Oct 27 - Nov 11, 2011
work past present future
The Animal Gaze Returned at the Cass. Wow. The symposium and show again. What a privilege to hear all those great speakers.
What I got right this time was the discussion time. 20 minutes to half an hour at the end of each speaker's paper. A sense of academic community growing up now among art teachers and PhD students around contemporary art and animal/human studies, a confidence that sometimes goes missing when artists find themselves among researchers from elsewhere in the humanities. It was great that the last talk on the second day (a time when most are fidgeting to go home) still elicited a the busiest discussion among the delegates - this was Anat Pick on Chem Sheinberg's Convulsions.
Some big themes emerging now - one was 'not knowing', which emerged in the very first talk from Lucy Kimbell. Having confidence as an artist in not knowing and going with it. I was reminded of Terry Atkinson & Guy Claxton's collection on art school pedagogy - The Intuitive Practitioner: On the Value of Not Always Knowing What One is Doing.
Another theme was hospitality and generosity - in art, towards other animals, towards other people.
And some art historical spats! Marey over Muybridge. Different dates when Beatrice Harrison played cello to the Nightingales at Oxted. That means art and animal/human studies is really coming of age!
Sep 9-11 2011
As soon as I write this it's obvious I haven't shown a thing since this time last year! Blimey.
I look down here and see my entry against Sep 2009 about being made Course Leader at the art school. "...That's my practice, floating away..." That was prescient, that's just how it happened. So this is how art school teachers all end up bitter and twisted wantedtabes!
Anyway, this time "Where have all the foxes gone?" A wall based text piece (vinyl signage), with surreal walking sticks and small found animal.objects.
Plus my garden sculpture Summer 2011 (garden table and chairs and black polythene sheet).
Plus of course the sculptural excavations done in bread loaves and chocolate sponge rolls by Sydner Road's small rodent fabricators. Strictly Mary Miss, not Minnie Mouse.
Sep 10-12 2010
Blackhorse Lane Open Studios again. The year just goes so fast. This time I've got a video of the bird hide piece. I suppose it's made to show in a birdhide, but I haven't got the money to build one, so the old boiler room of this former industrial unit will have to do to project the DVD. I've called it Water Rail, as that's another elusive bird I'd really like to see. Plus the video, which is really just one continual looped 20 minute shot of a lake scene up in Epping Forest where nothing really happens. Except some ripples and, once, a pigeon, I think. The action is all in the audio, wich is is a 20 minute script of a dad quitely and monologically advising what might be his bored son on how to look. The script loops - there is no definable beginning or end, just a series of pedantic, terse but hopeful observations and instructions that never end. Sometimes it gets grumpy and complaining. Hence the Water Rail.
Apr 14 2010
Up at University of Staffordshire in Stoke-on-Trent, lecturing to the MAs and the BA 3rd Years. Interviews with Cranes again and a bit of The Animal Gaze
Oct 9th 2009
Rosemarie McGoldrick delivers a paper Interviews with Cranes at Helen Bullard's one-day symposium Pidgin Language in the Red Room at Kings Lynn Art Centre, Kings Lynn, Norfolk.
Sep 14 2009
Wow! Just been made BA Fine Art Course Organiser at the Cass! What's that up there? That's my practice, floating away.
Sep 11-13 2009
New work on show at Blackhorse Lane Open Studios including these roughs or studies for videos from a series called Excerpts from Interviews with Cranes. It's on Facebook, so there's a link from this picture if you click on it. The first one's called Studio Interview, the second is called Outside Broadcast.
July 12-18 2009
Rosemarie McGoldrick attending the Minding Animals conference at the University of Newcastle in Australia to deliver a paper on art and animal/human studies entitled Curator: Carer or Keeper? Some of Rosie's drawings on show in Perdita Phillips' participatory drawing work Animalworld Map on show at Newcastle Art Space during the conference.
sore paw, Jun 09 belled, Jun 09
Jan 24–Apr 18 2009
Falco Subbuteo Subbuteo in The Animal Gaze show as it tours to Plymouth City Museum & Art Gallery.
Jan 24– Apr 5 2009
Techniques of the Bird Observer (the mutoscope) on site in The Animal Gaze show as it tours to Clive Adams' Centre for Contemporary Art & the Natural World in Haldon Forest outside Exeter.
