2 September 2009 Art Walk Schedule

This month we will be venturing out of Leeds City Centre and visiting the Bowery in Headingley, so please bring your bus fare.

The walk will finish at Arcardia bar in Headingley for a sociable drink.

Schedule for Wednesday 2 September:

17:30 – Stanley and Audrey Burton Gallery: A Malham Family of Painters.
18:00 – Leeds College of Art and Design: Chris Osburn: Red State – Excess and Despair in the American South.
18:45 – Bowery: Emmy Twigge: Did you do it for the art? And Sally Taylor: “aaa”

Meet at Stanley and Audrey Burton Gallery, The University of Leeds.
For more information contact Gill at Pavilion
T > 0113 242 5100
E > gill@pavilion.org.uk

More about the exhibitions:

A Malham Family of Painters

This exhibition traces the careers of three generations of women artists from the same family who have made the Yorkshire Dales their subject. The work of Constance Pearson, her daughter Philippa, and granddaughter Katharine Holmes is complemented by a display of works by Dales artists in the University Art Collection.

Red State – Excess and Despair in the American South

American photojournalist Chris Osburn recently revisited his Deep South hometown of Chickamauga, Georgia and the nearby environs of South-eastern Tennesse and North-Western Alabama to shoot photographs depicting the area’s transition from argrarian society to the commodity/service industry culture of today within the context of the current economic conditions and in light of the out-going Bush administration and the incoming Obama presidency. The result is this fascinating exhibition of photographs.

Did you do it for the art?

Did You Do It For The Art? is a new body of work evidencing Emmy Twigges negotiation of the space between power and impotency post bereavement. Ostensibly concerned with loss through suicide, this work is actually consistent with Twigge’s ongoing practice of considering herself as “artist”. Every piece in this collection of work acknowledges process and thus the artists point of execution, the point at which her power is felt becomes the subject matter.


Taylor’s drawings affirm a desire to understand more about human relationships, specifically her own interaction with others. They are equally about forming a balance between formal concerns and the creation of emotional resonance.

In this body of work Taylor has focused on recording and mapping social interaction. Through mark-making she engages with humanistic themes as intimate or public dialogues are played out on the paper in an attempt to challenge the validity of language in articulating aspects of human experience.


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