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Showing 3 items related to Richard Hylton



Discreet Charm | Yinka Shonibare and Kate Smith

Collaboration at Croxteth Hall 1996
Date: 1 October, 1996 until 10 November, 1996
Curator: Richard Hylton
Organiser: Visionfest

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click to show details of Discreet Charm / Yinka Shonibare and Kate Smith

»  Discreet Charm / Yinka Shonibare and Kate Smith

Catalogue relating to an exhibition, 1996

People in this exhibition

»  Richard Hylton

Born, 1967 in England

»  Yinka Shonibare MBE RA

Born, 1962 in London, England

Exhibition venues

»  Croxteth Hall

Liverpool, United Kingdom

Landscape Trauma in the Age of Scopophilia

Group show at Cafe Gallery Projects. 2001
Date: 1 July, 2001 until 5 August, 2001
Curator: Richard Hylton
Organiser: Autograph ABP

Landscape Trauma in the Age of Scopophilia was at the Café Gallery (The Gallery, Southwark Park) 01/07/01 - 05/08/01. It was organised by Autograph and curated by Richard Hylton, who was at the time Autograph’s Curator. Landscape Trauma was an unusual exhibition, insofar as it featured a mix of artists from different ‘racial’ backgrounds. This marked something of a new departure for Autograph. Spread over two venues (Café Gallery, and a nearby building that was originally a church) Landscape Trauma featured a range of work by Annabel Howland, Henna Nadeem, Ingrid Pollard, Camila Sposati, and a Consortium called The Search for Terrestrial Intelligence.

The exhibition’s press release stated “The notion of landscape evokes something quite literal, from the idyllic or troubled countryside, to expressions of the ‘political’ or ‘cultural’ terrain. Using landscape as its starting point the exhibition presents illusions of scale and space, the macro and micro, the aural and the visual which fluctuates between abstraction and depiction, the spectacular and the intimate”.

Whilst much of the exhibition referenced rural, geological and cartographical affairs, Sposati’s work distinguished itself by its wholly urban construction and references. Her contribution to the exhibition was a video projection, titled ‘Talk to Me’. It featured video footage, apparently shot from a helicopter, of a vast and sprawling concrete jungle of what appears to be one of the world’s biggest cities, Sao Paolo. The video showed the awesome city by day, as night falls, and by night. Skyscrapers and other buildings designed for dense occupation, literally as far as the eye can see. Superimposed on this towering and spectacular urban landscape is a conversation between two people, a man and a woman.

Though they were clearly in the same physical space, their conversation suggested that they were, in reality, in different psychological, emotional, or mental spaces. The conversation was awkward, disjointed, disconnected. Her: I want to live in a different place… I’d meet different people… I’d go to a movie everyday… Him: “I’m going to cook pasta what sauce do you want? The work resonated with stark human isolation. Ironically, though the viewer had a bird’s eye view of literally millions of people, the viewer could not see or make out a single “ as in, individual - living soul. The non-conversation of the piece’s two protagonists confirmed the sense of human isolation of the city dweller - millions of people unable to properly engage with each other, even on a one-to-one level.

For the exhibition, Howland took enlarged photographs of landscapes, both urban and rural and then meticulously cut away at the images, thereby reducing them to almost eerie skeletal forms. Introductory notes to these scalpelled photographs described them as “reconfiguration’ which “results in works which are both physically and visually fragile’, whilst the artist herself is said to describe her images as “teetering on the edge between coherence and collapse, representation and abstraction, identity and psychosis’. In this regard, amongst her most successful pieces were her aerial shots of miles of agricultural landscape. These pieces prompted the exhibition’s viewers to question what is present and what is absent from the farmed countryside. By cutting away at the photographs, by slicing away at the body of the image, Howland emphasised and drew attention to the ways in which intensive farming has been charged with taking the “soul’ out of the land, leaving it depleted and stark, skeletal and bare.

