Art Now Cornwall – Tate Gallery St Ives

The images in this exhibition come from Dominant Wave Theory, a recently published book of photographs made on various beaches around West Cornwall, Scotland and the USA over the last six years. An active member of Surfers Against Sewage, his photographs consider the epic and the everyday in the detritus washed up on the region’s shorelines. These are not ordinary photographs but express the latest twenty – first century developments in mass market colour photography – plastic on plastic you might say.

Rubbish and Recollections, Keith Arnatt

In terms of subject matter and approach, some of these images recall the work of Keith Arnatt and his exhibition Rubbish and Recollections 1989. Originally a conceptual sculptor in the 1970′s, Arnatt placed his photographic work firmly in the British Landscape tradition with his Polythene Palmers 1987, photographs which ironically depicted Arcadia as described by Samuel Palmer in his utopian visions of landscape.
Whilst Hughes’ images of plastic depicted in heroic scale may give us some concern about waste material and its impact upon a sensitive maritime environment, there is another side to these intelligent images. Hughes presents us with not only an ecological message but a knowing heady rush through artistic strategies using the power of photography’s saturated colour to highlight, frame, and play with scale, in an irreverent awareness of art historical practices.

Using technical aspects of the medium to portray a tiny object as something of heroic scale is a favorite trick of photography as is is the careful crop and use of the rectangle to suggest something beyond the the picture plane [ for example, an extensive landscape]. In the context of the St Ives school, the artist knowledge has influenced a number of these images. But it is the distinctive nature of the medium that has been exploited all too often; photography has the capacity to picture the world in a most mysterious manner. It is as if the technology had a direct connection with the artist’s Id, where the collective experiences of his physical and cultural landscape have soaked into his mind reside.

Perhaps this is why some of the objects portrayed here remind us of other things, suggesting a transformation has been made by the processes that govern photography. Why is it that a shard of plastic looks like a crashed UFO ? How can it be that that piece of foam looks like a bit of Robbie the Robot circa 1951 or a monster ( depending on which way you look at it) ? And how stunning is that landscape which has the look of granite and stitching at the same time as it shocks you into realizing that it is the chain-mail gloved hand of a resting Saracen Knight ?

ISBN – 978-1-85437-7 © TateGallery 2007 © Susan Daniel-McElroy

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The New Landscape, Dr Harriet Hawkins
Royal Cornwall Museum | 2008

The more normal ‘rubbish aesthetic’ is to understand it as a symptom of a hysterical, histrionic reaction to an over consuming world. This is not the aesthetic of disposal that we find here. Rubbish has a rich, if not well studied, art history, both as art’s subject and its material. For many cultural theoreticians rubbish owes its criticality to the fragmentary aesthetic of Walter Benjamin and the modernist theorisations of Theodore Adorno and the Frankfurt School. For Adorno rubbish was base failure, the low point of civilisation to be set against ‘art’. For Benjamin, the fragment’s break down was the site of a critique of consumption. Contemporary critic Julian Stallabrass extends this to understand trash as the betrayal of the ‘capitalist’ wish symbol.

However, these understandings are of limited help in understanding Hughes’, or [Shanahan’s] work. In Hughes’ powerful images, rubbish is much more than the out of place detritus of daily life. Rather, the close-ups give us a monumental beauty in the texture and colour of these forms. In Hughes’ images, rubbish becomes part of the contemporary sublime, playing on the tensions of high and low that sit at the heart of this aesthetic. Hughes’ striking images offer a poetics of seaside trash; a detritus of a throwaway society amidst the detritus of nature. Across the suite of his images, our attention is drawn, through the large scale and saturated colours, both to the surprising beauty in these different rubbish forms, but also different sand grains upon which this man-made detritus sits. Sand that is after all the by product of the ocean’s own destructive tendencies.