Nov 20-21 2008
The event The Animal Gaze: Contemporary Art & Animal/Human Studies is organised by Rosemarie McGoldrick at Sir John Cass (London Metropolitan University). Big group show of up to 40 artists between Nov 18-Dec 12 and a 2-day practice-led symposium (Nov 20-21).
Sep 12-14 2008
Barbican Arts Group Trust has three days of Open Studios at 114 Blackhorse Lane, E17 6AA (next to the Jet petrol station), so Rosie's studio is open to allcomers for a few days. Bird work, mutoscope, 600 Miles, all on display. See you there. 5 mins walk from Blackhorse Lane tube station (Victoria Line). PV on Friday 12th (6-9pm). Silent auction on artsworksproject.com.
Mar 15 2008
Rosemarie McGoldrick has contributed an interactive drawing, The Practicality of Flight in a Locked Room, to Michael Petry's project Golden Rain for 'On the Edge' at the Eigeroya lighthouse in Egersund (organised by Ha Gamle Prestegard for Stavanger 2008).
Dec 6 2007 - Jan 20 2008
Rosemarie McGoldrick has one of the digital prints from her Pillbox series on show in the Pages exhibition at the Notice Gallery in Deptford.
Aug 28 2007
As part of London Wildlife Trust's summer weekend Upstaging Nature in Sydenham Hill Woods, Rosemarie McGoldrick was supposed to have a large installation entitled Band of Brothers - a host of giant Day-glo yellow antlers all strapped in the same plane to oak tree trunks. But the Arts Council funding never came through, so...
July 11 - 22 2007
Rosemarie McGoldrick's 3D drawing Entomology is part of Salon 07 organised by Matt Roberts Arts at the Seven Seven gallery in Broadway Market, Hackney.
June 30 2007
Rosemarie McGoldrick has a page in the Political Art 2007 Almanac, organised and published by Reunion Projects
April 28 2007
Sale of two Rosemarie McGoldrick pieces (Techniques of the Bird Observer II and Bird, Plane, Superwoman - see pic above) to the new Art & Nature collection at Workplace 2010, the new estate management body for the Northern Ireland Civil Service. Selector Rita Duffy.
March 27 2007
Rosemarie McGoldrick's text and illustration project Six Hundred Miles in Search of a Sea Eagle (see Projects) is published in the first edition of Antennae, an online magazine whose subject is contemporary Art and Nature (edited by Giovanni Aloi).
Jan 28 - Feb 02 2007
Rosemarie McGoldrick's piece United Nations Blue Line 1978: Israel-Lebanon is a light blue foldable domestic screen in the shape of the border line between Israel and Lebanon. The piece has handles so it can be moved around the gallery space at will. The screen is on show at Delineate, an event and exhibition curated by Lara Eggleton and Nichola Pemberton of East Street Arts , "exploring the possibilities of line as a formal and conceptual element" at Patrick Studios in Leeds.
Dec 21 -22 2006
Three drawings by Rosemarie McGoldrick are on display at Anonyme Zeichner in the bluetenweiss gallery in Berlin.
Dec 14 2006 - Feb 25 2007
The Hackney Winter Salon is at the Hackney Museum on Reading Lane next to Hackney Town Hall where Rosemarie McGoldrick has two mixed media pieces and a screen print on show.
Dec 2 - 31 2006
Baghdad Nights is an upholstered, capitonne window-seat in the shape of Iraq, a sculpture by Rosemarie McGoldrick on view in the show The Peace Camp at the Brick Lane Gallery, hosted by Bob and Roberta Smith and the Fucks.
Nov 22 - Dec 10 2006
Rosemarie McGoldrick is showing two paintings from her Catalogue of London Birds series at the Bermondsey Artists Group Open in the Cafe Gallery in the middle of Southwark Park, SE16 2UA.
Nov 17-18 and Nov 23-25, 2006
Gift is MuseumMAN's closing show at the Liverpool Biennale, where Rosemarie McGoldrick's untitled object from Objects in Waiting (see below) will be available as a gift to anyone (first come, first serve) willing to document their relationship with the object in association with the curators.
