#newlyn exchange

[rebeccachesney]

Storm Warning

Newlyn Art Gallery and the Exchange, Cornwall.

I have works included in this exhibition alongside Angela YT Chan, Joey Holder, Andre Kong, Harun Morrison, Ellie Robinson-Carter, Something & Son, Heloise Tunstall-Behrens, and David Watkins.

Storm Warning is a collaboration between Newlyn Art Gallery & The Exchange, and Focal Point Gallery, Southend-on-Sea, which seeks to raise awareness of the impact of the climate crisis on coastal communities in Mount’s Bay, and South Essex.

And one of my Future Landscape collages made in 2020 has been used on the poster!

Exhibition runs until 13 April 2024.

Admission charges apply.

More info: Newlyn Art Gallery and the Exchange

[learningnewstuff]

THE NEW RURAL

BUILDING FASHION COMMUNITIES AT THE EDGE

JOIN US // DATE: FRIDAY 19TH APRIL 2024

LOCATION: NEWLYN EXCHANGE

Princes Street Penzance, TR18 2NL

TIME: 12:00 - 15:00

In light of shifting perspectives relating to sustainable and inclusive fashion practices, disrupted supply chains, regenerative farming initiatives and an evolving employment market, it is time to reframe Fashion’s urban-centric perspective to better understand the growing dialogue around creative practice outside of the city.

Arts University Plymouth BA Fashion Design brings together a group of established and independent fashion design creatives to discuss making work - just where you are and building a networked creative community at the furthest edges of the Southwest in Cornwall, England.

AGENDA

12:00 Arrive - Newlyn Exchange, Penzance  // The Engine Room

12:15 Welcome & Introduction - Heather Martin, Arts University Plymouth BA Fashion Design Course Leader

12:30 Speaker - Ella McGregor - Raine Studio

13:00 Speaker - Teagan Pharoah Green - Fierce Flora Clothing

13:30 Break

13:45 Speaker - Alice Sainsbury - Tao Studio

14:15 Q & A - with speakers

14:30 Networking

15:00 Close

[abwwia]

Elizabeth Loveday Illustration

"Pecked by gulls" 2019

Newlyn Art Gallery & The Exchange

[eleanorturnbull-blog]

Transition 2017, Newlyn Art Gallery

Photo: Steve Tanner

[mishinashen]

