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Defiant women and daring paintings: Emin, Webster and Wylie create a buzz in the UK's exhibition calendar

The UK art scene is currently dominated by major survey exhibitions from three prominent female artists: Rose Wylie, Tracey Emin, and Sue Webster. Rose Wylie, at 92, makes history as the first woman painter to occupy the Royal Academy’s main galleries, while Tracey Emin presents a raw, thematic survey at Tate Modern reflecting on her life before and after cancer. Simultaneously, Sue Webster marks her institutional solo debut at Firstsite, showcasing a transition from her famous collaborative practice to deeply personal oil painting.

London's Southbank Centre to receive £10m government funding boost

The UK government has announced a £10 million funding boost for London’s Southbank Centre as part of a broader £128 million investment package for 130 cultural venues nationwide. Administered by Arts Council England, the grant is earmarked for urgent infrastructure repairs, including fixing leaking roofs and modernizing rigging systems, coinciding with the center's 75th anniversary. Other major beneficiaries of the Creative Foundations Fund include the Baltic Centre for Contemporary Art and Firstsite gallery.

Sue Webster: Fandoms and Icons

Sue Webster's solo exhibition 'Birth of an Icon' at Firstsite in Colchester traces her lifelong obsession with pop culture, from teenage fandom of Siouxsie Sioux to her evolution as an artist. The show features a sprawling installation 'The Crime Scene' (2017–) that maps her personal history through albums, newspaper clippings, and objects, alongside painted jackets and self-portraits. It marks a departure from her earlier work as half of the duo Tim Noble and Sue Webster, embracing a more personal, amateurish style that reflects her journey through adolescence, marriage dissolution, and motherhood.

Godfried Donkor: It’s a Numbers Game

Ghanaian-British artist Godfried Donkor is set to debut his first UK institutional solo exhibition, "It’s a Numbers Game," at Firstsite in Colchester. The exhibition features a diverse array of media including collage, painting, embroidery, and installation, highlighted by a gallery transformed into a boxing ring to symbolize migration and endurance. Donkor utilizes materials like Financial Times pages and Adinkra symbols to explore the "triangle of commerce" between Britain, West Africa, and the Caribbean, while specifically linking the local history of Boudicca to the resistance of Ashanti leader Yaa Asantewaa.

Norfolk celebrates an art scene drawing generations together

The Norwich Castle Open Art Show, titled 'In Proximity,' received an overwhelming 900 submissions from artists across the East of England, highlighting a vibrant regional art scene. The exhibition opens this Saturday at Norwich Castle Museum & Art Gallery, showcasing a diverse range of works from painters, printmakers, textile artists, and ceramicists.

Government gives East of England culture and arts venues £6.6m

The UK government has announced a £6.6 million investment in arts and culture venues across the East of England to support essential infrastructure upgrades and renovations. Key beneficiaries include Firstsite in Colchester and Snape Maltings in Suffolk, which are receiving significant grants for building repairs and environmental control systems. Other recipients range from the Natural History Museum in Colchester to the Wysing Arts Centre, with funds earmarked for everything from HVAC improvements to restoring Grade II listed structures.

Elsa James’s exhibition in my home county, Essex, is a potent rejection of the erasure of history

Elsa James's exhibition "It Should Not Be Forgotten" at Firstsite in Colchester, UK, confronts Britain's role in the transatlantic slave trade through immersive installations. The show features a floor covered with larger-than-life photographs of the artist, recalling the diagram of enslaved Africans on the slave ship Brooks, accompanied by a cello soundscape by Kirke Gross. Other works give voice to enslaved women Phibbah and Molia, documented in the journals of their 18th-century owner Thomas Thistlewood, subverting historical narratives. The exhibition builds on James's earlier "Black Girl Essex" residency, which challenged the racist and sexist "Essex Girl" stereotype.