Page 1

Darcy Cash B A ( H o n s ) Gr a p hi c A r t s a n d D e s i g n Cr i t i ca l St u d y

7 Statement 10

P r o j e c t intentions C r i t i c a l e v i e w

18 r

24 S 28

i x u a l

Ep i g ra p h a n a l y s i s Interview: i k A r t i s t i k

30 M

P r o j e c t n a l y s i s

36 A

44 B i b li o g r a p hy

Unless stated, all photographs represent my individual contribution to each project

I am an artist interested in the casual and intimate encouters in my life and bringing attention to the disgredarded. I explore these themes in two very different ways; through small-scale observations, and in large collaborations. My drawings are intense focus studies, centering on the personal and domestic details of my surroundings. My collaborative work also concerns the world around me, but here the emphasis is social and economic. I benefit from the contrast between these approaches; they spark off each other, ensuring my practice has diversity and unpredictability. Drawing is fundamental to my practice; I use this as a base, regardless of the outcome. I acknowledge that illustration isn’t always the solution or correct medium to portray my idea effectively. So I use photography and/or collaboration as a means to fulfil this. My critical study has been designed and structured to mirror the contrast in my work; the project’s on the left hand pages focus on the observational, whilst those on the right hand pages focus on collaboration.


Pe rs o n a l Sta t e m e n t

Pe rs o n a l Sta t e m e n t


1.O b s e r v a t i o n


Pro j e c t In t e n t i o n s

Di s g re g a rd e d En co u n t e rs D ra w in g


Co ll a b o ra t i o n

Pro j e c t In t e n t i o n s


Hitlers’ British Capital

Tales of the Netherlands; Whats your story?

It has been rumoured that had Adolf Hitler succeeded in invading Britain in WWII, he would have made Leeds the capital city. I want to disregard the generic large scale and impersonal war art and go against the grain, looking at a more personal and detailed interpretations many don’t notice. Method: Research the effects WWII had on Leeds, and the deep rooted scars and memories that it left behind, now faded into the background of modern day life.


Pro j e c t In t e n t i o n s

This was a spontaneous project born from a visit to Amsterdam; we discovered how amicable the Dutch people are, and how willing they are to share their stories with us or become the subjects of our photographs, in stark contrast to our experiences in the UK.

I am speaking to local Leeds residents to gain a first hand account of what it was to be alive in the midst of the war; collecting photographs and visiting forgotten remnants of a city under attack. For a city of its prominence, the history of Leeds in the war is focused on very little. I hope to create a modest and personal collection of art and stories that are charmingly fragmented, as a direct emulation of those whose minds still recall them.

We began documenting the conversations and stories through the use of photography; bringing attention to the overlooked. It isnt just about seeing cliche tourist attractions, its the people you meet and the memories you create and share with others.

[ 1 ] Air raid shelter transformed into a shed in Shadwell, Leeds [ 2 ] Postcard text experimentation

We aim to demonstrate the importance of conversation and story telling in day to day life through the use of postcards - a playful reference to the holiday which brought the project to life.

Collaborators: Leanne McAtamney

Pro j e c t In t e n t i o n s


Family Portrait

The Crab Space

Simple and personal concept to create a series of illustrative portraits of my family, through their shoes. A celebration of relationships between an indispensable yet modest object, bringing attention to the overlooked items of everyday life. The owners will be carefully and discreetly depicted through shoe choice and positioning.

How to successfully promote and programme a student led creative space that will bring together different practices.

I like the idea of knowing that, to others, these may look just like simple focus studies of random shoes, whilst I see a bundle of personalities and lifestyles of the intimate relationships around me.

As a collaboration, we focused on narrowing the bridge between student and professional, and create an environment that will be applicable to all graphic art practices; to compliment and show off our multi-disciplinary course. The Crab is hosting lectures, workshops and film showings and will produce a final publication to review our year in this collaborative space.

These are small, intense observational compositions with large negative space so the focus is just on the shoes/person.


Pro j e c t In t e n t i o n s

Collaborators: Leanne McAtamney Gemma Young Siam Faulkner Chrish Dunne Louis Tuckman

[ 1 ] Photo etch of a family members work boots [ 2 ] First photo etching experiementation [ 3 ] The Crab opening launch party 14th Nov 2013 [ 4 ] Elmwood Studios visit poster submission

Pro j e c t In t e n t i o n s


Marvellous Tea Dance Company Recipe book

My Pittsburgh: Knightsbridge of the North This was held as an exhibition at the White Cloth Gallery 5th March - 12th April 2014.