When the Blue Evening Slowly Falls by Frank Bramley, 1909

Moving to Grasmere in 1900, Frank Bramley exchanged the cottage interior for the Edwardian villa, as his primary mise-en-scène. He nevertheless remained fascinated by contrasting interior and exterior light sources as dusk fell in the drawing room on a summer's evening. Here in 1909, a pet Pomeranian named 'Philip', that he had painted on other occasions, disturbs the reverie of a woman robed in emerald. It is likely, given the work's provenance, that the woman is the painter's wife, Katherine. Bramley married Katherine Graham (b. 1872), an art student, in 1891, while he was working in Newlyn. She was the daughter of the Borders historian, John Graham, J.P. of Huntingstile, Grasmere. Four years after their marriage, the couple moved to Droitwich in the West Midlands, but by 1900 had settled at Tongue Ghyll, in Grasmere, where they remained until a few years before the painter's death in 1915. Little is known about Bramley's life during his years in the Lakes, although they lived close to Katherine's younger sister, Elizabeth, who in 1900 had married Charles Chalmers, a colonel in the Royal Scots (Lothian) Regiment. Chalmers became Bramley's most important patron in the early years of the century, owning works such as Friends (1908) and For the Rose was Beauty, as well as his family portraits. During the early years of the century the Chalmers' appeared regularly in Bramley's work, along with their daughter, Helen, one of whose portraits accompanied the present picture at the Royal Academy in 1911. Bramley's Mr and Mrs Chalmers (unlocated) was shown at the Royal Academy in 1902, while Helen Graham Chalmers and her mother (Private collection), appeared in 1908. Bramley's two other exhibits in 1911 were portraits: Helen, Daughter of Charles Chalmers Esq. (no. 142) and Marjorie, (no. 275), a head study of a local girl, Marjorie Bennett. A further family portrait, Fergus, Son of Mr Walter Graham, appeared at the Royal Academy in 1906. These two paintings marked Bramley's election as a full Academician. By this stage the painter had completely abandoned the systematic square brushwork of his youth and his handling in works such as Delicious Solitude (1909, unlocated) was more painterly. This, with its subject ranged to the right of the canvas, parallel to the picture plane, could almost be considered a companion piece for the present work. In the latter, the book has fallen into the reader's lap as she gazes towards the garden. Bramley's drawing room reveries were in tune with those of George Clausen and George Henry - two other early adherents of the 'square brush' method associated with Bastien-Lepage - but his inclination towards narration remained. He now adopted the blue and mauve shadows of the Impressionists, and for this he was sometimes criticized (R. Thomas (ed.), Frank Bramley RA, 1857-1915, 1999 (exh. cat., Usher Gallery, Lincoln), p. 38). It may well be why the cautious and conservative Art Journal described Bramley's work as 'individual and interesting' in 1911 (R. Dircks, 'The Royal Academy: The Pictures', The Art Journal, 1911, p. 170). Indeed, like Clausen, he adopted large windows giving on to a cool crepuscular garden scene as a backdrop. So successful was this setting that the painter returned to it with A Truce, (fig. 1, 1912, Royal Institution of Cornwall) in 1912, a work that closely relates to Confidences (fig. 2, 1911, Royal Academy of Arts, London), his Diploma picture of the previous year. The present canvas precedes this sequence - one that encapsulates the Edwardian middle class ennui. Narrative considerations, as with Fireside Tales (see lot 109) and A Hopeless Dawn (Tate Britain), are never far from the surface. Academy visitors might be expected to speculate on the loneliness of Bramley's model, a young woman whose reverie is unbroken by the appearance of her lapdog - demanding immediate attention. The night is falling, the shadows lengthening and the book is abandoned in a moment of uneasy wakefulness as 'the blue evening slowly falls'.

[nowness]

Free Range Awards

Cole Flynn Quirke is a photographer from Brighton whose photographic process is primarily autobiographical. Cole experiments with moving image, sound and collage in his work, and prints all photographs by hand. Cole’s work was recently featured in the show Many & Beautiful Things at Newlyn Art Gallery & The Exchange in Penzance. For his new exhibition, A Bird Flies Backwards,Cole has chosen to explore and document his own views on existence – looking at life, death and understanding change following his grandmother’s death.

[120-501-3463]

Visit to the Newlyn Art Gallery - 06/12/2018.

The purpose of the study visit to the Newlyn Art Gallery and The Exchange was to visit the Many and Beautiful Things exhibition. The exhibition contained works by a number of Falmouth alumni students and current students as well as staff showing alongside international artists of significance.  

Many & Beautiful Things was concerned with that time in youth when anything was possible, everything is ahead of you, and life is a rush for new experiences. Of course, there may be inner anguishes, but still there’s an abandon, a thirst – before it inevitably leaves, usually gradually, sometimes suddenly. Many & Beautiful Things is as much about those points when things change, as it is about a mind-set that it won’t. And perhaps a nostalgia for more innocent times.

Within Many & Beautiful Things, Fragment 24a presented work by The Collaborators, the gallery’s collective of emerging artists aged 30 and under.

[kittymarthalilah]

Seaside : Photographed

One of the things I love so much about this exhibition is that it evokes such strong feelings of empathy. Such sensory images; looking across the gallery you can almost feel beads of salty sweat trickling down your neck, coarse grains of sand between your toes, rich, soft licks of Mr Whippy rolling across your tongue. The chaotic array of seagull attacks, beach games and family conversations all contribute towards a feeling of relatability; the subjects, captured innocently showing purely their true characters, display characteristics evident of every day life, and every day people. 