If Hughes’ images form part of a contemporary sublime, then Shanahan’s work forms more of a contemporary picturesque. Tailing’s Dam, Goongumpas, 2008 (picture below) depicts a common scene of the post-industrial landscapes of Cornwall. The abandoned site becomes a place of calm beauty where the ruins of past productive landscapes become sites of aesthetic appeal. Shanahan’s image deploys the picturesque’s romantic reframings of ruination and decay in the post-industrial landscapes of Cornwall. The poignant reflection of the mine engine room reflected in the still water (a reminder of the absences of function and utility that would once have animated these sites), together with colours of mineral wash and the strewn debris of industrial activity, are here enrolled in a image of peaceable beauty. A rather different aesthetic informs the second of Shanhan’s images, Child’s grave, United Downs (2008). Here, reclaimed material (old chairs and plastic toys) come to form an impromptu, but not less emotive, memorial. In a powerful re-fetishisation, once discarded commodities form unlikely talismans and grave objects. Rather than meaningless, these objects hang heavy with absent presences; of the personal meanings these objects are imbued with and of the child.

Extract from Art Cornwall – ‘The New Landscape’

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Stephen Brigdale, Southampton University

http://blogs.nyu.edu/projects/materialworld/2008/11/dominant_wave_theory_2006.html

This photography book published by Booth-Clibborn Editions and H N Abrams features over 150 photographs by the artist Andy Hughes made on different beach locations from California to Western Cornwall. The book explores and examines the relationship of beach waste as both an object of visual enquiry and as a reference to the global environmental crisis. “Dominant wave theory”, we are told, ” is loosely based on a scientific term used in the prediction and observation of wave models”. The book sets out to parallel this idea visually through the observation of the beach as a local site for the interplay of nature and consumer culture.

Through extraordinarily focused colour photographs of found waste objects, the reader is offered tangible stilled moments of reflection on the nature of these objects and left to ponder their place in the world now that their original purpose has been washed (eroded) away. This extensive archive of images forms the core of the project with the design and development of the book by David Carson working to heighten the visual scope and pace of the work. This is apparent in the scale, ordering and pairing of the images, creating thoughtful and revealing relationships throughout the book.

The photographs are complemented by a collection of essays by five eminent writers, who are here linked through the common thread of the project but coming from a wide range of perspectives. They discuss ideas connected with the beach from eco-activism through to cultural theory and marine biology; their contribution extends and puts into context ideas initiated within the photographs.

The political dimensions of environmental activism; the tackling of waste and changing our relationship to waste generation, are developed in writings by Chris Hines and environmental advocate Joshua Karliner. The latter in his essay, discusses ecological and industrial development and counters with alternative futures.

In contrast, the existence of the beach as a physical and metaphorical site are explored and linked with histories and archaeologies in the essay “The Beach as Ruin”. Here Lena Lencek makes wide ranging connections that play histories into the present and focus Andy Hughes’s work in time: as both representative of the present while simultaneously prophetic of possible dread futures. No less prophetic is the discussion, by Richard Thompson, of scientific marine data, gathered about the effects of plastic debris in the world’s oceans; the scale and persistence of which makes shocking reading.

The photographic work produced in this book creates references that allow a wide cross comparison between the images; this is carried through into the page design of the appendix which acts as both a catalogue of all the images and locations as well as an accumulating visual glossary of beach waste. The structure of this book is striking visually, defined by the everydayness of the objects and the uniqueness of their depiction.

The breadth of ambition of this book is wide and the issues that are addressed of contemporary significance. Visually it deals with these in a thought provoking and seductive way; the essays extending these images into far reaching debates, the whole work culminating in an important contribution to the ecological paradigm.

The essays open with a discussion by Christopher Short, of the visual context of Hughes’s work as a contemporary art practice. The wider implications of these photographs, in terms of art history through formalism and the development of modernism in St Ives (Hughes is based in West Cornwall), are speculated upon together with tourism in this locale to draw anthropological perspectives.