As part of a live brief from Marvellous Tea Dance Company. To create branding for a vintage inspired mobile catering company. Curated by Lexi Lindley, I was asked to illustrate victorian style etchings of 5 desserts that would be included in a modest recipe book for Marvellous, designed by Lexi. The time constraint enabled me to be quick thinking and turn over the illustrations in just two days. I wanted the etchings to be purely aesthetic in their nature; to


Pro j e c t In t e n t i o n s

compliment the vintage era of the company

Impetus: W. Eugene Smith’s obsessive photo essay of Pittsburgh in 1955. I, along with six other students have created an interpretation of Leeds from the perspective of its residents, both transient and indigenous. Leanne and I are focusing on Leeds’ shopping district, and using the project title ‘Knightsbridge of the North’ as an ironic hypothesis through which we can juxtapose expectation with reality. Leeds is consistently ranked as one of the top five retail destinations within the UK, with [ 1 ] Close illustration of a victoria sandwich [ 2 ] Front cover of finished recipe book [ 3 ] Expierimenting with a colour palettes for our exhibition submission

highly concentrated shopping areas for multi-national retailers. However, the reality is that the creation of attractive retail hubs and modern new complexes has drained the remaining streets of life and business, and we are seeing an overwhelming growth in the number of vacant and forgotten retail spaces. Again using the medium of photography, we aim to draw the attention of the public to the lifeless remains of Leeds’ centre within a one week constraint. Collaborators: Leanne McAtamney

Pro j e c t In t e n t i o n s


Knightsbridge of the North

This is a concentrated continuation of the ‘My Pittsburgh’ submission.

Collaborators: Leanne McAtamney

It will be transitory in its nature, and aim to raise public awareness of the economic crisis through the emotion of shock, presented in an entirely ironic fashion. The key message is delivered through a purpose built business with its own branding, complete with a logo and website etc. It is intended to discreetly entice public attention from a professional standing point, in order to purvey its underlying purpose..


Pro j e c t In t e n t i o n s

[ 1 ] Leodis Letting Agency business cards with the logo I designed [ 2 ] Our sticker next to a sign from the previous owner in a derelict retail space

Pro j e c t In t e n t i o n s


“Something that seems totally relevant in today’s culture is the impact of the media on our own perception of war. It’s graphic and invasive; on our TVs, computers, phones. Images of war are unfortunately common place and although they never lose significance, they become impersonal.” -Bobbie Hook


Cr i t i ca l Rev i ew

Cr i t i ca l Rev i ew


Ca ta l y s t : Co n t e m p o ra r y A r t a n d Wa r Imperial War Museum, Manchester Visited on 11th Oct and 3rd Nov

Held in the Imperial War Museum in Manchester, ‘Catalyst’ is an incredibly thought-provoking exhibition. It asks the question ‘How do artists contribute to our perceptions of war and conflict in an age where our understanding is shaped by the media and the internet?’. The exhibition showcases over 70 different artists with mixed media work, including photography, installation, painting and film. It features responses to conflict by artists such as Steve McQueen, Langlands and Bell, and Edmund Clark. This collaboration of different artistic practices is one the reason’s I decided to visit; not only does it provide a professional pedestal for combining various methods of communication, but it confirms that it can be successful, which is one aspect I have worried about in the past, as my personal practice is divided between observational art and collaborative photography. ‘Catalyst’ allows the viewer to look and consider the personal impact of war, without the increasing shaping by our modern media. This aspect is the main reason why I chose to review the exhibition, because Hitlers’ British Capital is based on kicking against grand and impersonal War art and reinvigorating stories and experiences around conflict in an intimate way. I have visited this exhibition twice, and both times, the atmosphere has been incredibly serene. The tranquility of the exhibition contradicts the content of the art shown. My main attachment, to ‘Catalyst’, is the unique absence of the graphic imagery we expect to see around War Art and how the lack of this captures a sense of loss and unease. An example of this is Paul Seawright’s ‘Hidden’. He portrays the aftermath of conflict through ominous landscape photography. His photographs as a collection have a sense of emptiness, they show the invisible aspect of war, in which, credit to the media, the public don’t ever see. But 20