Frenzied content juxtaposes with typically central, focused compositions, allowing for a breath of fresh air amongst the array of vividly active photographs. A sense of movement compliments these compositions, creating images that feel close and intimate whilst carrying an air of havoc. Personality is another thing so poignant throughout this exhibition; each image represents a narrative. 

The exhibition, showing at Newlyn Art Gallery and the Exchange, focuses on the relationship between photography and the British seaside from the 1850s to the present. Images of beaches, hotel life, holiday camps, dressing up and dressing down, wild waves and coastlines all combine to create a rich picture of our resorts.

As well as featuring the work of respected photographers including Jane Bown, Henri Cartier Bresson, Vanley Burke, Anna Fox, Paul Nash, Martin Parr, and Ingrid Pollard, the curators have included rich and often unknown work from across photography’s history, including Raymond Lawson’s remarkable chronicle of family life in Whitstable.

Dafydd Jones, Barry Lewis, and Daniel Meadows all photographed at Butlins in the 1970s and Grace Robertson records the raucous goings-on of a women’s day out to the coast in the 1950s. Enzo Ragazzini captures the anarchy of the 1970 Isle of Wight festival, while Stuart Griffiths makes a bleak narrative of the 1990 rave scene in Brighton. Composer Benjamin Britten and tenor Peter Pears, partners in music and in life, created a haven by the sea that they preserved in photographs.

[gextonsecurity56]

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Korbin Newlyn is an expert in the field of home security. In case you should learn more go to Home Security Camera System and at Home Security System

[helens365]

290/366 (16 October): I went to Newlyn Art Gallery & The Exchange today to see the The Silence Is Deafening (BLM) exhibition. It moved me to tears, but didn't photograph well. They also had this exhibition of 'Extraordinary Postcards for Extraordinary Times' - a display of postcards people were invited to create and submit, describing their lives during lockdown. Some were pretty but boring. Others were really funny - one was a list of potential lunch ideas, and another was a a drawing of a man easing the boredom by teaching his goldfish synchronised swimming.

[lauraprisk2020]

Artist Research 1, William Arnold

Biography

William Arnold was born in 1983 and graduated from the University of Leeds in 2004 with a BA (Hons) in History. Arnold went onto the University of Plymouth where he received a MA in Photography – Photography and The Land in 2014.

Arnold is an experimental photographer who is interested in the natural history of surrounding landscapes and how photography captures the changes over time. Arnold lives in Cornwall which provides a variety of landscapes for exploration and photography. Arnold currently works for Truro and Penwith College although he has previously lectured at Bath Spa University.

Arnold has many expeditions dating back to 2011 however, his most recent expeditions include Radical Botany at the Eden Project as well as displays within Newlyn & Exchange from 2nd October 2020 to the 3rd January 2021.[1]

Analysis of William Arnold’s Work

Arnold has many different portfolios of work however, I will be focussing on one of his most recent developments entitled ‘Suburban Herbarium’. This selection of work was first started in 2015 and is still on going with more pieces being added to the collection. Arnold focusses on Truro’s rural-urban fringe with the small lanes which date back to the Victorian era and add character to the city. The flora which he uses within his work is collected from around the Truro college campus during his lunch breaks.

[1] https://williamarnold.net/William-Arnold-bio

Figure 1 (above)

Figure 2 (above)

Figure 3 (above)

Figure 4 (above) 

All four pieces of Arnold’s work has been sourced from his website. Link - https://williamarnold.net/Suburban-Herbarium

The texture and surface patterns from within the pieces of work are hard to determine due to the lack of detail which can be seen on the flora. However, within figure 2 (Symphytum Tuberosum) find lines can be seen on the leaves – this indicates a bumpy but smooth texture. If the leaves were to be photographed and examined outside of the darkroom studio, there would be a wax texture depending on the species of flora. Within figure 3, the leaves appear to be a lot finer but with spikey edges. Although, from these dark room produced photographs it is hard to determine the texture and surface patter as a result of the limited colour palette and overexposure.

