19,988,535 research outputs found
Strutton, J. (2011) The Tyranny of Grammar. Fishmarket Gallery, Northampton. 12 March – 20 April 2011.
No full textThe Tyranny of Grammar was a group exhibition exploring the work and legacy of the Northamptonshire vernacular poet John Clare. Part of this exhibition was ‘The Salon of the Vernacular’, which featured contemporary painting and works on paper by twenty two artists selected by John Strutton. As well as artworks in the gallery, there were events and talks, including a talk on Clare and the land by Professor John Goodridge, and a reading from the Author Alan Moore. For the artists in the Salon, landscape or place is returned to through the “detours” of myth, folklore, science fiction and personal narrative. The graphic is filtered through long lost allegiances and devotion to cultural icons of youthful protest and adoration. The figure is always particular and full of visual and stylistic idiosyncrasies, while acts of nostalgia are as much about revenge as they are sentiment. Even towering authorities such as modernism are recalled through compositions that owe as much to hand-painted shop signs as to considered geometric abstraction. The term “Salon” could not be more at odds with many of the values one associates with the vernacular, with its allusions to the academy and elite endorsement. The clustered and random connections conjured in this collection are more akin to the makeshift memorial or ex voto wall where each individual offering and heavily accented voice becomes part of a larger and less than melodic chorus invoking the late great Malcolm McLaren mantra to “live yesterday tomorrow!” Artists involved in the project were, Phillip Allen, Nathan Barlex, Lydia Corry, Graham Crowley, Stephen Dunne, Rhiannon Edwards, David Fletcher, Sara Gilies, Peter Harris, James Harrison, Lucy Harrison, Zoe Hodgson, Bibi Katholm, Ansel Krut, Simon Mathers, Chris Orr, David Rayson, George Shaw, John Strutton, Neal Tait, Milly Thompson, and Sam Windett
Strutton, J. (2012) Opus Dopus. Domobaal, London. 24 February – 31 March 2012.
No full text‘Opus Dopus’ was a solo exhibition presented at Domobaal gallery in London. The exhibition centered on a sixteen minute Film screened as a 4.5m projection and an installation of drawings, prints and a sculptural tableau that related to the Film. The film itself was comprised of 6 chapters each creating a particular narrative from which to approach the theme of redundancy or unfulfilling work and was made using internet translation tools and mobile phone technologies. The exhibition hosted two public talks, one between Strutton and the critic/writer John Slyce and one with the artist George Shaw
Strutton, W H, SX4352
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/419792Surname: STRUTTON. Given Name(s) or Initials: W H. Military Service Number or Last Known Location: SX4352. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 8147.244371
Item: [2016.0049.52053] "Strutton, W H, SX4352
Strutton, J. (2009) Donderslag. Domobaal, London. 27 March – 9 May 2009.
No full text‘Donderslag’ was a solo exhibition presented at Domobaal gallery in London. The exhibition consisted of a large-scale installation across two rooms of drawings, banners, painted musical instruments and ephemera. On the opening night of the exhibition Strutton’s band, ‘Arthur Brick’, played live in the gallery which was documented by artist Lucy Pawlak and the resulting footage was made into a collaborative video which ran both online and in the gallery for the rest of the exhibition. The title ‘Donderslag’ was taken from a political pamphlet produced in 1654 in the aftermath of the great munitions explosion that destroyed most of Delft. Themes of conspiracy, protest and political satire were addressed through both the installation and the nature of the text used in the artworks. A small pamphlet was produced for the show and given away on the opening night entitled ‘Donderslag’ which expanded some of the slogans used graphically in the artworks into longer lyric like texts. The show was reviewed in Art Review in which Rebecca Gelard said ‘The success, however, of his infectious, decidedly masculine iconography lies in the palpable devotion to the magpie randomness of web browsing and channel hopping, or to the associative malady of a day’s events.’ Strutton was invited to present an artist talk on the show to students studying curation at Christies as part of their contemporary art practice series of lectures
Grease Madonna
No full text‘Grease Madonna’ was a solo exhibition presented at Domobaal gallery in London. The exhibition centered on a twenty minute Film screened as a 4.5m projection and graphic prints that related to the Film. The film itself was comprised of 6 video works from the ‘Under 5’s’ series edited together to approach themes of material transformation, social space and personal politics and anxieties produced by current technology. The exhibition hosted a public talk, between Strutton and the critic/writer John Slyce and a collaborative performance with the artist Heidi Smith and Strutton’s band Arthur Brick. Strutton also presented a public talk at the RCA’s Gorvy lecture theatre on the show
The Right Hand Gives, The Left Hand Takes Away
No full textThe Right Hand Gives, The Left Hand Takes Away was a show/performance event curated by Leigh Clarke, with print, video and performance work by Leigh Clarke, Bob and Roberta Smith, Hannah Bays, Sofie Alsbo, Adam Gibbons, Dan Holliday with Skinny Girl Diet and John Strutton. The works made for this project played with subjects surrounding giving and taking or generosity and greed, through music, performance and political graphics
ANNA LIES
No full textOver the past decade or so Strutton has started each day in the studio by making a small drawing on A4 paper. Like a stretch, or limbering up exercise this activity was always meant to be an act of just doing something rather than producing anything. Each drawing was stamped, as a way of defacing or invalidating the image, with the words ANNA LIES. Over the years this habit has become an accidental archive of painting without the burden of it becoming visible. The short video work ANNA LIES (02:57min) compresses hundreds of these images down to 1/30th of a second each, to form a constantly shifting visual frame over which a narrator throws accusations of deceit, contradiction and irresponsibility. For this exhibition Strutton showed 450 of the original drawings as a large scale installation along with several films from the UNDER 5'S series. The archive of works forms the basis of the UNDER 5'S YouTube channel uses tagging and keywords to attempt to embed the works in the broad arena of conversation facilitated by social media. Many of these new 'Under 5's' videos also draw on archives of material that span decades (religious tracts, newspaper cuttings and personal photographs) and have been put together to form a playlist of short anecdotal narratives that warn variously of the dangers from unsolicited leaflets, utopian architecture and impulse eBay purchases
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[Peyton Strutton and Alexandria Driver at the University of North Texas Freshman Orientation 11]
No full textPhotograph of Peyton Strutton and Alexandria Driver at the University of North Texas (UNT) Freshman Orientation 11 on July 27, 2023. Students visited the UNT Libraries table where they learned about Keeper and decided to start archiving their time at UNT at orientation
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