Cr i t i ca l Rev i ew

on their own, to me, they create a different atmosphere. For example, Camp Boundary depicts a mundane scene but underneath the rubble could lie minefields. This landscape also has a sense of infinite expanse, so the intensity is magnified. The tiny shelters seem insubstantial to the towering cliffs and dense empty space, therefore the soldiers seem inadequate too. There are no descriptions on Seawrights work so its up to the viewer’s interpretation. We know Seawright’s photographs are showing us violence, but they are doing so in a discreet way. Annabel Dover exhibited her cyanotype’s of her families symbolic WWII objects. Dover states “The personal narratives we impose upon objects often provide a hidden expression for the breakdowns in human relationships and the memories and emotions that they reflect” ( Her cyanotypes are beautifully intricate prints, but with an ominous and slightly skeletal feel. This is similar to Ronald Searle’s war illustrations, as they both portray a personal connection to how they have been touched by war through past and present integration. for example, Dover has created a cyanotype of her grandmother’s hat that she wore when she received a telegram stating that her husband had been presumably killed in the war. She kept this until she died, hoping for his return. Each object has a different story but the captions for them are very vague; I listened to Dover speaking about these pieces and it gave me an emotional charge to hear her voice talking about the reason behind her work and how she made them. The prints are obviously personal to the artist but they also unfold the viewers emotions of their own families who suffered in war. These little details of interaction, throughout the exhibition, gives ‘Catalyst’ an intimate incite into contemporary War art.

Cr i t i ca l Rev i ew


The atmosphere is still quiet and respected, so I sit and watch Ori Gersht’s “Will You Dance For Me”. This is a distressing piece of performance art of an 85-year-old dancer silently being filmed, rocking on her chair and remembering her life in Auschwitz in WWII after being liberated. The elderly lady’s memories of sexual assault and violence is portrayed through slow, ominous body movement and her agonisingly gaunt facial expressions. The soundtrack that is played throughout is a delicate integration of piano and violin, it really gave a sense of how much pain this lady is in. ‘Will You Dance For Me’ is a personal representation of the woman’s memory, and a powerful piece of art. I came out of the private room feeling both haunted and touched. Most pieces of art here compliment each other through different mixed media. However, near the end of the exhibition is an interactive computer game from Langlands and Bell called ‘House of Osama Bin Laden’, which digitally recreates the house formerly occupied by him. I walked into the space and saw the security guard playing on it, shifting through empty rooms and panning over landscapes looking for the previous inhabitant. This installation has received critical acclaim; it was shortlisted for the 2004 Turner Prize, and a winner of the 2004 BAFTA awards for Interactive Arts Installation, probably for its unique view of conflict. However, it seemed to me like it was trivialising war; taking visitors away from the emotional charged exhibition to a place of rivalry and amusement. There were a handful of teenagers waiting in line to have a go of the joystick, laughing and competing, which detracted attention from the other work. Next to Langlands and Bell is an installation by Steve McQueen 22

Cr i t i ca l Rev i ew

called ‘Queen and Country’; McQueen’s stamps are intimate and personal, because of the scale, but also when viewed as a whole, the impact is monumental. He provides 179 pages of stamps, each showing around 100 images of each UK fallen soldier along with their name, army title and age. I came away feeling mournful of the families who have lost, but the atmosphere changed when entering Langlands and Bell’s installation. “The museum considers itself politically neutral, and aims to give a “balanced view” on war and conflict. But none of the art glorifies war. It concentrates on the futility of conflict and the personal cost of war, in a subtle challenge to the belief that war is widely supported.” - Katrina Lawrie ( I don’t totally agree with the museum’s synopsis. An exhibition about war can never be entirely politically neutral. There will always be perspectives of war that are overlooked, and some that are bias. On the whole, though, I think ‘Catalyst’ successfully allows the viewer to consider the personal aspects of War (with the absence of violent imagery). It is refreshing and I think it can be more powerful than a typical frontline war photograph. Perspectives are always overlooked when it comes to war art; almost always the personal. I think the violence of armies and the impact on the cities as a whole are stressed over others. However, ‘Catalyst’ juxtaposes this and creates a diverse, collaborative account of war. It gives the viewer space to think about what they are seeing in more than one perspective and medium. These aspects are vital to my own projects, especially Hitler’s British Capital which combines stories, photography and illustration, to create a charmingly fragmented collection of War in Leeds. [ 1 ] Photograph of external view of IWM