The pictorial space within all four pieces of work is very shallow, this is because of the limited subject within the pieces. For example, the space within the figure 1 is consumed by one large flower. In figure 4, an illusion of depth is created through the overlapping of stems and leaves, the overlapping creates the illusion of there being a foreground, middle ground and background. Within all four pieces of work there is a significant amount of empty space in the background which automatically draws the viewers focus to the object within the foreground.

In order to create this series flora was collected and taken into the darkroom to be enlarged so that they could be logged as a study in silver-galetin prints. As stated on Arnold’s website he takes in inspiration from Anna Atkins cyanotype processes in order to create his own work despite their being a variety of ways in which these prints could be made.[2]

There is not a dominant shape or form which can be identified within the four pieces displayed above, this is because flora does not take a fixed form but instead every flower, petal, leaf etc. is unique. This means that every piece which has been or will be created will vary in some way. For example, within figure 2 it can be seen that the leaves on the flower are similar but different and the same can be said for figure 1.

The meaning behind Arnold’s work links back to the Victorian era in and around Truro’s rural urban fringe, his use of photography and collection of flora creates an essence of capturing moments in time where. Because Arnold’s prints are created in black and white, they place emphasis onto the idea of inspiration originating from the Victoria era as black and white photography is all that existed.

The linear markings shown within the work can be seen on different parts of the flora such as the leaves and petals. The most distinct linear markings can be seen on figure 2 and figure 4. Upon close examination of figure 4, it is clear to see where the light shines on the leaves which are situated above the over saturated flower the slightly protruded veins of the leaf.

[2] https://williamarnold.net/Suburban-Herbarium

Wednesday, 23 September 2020

[carylbeach]

Monday 23 March-POTD:Grid

Newlyn Exchange

Lost Gardens of Heligan

Gallery from carylbeach.com website

I do like a grid : photo of the day.

Well the start of another week in our surreal world….Thinking about all the people who have lost their lives to this terrible disease…and those who are still struggling to survive….sending love and hope that we will get through this terrible time.

[shopwearlivedesign]

Free All Over

I know what you’re thinking: we read this already! And yes, I did discuss the free art in the Capital during Frieze week. But today, I thought I would leave London behind and recommend some of my favourite free art galleries around the country. Yes, that’s correct, there is a thriving art scene all over the U.K and some of it is free.

 Whenever I am visiting a friend or going off on a trip, I always look up the local galleries and museums and I’m never disappointed. Some big names appear (Emin at Margate, for example) but more often I find talented local artists, collaborations and new names that are on the cutting edge of the contemporary scene: (Raqs at Manchester). I’ve collected my favourites for you.

 Turner Contemporary Margate

https://www.turnercontemporary.org

Barbara Hepworth Gallery Wakefield

www.hepworthwakefield.org/about/contact-us

Harris Museum and Art Gallery, Preston

www.harrismuseum.org.uk/

Baltic Centre for Contemporary Art, Gateshead

www.balticmill.com

Yorkshire Sculpture Park

https://ysp.org.uk/

 The Whitworth Art Gallery, Manchester

www.whitworth.manchester.ac.uk

 Newlyn Exchange and Art Gallery

newlynartgallery.co.uk/

(nominal charge).

 Scottish Gallery of Modern Art, Edinburgh

https://www.nationalgalleries.org/visit/scottish-national-gallery-modern-art

 The Granaries, Berwick -Upon-Tweed

www.visitberwick.com/museums-galleries/dewar-s-lane-granary-gallery

Truro Museum and Art Gallery

www.royalcornwallmuseum.org.uk/

Ferens, Hull

www.hcandl.co.uk/ferens

Tate Liverpool

http://www.tate.org.uk/visit/tate-liverpool

(Charge for exhibitions applies).

