Shift exhibition : Work implements for the legal immigrant (2018)

Exhibition: Shift. This exhibition is one of two that comprise a collaborative project between Blue Roof Museum, Chengdu, China and Wintec researchers, Hamilton, NZ. Wintec artists and Chengdu artists made up this exhibition and was curated by Ding Fenqi, Blue Roof Museum and Eliza Webster, Wallace Gallery , Morrinsville, NZ. Notions of community, technology and exchange were explored in the exhibition This sculptural work explores ideas of work, location/relocation and transferable skills

Solo Exhibition

The eight large-scale photographs included in this solo-exhibition traversed the boundaries between studio and location, the floral still life and the clinical interior. Jones used the analogue view camera to measure, transcribe and examine the split of the gaze. In her research into the convention of the diptych, and how the viewer engages with two images in one work, Jones referred to early photography and stereographic glass plates, asking if it is possible to extend the singular act of looking by splitting the subject across two plates. This was contextualised by her photographic studies of consulting rooms used for psychoanalysis and photographs of roses in public gardens. Concepts explored in the exhibition were expanded in conversation with New York-based fiction writer A. M. Homes, and developed as a six-page feature article on Jones’s work entitled ‘Still life’ in Frieze magazine (2008). The exhibition was reviewed in publications including Photography & Culture (2008), London Evening Standard (2008) and Pluk magazine (2008). Two of the Rose Garden diptychs from the exhibition were shown alongside Dutch still life paintings at The National Gallery, London in the group show ‘Seduced By Art’, which toured to CaixaForum Barcelona and Madrid (2012–13). Selected photographs were also shown in group exhibitions including ‘Still Life: Arrangement’, National Media Museum, UK; ‘Golden’, Peabody Essex Museum, USA (2011); ‘Peeping Tom’, Vegas Gallery, UK (2010); ‘Jerwood Encounters: Passing Thought and Making Plans’, Jerwood Space, UK (2009); and ‘Flower Power’, Villa Giuila-CRAA, Italy (2009). In 2012, Exit magazine’s ‘The night’ issue featured a six-page spread on Jones’ work

Some undisclosed points of remove

Journal article discussing 'some undisclosed points of remove', an exhibition in Chelsea College of Arts' Old College Library. The exhibition showed new, site-responsive artworks by Melanie Counsell, Sara MacKillop, Anne Tallentire, Sabine Tholen and Joëlle Tuerlinckx, as well as artists' books from Chelsea Library's collections by all five artists. The exhibition was curated by Vicky Falconer

Faculty Exhibition 2004

This is the catalogue of the exhibition "Faculty Exhibition" at Boston University Art Gallery

Lion and The Unicorn

Exhibition 2-10 May 2011 to mark 60 years of RCA participation in post war UK design. Sponsored by Royal Commission for the Great Exhibition of 1851, Sandersins and Napier heritage Trust, RCA Gulbenkian Gallery Kensington Gore, Catalogue of exhibition boards by Claire Pajaczkowska and Henrietta Goodden and curatorial essay 1851-1951-2011 by Claure Pajaczkowska and Barry Curti

Abram Games, Graphic Designer: maximum meaning, minimum means

Documents related to the Abram Games exhibition including the press release, invitation and inviatation reminder. Also included is a spreadsheet on the number of visitors to this exhibition

Futureland Now

Futureland Now is a contemporary landscape project culminating in an exhibition and publication which builds and reflects upon an earlier exhibition at the Laing Art Gallery, Newcastle upon Tyne in 1989. The original Futureland exhibition set out to engage with and to reflect key issues and concerns current within the contemporary Britain of the 1980s. The use of large-scale colour canvasses together with the use of texts provided a challenging and innovative new format which contributed to a re-evaluation of the aesthetics of contemporary fine art photography. The impact of this development and the accessibility of the medium ensured that the exhibition engaged a broad public audience and was influential in a broad historical context. Futureland Now provides a context in which to revisit the original exhibition and to reflect upon its legacy. The project contains key (reworked) images from the original exhibition together with relevant developmental material made by both artists in the interim period together with new works. In all cases the works can be said to explore and to reflect many of the original concerns made apparent in the original exhibition. Futureland Now is project located in the North of England but its scope and meanings lay far beyond. The landscape subjects in this work address contemporary issues of culture and society and reflect an economic context that continues to define us as a late capitalist culture in crisis. Much of the rhetoric framing the exhibition links the aesthetic imperatives of the work with earlier artists such as John Martin in their exploration of the industrial and cultural sublime. These issues are further explored in the eponymous publication, published by University of Plymouth Press

Silver: made in Scotland

This exhibition catalogue celebrates the glittering tradition of silversmithing in Scotland over seven centuries. This lavishly illustrated book unearths the stories behind the makers, objects and owners of the most exemplary pieces of silver, past and present - from the ‘mazer’, or communal drinking cup, linked with Robert the Bruce to the unique silver teapot crafted for Billy Connolly! Hallmarks, guaranteeing the honesty of the metal and maker alike, have been used in Scotland since the sixteenth century. The 550th anniversary of Scottish hallmarking in 2008 was celebrated with the Silver: Made in Scotland exhibition in the National Museums Scotland which gathered together for the first time all the most important examples of marked Scottish silver and gold, most from our unrivalled collection. The exhibition and Silver: Made in Scotland exhibition catalogue are concerned not only with silver and gold vessels, from earliest surviving marked examples right up to pieces made today, but also with the people who made them and the people for whom they were made. Objects, historic records, paintings, illustrations and contemporary accounts were combined to create a dazzling exhibition and the Silver: Made in Scotland book distils the exhibition, making it a must for silver enthusiasts and collectors everywhere