Cr i t i ca l Rev i ew



Si x u a l

Si x u a l


Si a m 1943 : Lu n cht im e G a m e s - Ronald Searle

Ronald Searle’s dark 20th century illustrations challenged the preconceived perception of an illustration being light and empathetic. As a prisoner during the Second World War, Searle secretly documented the brutal camp conditions he was subjected to with a series of dark and truthful observational ink drawings. The works were created from any material that could be sourced in the oppressive surroundings he survived in; to emphasise the morbid subjects of his illustrations he then hid them under the mattresses of fellow prisoners who were dying from diseases such as cholera. Upon his escape he described his motivation; ‘I desperately wanted to put down what was happening, because I thought if by any chance there was a record, even if I died, someone might find it and know what went on’. Searle’s drawings included comprehensive facial studies of guards and detailed compositions of his dying camp mates; the images are full of movement, and the rapid and sudden quality of them communicates the intense surroundings of his life in Japan.

and really demonstrate the importance of an artist’s drawings and the significant contributions they can make to help deal with personal experiences. It is an ancient and powerful implement that can express so much emotion just through the line. It is clear from the intensity of the images, that Searle used drawing as a means of survival, but he also used this instrument to create light hearted and comedic illustrations to try and bring some joy to his dying neighbours in their final moments. Lunchtime Games is a brutally honest piece created through shadow etchings and rapid strokes; these methods portray urgency and threat that being caught posed. The integration of the past into the present as a theme will carry through to my projects; Hitler’s British Capital will focus on the revitalisation of war in Le eds and attempt to communicate the violence in a more discre et and personal way. Family Portraits will provide an insight into my family. Whether they’re still here or have passed away; these shoes are a trace of their owners.

The illustrations are simple and effortless, the fluidity of strokes capture the atmosphere


Si x u a l

[ 1 ] Siam 1943: Lunchtime Games illustration by Ronald Searle

Si x u a l


This is a quote from in ‘The Primacy of Drawing: Histories and Theories of Practice’ by Deanna Petherbridge. The work is academically led, and its main argument is defending the importance of drawing as visual thinking and the foundation of ideas.

‘ D ra w in g i s t h e firs t v i s i bl e t hin g of t h e fo r m of t h e t h o u g ht , t h e ch a n g in g p o in t f ro m t h e inv i s i bl e p ow e rs to t h e v i s i bl e t hin g . ’ - Joseph Beuys


Ep i g ra p h

Although in its context the section where this quote was found may se em irrelevant (Discourses of Tactility and Touch) it is appropriate to me in relation to my method of creating work. As an artist I combine intense focus studies with large collaborations, and due to the contrast I sometimes find it difficult to explain my methods of working. Joseph Beuys’ description of drawing as an initial thought process is the most accurate clarification for my practice; it is the fundamental basis for my work. A simple example of this theory being played is in the evolution of my project ‘What’s

Your Story’. My initial instinct was to create a series of sketches of the strangers we encountered, however the time constraints and the difficulty of sketching while on busy Amsterdam stre ets made it clear this wasn’t a logistically sensible method. Additionally, because the underlying purpose was to focus on actual encounters and other people’s stories behind the images, I felt that drawing - because it could be influenced by my own style as an artist - wasn’t the correct form to deliver our intended message: celebrating the art of conversation. Although peripheral to the project, the lo ose sketches I made are still invaluable as I developed them into personal illustrations, which was a nice, quick way to experiment with character illustration and pay tribute to original foundations of the idea.

Ep i g ra p h


‘ Th e s e h a v e b e e n s o m e a m a z in g a n d a p p a llin g t hin g s t h a t h a v e happened when I’ve be en out d ra w in g . ’ - Mik Artistik


Pra c t i t i o n e r in t e r v i ew

Pra c t i t i o n e r in t e r v i ew


Mik Artistik Artist, Musician, Performance Artist and Comedian

“I’d see this guy around Leeds a lot and I was curious, I wanted to know his story. He was a strange man: a little bit eccentric but there was a certain prophetic quality to him – he looked like John the Baptist. He was one of these characters that people see and they tend to back off, but he sat with me for 15 minutes while I drew him and he was just a gentle, thoughtful man.” - Mik Artistik