[ivandimarcofotografo]

Oh we do like to be beside the seaside: Britons on the beach – in pictures

From Victorian days out to 21st-century staycations, our coastal resorts are an enduring attraction. These images are from the exhibition Seaside: Photographed, which is at Turner Contemporary, Margate, until 8 September and tours to three other venues in 2020: John Hansard gallery, Southampton, Grundy art gallery, Blackpool, and Newlyn art gallery and the Exchange. Supported by Arts Council England’s strategic touring fund

Continue reading... https://www.theguardian.com/artanddesign/gallery/2019/jul/22/seaside-photographed-exhibition-turner-contemporary-margate-photography

[eleanorturnbull-blog]

Transition 2017, Newlyn Art Gallery 

Photo: Steve Tanner

[dansesleftbicep]

YEs hello I'm here to ask u about Bric bc she looks like a really interesting character :o!

dsjkhfdskjfh HI THERE I HAVE SO MUCH MEDIA LEMME CONDENSE IT

Bric is the daughterof a failed political marriage, between the revolutionary Drow KingAfraz Shattersword and the third daughter of the Nightengale GreyKing, Newlyn Viania. Newlyn, in a thirst for power, had Afrazassassinated when Bric was (18? around that age, I’m stilldeciding.)

After the king wasgone, and Newlyn was instated as the rightful ruler, the Greys cameto conquer the Drow and throw them into a 60 year period of viciousmanual labor. During which, Bric became the new Grey king’s(Newlyn’s brother, and later husband. Its nasty but this kind ofthing happened in Ye Olde times) prime consort in order to keep theking from having his way with her younger sister. From the king, shehad two sons (one belongs to her only friend during the incarcerationperiod, being that they both knew the king would spare her for theduration of her pregnancy from the king’s violence.)

Events came to ahead when the kingdom was thrown into financial mayhem, and powerfulspellcasters were forced to construct coal golems and create pactswith dragons for the sake of their diamond-creating fire (its sciencejust roll with it.) The dragons, however, demanded retribution fortheir cherished fire. Which lead to the beginnings of a ritualistickidnapping of Drow folk and unwitting travelers (this is where thecampaign I’m running starts) to be fed to the vile drakes!

Then (whateverhappens in the campaign? Will update later.)

And at the young ageof (80-ish? Elves live to be about 700 in this verse.) Bric takes upthe role of crowned queen, having defeated the Grey armada with thehelp of her uncle, Aaythum (my player character in the campaign) andthe unlikely posse he gathered while escaping the dragon sacrificechambers! However, the Drow kingdom was in shambles, so she trustedher people to a Wood elf Countess of the towne of Zur’Din, inexchange for paid manual labor from the Drow people. (The Countess isp cool and had been close allies with Afraz, to the point that shelead a small army in for assistance when the Greys were beingoverthrown. But she’s not perfect.) Barely satisfied with thearrangements, Bric set off to find other suitable areas for herpeople to live.

So now the‘Wandering BlueQueen’ acts as a pioneer and a mercenary, clearing out undergroundruins near large cities in hopes that she can instate Drow familiessomewhere where they can interact with other peoples, but stillretain their cave-dwelling nature.

She’s 140-ish inthe current fiction, a soon-to-be grandmother from her 120-ish yearson Kolia, and the lover of the second most influential man in an upand coming city just crawling with haunted underground ruins to clearout and fill with Drow! (This is from the ongoing campaign shestarted in, one DM’ed by a close friend.)

Her personality ishotheaded, overly flirtatious to the point that its obvious she’strying to further herself by means of acquainting herself into power,and passionately defensive of her people. She’ll also gut someone without question if they say anything bad about her kids. 

Bric often tries totalk to dragons, dragon lineage and all. She eats bugs and other cavethings, like mushrooms and moss, snakes and other such things that make her lovers cringe just the slightest.

She praises the moongoddess Sarenrae, the dark maiden Eilistraee, and has been to knownto occasionally praise Pelor simply for the fact that the sun hasn’tblinded her yet.

She’s pansexual,demiromantic, and struggles with emotional intimacy while trying tomake up for it with physical. She’s an emotional mess who has a badhabit of swinging first or trying to seduce unseducable things.

ALSO SHE LOVES YOU FOR ASKING THIS!!!