As part of the Professional Practice units supporting the staging of ‘Critical Paths’, the Visual Arts Summer Show 2017, the students were visited by two curators, both of whom toured the exhibition, discussing the work in detail and the art world in general. Most recently, we welcomed Anabelle Görgen, Curator at the Hamburger Kunsthalle, who was also visiting West Dean to conduct her own research in the Edward James Archive. Continue reading
As part of the 2017 Art and Crafts Festival, full-time Visual Arts students at West Dean College were invited to submit proposals for artworks to be displayed in the Historic House. Five works were selected to be on display during the event, the only occasion when the House is open to the public. The works include sculptures inspired by Edward James’ patronage of Leonora Carrington; his long-term friendship with George Balanchine and Lincoln Kirstein (co-directors of the New York City Ballet); a plaque commemorating James’ vision of creation in the Old Dining Room in the 1930’s; a floating paper sculpture inspired by the work of René Magritte; and a kinetic sound installation exploring complex relationships between rhythm and chaos. Continue reading
West Dean College MFA graduate Lotti V Closs is having her debut solo exhibition at Castor Projects, London: In Plain Sight. The exhibition is runs from 26th May to 1st July, and is open Fridays and Saturdays or by appointment. The Private View is Friday 26 May, 6-9pm. Continue reading
14th May – 6th June 2017
Cass Sculpture Foundation and West Dean College
With thanks to Arts Council England.
West Dean College and Cass Sculpture Foundation are pleased to announce Florence Peake as the 2017 CASS artist-in-residence. This May, Peake will be resident at West Dean College for three weeks, making use of the incredible studio facilities, resources and technical expertise available at both the college and at CASS to create a new body of ceramic work inspired by Igor Stravinsky’s musical score The Rite of Spring. With the assistance of dancer Rosemary Lee, Florence Peake plans to choreograph a routine to be performed on a stage of raw clay. Through grabbing, pushing and pulling the clay, Rosemary will form violent eruptions on the surface to echo the dramatic score of The Rite of Spring. As a result, the surface of the clay will become an abstract documentation of this performance and a sculptural interpretation of Stravinsky’s composition. The clay stage will subsequently be divided into tiles to be fired in the wood-fired kiln at CASS. Continue reading