Some notes from Carol Wilkes - who was unable to attend in November:

"I recommend the Tate Britain exhibition, it has examples of Rachel Whiteread's work over the last 25 years and is very interesting and well presented.  Many of the pieces are very large (including casts of a room and a full size staircase) so the main exhibition is in one large open gallery which gives you room to step back and see the pieces as a whole. 

As well as the paying exhibition there are also smaller (free) displays elsewhere in the museum.  In the foyer of the main exhibition is a display of items from Whiteread's work space, notebooks, inspiration items and sample pieces along with a film of the making of 'House'; the cast she made of a terrace house in the 1990s.  The casts of the underside of 100 chairs ('100 spaces') is nearby and there was a least one other free display that I didn't have time to visit but hope to get back to before the exhibition closes. 

I made copious notes but in the end I decided that, for me, her work was about what was implied rather than present.  Hanging on the walls of  the main gallery were some recent casts of a shed made of papier mache, a much more accessible (and stitchable) material than concrete!"

Thank you for your thoughts Carol - I am particularly interested in your comment that her work was about 'what was implied rather than present'.

Jane

Well, I started by closing my eyes and taking one of the photos of the 4th Plinth pieces when we discussed the Group’s forthcoming exhibition project at the September meeting.


My Pick was A Model for a Hotel 2007 - some details and photos are here https://www.flickr.com/photos/blahflowers/2020255621. I would have included a photo but this is my first Weebly blog post and it proved beyond me to work out how to copy one (where permission was given for this) into this post!!!


From there, and it’s a long story, I began to explore the issues of homelessness in the City. Issues of contrast became important. I gave some thought to the shape of the piece - how it might fit into the box and how it might be hung. I did a very casual inventory of how much time I had to make the piece and a more serious one of the need to keep it simple given my skill level.


To date, I have the start of something pinned to my wall. There’s also a box of bits that might play a part in the making and a dedicated notebook for random thoughts and notes of any playing about with fabric etc. that I do as I’m sure to forget how I got this or that effect.


I’ve done some fabric printing from a photo and, as I’m a writer, mainly of poetry, I’ve drafted some words! I’m thinking about using tea bags and other recycled papers, and how best to incorporate the poems.


And I have a request! Has anyone got an old blanket, in not very good condition that they could donate to my piece? I’m keen not to use anything new for this piece and an old blanket will make an ideal backing fabric. Thank you.


I’ll stop here. Your comments are very welcome. I look forward to reading how other members are progressing with their pieces.

Marilyn

Rachel Whiteread created one of the earlier 4th Plinth commissions. Currently there is a major retrospective of her work at Tate Britain. If you are interested in her work generally it is an excellent exhibition - in a fully opened out gallery space which seems to really suit her work.

The main exhibition is ticketed, but the model for the Fourth Plinth piece is in the public shop area outside the main exhibition - and so can be viewed for free. Alongside some drawings and information about the work.

The effect of the resin material can really only be appreciated in the flesh and does not represent well in photographs. I would like to have seen the full scale piece in situ, but sadly I didn't.
www.tate.org.uk

Jane

There was a good turnout to help set up the exhibition which opens on Tuesday 29 March 2016 at the National Needlework Archives, The Old Chapel Textile Centre, Main Street, Greenham Business Park, Newbury. RG19 6HW.  The exhibition is open til Thursday 28 April 2016, Tuesdays to Thursdays 10am until 4pm. For information about the venue see the National Needlework Archive's website.

TVCT’s challenge for Exhibition in 2016

Key points to note for entering a piece for exhibition.

·        Create a piece inspired by a garment, which can be an item of clothing, shoes or handbags.  The piece can be a wall piece or 3D.

·        Wall pieces must be designed to be hung on the wooden coat hangers (top or trousers), provided by TVCT. Maximum overall width is 3 hangers. 3D pieces will be placed on plinths. Please discuss with us your ideas for displaying 3D. Pieces must be finished to exhibition standard.

·        Please provide a photo of your ‘inspirational garment’ on or before the meeting on 21st November 2015. 

·        Entry is restricted to members who attend meetings.

·        A completed Submission Form and entry fee of £10 need to be brought to the meeting on 21st November 2015. Cheques payable to TVCT.

·        The final deadline for finished work is the meeting on 23rd January 2016 (no postal submissions).

·        A label showing the maker’s name and address and the work’s title needs to be attached to the back of the piece. The hanger/s need to be included with the work.

·        The work will be transported several times, (possibly in the rain) - from the TVCT meeting, for selection, to exhibiting venues and back. Please provide suitable named, and reusable packaging materials.

·        We cannot guarantee to hang work that is difficult or impractical to display. The venues may also limit us on the number of pieces we can display. If your work is not hung we will return your entry fee.

·        Your work will need to be collected from the TVCT meeting on 21st May 2016. If you are unable to collect your work on this date in person, you must make prior arrangements for the return of your work.

·        You will need make your own insurance arrangement.


Further information is available here.

Entry forms are available by contacting us.  

If you're seeking inspiration to begin your ideas on 'Worn Threads' - our new challenge for exhibition (see earlier post), you'd do worse than to take a trip to Oxford to see 

RE-FASHIONED: Garments as Art
Friday 6 March to Saturday 25 April 2015

This show features 4 artists, including Lucy Brown and Shelly Goldsmith - both of whom are well known for using garments in their work.

The Old Fire Station is located at 40 George Street Oxford OX1 2AQ

Phew, what a great 4 days! We had so many interested people through our gallery and very positive feedback. Its really the direct contact with the visitors that has made the whole experience worthwhile. More pictures to follow soon when I've collected together all the images from the show for a gallery. Meanwhile - if you missed the show at Olympia, or you would like to see it again or bring a friend - it is now open at the National Needlework Archive at Greenham near Newbury. Showing until 30th April. Saturday opening on 5th April.

We're counting down to the Knitting & Stitching Show at Olympia

We have a large gallery stand and are getting prepared. On my 'To do' list this week... labels, banners and a huge list of bits and bobs to take with me on the setting up day. Catalogues are ready though and have been printed. They look great, and will be available at the show for £2.

Hope to see you there - 13-16th March.

Lyric Kinard - an American Quilt artist, teacher and author is doing a series of blog posts about showing work in various venues. One of the posts was about showing work in a museum. 

Sandy Snowden emailed her about our involvement with the Slough Museum and the various doors opened up through that experience. Lyric looked at our website, the Whatever Floats blog, and the Whatever Floats Your Boat ... online catalogue and asked if she could do a blog post reporting about our experience.

If you would like to read Lyric's blog - find it here
http://lyrickinard.com/2014/02/entering-shows-a-museum-experience/