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http://www.orionmagazine.org/index.php/articles/article/270/

Carl Safina
Explores how the ocean is changing, and what those changes mean for wildlife and for people. In the 1990s he helped lead campaigns to ban high-seas driftnets, re-write US federal fisheries law, work toward international conservation of tunas, sharks and other fishes, and achieve passage of a UN global fisheries treaty. Safina is author of five books, and more than a hundred scientific and popular publications on ecology and oceans, including featured work in National Geographic and The New York Times. His first book, Song for the Blue Ocean, was chosen a New York Times Notable Book of the Year. His second, Eye of the Albatross, won the John Burroughs Medal for nature writing and was chosen by the National Academies of Science, Engineering and Medicine as the year’s best book for communicating

science. http://www.ted.com/talks/carl_safina_the_oil_spill_s_unseen_culprits_victims.html

Booth-Clibborn
In the 1970s, Booth-Clibborn produced the Dewline Newsletter in collaboration with Marshall McLuhan and the art imprint Motif Editions which featured the work of young artists such as David Hockney, Michael English, and Allen Jones.Booth-Clibborn Editions – a highly-acclaimed arts publisher since 1974

Abrams Books
Is the preeminent American publisher of high-quality art and illustrated books. HNA also serves as distributor for publications of The Vendome Press, the Whitney Museum of American Art, Booth-Clibborn Editions, the Royal Academy of Arts, Tate Publishing, and the Victoria and Albert Museum.

Ecogeographer
Mapping plastic, plants and pathways.

Surfers Against Sewage
SAS began in 1990 when a group of surfers, tired of suffering from repeated ear, throat and gastric infections, decided to do something to stop the sewage pollution of their local Cornish surf breaks. They were swiftly joined by like-minded water-users from around the UK and created what has now become a highly successful national campaign.

The EdenProject
To promote the understanding and responsible management of the vital relationship between plants, people and resources leading to a sustainable future for all’.

The Surfrider Foundation
is a non-profit environmental organization dedicated to the protection and enjoyment of the world’s oceans, waves and beaches for all people, through conservation, activism, research and education.

The Marine Conservation Society (MCS)
is the UK’s national charity dedicated to the protection of the marine environment and its wildlife.

Seasidehistory
This site is all about the British Seaside Holiday. Across thewhole country from Bournemouth to Brighton; from Blackpool to Cornwall. There are sections about lidos, holiday camps, piers, hotels, camping, sun bathing and the history of the British Seaside Holiday.

Pam Longobardi
Photographer, painter, and installation artist Pam Longobardi’s work deals with the psychological relationship betweenhumans and nature. Her latest project Drifters documents the plastic marine debris of the North Pacific Gyre at its depositionsites on remote Hawaiian shores.

Homeblown
Surf Blanks and Foam Systems.We don’t take ourselves too seriously but we do take our product seriously.

Riseaboveplastics.org/
Dedicated to reducing dependency on plastic.

discardstudies.wordpress.com/

unconsumption.tumblr.com/

‘Zonation’ is an ongoing series of  work-in-progress begun in the summer of 2009 and is a development which seems a retreat from his recent close up work. The photographed locations are known to him as places of both contemplation and places to surf. In these new photographs the camera peers down from the cliff edge, the 6×7 film frame records the activity of both tide and human interaction. Sometimes a touch of the horizon peeps into the frame edge, the white of the surf and the shape of minuscule figures along the waters edge explore the workings of natural wave corrasion and human pastimes such as bathing, surfing or walking. The seemingly anonymous figures of surfers, walkers and the array of paraphernalia are explored visually and metaphorically.

Fellowships & Awards
2012/13 Invited Artist | Gyre X | Anchorage Museum, Alaska
2008 Shortlisted Reserve Artist, British Antarctic Survey
[Arts Council England Fellowship]
2006 Arts Council England Funding Grant
2000 National Lottery and Millennium Commission Award
1998 Bournemouth International Arts Festival | Artist Commission
1998 Southern Arts Major Award
1997 South West Arts
1995 Prince’s Trust Travel Grant
1994 Winner of Eastern Arts Young Artist Award
1995 St Ives International Festival of Light Project
1991 Winner of ELLE Magazine Talent Award
1991 Winner of Sunday Times Magazine Photography Award