Oct 19 - 26 2006
An untitled object from Rosemarie McGoldrick will be on display at Objects in Waiting, an art show curated by artists Penny Whitehead and Tom Newell at the End Gallery, Psalter Lane Campus, Sheffield Hallam University.
Aug 28 2006
Techniques of the Bird Observer I, by Rosemarie McGoldrick, public art commission displayed on the
Chiltern Sculpture Trail, Cowleaze Wood, near Christmas Common in
Oxfordshire. The artist has produced a mutoscope for this century, in brushed stainless steel, featuring a short flicker animation (on a 1 minute loop) of the Red Kite raptor in flight against a blue sky.
Jun 30 - Sep 17 2006
Techniques of the Bird Observer II, by Rosemarie McGoldrick, on display in group art show The Scarecrow at the E. Averoff Gallery (specialism: modern Greek artists) in Metsovo, Greece. A white viewing box hung on the gallery wall. To see the surprising interior, the viewer looks through either of the large lenses of the binoculars which emerge from the viewing box.
Rosemarie McGoldrick is an artist and sculptor living in London specialising in installation and site specific art. She trained at Hornsey, Chelsea and Goldsmiths and teaches Fine Art at London Met (Sir John Cass). To elaborate, Rosie does public art, installation and site-specific work across multiple media including sculpture, painting, drawing, photography, audio, film and video. Rosie took her foundation at the old Hornsey College of Art where she was taught by the painter Laurie Preece, before going on to Chelsea School of Art to do sculpture, later going on to Goldsmiths to do the MA in Fine Art taught by the artist Gerard Hemsworth and Nick de Ville. Rosemarie now teaches as a Senior Lecturer on the BA Fine Art course at the London Metropolitan University, alongside Patrick Brill and with Nicola Oxley and Nicolas de Oliveira, who with Michael Petry are authors of the book Installation Art (in print).
Drawing on recent events, McGoldrick’s art has taken a distinct turn into politics and the environment. Painting black silhouettes on black (gloss on matt), Rosie has produced a series of paintings entitled the London Catalogue of Birds, a list of common birds in the city which appear to be under threat. Looking at birds has become a theme for Rosemarie McGoldrick. Some years ago Rosie encountered twitchers, birdwatchers who chase rarities. As crowds thronged to scope a Siberian Warbler by gravel pits beyond Dagenham, they ignored three huge and magnificent long-eared owls resting in bushes a hundred yards away. This summed up the artist’s lot for McGoldrick. What is rarity, then? What is to see? Sporadic forays with binoculars led Rosie into an art project called Techniques of the Bird Observer. This includes a public art piece on the flight of the Red Kite (a mutoscope on the Chiltern Sculpture Trail at Cowleaze Wood in Oxfordshire, about 40 miles from London) and a wall mounted light box where the artist invites you to look inside through the big end of a pair of binoculars. You find the eye of a bird peering back at you alarmingly. This was on show in the Scarecrow exhibition at the E.Averoff gallery in Greece in summer 2006. Among Rosemarie McGoldrick’s forthcoming works in this series is an installation in a bird hide involving audio performance and video projection, a large photographic print and a book of drawings recording a visit to the Isle of Mull to see the Sea Eagle.
But it’s not all birds. World events in the last decade have pushed Rosie to produce art along more political lines: a large wall sculpture of Afghanistan as a huge red cushion for white pins, and a free standing sculpture of Iraq as a black velvet seat pierced through, capitonne-style, with red buttons. These two sculptures are accompanied by a series of McGoldrick’s drawings, entitled Hotspots, in which map silhouettes of war-torn countries are reversed out with a single red spot in the corner of each drawing. The spot implies ‘sold’ and ‘blood’ at the same time, an awkward, crucial pun. Other works by Rosemarie McGoldrick in this political series are more anarchistic – a large sharp knife sculpture called PERSONAL and a wall installation about Prime Ministers and Chancellors. In the past, Rosie did a great installation piece for the Day Night show in Deptford, London (exhibition funded by the Museum of Installation and the Henry Moore Foundation) where each artist had to use a Portakabin for their installation. Rosemarie McGoldrick’s piece was audio art. Tiny cages suspended from the show ceiling on audio cable held miniature speakers, from a few of which the sound of the insect called the English Cricket bounced to and fro between the exhibition walls. You could never tell where the sound was coming from.