Pra c t i t i o n e r in t e r v i ew

Pra c t i t i o n e r in t e r v i ew


Could you describe yourself and your practice using just 5 words? The Brown Paper Bag Man Mik Artistik is an artist who earns his living by drawing portraits in biro of ordinary people he encounters. He has become quite a famous face around Yorkshire, walking into offices, laundrettes and shops searching for his subjects. Its this aspect that captured me; its not just about the drawing, its the experience of listening to strangers stories and creating a brief adventure for both the artist and the subject. Using a brown paper bag as a canvas, it brings attention to the disregarded items of everyday life. Artistik now has a collection of over 20,000 brown paper bag portraits, all associated with a different experience and memory.

I love the simplicity of the brown paper bags; it draws attention to the overlooked. What is the story behind this canvas? I saw them on a counter in a bread shop. They looked a lovely colour, I knew biro would look splendid on them and I thought it would be great to give people their own bag.

I base a lot of my work on the casual and intimate encounters in my life; I love the challenge of trying to depict people and their stories. How important is the encounter to you in your work? Are there aspects of this experience that is more significant than the actual drawing itself? The encounter is as important if not more important than the drawing. I’m not trying to break the mold , do something drastically new visually. It’s the quest, the journey and what might be said or occurs that excites me. I write some of these encounters down because they are an integral part of the work.


Pra c t i t i o n e r in t e r v i ew

[ 1 ] ‘M’ by Mik Artistik [ 2 ] ‘Ted’ by Mik Artistik

Being from Seacroft myself, I was interested that you mentioned you went to Seacroft in Leeds when you were younger, to try and sell portraits. Was there any significance in trying to sell your work there? Was it important to you to be accepted as an artist in the city in which you were brought up? I went to Seacroft because It was considered a hard area and I knew I would have my confidence and courage tested. I figured it was the best place to test my newly discovered talent for biro portraits. If I could make money in Seacroft, I could make it anywhere! As an illustrator about to graduate into a very competitive business, I struggle a lot with selfconfidence; I sometimes worry about whether I have relevance in today’s contemporary art culture as I still use very traditional methods. You emphasise in your biography that you struggled as a young artist to believe in yourself. How did you overcome your anxieties? What advice could you give to someone like me in similar circumstances? I struggle every day with anxieties but figure it’s a part of my makeup. I also have a stubborn streak and a love of mischief that redresses the balance. Carry on with your work .It’ll make you happy,bring peace to your troubled soul,and you might even make a living out of it. We all want to be loved and appreciated but realizing that not everybody is a fan of ours as a person or an artist,( but that some are !!) is a useful lesson. Pra c t i t i o n e r in t e r v i ew


Fa mil y Po r t ra i t


Pro j e c t a n a l y s i s

Pro j e c t a n a l y s i s


Alongside my degree this year, I was delighted to be offered a job doing freelance work for Hallmark cards, from their head office in Saltaire. This influenced my work in many ways, perhaps contrary to what I would have anticipated my work did not develop with increased complexity, the strict time scales actually enabled me to create much simpler, looser illustrations. One of the briefs I was given was to create illustrations of shoes for a new range of greeting cards, and it is this which inspired my project [fig 1]. I enjoyed being able to strip back my drawing, and focus on simple observational drawing, it reminded me of how much my drawings mean to me. My work has always been an extension of myself or encounters with other people, therefore I knew I wanted to create a series of illustrations which reflected these relationships. For the purposes of this project, in contrast to my others, I chose to concentrate on those closest to me. Initially I began by studying sentimental items of meaning to my family, this gave me the right start but it felt a little confused; it was hard to portray a person through something which only had obvious meaning to them individually. At this point I referred back to my shoe illustrations I had done previously, and decided this was a unique way to create an unconventional portrait of my family. Shoes are indispensable objects and yet despite being a necessity they still offer a very accurate insight into the lives and personalities of their owner; they are a live visual explanation of the person whose feet they adorn and it is up to


