Street View: Photographs of Urban Life @ Graves Gallery
‘The invention of smaller, lighter hand-held cameras in the late 19th century enabled photographers to escape the restrictions of the studio and take their practice onto the street. Ever since, the street has appeared in photographs as both a primary subject and an informative backdrop, contextualising the rest of the scene. This exhibition explores the diversity of the street; as a social space, as a battleground for protest and as a source of artistic inspiration.’
We had the pleasure of working with Museum Sheffield on framing this exhibition for the Graves Gallery. They have been collecting photographic works since the 1970s and have exhibited a selection of highlights spanning from the ordinary to the extraordinary.
The framing style was simple and coherent, using museum standard mount cards and photo corners. Below: work in progess.
The current show at APG works sees the work of 2 visiting Japanese artists installed into the galleries
The exhibition, by Yusaku Fujiwara and Chiaki Kurumizawa, reflects on the impact and aftermath of the Great East Japan Earthquake and Tsunami on 11/3/2011.
"Five years have passed since the Great East Japan Earthquake (magnitude 9.0) and tsunami (40 meters high) of March 11, 2011. In Japan, people are still recovering from the disaster."
Chiaki Kurumizawa / Silver Lining "We Japanese uses the hot water for Shinto ritual. It means purification. I distilled the water of the disaster area and made the drop of water. And I took photograph of the light of the drop of water."
Yusaku Fujiwara / Lotus "I collected plants at disaster area. I put the plants on the flat base which I painted in black, and put paper and print it. The parts which I put the plants are left white. These are made with accidentalness and intentional work. I caught the plants as a symbol of the life and death and lay out the traces (white shadow of life and dead)."
Exhibition open daily 12-4pm, Monday to Saturday, May 16th to May 27th
Uncertain Spaces - a solo exhihibition by Andy Cropper
31st March - 11th April 2016
Andy Cropper (b. 1971, lives and works in Sheffield) Andy is a realist painter concerned with issues relating to the ordinary, everyday and unremarkable. He captures glimpses, ephemeral moments usually unseen or missed. His paintings are beautifully observed, kaleidoscopic and multifaceted. His recent work has become focused on the cityscapes and landscapes of Sheffield.
For Andy the show "Uncertain Spaces" is about mystery. His work of the past few years has been about observing uncertainty within the spaces of daily life. Looking at places and scenes that make him pause, and question what it is about that given place that produces a feeling that something is different. That something is an uncanny "not quite right".
Things of note for 2015 and 2016 Andy has been chosen twice for the Contemporary British Painting's "painting of the day". Andy was chosen for Now Then magazine's artist of the month for November 2015 2015 Still City group show, Cupola Gallery off-site exhibition at The Blue Moon, Sheffield 2015 Overlooked group show, The Scottish Queen, Sheffield 2015 The Harley Open group show, The Harley Gallery, Nottinghamshire 2015 Stillness group show, Arts Council Funded exhibition at Bloc Projects, Sheffield
We are now stocking a new range of museum mount cards by Crescent. They're a welcome addition. These old fairground posters, with their faded colours and discoloured paper, benefit from having a soft "dirtier" colour next to them as opposed to the brighter colours of normal ranges.
Moore St. Electricity Substation - Original Architectural Perspectives
August 20th - September 19th 2015, Monday - Saturday 11.00am - 4.00pm
Our current show is a new series of prints featuring the Electricity Substation at Moore St., Sheffield. The works are based on the first architectural perspectives of the building, by Sheffield artist Kenneth Steel, drawn in about 1965. These original drawings are also in the show, and show a remarkable confidence in mark-making with heavy conté crayon, which exactly evokes the rough concrete of the building’s exterior. As artist’s impressions pre-construction, they show great sensitivity to the structure's eventual form and texture. The new screen prints have been derived from these drawings by the printmaking studio at APG.
The building is a well-known Sheffield landmark. Completed in 1968 to a design by the late Bryan Jefferson, a leading modernist architect and former president of the RIBA, it exemplifies the bold style that came to be known as Brutalism. Although still controversial it is increasingly admired and was Grade 2 listed in 2010.
Kenneth Steel (RBA, SGA 1906-1970) was a very talented Sheffield artist who after studying at Sheffield College of Art achieved a prolific output of artwork for the railways, including travel posters for LNER and BR; he was also much in demand by architects and engineering consultants for his architectural perspectives. This exhibition also features modern prints of some of his well-known travel posters and a small selection of other original drawings. Looking around the show on our opening last Thursday Malcolm Camp, who owns one of the 2 original perspective drawings, made the observation that Kenneth Steel is really a very under-rated Sheffield artist. His paintings for the travel posters have great fluidity and an assured evocation of place. His output was of its time, but serenely untouched by the major movements in the art world of the period. He seems to have produced work only on demand and the only surviving works are actually completed commissions. He left instructions for all his sketchbooks and unseen paintings to be destroyed after his death, which judging by the facility with he worked in various media - conté, pencil, watercolour and oils - was a great loss.
The show is open Monday -Saturday from 11.00 am - 4.00 pm until September 19th
The editions have been produced with the authorisation of the Hignett family of Tauranga, New Zealand, representing the artist’s estate.
We are grateful to Mr Edward Yardley, the author of a forthcoming biography of the artist Kenneth Steel, for assistance and information provided, as well as the loan of a number of pieces in the show.
Thanks also to Malcolm Camp, who also loaned a piece and first notified of the existence of this work.
Mr Tom Jones of Jefferson Sheard gave us valuable information about the architect and his work, and through him we met Mr Jefferson and had the opportunity to tell him about this project.
Check all your frames at least every 5 years. Despite using the materials appropriate to your project, we still recommend you keeping an eye on your freshly framed artwork. This is important to keep all framed work looking sharp, particularly if the work is valuable. We use conservation materials as standard. Conservation adhesives aren’t as aggressive as other adhesives as they are reversible so that if removed they leave very little marking on the piece. However, this does mean that occasionally they can fail after time and artworks can become loose in the frame. This is nothing to worry about: just bring the frame in and for a nominal fee we can open it up and get it looking in tip top condition again. We can also carry out any cleaning and polishing that needs to take place.