Selected Exhibitions Group and Solo
2011 San Sebastian Surf Film Festival Artist, Donostia, Spain
2011 5th International Marine Debris Conference, Honolulu, Hawaii
2011 The Nature of Waste: An Art Meets Science Symposium.
Digital exhibition, presentation of artists working with global ocean plastic pollution. Visualization Wall, Petit Science Center at Georgia State University, Atlanta
2010 Mariners Museum, National Maritime Museum, USA
2008 The New Landscape, Royal Cornwall Museum
2008 Surf Gallery, Laguna Beach, California
2008 The Happening, Cornwall, Tokyo, London, New York
2008 Royal West of England, Bristol
2008 Crane Kalman, Brighton
2007 Second Nature, Vitreous Fine Art, Cornwall
2007 Goldenshot, London
2007 Postcard from St Ives, Belgrave Gallery
2007 London-Photo 2007, Old Billingsgate. London
2007 Art Now Cornwall, Tate Gallery, St Ives
2007 The St Ives School 1997 – 2007, University College Cardiff,
2006 The Core Gallery, The Eden Project, Cornwall
2006 Invited selected artist ‘Danger Global Warming’ Blacksmoke & Greenpeace
2004/5 Oxbow Longboard Art Project, various galleries across the UK
(invited artists included Damien Hirst, Jamie Hewlett (Gorillaz), Banksy,
Aphex Twin, David Carson )

Selected Publications & Media
Landscape Magazine, DEFRA
BBC Brazil
Discarded Studies / WordPress
Guardian Environment
Material World – Blog
Featured Artist for Nokia/Virgin Airways In-Flight Media 2008
RPS Contemporary Group Magazine Feature Sumer 2007
Saatchi Gallery’s online magazine review
Royal Photographic Society, Contemporary Group Magazine 2007
Imaginginfo.com 2007
Orion Magazine May/June 2007
SEED Magazine (USA) Book Review 05.07- Polymers Are Forever
AG International Journal of Photography 05.07
Art Now Cornwall, Tate Publishing ISBN 9781854377517
Everyday Trash 6.02.07 (everyday trash/wordpress)
Cornwall Today 02.07
Inside Cornwall: Issue 157 January 2007
Royal Photographic Society, Journal, 01.07
The St Ives School 1997 – 2007 – UWIC ISBN: 0955477808
Independent London Photographers Magazine, 12.06
Western Morning News, Magazine, 11.06
Eden Magazine No. 24
Canadian National Post, Arts & Life, 24.07.06
BBC Blast 1.09.06
Surfers Path Magazine (USA & Europe)
Channel 4 Short Film “The Nations Favorite Buildings”
Hotshoe Photography International
The Big Issue
Selected artist /RPS – 1998 Year of Photography & Electronic Imaging
BBC World Service – Young Artists in Cornwall
Gulf News, UAE
Published work in ID Japan, Sunday Times Magazine
Big Magazine New York
British Journal of Photography
BBC Radio 4 Kaleidoscope Interview
BBC Radio 4 The Afternoon Shift

Lecturing & Teaching

Cardiff University, Southampton University,Truro College
Royal College of Art, Northampton College, ARCO Lisbon,
Cornwall College, University College Falmouth, Tate Gallery St Ives.

Symposiums, Panels & Research Groups
Presentation at European Centre for Photographic Research, University of Wales, Newport 2011

Invited Panelist, Tate Debate, Tate St Ives, Art Now Cornwall, April 2007

The St Ives School: Symposium, Cardiff University, January 2007;
Speakers: Mike Tooby, Curator National Museum of Wales,
Dr Chris Short, Professor of Art History

One Friday Conference:
Russell Square,London, February 2007
Speakers: Amelia Noble, Jason Smith, James Henderson,
Daniel Eatock, René Knip

Collections
Cornwall County Council Collection of Modern Art
Arts Council Wales
Mariners Museum, Virginia, USA
Private collections in USA and UK

Publications
Dominant Wave Theory
ISBN 1-86154-284- /
Full colour 290 mm x 300 mm
Booth Clibborn Editions, London, England
Abrams Books, New York
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Video / Film Interview

Winter Waves: Ocean of Colour from Joanne Clement on Vimeo.