1,259 research outputs found
Large Blue
No full textof average sunlight is an exhibition curated by Finlay Taylor and Susan Johanknecht. of average sunlight indicates a measurement, a measurement of something invisible, of life-giving substance, of radioactive material. You are invited to make or contribute work that responds to these notions. This selection of works focuses on the book at an intimate scale, a hand-held thing to be explored. Offering a small library to browse in one place. The book work by Finlay Taylor made for the exhibition responds to research into the specific and complex life cycle and habitat of the Large Blue butterfly now extinct in the UK and replaced by a Scandinavia 'type species'
Assessment of the Finlay Journal Scientific Production According to the Web of Science
No full textFoundation: bibliometry allows to analize the scientific production of a country, institution or particular author. The best journals worldwide do bibliometric studies to determine if they are competitive with their pairs in a thematic knowledge area. Objective: to evaluate the scientific production of the Finlay Journal in the period 2015-2017. Method: a bibliometric study was realized in which he production analyzed is done during the years 2015 to 2017, the information was extracted up to January 7th 2018, data base from the Web of Science was used. The 144 articles examined were imported to a data base elaborated, with this purpose, using Excel Microsoft. The variables considered were: year of the publication, author’s production, institutions, countries, topics, languages, average quotes per publication and number of authors per article. In addition indicators h, g and e were used. The results were presented in tables in order to be able to evaluate the scientific production of the journal. Results: topics related with internal medicine predominated, the most productive author was Miguel Serra Valdés, also the most prolific institution was the Gustavo Aldereguía Lima University Hospital, Cuba is the country with the highest contribution of articles. Conclusion: the Finlay Journal has progressively been consolidating its quality and impact in the competitive environment within the Web of Science
Against Nature
No full textAgainst Nature was an exhibition exploring current understandings of geography, or the geo-graphical, natural histories and landscapes. The exhibition concentrated on work that uses print and the ways in which subtle innovations in this medium are used to great effect to investigate some of the complexities which arise when looking at nature in art. It explores political and ethical notions of our planet as a natural habitat. It also brings together works to explore the recurrence of natural motifs such as mountains, plants and the moon. A Camberwell Press publication will accompany the exhibition featuring essays from David Cross and Nicky Coutts and images by Bob Matthews, Denis Masi, Finlay Taylor, Kate Scrivener and Dick Jewell. Exhibiting artists include: Franz Ackermann, Jasone Miranda Bilbao, Sarah Bodman, Ian Brown, Helen Chadwick, Paul Coldwell, Cornford and Cross, Nicky Coutts, Dunhill & O’Brien, Adam Gillam, Oona Grimes, Judith Goddard, Mark Harris, Katsushika Hokusai, Dan Howard-Birt, Susan Johanknecht, James Keith, Serena Korda, Michael Landy, Jo Love, Mike Marshall, Bob Matthews, Julian Opie, Tim O’Riley, Simon Patterson, David Rayson, Rebecca Salter, Kate Scrivener, Jo Stockham, Finlay Taylor, Herman de Vries
Printmare Against Nature
No full textNicky Coutts showed a work in the show "Printmare: Against Nature 1", reproducing a miniature storm scene from a Scottish five pound note and an essay titled "Animal Print Suicide" for the accompanying publication "Printmare Against Nature 2". Curated by Finlay Taylor, ‘Against Nature’ was an exhibition exploring conditions of current understandings of geography (or the geo-graphical), natural histories and landscapes. This exhibition concentrated on work that uses print, and the ways in which subtle innovations in this medium are used to investigate some of the complexities that arise when looking at nature in art. An associated publication has been published by Camberwell Press with essays by David Cross and Nicky Coutts, as well as page images by Bob Matthews, Denis Masi, Finlay Taylor, Kate Scrivener and Dick Jewell. Exhibiting artists included Franz Ackermann, Jasone Miranda Bilbao, Sarah Bodman, Ian Brown, Helen Chadwick, Paul Coldwell, Cornford and Cross, Nicky Coutts, Dunhill & O’Brien, Adam Gillam, Oona Grimes, Judith Goddard, Mark Harris, Katsushika Hokusai, Dan Howard-Birt, Susan Johanknecht, James Keith, Serena Korda, Michael Landy, Jo Love, Mike Marshall, Bob Matthews, Julian Opie, Tim O’Riley, Simon Patterson, David Rayson, Rebecca Salter, Kate Scrivener, Jo Stockham, and Herman de Vries
Bookmare
No full textBookMare, curated with Finlay Taylor, at Camberwell Space in July 2012 comprised of an exhibition, performance, talks and discussions exploring how artists have used books as concepts and components in their practice, often causing disquiet. Here, books were not primarily carriers of information – their pages were locked in vitrines, eaten, blown or flashing by at speed. Some books had no text at all, with attention shifting to the artefact itself. This was an uneasy journey through a selection of works to explore territory at the margins of the book
Viva La Vida
