, an emotionally or psychologically triggered chemical reaction, which might itself be considered a biological artwork, one which the artist has sought to catalogue in this piece. In The Expression of the Emotions in Man and Animals Charles Darwin described blushing as "... the most peculiar and most human of all expressions." Although I cannot think of another artist who has attended to this particular visible manifestation of feeling. Finn-Kelcey bound the pages from light to dark, and was inspired by the work of feminist writer Anis Nin. Attractive and ahead of its time, in ‘millennial pink’, this object is balanced in equally striking aesthetic and concept. One of the most beautifully understated artworks I have had the pleasure of seeing.

 Installation images Photo: Wilf Speller, Courtesy Firstsite

Finn-Kelcey appears to have created a body of work which looks to investigate relationships and condition of being human. The performance piece and photographic documentation; Bulls Eye (1985) and Untitled: Bullfighter (1986) challenge relationships and conceptions to, and of, gender. There is feminism here, over femininity. The work is confrontational but not aggressive. Finn Kelcey appears to be encouraging us, or rather me, to engage with my own ideas and preconceptions, about gender and the environment.  The work conveys a sense of self-empowerment, reminiscent of something Marina Abramovic or Alexis Hunter might produce, arguably both contemporaries of Finn-Kelcey. Broadly the works encourage viewers to explore the perception of self-identity, theirs and the artists’, as many questions are posed as they are answered.

Untitled: Bullfighter 1986 
Black and white photograph of the artist as a matador performing a Rebolera or cape pass. 
Unique
 W 42 x H 44 x D 3cm

It Pays to Pray (1999), is simultaneously ironic and stirring. It invites participation, at least I think it does, although there is tension in the ‘not quite sure’! It’s neon message whirls on repeat, attractive, captivating even. It asks for money, in return it says it will display a prayer. Gallery interpretation informs me that each prayer is named after a chocolate bar, the ultimate aid to quick fix chocoholic consumerism. It is a neat and tidy concept, intended as a public sculpture. I hope its installation in a gallery is the only factor which renders it’s neon invitation unclear. Perhaps in order to be complete this work and some others displayed here need an additional force, an audience, to be complete. In fact, the flag works in particular rely on this intangible natural force, the wind. This exhibition is full of ideas, concepts and thoughts which the artist appears to be presenting for the audience to take up and use as intellectual weaponry. Finn-Kelcey makes suggestions, floats ideas and the audiences’ activism is bought to question.

It Pays to Pray in 2000
 Four vending machines
 LED’s, metal, glass, electronics. As installed at 
River Walk, Millennium Dome, London

I purposefully save the collaborative sound piece; Truth, Dare, Double Dare (1994) for last and I’m glad that I do. It’s moreish, I cannot give up on it or give in to it  or give it up, until every last scrap of sound has fallen on my ears. There is something poignant about the fact I’m alone in this empty gallery, entered though glass doors, closed off from the main space, staring at blank walls, devoid of all visual stimulation, sat on a gallery bench, the generic type, alone apart from the man mirroring my position on the opposite side of the room. I stop listening for a second to wonder if he is noticing how perfect this feels the sound piece comprises of voices reading statements. At first, a female voice (Rose) recounts sentences about a man (Donald) and then a male sounding voice (Donald) monologues a series of statements about a woman (Rose). I hadn’t read the wall text and manically note down some of the things Donald is telling me. In short, simple statements, he tells me; ‘Rose is an enigma, she fears her body, is neat, doesn’t get excited, that this collaboration was her idea, Rose believes in the paranormal, he loves 60s Tamla Motown, wishes he was happy and cried at It’s a Wonderful Life.’ I am struck by how universal these statements are. I am focused on the words spoken, a conversation which allows no time for retort, a stream of unconscious thinking which represents a relationship between two people. On opening the door and retuning to the main space, on leaving the world of Rose and Donald to continue to turn without me, I read the wall text and learn that the work is an exploration of the artists ego, and confrontation of their incompatibility. The work feels intimate yet ubiquitous and omnipresent, I could be listening to my parents, my friends, my internal (or often external) monologue with my boyfriend. It’s conceptually simple, minimal but there is such depth that I find myself choked with the emotion, and I’m probably blushing.

Sensitively curated to allow maximum thinking space or listening space around the intimate works of art on display. Firstsite is a wonderful gallery for this type of minimal, conceptual art. Although, I have said the exhibition is spacial, on reflection I decide it is not. Certainly, it is devoid of clutter and in fact contains few physical artworks. Objects are installed as prompts, to spark and ignite, because all the areas and spaces between these works are actually filled, pervaded with the ephemeral intangible, individual ideas and thoughts of the gallery inhabitants. This, I think is Finn-Kelcey’s greatest concept of all.

*Rose Finn-Kelcey Obituary, Guardian newspaper, 24 February 2014.

 Power for the People is on at Firstsite Colchester, until 4th March 2018. It brings together over four decades of work by British artist Rose Finn-Kelcey, who first came to prominence in the early 1970s as a central figure in Performance and Feminist art.

Images courtesy of the artists website:

http://www.rosefinnkelcey.com