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Graphics invite of Caroline Broadhead : A retrospective exhibition

 

11 January – 6 February 2019 | Lethaby Gallery

We are delighted to host a retrospective of the work of Caroline Broadhead. Bringing together work from across four decades, this exhibition reflects the breadth of Caroline Broadhead’s pioneering creative output.

Using jewellery design as a departure point, Broadhead’s objects were designed to be worn on the body and changed through touch and interaction. Further encompassing sculpture, installation, performance, textiles and photography, her practice is concerned with the borders of the individual – between inside and outside, public and private and the balance between materiality and image. Often working in collaboration, Broadhead’s works are activated by bodies and performers, examining the demarcation of human physicality.

A Central Saint Martins alumna, Broadhead held the positions of Jewellery and Textiles Programme Director and BA Jewellery Design Course Leader for nearly ten years at the College until her retirement in 2018 and is now Professor Emerita. She continues to teach on the course and is a guest lecturer at various institutions in and outside the UK.

Opening Times

Tuesday to Friday: 10am–6pm
Saturday: 12–5pm

Following on our last post ‘ReFrame’ exhibition of our ex-Program Director Caroline Broadhead and her daughter Maisie Broadhead, at Manchester Art Gallery, opened on the 20th of October. Our staff members at BA Jewellery Design all went to see the beautiful show, it was a true honour to see the breath-taking and intricate works.

For more information click here.

Graphics invite of 'ReFrame' exhibition

‘ReFrame’ –Interrogating representations of women and the portrayal of ‘women’s work’ is the upcoming exhibition of our ex-Program Director Caroline Broadhead and her daughter Maisie Broadhead, at Manchester Art Gallery, opening on the 20th of October.

Working independently, they have made ambitious new works in response to historic representations of femininity in paintings at Manchester Art Gallery. The new works focus on how the pictorial conventions of such paintings and their elaborate frames affect our perceptions of the women depicted. Their aim is to provoke a dialogue about past and present, content and surrounding and to interrogate representations of women and the portrayal of ‘women’s work’.

For more information click here.

A picture of Caroline Broadhead working at CSM

Caroline Broadhead has been interviewed by Vitsœ ahead of Shelf Aware, an exhibition of staff and student work to take place at Vitsœ showroom Munich. Caroline discusses her education, career and her role as course leader of Central Saint Martins BA Jewellery Design. Read the interview in full here.

Shelf Aware runs from 3rd – 14th March as part of Munich Jewellery Week.

Exhibition view, Second Hand, First Hand: Caroline Broadhead & Maria Militsi, 2015, Marsden Woo Gallery, London, courtesy of Marsden Woo Gallery, photo: Philip Sayer

Exhibition view, Second Hand, First Hand: Caroline Broadhead and Maria Militsi, 2015, Marsden Woo Gallery, London. Photo: Philip Sayer

12/26/2015

Second Hand, First Hand: Caroline Broadhead and Maria Militsi
October 14–November 14, 2015
Marsden Woo Gallery, London, UK

 

I’d like to begin this article with some bibbidi-bobbidi-boo. That is, “the thingamabob that does the job,”[1] or the magic that brings objects to life. Bibbidi-bobbidi-boo could be likened to Walter Benjamin’s notion of “aura,” to the “uniqueness” and “mystique” of the work of art as described in his The Work of Art in the Age of Mechanical Reproduction (1936); but it also comprises the fantastical, the transfusion of sparkle into things. I am, of course, making reference to Walt Disney’s Cinderella (1950), in which Cinderella’s dress is magically transformed from torn rags to haute couture just in time for her to make it to the ball; and it strikes me that artists Caroline Broadhead and Maria Militsi are our modern, magic-making equivalents.

Entering Second Hand, First Hand, the two artists’ recent exhibition at Marsden Woo Gallery, London, is like stepping into Cinderella’s scullery, with its barren concrete floor, bare wooden table and woven stool, and kitchen utensils strewn about. Yet a closer look reveals the creeping jewel-like texture of the space. There are echoes of J. G. Ballard’s 1966 novel The Crystal World, references to the encroaching crystallization of objects that “glistened like wedding-cakes,” and with “a ceaseless play of light” across their surfaces.[2] Broadhead and Militsi have rendered a performance in which the materials take center stage. These are not objects that merely provide the backdrop, but that have realigned themselves with the enchantment and allure of making.

Read the full review on Art Jewelry Forum

Sighted_Caroline_Broahead

Course Leader of BA Jewellery Design, Caroline Broadhead and collaborator, Angela Woodhouse present Sighted, a solo dance with a fine level of detail and intimacy generated through the interplay of dance, materials and light.

Sighted is performed by Stine Nilsen, offers a highly charged and atmospheric audience experience to an intimate audience of 20. The performance will be repeated at the following times:

  • Friday 8 May 12.00, 14.00 , 14.30
  • Saturday 9 May 12.30, 14.00 , 14.30, 16.00
  • Sunday 10 May 12.30, 14.00, 14.30, 16.00
  • Monday 11 May 12.00, 13.00

“Breathtaking”, Time Out (Sighted at Royal Opera House)

The piece was last presented in London at Sadler’s Wells as part of ‘Sampled’ 2011. Sighted has been supported by Arts Council England, Middlesex University, The Palace Theatre/ROH Deloitte Ignite, London and Central Saint Martins.

Find out more about the fair here, visit the ‘Special Features at Collect’ tab for more details of this event.