Home Tags Review
WHITEOUT, Barrowlands Ballet. LEAP Dance Festival 2017 Make. Liverpool, 4th March 2017 Words by Moira Leonard LEAP Dance Festival is keen to engage, inspire and create discussion,...
Art at the Heart of Bluecoat Bluecoat, 28th January - 9th April 2017 Words and Photographs by Moira Leonard Bluecoat begin their year-long 300th birthday celebrations...
DaDaFest: Alba by Jo Bannon Bluecoat, 19th November 2016 Words, Jessica Greenall A minimal set becomes the site of numerous ethereal images in Jo Bannon’s visual poem,...
Collaboration: Out of the Blue, the story so far Bluecoat Words, Shaneka Williams Collaborative practice in art is nothing new. During the renaissance, masters and apprentices...
Review: Can I Start Again Please Unity Theatre, part of DaDaFest 2016 Words, Melissa Dowell Can I Start Again was performed at Unity Theatre as part of...
Different Trains Live Metal Liverpool, 15th September-15th October 2016 Review, Ilona Walker Pictures, Mark McNulty On Thursday 28th October, Metal Liverpool was host to Steve Reich’s Grammy-award winning...
Exhibition Relics: The Independent thread coming to a venue near you. Tate Liverpool, 3rd-18th September 2016 Words, Deborah Laing The subject of Greece seems to have taken hold of...
Captured Moments was a treasured moment in itself, when Liverpool’s Road Studios opened its doors on 22nd July 2016 for the first Episode of the Road Studios Box Set.
Scouse Style: Alternative Guide to Liverpool SWAP: UK/Ukraine artist residency programme Words by Patrick Kirk-Smith While I can’t advocate SWAP’s alternative guide to Liverpool as a genuinely...
Having a look around Liverpool Town Hall is a unique opportunity in itself. So while you're looking around have a look up the grand stairs to see David's fantastic work and donate some spare change.
The overall command of this project has led to an inspiring interdisciplinary study of a very modern issue.
Art in Liverpool’s highlights and a suggested tour of how to get around them in one day. And while I’m aiming to tell you about public spaces, one or two other things might slip in, like the Oratory, which do, strictly, have a roof on their heads.
The Oratory: Liverpool Biennial 2016 The Oratory Words by Patrick Kirk-Smith The Oratory, is probably best known as the little building outside the Anglican Cathedral, and second...
There’s a crack in everything and that’s how the light gets in, and so it was on a rainy July day that I visited the Dot Art Gallery to be greeted by a splash of sunlight in the form of AEROSOL
Take any basement, they’re never simple things, with rooms to the left or the right, and supporting walls you never knew your house even needed. It’s hardly a layout a curator would ordinarily jump at, but its success is in its flaws, allowing artists with little in common to exhibit with each other
People will always justify a reason not to; ‘perhaps next time’ or ‘when I have a bit more money’. So, in these times of economic austerity, it’s all power to any artist to create their work and actually move people to put their hands in their pockets and buy.
Using the exquisite corpse game to bring the talents of their studio holders together, as well as utilising the power of Twitter to engage directly with visitors, meant that the studio culture here, on the top floor of the Crown Buildings on Victoria Street, was alive and kicking before, during and after its Light Night event.
There are few more promising introductions to a space than being forced to sit on the floor. Small Cinema Liverpool delivered exactly that for Light Night 2016. So busy, so popular, so quick and so quirky that the public seemed to have flocked there.
Ella Kruglyanskaya curates an exhibition of past work, alongside work that the Tate Liverpool’s Assistant Curator, Stephanie Straine, describes as being “wet on the canvas on its way here.” And for a retrospective of a living artist to manifest itself like this, surely must supply ideas for the future. In that sense, or that tense, this show is the key study that answers the question posed by Francesco Manacorda, “Why paint?”
Light, percussion, kinesthesis, surreal wardrobes, war paint and fire were just some of the elements that kept on building intensity. By the end of it my mind was on the brink of falling to pieces; I’m still not sure if it that’s good or bad.
The retrospective exhibition spans over seventy years of the artist’s life and career, but is far from chronological. It picks on certain series of work that might not be a perfect representation of her career, but definitely shows the politics of her work at its best.
To mark the 50th year or Barbados’s independence, and to celebrate his 50th birthday year, artist and collector, Jon Daniel proposed a truly cross cultural exhibition that merges black history and comic book fandom. He’s even managed to work a little local history in too.
On Friday Night, Liverpool stayed open and filled itself with art, music, theatre and basically anything else you can name.... the number of people filling the streets with the sole intention of 'doing something different' was inspiring. When there’s something to see, Liverpool never seems to fail to take a good hard look.
If you think you know photography, this exhibition will make you spin on your heels and look again, with a combination of curatorial play and introverted enquiry.
Hughes and Jones’ prints and etchings displayed in the intimate gallery on Cook Street are brilliantly accomplished pieces of print work that stand out as very finished indeed, and more worthy than the vast majority of painting to adorn a gallery wall.
Ryoichi Kurokawa’s film, unfold, at FACT is one of the most immersive, experiential pieces of theatre I have ever had the good fortune to see. It was one of the most serene, and least serene experiences of my life.
LJMU’s MA Fine Art students present an odd an enticing selection of work that, more than anything, makes you want to know more. A student body that is more connected with the art world outside their own studios than any group I’ve come across for years.
Words by Kirsten Hawkins. An exhibition of process rather than finality, she has used this exhibition as a voyage of self-discovery, attempting work processes inspired by participants’ answers to two important questions: • What type of obstacles do you feel you come up against when making work? • What habits or processes have you adopted to overcome these creative blocks?
In this exhibition, with an exciting events schedule and addictive compilation of trivia facts, you can expect to be reminded of some of your favourite films, and discover one or two more to put on that list.
"I have always been interested in decay and using the rust as a material, to print, draw or paint with. Rust is like a disease that eventually disintegrates the object, and using it as a tool – this somehow creates a lasting memory of it."
It almost seems festival like in its entirety, which I think is a good thing. With something for almost everyone, from complete beginners to practising artists with no limitations on age whatsoever.
Oxton Road takes a great deal of translating, and when you put Haleh Jamali, Jeff Young and Harold Offeh in three of the most wonderfully independent shops in Merseyside, the results will be, by the very nature of the question, completely unpredictable.
As the name implies this is a mixed collective, and the exhibition hasn’t strayed far from the mark, taking the visitor on a very short journey of theme and technique, both experimental and established.
The artists who run MUESLI, Meg Brain, Mia Cathcart and Zoë Coogan, all have their own individual practices outside of this, but have formed a bond that is always apparent when talking to groups that mean what they say.
Naive John and his latest work - Strange Attractors. "If you could see the fineness with which the lines are created, and the science which helps decide the colouring in person, you would understand the level of skill here."
A candid look at collaboration, taking three very personal group experiences and shoving them in to one small space, and exhibits a trilogy of incredibly different responses.
Ob_ject and Ob_serve introduces us to a very particular perspective on what a non-anthropocentric world would be able to engage with, which is an incredibly approachable question, generously shared.
This is a fantastic choice for Editions to open 2016 with. Taking an artist who has always had a place there and giving them the exhibition they deserve. If it was crucial to choose an audience for this... who really stops and looks; at art; at their city; at the sky.
This new gallery has the potential to be a truly interesting setting for these artists based in Liverpool to explore their practice with all the support they need, and that shows in this introduction.
"In many ways this was the movement that began holding both artists and critics to account over arguments of the tastes and functions surrounding visual art. This exhibition is both a review of that movement, and a new approach to connecting their history to relative developments in the North West."
12Page 1 of 2