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Monday, January 28, 2013
In The Underbelly gallery at the Rumsey Wells, Andy Reeve’s second solo exhibition, All Money Is Dirty, ponders notions of value in art in difficult economic times. Plus: Avis Newman, Colin Cafferty, Benjamin Mathers.
ALL MONEY IS DIRTY
Rumsey Wells, St Andrew’s Street, Norwich, until February 19, Tues-Sat 12pm-3pm, 01603 614858, www.rumseywells.co.uk
In The Underbelly gallery at the Rumsey Wells, Andy Reeve’s second solo exhibition since graduating from Norwich University College of the Arts looks at some of the problems facing artists in today’s difficult economic climate as well as notions of value in art.
What is the value of an artwork if there is already some form of currency that has been used to make or develop it? Is it irresponsible to cut up money and use it for art when one has no other money at all?
Reeve uses a variety of methods to pose questions of value not just in his work but also in his self. Banknote artworks re-appropriate the portraits found on the current £5, £10 and £20 notes issued by the Bank of England. The portraits of Elizabeth Fry, Charles Darwin, and Adam Smith are given precedence, whilst the remaining pieces of the banknotes are also exhibited.
The Gallery, NUCA, St George’s Street, Norwich, until March 2, Tues-Sat 12pm-5pm, admission free, 01603 756247, www.nuca.ac.uk/thegallery
Norwich University College of the Arts joins a prestigious list of distinguished institutions that have exhibited the work of London-based artist Avis Newman.
Newman is perhaps best known for her works on canvas and paper and objects that trace a long-standing preoccupation with ideas of origin and language. Contemporary perceptions and concepts of drawing are often central to her work.
Throughout the 1980s, her practice explored ideas of scale, materiality and representation. In the 1990s Newman’s work abandoned the emphasis on representation and the image, focusing on the tensions that exist between raw materiality and the immateriality of thought - and by extension language.
Her most recent works on canvass, showing in this exhibition, sees her exploring an eternal preoccupation of artists - that of ‘boundary’, the ‘unframed’ and the ‘incomplete’. The exhibition is curated by NUCA visiting professor of fine art Simon Granger.
TILTING AT WINDMILLS & NATURE/CULTURE
Norwich Arts Centre, until February 2, Mon-Sat 10am-6pm, free admission, 01603 660352, www.norwichartscentre.co.uk
A joint exhibition by Colin Cafferty and Benjamin Mathers exploring our relationship to the landscape.
In Tilting at Windmills Colin Cafferty, a photographer specialising in work involving the environment, sustainability and climate change, explores the visual impact of wind-farms on the landscape in East Anglia while encouraging the viewer to reflect upon their attitudes towards traditional windmills and climate change.
Meanwhile Benjamin Mathers’ work is a study of the margins between nature and culture: what happens when humans leave areas or stop maintaining man-made objects. He grew up in Suffolk and his work reflects rural living. His photographs are taken both in Eastern Europe and rural East Anglia.
LIGHT ON THE LANDSCAPE
Mandells Gallery, Elm Hill, Norwich, until February 16, Fri-Sat 10am-5pm, free admission, 01603 626892
Exhibition of oil paintings by Martin Laurance, member of the Norwich 20 group, featuring East Anglian coastal scenes including Happisburgh, Brancaster, Salthouse and Orford Ness.
I ‘HEART’ NORFOLK
Assembly House, Norwich, until March 30, Mon-Sat 9am-5pm, free admission, 01603 626402
This exhibition is a view of Norfolk through an artist’s eye, celebrating the countryside, city characters and other fascinating aspects and includes work from well-known artists like Laurie Rudling.