No full textIn this soup we swim is a small sample – a soupçon - of the rich and strange chorus of art making in London, Kent, Sussex and Devon. The photographic work exhibited here by Finlay Taylor is titled 'Viva la Vida' after Frida Kahlo's still life of the same name which Taylor visited whilst on a research trip in Mexico during 2003. The still life painting of watermelons by Kahlo was also her last work before her death in 1954. Taylor's work depicts a watermelon cut in half being eaten by snails, a meeting of food and sexuality implied by the imagery and referencing Taylor's own interest in snails and molluscs more widely. In Kahlo's images she uses snails as a symbol, they float in the picture spaces offering an idea, often quoted as a protective home or sanctuary. Taylor's research into Kahlo's practice, the wider history of still life and the biological and symbolic understandings of snails led to the development of this work. Here Taylor plays on the sensual nature of colour, moisture, melons, touch and food, as well as contrary notions of desire, repulsion and lust and devouring. The curator of the exhibition Dan Howard-Birt describes some of his decisions for selecting works in the show as follows 'All of the works in this exhibition excavate interstitial gaps between figure and ground, between states of bloom and decay, and in the collision of different systems of language. mud doctor The sense within each work that something (meaning, form, coalescence) is both arriving and retreating is echoed in the show as a whole; a chorus of many voices check, compliment and contradict one another. In this soup we swim exults in the non-definitive, the fluid, the unstable and the vitality of lively exchange over reductive consensus'
Great Piece of Turf
No full textFinlay Taylor curated ‘Great Piece of Turf’ at Danielle Arnaud, London (http://www.daniellearnaud.com) and published limited edition bookwork of commissioned pieces, combining digital and screen print technologies. Tate Britain and the National Art Library purchased the bookwork. The exhibition invited ten artists to explore notions of landscape. The brief asked participants to consider the following three references in their research: ‘Against Nature’ a text by Joyce Carol Oates, ‘Deliverance’ a film by James Boorman and ‘Cortez the Killer’ music and lyrics by Neil Young. The artists included Dalziel and Scullion, Peter Dukes, Denis Masi, Jem Southam and Sarah Woodfine. Their works agitate thinking about political, scientific and ecological issues and this emerged to fuse the show. It also emphasized how difficult it is, at this point in history, to divorce these notions from artists’ practice.The exhibition was named after Dürer’s watercolour ‘Das Grosse Rasenstück’ which is often considered as a starting point in observing ‘nature’ as a subject matter in a manner not connected to symbolism. From this standpoint it influenced science and artistic practice, which impacts on the exhibition works and contextualization. An important decision in selecting the artists was practice that revelled in details, but also contrasted visual minutiae with complex concepts. For example Kate Scrivener’s miniscule painted texts depict sea creatures but read as environmental phenomena and relate extraordinary accounts of human survival at sea. Phil Coy recreated life size pixels from a NASA photo-detail of central park, losing all notion of specifics beyond colour. Finlay Taylor’s work ‘British Butterflies and Moths' represented migratory Lepidoptera specimens from distant geographical locations, but identified within UK species identification guides as British species. The exhibition was reviewed in Contemporary (Contemporary, issue no 50, 2003, http://www.contemporary-magazine.com/reviews50_2.htm) by Ben Tuffnell curator at Tate Britain
against Nature
No full textFinlay Taylor curated against Nature, an exhibition exploring conditions of current understandings of geography, or the geo-graphical, natural histories and landscapes. This exhibition concentrated on work that uses print and the ways in which subtle innovations in this medium are used to great effect to investigate some of the complexities that arise when looking at nature in art. It also brings together works to explore the recurrence of natural motifs such as mountains, plants and the moon. The curation exposed links between ideas and approaches for example Bob Matthews work The Future, 2012 a linocut and tie-dye on linen, bamboo, acrylic and rope measuring 488 x 244 cm with Hokusai’s woodcut, Fuji above the lighting from 1831. The reach of Japans cultural history is seen, the continued search for the spiritual as a common measure of encountering the world, the legacy of a process and its continued vitality as well as elements such as a shared use of colour. Works by Tim O’Riley revealed the place of scientific endeavor and understanding with the place of seemingly arbitrary objects. In his work ‘Accidental Journey’ of 2010 O’Riley inspects the importance of objects, looking and close observation of the moon, which recurs through out the exhibition as a reminder of distant things, the future and the past. For this exhibition Finlay Taylor created a new work titled ,Making plans before heading south’ that consisted of large photocopy images of clouds, aerial views and a tableaux of globes and artifacts. The table top collection alluding to plans, drawing and a process of altering or defacing mapped surfaces continuing the experiments with how printed matter can be used and interpreted. A symposium for against Nature was held on the 21 May at Wilson Road Lecture Hall, Camberwell College of Arts. Three invited speakers discussed ideas related to the exhibition: Gill Saunders, curator of prints at the Victoria and Albert Museum discussed gardens and unnatural nature in print, looking at works by Ivor Abrahams', Victoria Browne and Andrew Curtis. Dr Joy Sleeman has researched extensively into her personal interests into European land art. Here Joy inspected artists who have addressed the idea of the connections between earth, space and the moon. David Cross is an artist renowned for his collaborations with Matthew Cornford (Cornford and Cross), relating his work in the show to wider ecological and economic issues. This symposia event was collaboration between Camberwell Space, CCW Graduate School, UCL, V&A and the RCA
Trig Point
No full textA group exhibition curated by Finlay Taylor located in the Millimeter02 frame in the Kingsgate Project Space, London . The frame acted as a meeting point for the exhibiting artists, a triangulation of possibilities for individuals located in different parts of the world. The artists wrote to each other in the form of a letter as a means of conveying their ideas
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