Floor 2 Elizabeth LeMoine
These sculptures, made out of recycled materials, are created from LeMoine’s memories from childhood and young adulthood. The artist describes a need to ‘make an index of all the things, the influences that formed me.’ The scale of the work makes one think of dolls and their accessories, a fitting form for childhood memories to take, giving them a playful and magical quality.
Tracey Emin
It’s What I’d Like To Be, 1998 Lithograph
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Roofscape of Walsall taken from 1968, 2006 Pencil on paper
Commissioned to produce a new work from New Art Gallery Walsall in 2005, Foster spent some time in the local archives where he discovered a photograph of this view of Walsall in 1968. Sixties new wave films such as Billy Liar with its industrial landscapes have always fascinated Forster and the student uprising in Paris in 1968 gives this date an additional resonant coincidence for him. 19
Jessica Harrison Eyeball Microscope, 2006 Pencil on paper
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Tracey Emin fully integrates her work and her personal life. Her subject is herself: the traumatic episodes and periods of despair in her past, and the darker moments of her present. Her confessional art-practice confronts the viewer with uncomfortable, intimate scenes which seems to question all traditional codes of feminine behavior. In light of such work which, this rather playful and charming looking drawing which evokes ideas of innocence and childhood takes on a darker resonance.
Monica Bonvicini
Richard Forster
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Box of tissues, 1998, False eyelashes, 1998, Guitar, 1998, Lab coat, 1998, Pencil, 1998, Pyjamas, 1998, Y-Fronts, 1998, Coat hanger, 1998 Varied materials including rubber, tissue, wood, plastic, cardboard, organza
Religious Art
Illustration & Symbolism
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Icon II/VI Washing ‘Dolly’ or ‘Maid’, 1990/1992 Icon II/XVI Leather Cutter, 1990/1992 Icon II/IV Engineers Caliper, 1990/1992 Photograph on hand made paper
Through his photographic art practice Kirkham looks at problems in the representation of industry and its workers. As a former engineer, he is fascinated with the Black Country, with its power, its ugliness and with what he sees as its potential beauty. He presents us with austere and delicate images of individual tools leaving us to wonder what the tool was for, who used it, and the intense labour involved in its use.
Staton’s print consists of the words “I shall not want” taken from the Bible and printed in the manner of an advertising slogan. She saw the line from the 23rd Psalm on a building worker’s T-shirt and thought it was better than a `Nike’ logo. Her work often looks at and comments on the production, sale and exchange of both high culture and popular culture.
Jo Roberts
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This work is the culmination of Robert’s project ‘The Waterwoman of Greenwich Penisula’ in which the artist explored the land formed by a large meander of the River Thames. The plastic water bottle serves as a container for a rolled up report of her findings. It reminds us of rubbish often found on a river shoreline or a message from a desert island cast away. Her work raises ecological issues of the use and importance of water.
Terrence Warren
Make Room
Interventions into the Garman Ryan Collection
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Warren’s depiction of nature contrasts with the more traditional representations of carefully arranged and stylised compositions of flowers and still lifes in this room. Instead of focusing on flowers as objects of beauty he portrays wild plants as a living force capable of a physical transformation of their surrounding. The diagonal composition highlights the dramatic character of this image and the explosive force of the world of nature.
Work & Leisure
Gary Kirkham
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Prevention is Better Than Cure, 1980 Colour etching
Drill 4 Chastity, 2005 Bronze and resin
Bonivicini’s sculptures and installations explore the relationship between the built environment and gender. The artist confronts us with an object whose purpose and meaning seems to lie somewhere between usefulness and absurd. The contrasting fleshy base and the tool-like bronze top of this sculpture conjures uncomfortable references making us feel uneasy. ‘I am making fun of the idea of masculinity’ says the artist, ‘which doesn’t really exist, but is well-represented in the cliché and absurd representations of the construction workers’.
I Shall Not Want, 1998 Lithograph
Water Report, 2008 Plastic and paper
Harrison is known best for drawing and sculpting mutant forms with multiples of eyes, mouths or limbs. Her work confronts issues of nature versus the artificial and aims to raise our awareness and concern. The cartoon style of her drawings and light hearted presentation adds a layer of comedy and accessibility to the otherwise serious and threatening concepts of human mutation and cloning. Flowers & Still Life
Sarah Staton
Main Hall Children
LIFTS
Richard Wentworth Hazel Jones
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The Wunder Double Deluxe Front Loading Currant Steamer, 1994 Brass, copper and steel Sketch for ‘The Wunder Double Deluxe Front Loading Currant Steamer’, 1994 Pencil, pen and collage
Born in Walsall, Hazel Jones knew and loved Birmingham’s Science Museum and became intrigued with the eccentric and bizarre Victorian inventions at the Royal College of Art in London. Fascinated with things unusual and strange, she produces exquisitely made domestic inventions of her own, which we feel should or could possibly work. They show us that reality can be as extraordinary as fantasy.
8 October 2010 — 8 October 2011
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Essay, 1998 Wood, formica and nails
Wentworth has had a leading role in British sculpture since the end of the 1970’s. His work, which looks in part at objects and their use in our everyday experiences, has altered the traditional definition of sculpture. This piece featuring an orange shelf is representative not only of the artist’s engagement with ready-made objects but also makes for an interesting comment on formal and structured nature of the gallery space as opposed to a domestic setting of a home.
Exhibition guide