Posts tagged with 'exhibition'
21 January 2019 by Kay
Come and join us this LGBT History Month at The Museum of Liverpool, 23 February, for our OUTing the Past Festival of LGBT History. This year we are one of 18 venues in the UK and Ireland, Norway, Sweden and New York! Speakers will be coming from around the UK , including some home-grown talent.
It will be a bumper day of diverse talks and a performance to end the day on a high (more details will be revealed). Why not combine it with a last chance to see our fabulous exhibition Tales from the city, which explores the lives and experiences of Liverpool’s LGBT+ community from 1967 to today? There are also a range of tours and drag tales to enjoy before the exhibition closes 31 March.The festival and exhibition are free and everyone is welcome.
OUTing the Past Festival of LGBT History –
11am Christian Owens – From Small Town Boy to ‘Visible’ City Cop
11.30 Val Stevenson – Trans-Verses: Poetry themes in The Glad Rag and Cross-Talk Magazines 1970s – 1990s
12 noon Pierrette Squires – Bisexual representation in museum collections – how you can help your history to be represented.
12.30pm Adam Hodgson – UNISON: Our Proud History – from lone voices to collective action for LGBT equality
1pm Chris D’Bray – Queering a Post-Modern Music Hall.
2pm Hilary McCollum – Public and private lesbian worlds in the 1920s
2. 30pm Steve Boyce – Sex, Crime and Punishment throughout history.
3pm Addea, G – Scrumming Together & Tackling Homophobia
3.30pm Natasha Walker – Better Connected – The History of Switchboard
Location – Education room 3, Floor 1.
14 January 2019 by Chrissy Partheni
Just before Christmas we opened the exhibition ‘Beauty and Virtue: 18th century English collecting of classical art’ at the National Museum of Anthropology – the largest and most visited museum in Mexico City. It’s taken two years of careful planning and has involved the work of different NML teams and an ongoing collaboration with our Mexican colleagues from INAH. Showcasing the diversity and richness of our collections, the core of the exhibition is from the sculpture collections of Henry Blundell, alongside paintings from the Walker’s and Lady Lever Art Gallery’s collections, including works on papers and Wedgwood material. They serve well to introduce the theme of 18th century Grand Tour and also help demonstrate the influence classical antiquity had on artists’ education and training, and the new ways artists reimagined the ancient classical world.
7 November 2018 by Kay
Homotopia Festival is now in full swing with events happening across the city up until 1 December.
To help celebrate Homotopia’s 15th birthday we have loaned the inaugural Alternative Miss Liverpool crown. It can be seen in all of its glittery glory in Tales from the city exhibition.
Zoe Graham, ‘Miss Voodou’, was crowned the first ever Alternative Miss Liverpool at The Kazimier on 12 November 2011. The high-spirited pageant, organised with Andrew Logan, the founder of Alternative Miss World, was part of the annual festival. 23 people of diverse ages, genders and sexualities took part.
Zoe was presented with the amazing crown specially designed by Norwegian jeweller, Borre Olsen, Liverpool fashion guru’s Pashina & Lupo and Liverpool milliner Hayley Marsden. Read more…
26 October 2018 by Andrew
Visitors to the John Moores Painting Prize 2018 have spoken in their thousands and voted for Gary Lawrence’s Kos Town Paradise Hotel Front Terrace to be their winner for this year’s Visitors’ Choice Prize. The dark and deceptive painting won the £2,018 prize, sponsored by Rathbones. Read more…
23 October 2018 by Sam
Two summers ago I was fortunate to work with Jon Daniel when his Afro Supa Hero exhibition came to the International Slavery Museum. Jon was an inspiring man who was passionate about celebrating heroes and heroines of the African diaspora. The role models and heroes featured in his exhibition ranged from cultural icons from his childhood to historical figures, including many who you might encounter in the galleries of the museum. He used his skills as a designer and graphic artist to share their stories with a wider audience. Read more…
This Black History Month we celebrate diverse voices from Liverpool’s Black community.
The first is Addae, a member of Liverpool Tritons Inclusive Rugby Club. The Tritons, founded in 2016, is the first gay inclusive rugby team on Merseyside. They encourage new members from all backgrounds, ages, fitness levels, and rugby experience.
Addae, tells us more about what the Club means to him:
“When I recently relocated to Liverpool from Trinidad & Tobago, via London, I realized that I wasn’t particularly fond of the area. Liverpool was cold, damp, and windy, and understanding the Scouse dialect seemed more of a task than a pleasure. I didn’t feel like I belonged here.
