GSA Exhibitions Timeline (3): Susannah Thompson, ‘Speak English’, Lubaina Himid and Maud Sulter, 2002
Posted on: Apr. 30, 2020Dr Susannah Thompson is Head of Doctoral Studies at the Glasgow School of Art. A previous role for her at GSA was as Exhibitions Assistant. Here she recollects a number of exhibitions she worked on, including the Newbery Gallery exhibition ‘Speak English’, Lubaina Himid and Maud Sulter, that ran 12-31 Oct 2002. In October 2002 I was working as Exhibitions
GSA Exhibitions timeline (2): Jim Rafferty, ‘Divergence’, 1964
Posted on: Apr. 08, 2020After seeing GSA Exhibitions recent call-out for exhibition publicity from previous years, Jim Rafferty, a GSA alumnus, got in touch. He tells the story behind the exhibition poster for ‘Divergence’, a student exhibition in 1964 that took place in Newbery Gallery, The Glasgow School of Art. ‘This exhibition included the work of myself and seven other peers at GSA. I
Timeline: 32 Years of GSA Exhibitions
Posted on: Mar. 31, 2020Were you part of a GSA exhibition in the last 30+ years? Exhibitions Director Jenny Brownrigg has been working on a timeline – 32 years of GSA Exhibitions- drawn from archival material held by GSA Archives and GSA Exhibitions archives. If you have taken part in a GSA Exhibition, in particular 1988-2009 (or before 1988) and have any materials relating
‘Glasgow ESOL for Work’ write personal response to ‘Observing Women at Work’
Posted on: May. 10, 2017As part of their Spring Break project, the ‘Glasgow ESOL for Work’ group of SQA National 3 and National 4 learners attended the ‘Observing Women at Work’ exhibition 30th & 31st March. The ‘Glasgow ESOL (English for Speakers of Other Languages) Forum’ mission is to assist the integration, employability and personal development of asylum seekers, refugees, economic migrants and marginalised black
Daisy Sutcliffe, granddaughter of Helen Muspratt, writes about visit to ‘Observing Women at Work’ and the overlaps between Muspratt and Raffles
Posted on: Apr. 11, 2017Daisy Sutcliffe is a PhD student at the University of Glasgow interested in UNESCO’s role in the mobilisation of creative practices around naturally designated World Heritage Sites, for example Giant’s Causeway and the Western Caucasus. Her grandmother, Helen Muspratt (1907-2001), was a photographer working in the early-mid 20th century across Europe and features in Franki Raffles: Observing Women at Work, which is
‘Line of Sight’, James Houston, Paul Maguire, Kimberley O’Neill and Jen Sykes
Posted on: Jan. 23, 2017‘Line of Sight’ was a group show by GSA Design School staff Paul Maguire, James Houston, Kimberley O’Neill and Jen Sykes, looking at the current perceived role of technology, and what relationship humans have with its future. The title comes from a term used in the theory of radio transmission to describe when a receiving antenna is just able to see a transmitting
Comics: Art & Enterprise Symposium
Posted on: Jun. 17, 2016On 18 May 2016 GSA hosted Comics: Art & Enterprise Symposium with speakers Frank Quitely, Yishan Li, Sha Nazir and Jason Mathis. The first half of the symposium was spent discussing the medium of comics, its position in popular culture today, and its relationship with other mediums. This latter point focused mostly on the links between comics, television, and film given the recent string
Review: ‘There’s a Special Place in Shell…’, Foote & Mouth
Posted on: Jun. 14, 2016GSA Exhibitions invited GSA PhD student Dawn Worsley to review the performance, ‘There’s a Special Place in Shell…’, Foote & Mouth, 27 April 2016, Reid Auditorium, Glasgow School of Art. All photos of performance by GSA FAP student Jack McCombe: The literal demonising of women and the feminising of mythological monsters is as old as patriarchy itself. Man born of
‘Hold Fast, Stand Sure, I scream a revolution’, Serena Korda
Posted on: Jun. 08, 2016GSA Exhibitions is just back from the Isle of Mull after working with An Tobar (Comar), on a Glasgow International Festival project with Serena Korda. Korda developed her work over both rural and city locations of Mull and Garnethill, Glasgow. The residency at the two locations allowed Korda to respond to place and community, in order to evolve the work.