the viewer to interpret the drawings individually. I will therefore not use text underneath each drawing, or provide any explanation of the person connected to each pair of shoes, an idea which was inspired by Paul Seawright’s collection of photographs entitled ‘Hidden’. But also because I like the idea of knowing that, to others, these may look just like observational drawings of random shoes, whilst I see a bundle of personalities and lifestyle of the intimate relationships around me. I initially began by taking a small sketchbook and making notes of those people I would portray and the key characteristics I thought would represent them accurately [fig 2 and 6]. I then decided to use two methods to deliver my interpretation of each person, firstly the choice of shoe and secondly my positioning of the shoes as a reflection both of the person and their nature. I played with the idea of using size as a literal demonstration of who owned the shoes but I did not want to influence my audience’s interpretation in any way and size can often be associated with scale of importance. On reflection I decided the size of foot was not relevant to the choice of shoe or the character of the person. I like the concept of an object reflecting time and the change it brings, Ronald Searle’s work inspired me greatly because his war images so simple and yet they send such a strong message, integrating the past into the present. I hope to create a similar message particularly by including in my images a portrait of a family member who has passed away, leaving traces of them through the drawing.









Hitlers British Capital Photograph

Pro j e c t a n a l y s i s

Pro j e c tPro a nj ae lcyt s ai sn a l y 37 sis 7



Following this thought process, I wanted to create a uniform look when the images were all presented together, not only to provide equality amongst the images but also to create a simple form of presentation so that the viewers focus was on each and every image in turn. As a method I decided to produce photo etchings because this is a traditional medium and I think it compliments my style of drawing and emphasises the detailed line work [fig 7]. I began experimenting at first but it seemed to increase the intensity of my drawings therefore I decided to develop them all in this way. As mirrored throughout this critical study, I like to use large, blank surrounds/backgrounds; creating a void between the image and the paper, both in photography and in drawing. I think this method is less invasive, it draws the eye of the audience straight to the image of the shoes and doesn’t let their interpretation be distracted or influenced by anything else [fig 5].

had on the streets of Leeds. These unconventional ways to create portraits proves how great things can happen by just talking to people. My collaborative project ‘What’s Your Story’ is generated by this exact concept, we were inspired completely by how using the public for our subjects and what we learned from our encounters. For example, we approached a stranger in Vondelpark sitting on a bench and we asked for his name and what brought him to Amsterdam; he mimed that he couldn’t understand us but if we wrote it down he could try to reply. So we had a conversation over scribbles on an old map. He explained he was a lawyer from Sicily etc. So whilst demonstrating the importance of conversation with strangers, ‘Family Portraits’ focuses on my relationships with family.

Mik Artistik’s ability to approach strangers then create and exchange stories is a great inspiration to me. Like Artistik, my work is heavily based on encounters but I want to break away from my comfort zone of intimate relations and aspire to create encounters with strangers more. I want to hear about people I don’t know, and places I have never been, and see how this changes the way in which I create the art. Artistik keeps a journal called ‘The Bag Book’ that documents all his encounters and adventures he has


Pro j e c t a n a l y s i s

Pro j e c t a n a l y s i s


‘ D ra w in g i s t h e m o s t in a li e n a bl e m e d i u m . I t i s p r i v a t e ; i t p ra c t i ca ll y d o e s n ’ t h a v e a n a u d i e n ce in min d , j u s t t h e a r t i s t ’ s ex p re s s i o n . ’ 42

- Betty Goodwin

Bibliography Bo oks Friend, M (2013). Melanie Friend: The Home Front. Dewi Lewis Publishing: Stockport Maloof, J (2013). Vivian Maier Self-Portraits. powerHouse Books: New York. p8-12, p31, p49, p55, p79, p91. Maloof, J (2011). Vivian Maier Street Photographer. powerHouse Books: New York. p46-47, p50-51, p62-65, p112-113. Mitchell, P (2013). Peter Mitchell Strangely Familiar. Nazraeli: Portland Mitchell, P (1990). Memento Mori: The Flats at Quarry Hill, Leeds. Smith Settle Ltd: Otley. p1-68. McCullin, D (2003). Don McCullin. Jonathan Cape: London. p186-187, p200-201, p212-213. Oelbaum, Z (2002). Blue Prints: The Natural World in Cyanotype Photgraphs. Rizzoli International Publications, Inc: New York p36-37, p60-61. Petherbridge, D (2010) The Primacy of Drawing: History and Theories of Practice. Yale University Press: London. p109


B i bli o g ra p hy

Exhibitions Rowley, A (1996). Memory Lane Leeds. The Breedon Books Publishing Company: Derby. p184-199, p156- 166.