Frequently bored and uninspired, the only solace that I found was from running and reading, until I got the opportunity to leave. One day while I was leaving the Liverpool Central Library (which I consider a literary oasis), and although I had been there innumerable times, on that day my eyes were drawn to a flyer that had the holy words, ‘Liverpool Tritons: Inclusive Rugby’. Read more…
The Secret Life of Smithdown Road display uncovered and shared the stories of this fascinating community, past and present. Much of the content of the display was sourced from local residents, shop keepers and members of our Facebook group. The Museum also interviewed and recorded a range of people and made a special film about life on the Road. Read more…
As a volunteer at the Walker Art Gallery, I have been helping Exhibition Curator, Alex Patterson, to digitise works related to the Whistler and Pennell: Etching the City exhibition, currently on display at the Lady Lever Art Gallery. This exhibition explores the role that James McNeill Whistler and Joseph Pennell played in the Etching Revival (1830-1940) in Britain. It also shows how their contemporaries, such as Sir Francis Seymour Haden (1818-1910), Charles Méryon (1821-1868), and William Strang (1859-1921), were influenced by their art.
One of the etchings that really caught my interest was Breaking Up of the Agamemnon by Sir Francis Seymour Haden, which was one of three works by him included in the exhibition. It shows a large hulk of a vessel being demolished. The vessel is HMS Agamemnon, the Royal Navy battleship moored at the Naval Arsenal at Deptford on the River Thames, seen against the setting sun. Launched in 1852, the 230-feet long Agamemnon was one of the most intimidating of all wooden warships and the first British steam-powered flagship. The Agamemnon saw action in many battles, including the Crimean War, and was the predecessor of iron-hulled ships, which were introduced in the 1860s.
Breaking Up of the Agamemnon reminded me of another etching, Breaking Up of the Great Eastern, No 2 (1890) by Sir Frank Short (1857-1945), also in the Walker Art Gallery collection. I came across the etching when I was researching scenes of Liverpool Docks. Both ships had illustrious histories, and I felt that the images of their breaking up expressed a deep sense of loss and sorrow.
Haden’s etching of the Agamemnon was a spontaneous response to what he saw on the Thames one day in July 1870, but it became the most important subject of his career, which he continued to work on over the next 16 years.
Early in 1870 the art scholar, artist and etcher Philip Gilbert Hamerton (1834-1894) asked Haden to etch a plate to be published in the first edition of his new art journal, The Portfolio (1870-1893). The journal, named after a folder in which collectors often kept valuable prints, championed etching as original art, rather than a reproductive medium. This concept played an instrumental role in the British etching revival during the second half of the 19th century. Haden, like the French Impressionists, always tried to work directly from life, and for this purpose, he always carried prepared copper plates wherever he went. He drew directly onto the plate to capture the movement of the light and its reflections in the sky, clouds, and water. The demolition of the Agamemnon may not have been a traditional subject for a study of ambiance, but Haden must have been entranced by its grandeur and spectacle.
In a letter to Hamerton, dated July 3, 1870, Haden wrote of the Agamemnon etching: “. . . I had thought of making the sun set behind the old hulk and the distant cupolas of Greenwich and of using the sinking luminary as typical of the departing glories of both . . . .” This shows that Haden indeed drew the initial sketch for Breaking Up of the Agamemnon, No 1 directly onto the copper plate. The sun is setting between the ship and Greenwich, conveying a poignant majestic reference to the glorious history of the Agamemnon. The rays of the setting sun rippling through the clouds are echoed on the stirring water in the foreground. Named after Agamemnon, the King of Mycenae who led the united Greek army to the Trojan War, the ship proudly displays the figurehead wearing a Roman centurion’s plumed helmet pointing towards the sun. The Agamemnon almost appears as if ready to set sail once again into the distant horizon. Although she is now tethered to a much smaller barge, with her ribs exposed and only one of three masts standing, the Agamemnon still looks magnificent. The image highlights the ship’s immense scale and power, but it also conveys a sense an ending.
Breaking Up of the Agamemnon was a very complex project for Haden. He said he had “never undertook a more perplexing job.” The initial spontaneity of etching was followed by many attempts at adding and deleting small details throughout the composition, resulting in 11 states (versions of the print) being made in total. However, the main image of the ship against a shimmering evening sun remained largely unchanged.
Breaking Up of the Agamemnon, No 1 was an artistic and commercial success. The plate was unfortunately too large to be printed in The Portfolio and instead was later published by Frederick Goulding, and sold through Colnaghi’s, bringing Haden a huge financial reward. The plate was so popular that he produced a second version of the subject Breaking Up of the Agamemnon, No 2 (1886) in mezzotint.
As for the etching Haden promised to Hamerton for the first edition of The Portfolio Hamerton instead selected another of Haden’s prints, entitled A Brig at Anchor (1870), which is also in the Walker Art Gallery collection. He etched it from nature by moonlight on the Thames.
To discover more about the art of etching and to enjoy Haden’s intricate works at first hand don’t miss Whistler and Pennell: Etching the City at the Lady Lever Art Gallery until 7 October and the fascinating video made by Liverpool John Moores University School of Art and Design explaining the process of etching.
24 August 2018 by Andrew
Cumbria-based artist Martin Greenland won the John Moores Painting Prize in 2006 with his painting Before Vermeer’s Clouds. It was not his first time in the exhibition, having been selected for the John Moores several times before that. Here, Martin tells us about those earlier paintings, and how it felt to get through. His thought-provoking blog is an insight into the emotional responses an artist can face, even upon selection.