Nadeem contributed a set of montaged photographs, which questioned and re-presented archetypal depictions of the countryside. Gallery notes offered the view that “Whilst the bottom image remains intact, the [overlaid] top image is cut away using the artist’s own customised Islamic or William Morris pattern as a template. These images, which are slightly askew, suggested movement or a shifting viewpoint, and appeared to be in a state of metamorphosis, promising but never actually coalescing into a coherent whole. In effect, Nadeem’s work was not one picture, but two. For within the overlaid geometric shapes there lay parallel pictures which, whilst heavily referencing the background pictures, simultaneously had a visual integrity of their own. Whilst the William Morris latticework presented itself as a largely decorative affair, some of Nadeem’s pieces suggested/presented an interplay between different types of landscape and attendant associations of territory.

Within the work of Howland, Nadeem and Pollard, the previously familiar picture plane was very consciously interfered with - disrupted, compressed, abstracted and destabilised. This work was amongst the strongest in the exhibition, as it had the intention and the effect of questioning perceptions of landscape.

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click to show details of Ingrid Pollard | Landscape Trauma 2006 - postcard

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Postcard relating to an exhibition, 2007

People in this exhibition + view all 6

»  Richard Hylton

Born, 1967 in England

»  Henna Nadeem

Born, 1966 in Leeds

»  Ingrid Pollard

Born, 1953 in Georgetown, Guyana

Exhibition venues

»  Cafe Gallery Projects

London, United Kingdom

Richard Hylton

Born, 1967 in England

Richard Hylton is an artist, curator and a writer of art criticism. He studied Fine Art in Exeter and his work - which uses photography - has been included in a number of exhibitions. He has been curating exhibitions since the early 1990s. Over the past several decades, he has worked as a curator in various organisations including Oldham Art Gallery, Gallery II, University of Bradford, Autograph (Association of Black Photographers), Unit 2 Gallery at London Metropolitan University and London School of Economics. He has curated numerous national and international exhibitions including: Shifting Borders (1992), Tampered Surface - Six Artists From Pakistan (co-curated by Alnoor Mitha, 1995), Imagined Communities (1996) and Landscape Trauma in the Age of Scopophilia (2000). He has also edited a number of artists’ monographs, one of the most substantial being Donald Rodney: Doublethink and been responsible for other bookworks. These include his involvement with David Hammons’ book work, The Holy Bible: The Old Testament (see www.handeyeprojects.org/).

Hylton has contributed writing to various art journals and exhibition catalogues, and is a regular contributor to Art Monthly In 2007 his book The Nature of the Beast: Cultural Diversity and the Visual Arts Sector - A Study of Policies, Initiatives and Attitudes 1976 - 2006, was published by the University of Bath. Richard Hylton was for a number of years the curator of Unit 2 Gallery, at the London Metropolitan University, at Whitechapel, London. Subsequently, he was for several years responsible for programming visual arts events, activities and exhibitions at the London School of Economics. He secured an MA from Goldsmiths College. He is a member of an art band Die Kunst. He lives in London.

From the Contributors page of Critical Interventions, Journal of African Art History and Visual Culture, Number 12, Fall 2013, special issue on Black Artists in Europe, guest edited by Eddie Chambers:

Richard Hylton is a PhD candidate at Goldsmiths College, University of London  within the department of Visual Cultures… His current doctoral research examines the role played by contemporary art in events staged in Britain in 2007, to commemorate the bicentenary of the Abolition of the Slave Trade in the British Empire.”

Since 2013, he has been Cultural Programme Curator at University for the Creative Arts (UCA) based at the Farnham and Epsom campuses, where he is responsible for devising, overseeing and supporting internal and external exhibitions and events.

richardhylton.co.uk/

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Catalogue relating to an exhibition, 1997

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Exhibition guide relating to an individual, 2000

click to show details of Doublethink (Donald Rodney) - press release

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Press release relating to a publication, 2003

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Catalogue relating to an exhibition, 1991

click to show details of The Nature of the Beast

»  The Nature of the Beast

Book relating to a publication, 2007

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»  Imagined Communities

Group show at Oldham Art Gallery. 1996

Related venues + view all 8

»  Arnolfini

Bristol, United Kingdom

»  Castle Museum

Nottingham, United Kingdom

»  City Gallery Leicester

Leicester, United Kingdom

»  Harris Museum and Art Gallery

Preston, United Kingdom

»  Wolverhampton Art Gallery

Wolverhampton, United Kingdom