Goldmark 30
I find that the great benefit of giving oneself too much to do is the diminishing interest one has in milestones. We are quite used to moving quickly from one thing to the next at the gallery, as many of you will know. So it took me by surprise to learn that this year we have surpassed our 60th pottery exhibition monograph, and that this will be our 30th outing of the magazine. As is so often the case, the connections in this latest issue are organic but plentiful. Anne Mette Hjortshøj and John Piper confront tradition with modernity in very different ways. The prints of Chloe Cheese, who as a child watched Edward Bawden working with her mother, sit alongside his London markets. And space is newly arranged, to mysterious effect, in works by gallery artists Chris Wood and Oliver Bancroft. Here’s to another 30 more.
CONTRIBUTORS
Robin Holt is a Professor of Strategy and Aesthetics at the University of Bristol and Adjunct Professor at the Graduate School of Management, Kyoto University, specialising in the nature of organizational form and how it emerges from craft- based production and consumption techniques. A former visiting professor at Copenhagen Business School, his work often brings him to the intersections of economics and entrepreneurship, aesthetics and philosophy, strategy and ethics, and media and technology. His latest book on craft is forthcoming.
Emma Mason is an art dealer and gallerist specialising in British printmakers from the 1940s onwards. Having studied History of Art & Italian at Leicester University, she worked for many years in the fruit trade as an importer, much of the time based at New Covent Garden in London, before establishing a gallery in 2004 with her husband, Richard, after meeting with the artist Robert Tavener. In March 2020 she moved to new premises in Lushington Lane in central Eastbourne. Books on several of the artists Emma represents have been published under her imprint Bread and Butter Press.
Kerry Harker is an independent curator based in Leeds. She is the Founder and Artistic Director of the East Leeds Project, a visual arts organisation. She is also a Postgraduate Researcher in the School of Fine Art, History of Art & Cultural Studies at the University of Leeds, where her research focuses on artist- led initiatives across the UK since the 1990s, particularly in relation to questions of cultural value. She was formerly Curator of Exhibitions at Harewood House from 2008 to 2011, interim Director at The Art House in Wakefield from 2015 to 2016, and Co-founder and Artistic Director of The Tetley, a centre for contemporary art in central Leeds.
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Description
I find that the great benefit of giving oneself too much to do is the diminishing interest one has in milestones. We are quite used to moving quickly from one thing to the next at the gallery, as many of you will know. So it took me by surprise to learn that this year we have surpassed our 60th pottery exhibition monograph, and that this will be our 30th outing of the magazine. As is so often the case, the connections in this latest issue are organic but plentiful. Anne Mette Hjortshøj and John Piper confront tradition with modernity in very different ways. The prints of Chloe Cheese, who as a child watched Edward Bawden working with her mother, sit alongside his London markets. And space is newly arranged, to mysterious effect, in works by gallery artists Chris Wood and Oliver Bancroft. Here’s to another 30 more.
CONTRIBUTORS
Robin Holt is a Professor of Strategy and Aesthetics at the University of Bristol and Adjunct Professor at the Graduate School of Management, Kyoto University, specialising in the nature of organizational form and how it emerges from craft- based production and consumption techniques. A former visiting professor at Copenhagen Business School, his work often brings him to the intersections of economics and entrepreneurship, aesthetics and philosophy, strategy and ethics, and media and technology. His latest book on craft is forthcoming.
Emma Mason is an art dealer and gallerist specialising in British printmakers from the 1940s onwards. Having studied History of Art & Italian at Leicester University, she worked for many years in the fruit trade as an importer, much of the time based at New Covent Garden in London, before establishing a gallery in 2004 with her husband, Richard, after meeting with the artist Robert Tavener. In March 2020 she moved to new premises in Lushington Lane in central Eastbourne. Books on several of the artists Emma represents have been published under her imprint Bread and Butter Press.
Kerry Harker is an independent curator based in Leeds. She is the Founder and Artistic Director of the East Leeds Project, a visual arts organisation. She is also a Postgraduate Researcher in the School of Fine Art, History of Art & Cultural Studies at the University of Leeds, where her research focuses on artist- led initiatives across the UK since the 1990s, particularly in relation to questions of cultural value. She was formerly Curator of Exhibitions at Harewood House from 2008 to 2011, interim Director at The Art House in Wakefield from 2015 to 2016, and Co-founder and Artistic Director of The Tetley, a centre for contemporary art in central Leeds.
