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

Fourth annual Science in the House exhibition at the new parliament building

Members of Parliament, the House of Representatives and researchers were in attendance at the 4th annual Science in the House exhibition in the New Parliament Building in Valletta at noon of Thursday 24th September 2015. The event was inaugurated under the auspices of the Off ce of the Speaker by Ray Scicluna. Following comments by Prof. Alex Felice, speeches were presented by MPs Deborah Schembri and Claudio Grech. A few comments were made on behalf of the Faculty of Science by Prof. Emmanuel Sinagra to commemorate the 100th anniversary of the founding of the Faculty of Science at the University of Malta. The formal opening of the event concluded with enlightening words from the University Rector, Prof. Juanito Camilleri. The exhibition consisted of 12 posters representative of various research projects at the University of Malta from the Faculties of Science, Medicine and Surgery, Dental Surgery and Health Sciences. A commemorative poster was also dis played by the Faculty of Science to celebrate its 100th anniversary, which coincides with the centennial of Einstein's theory of relativity. Science in the House is organised by the Malta Chamber of Scientists, the University Research Trust (RIDT) and the Science in the City, European Researchers' Night consortium. Science in the City, European Researchers Night is mainly funded by the EU Marie Sklodowska-Curie Action of the Horizon 2020 (H2020) Programme. It is recognised by Europe for Festivals, Festivals for Europe (EFFE).peer-reviewe

Faculty Exhibition 2004

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

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

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

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