[Top] Anthony Caro’s Tea Room: Courtesy of Neil Ayling and Barford Studios
[Bottom] Olivia Bax, Sink or Swim (detail), 2015 (Worked with Caro from July 2010 until his death in October 2013)
[Top] Anne Hardy, An Abandonment was accountable for the Accumulationof Acid After Dark / Punctuated Remains, 2015 (detail)
[Bottom] Anne Hardy, Pitch Black, a smooth echo / A scoop with a shelter, 2015
[Top] Barry Flanagan heap 3 ’67/68, 1967/68 (foreground) & one ton corner piece ’67, 1967 (background) installed at Cullinan Richards, London, January 2015.
[Bottom] Jo Melvin installing heap 3 ’67/68, 1967/68 at Cullinan Richards, London, January 2015.
Thursday 3 December 2015 7 – 9pm
Jenny Dunseath – Artist & Senior Lecturer at Bath Spa University (Case Study: Anthony Caro and his assistants)
Anne Hardy – Artist (Represented by Maureen Paley)
Dr Jo Melvin – Reader in Fine Art Archives and Special Collections at CCW (Chelsea, Camberwell & Wimbledon Graduate School)
PSC’s Project Space, 45 Gransden Avenue, London E8 3QA
Part of the Ambition and Afterlife season.
Other events in the Autumn Programme.
Life Cycle, Continuous considers the life cycle of both artwork and artist’s legacy with a particular focus on how it transforms, evolves and transitions across platforms, people, place and time. The invited speakers will reference specific projects and share insights into their own experiences and approaches of working in this field.
The talk will feature three presenters, with each presentation running for about 20 mins, followed by a Q&A.
Tickets are free but booking is essential. Book tickets.
In line with PSC’s belief in making the making visible, this talk will take place in the studio/workshop space of the artists on our residency.
Please dress warmly.
Jenny Dunseath is a London based artist and Senior Lecturer at Bath Spa University. After graduating from the Royal Academy she worked as an assistant in the Caro studio and this first-hand insight is what triggered her current research into the complexity of master/pupil relationships, practical pedagogy, and the idea of a kind of lineage passed down in the studio. She continues to make and show work internationally and has had exhibitions at the Korean Cultural Centre, Flat Time House, Royal Academy, OUTPOST, and was selected for Bloomberg New Contemporaries 2005.
Anne Hardy lives and works in London and studied at the Royal College of Art (2000). Solo exhibitions include; FIELD, Modern Art Oxford, on until 10 Jan 2016, TWIN FIELDS, The Common Guild, Glasgow, 2015; rrmmmph, huooghg, op, mmmuuoow, ip , FIG-2, ICA studio, London, 2015; Fieldworks, Kunstverein Freiburg, 2014; Vienna Secession, 2012; Maureen Paley, 2013; New Acquisitions from the Arts Council Collection 2010, Anne Hardy — Recent Work, Project Space, Longside Gallery, Yorkshire Sculpture Park, 2010. In 2012, the artist book Anne Hardy Secession was published to accompany her exhibition at the Vienna Secession. Hardy’s work has been included in group exhibitions both in the UK and internationally, including recently Mirrorcity at The Hayward Gallery, London, 2014. In 2011, Hardy took up an artist’s residency at Camden Arts Centre and in 2014 an artist residency Live in the Studio, to develop a live performance work, at Modern Art Oxford. Anne Hardy is represented by Maureen Paley, London. A new monograph will be published in February 2016 by The Common Guild and Dent-de-Leone, focusing on Hardy’s exhibitions at The Common Guild and Modern Art Oxford.
Dr Jo Melvin has been investigating the interconnections between the archives of artists’, critics, museums, galleries and magazines from the 1960s to the present day since the early 90s. She recently curated the exhibition Five Issues of Studio International at Raven Row and is preparing a Christine Kozlov exhibition with the Henry Moore Institute, Leeds opening in December and working on the Seth Siegelaub catalogue accompanying the forthcoming exhibition at the Stedlijk, Amsterdam. She is currently working on the catalogue raisoneé of the sculptor Barry Flanagan to be published by Modern Art Press in 2017.