Tim Walker at Somerset House

Lost in Lace

Lace Meander by Piper Shepard, 2006, Photo: Dan Myers

Chiharu Shiota, After the Dream, 2011. Photo: Birmingham Museums & Art Gallery

Inverted Crystal Cathedral, 2011, Atelier Manferdini. Bottom layers (600 crystal strands) donated by Swarovski

Lost in Lace

Exhibition at Birmingham Museum & Art Gallery (BMAG)

October 2011

www.craftscouncil.org.uk

Head to Head

Kelly Mark, The Kiss (Light Box), 2009

Micah Lexier, Two Ways To Make 2, 2000

Micah Lexier & Kelly Mark: Head-to-Head

27 August - 9 October 2011

Saint Marys University Art Gallery

Micah Lexier and Kelly Mark both live in Toronto and spent formative years at the Nova Scotia College of Art and Design (NSCAD University). These friends often work with similar procedures or materials, but manifesting distinct sensibilities. Counting and text figure frequently in the work of both artists: both make pieces that record and quantify the passage of time. Both have designed tattoos, or worked with their own "signatures" as written by other people. In a spirit at once collaborative and playfully competitive, the artists present pairs of work from their respective practices, illustrating their differences of approach as much as their similarities.

Jamelie Hassan

"You seem the same as always"

Exhibtion at The Common Guild

28th May - 30th July 2011

“You seem the same as always, -” brings together a range of works by international and Glasgow-based artists, which share a very particular focus: that of the artist’s own hand. The exhibition includes film, video, photography, prints, drawings and objects, all of which share a refreshing sense of immediacy and directness and vary from the witty to the uncanny.

“You seem the same as always, -” is rich in echoes of art history, not least in the title, which originates in correspondence between Sol Le Witt and Eva Hesse and is cited in Kate Davis’ work. The exhibition reflects the extent to which, even when faced with an ever-increasing range of media and new technologies, there remains a recurrent fascination with and recourse to the most constant and immediate tool: his or her own hand. The gathering of works reflects our enduring interest in the artist as author and the biography behind the work, most explicitly in the work by Feldmann that is comprised of handprints of some of the 20th century’s most famous artists.