Tuesday, 25 June 2013

Artist's Cushion Collection




The Shop Floor Project have just released this range of cushions where they have reproduced classic print/painting designs of artists into cushion designs. The cushions are printed on organic cotton, backed on organic linen, have a zip fastening, are feather filled and are selling at £59 each. They are 41 x 41cm.For my range we chose some of my old nautical prints including the tattooed sailor, seagull and my Merrily, Merrily print.Included in the collection are designs by Cornelia O Donovan and TSFP proprietors Samantha and Denise Allan.

Sunday, 23 June 2013

Ceci Cela




Ceci Cela of Minneapolis turned some of my old cat and dog drawings into products. (Including clocks, necklaces, notebooks and mirrors). The clocks make me laugh.


Thursday, 20 June 2013

Durham Vintage Fair

The Newcastle Vintage Fair have branched out again and are having another fair in October, this time in Durham at the Gala Theatre. Sure to be a great day out with bargains to be had and extra entertainment including a free hair and beauty bar.

Tuesday, 18 June 2013

Whitby Whaling






























Have just been up to Cambridgeshire to sign and retrieve my prints from the Curwen Studio where they have been busy printing them. I am so pleased with this collaboration - they have been great to work with and we have achieved some really vibrant and powerful colours.
Having spent a lot of childhood holidays in Whitby I decided to produce a print looking at the maritime history of whaling in the Whitby area and the associated superstitions to this activity.

Just a small signed edition of 30, they are 4 colour lithographs, 54 x 74cm and £175 each. Each is embossed with the Curwen Studio seal. Please email me at alice@alicepattullo.com if you are interesting in purchasing one.

(Apologies for the slightly poor quality of the full image - a tricky one to photograph!)

Monday, 17 June 2013

Wonderful Things

Here is a map I did with Metaphor whilst working on the Burnley Council museums earlier in the year. We produced the map to link all the museums and surrounding area.

Sunday, 16 June 2013

Progress

A little sneak at somethings I've been working on lately.



Curating Popular Art

















An all day series of lectures on Friday at Whitechapel was a great way to be kept indoors on such a sunny day.
Including morning talks from Penny Sexton, curator of the Marx/Lambert collection at Compton Verney, on redesigning the collection to best reflect Enid (colloquially known as Marco),  Liz Farrelly on the inclusion of the work of flower arranger Constance Spry in the Design Museum and the national and public arguments it provoked. The morning inspired discussion afterwards on the evolution of the meaning of design, the place of gender/ domesticity in folk art and the organic/living nature of folk art and what this presents to a curator when trying to exhibit it.
The afternoon provided a sneak preview, from curator Martin Myrone and artist Jeff McMillan, of what we are to expect at next year's Tate Britain show of British Folk Art (June 2014) - I can tell you it looks to be pretty good! This led to an interesting discussion about the emotional investment in folk objects and the question of how to recognise the often anonymous makers of folk art when curating an exhibition. All in all it was a much needed, inspirational break from my desk and computer - thank you Whitechapel!
As a side note - got to catch up with Desdemona McCannon and hear more about her upcoming event, organised with Rosemary Shirley, about 'Enid Marx and her Contemparies' which is to be held at Compton Verney in September - I can't wait! To register to go, go to www.folkartdesign.org.

A notebook























I designed in collaboration with Shake The Dust, who collaborated with Indian paper artisans Haathi Chaap. It is hand screen printed on to eco-friendly paper made from elephant dung.

Thursday, 13 June 2013

Abbey House Museum



This feels like it has been a long time coming (meetings began for this last summer...and I was finished drawing it tail end of last year) but I am pleased to reveal a selection of products that have been produced using an illustration I designed exclusively for Abbey House Museum in Leeds (one of the Leeds city council museums). Inspired by the collections at the museum I chose to illustrate a selection of their large Victorian childhood collection. The resulting products can be bought at the newly redesigned museum shop and also on the Leeds museums and galleries website.
(Excuse the phone shots...haven't had a chance to properly photograph yet).


Wednesday, 12 June 2013

Rena Gardiner























And thinking about 'Recording Britain' made me think of Rena Gardiner's fantastic recordings of the landscapes and architecture of Dorset in her books that she designed, drew, printed and published herself at the workshop press in her cottage in Dorset. Visually vibrant and stunning - if you come across one of these books in a second hand store - don't put it back down!

Recording Britain






















Recording Britain was a wonderful initiative led by Sir Kenneth Clark during the second world war, to employ artists to 'record' and preserve parts of Britain that might be under threat of destruction during the war. More than 1500 watercolours were made as part of this scheme both by amateurs and professional artists including John Piper, Kenneth Rowntree and Barbara Jones.
The collection is now owned by the V&A, but is currently on display at the DLI museum in Durham and well worth a visit - they are much more powerful in the flesh. Most of the series can be viewed online in the V and A collection. A few of my favourites include Kenneth Rowntree's 'Livermore Tombs', Barbara Jone's 'Hawthorn Horse' and (one not on display) Phyllis Diamond's, 'Geffrye Museum'.
This exhibition was accompanied by a talk by Gil Saunders (word and image curator at V&A) who curated the Recording Britain exhibition in 1990 and also wrote the book that accompanied this. Athough discussing the whole history to the project, I found it particularly interesting that she suggested the project as something that was induced with pre-emptive nostalgia; that the things that were chosen to be recorded were places that were imbued with a sense of importance  - and that much of this 'quintessential englishness' was found in the South; something a room full of Northerners clearly felt disappointed in. On a more positive note, as part of personal research Saunders said she had found much of the areas deemed as under threat in the war, had survived, but with a development and modernisation to their surrounding landscapes.

Barbara Jones (again)




She seems to be all over the place at the moment!
I managed to make it over to the PV of 'Brighter and Lighter'; a particularly lovely exhibition of a selection of her work at Burgh House in Hampstead last week, organised by Neil Jennings of Jennings fine art. I found myself particularly fond of a watercolour painting of a coronation pin-cushion for Queen Victoria-if anyone has a spare £1200 and doesn't know what to do with it...(the exhibition is on until the end of the week so do try and go if you are in the area.)
While there I picked up a copy of the BJ commemorative issue of Follies magazine which and some very inspiring reads in...along with my new copy (as previously mentioned) of 'The Unsophisticated Arts'.
Also, in conjunction with the 'Black Eyes and Lemonade' exhibition at Whitechapel are some interesting lectures. A discussion between Simon Costin and Marina Warner last week proved to be a slightly erudite but thought- provoking evening. I was most interested in the idea of nostalgia connected to the objects she chose to exhibit in the original Festival of Britain show, and how she saw it as 'field work of the everyday'. There are still tickets left for what looks set to be an insightful day of lectures about curating popular art, at Whitechapel Gallery on Friday.