All That Is Solid Melts Into Air opening: 11th October 2013, Manchester Art Gallery, Manchester

Sante, L (2004). Many Are Called. Yale University Press: London. p22, p34, p48, p82, p90.

Art Party Conference: 23rd November 2013, The Spa, Scarborough

Searle, R (1986). To the Kwai and Back: War Drawings, 1939-45. HarperCollins Publishers Ltd: London. p114-115. Strauss, Z (2012). Zoe Strauss: 10 years. Yale University Press: London.

Imperial War Museum North, Manchester My Pittsburgh: 5th March 2014, White Cloth Gallery, Leeds Open for Business: 9th February 2014, National Media Museum, Bradford

Catalyst: Contemporary Art and War: 11th October 2013, Imperial War Museum North, Manchester

Our Times No.2 Leeds 2013: 4th October 2013, Mexico Project Space, Leeds

Catalyst: Contemporary Art and War: 3rd November 2013, Imperial War Museum North, Manchester

Philip-Lorca DiCorcia Photographs 19752012: 13th February 2014, The Hepworth, Wakefield

Copper Horses: 9th February 2014, National Media Museum, Bradford

The Crab Space Launch Party: 14th November 2013, The Crab Space, Leeds

Double Indemnity: 11th October 2013, Corner House, Manchester Faces, Anatomy of Autonomy: 4th October 2013, Leeds Gallery, Leeds Grayson Perry: The Vanity of Small Differences: 3rd November 2013, Manchester Art Gallery, Manchester Iraq: Photographs by Sean Smith: 11th October 2013, Imperial War Museum North, Manchester Main Exhibition Space: 3rd November 2013, B i bli o g ra p hy


Websites Annabel Dover’s cyanotypes for Imperial War Museum North Last accessed 12th october 2013. about/. Art on the High Street project collaboration with Amy Lee and Carol Parker. Last accessed 1st December 2013. and_places/newsid_9411000/9411583.stm. BBC news. Leeds’ worst World War II blitz Last accessed 8th October 2013. Review of Jo Hedwig Teeuwisse’s Ghosts of War: WWII Photos Superimposed on to Modern Street Scenes. Last accessed 14th October 2013. i-am-more/. Multiple exposure photography posters by Christoffer Relander Last accessed 18th October 2013. _ 0222_5 personal-things-you-can-tell-just-by-lookingat-someone.html


B i bli o g ra p hy

Last accessed 11th March 2014 art/manchester/manchester-weekendercatalyst-contemporary-art-and-war-at-iwmnorth/. Review of “ Catalyst: Contemporary Art and War” at IWM North. Last accessed 13th October 2013. Martin John Callanan website for his project Wars During My Lifetime. Last accessed 14th October 2013. html>. Article about extraordinary photographs of Leeds in the 1970s revealing a vanished world. Last accessed 19th October 2013. Article on “Trinity Leeds: The Grim Reaper for Leeds’ High Street?.” Last accessed 2nd December 2013. Review of “ Catalyst: Contemporary Art and War” at IWM North. Last accessed 13th October 2013

jonathanjonesblog/2010/sep/10/jeremydeller-car-iraq-war. Jeremy Deller’s blown-up car brings the realities of the Iraq war to life. Last accessed 8th October 2013. Annabel Dover’s profile of Saatchi Gallery online. Last accessed 14th October 2013 gallery/2014/apr/13/drawing#/?picture=434 212475&index=1 Mik Artistik paper bag portraits review Last accessed 10th April 2014 al+War+Museum+North+artworks+reveal+fut ility+that+war+reporters+fail+to+cover Katrina Lawrie’s review of “Catalyst: Contemporary Art and War :ast accessed 19th October 2013 Betty Goodwin artist quotes Last accessed 15th March 2014 Unseen Aerial Photos Of Leeds In 1951 Discovered. Last accessed 14th October 2013. features/a-lost-world-caught-onfilm-1-2490459. A lost world caught on film; An article with photographers; Eric Jaquier and Peter Mitchell talking about Leeds Last accessed 19th October 2013.

Magazines Warren, Emma, Waywell, Chris, and Braddock, Kevin ‘Here’, Here: A magazine about where we live, Fall/Winter 2013.

B i bli o g ra p hy


Complete critical study  
Complete critical study