Svg patterns

The School For Lovers was an exhibition by Sharon Kivland, which took place in November 1998.

The title of the new photographic installations by Sharon Kivland is taken from Mozart’s opera, Cosi fan Tutte. The work is based around the structure of the opera; its arrangement echoes its staging and characterisation. The opera is a work of masquerades and doublings, of couplings which are uncoupled under direction of a libertine, Don Alfonso, sets out to prove to his young friends, Gugliemo and Ferando, that all women are unfaithful and, more than that, anyone can come to fill the place of the Other if the conditions are right; in effect, that desire is essentially the desire of the Other’s desire. Through her work she creates a space of highly formulised attention, an event within which the viewer is drawn like a detective, both intellectually and through desire into pleasure of the gaze.

The archive cabinet contains a recreation of the exhibition plan, images of Kivland’s previous shows, images used in the show, and some of Kivland’s publications. There are also postcards from the artist, to the then Gallery Manager, Stella Cauloutbanis.

Curated by Alex Jovčić-Sas

An exhibiton of women’s artwork being produced now, and influenced by Feminism in the 1980’s. Exhibiton selected by Sutapa Biswas, Sarah Edge and Claire Slattery. This show toured from Cooper Gallery, Barnsley. Part of Anne Frank in the World Programme.

Curated by Joshua Lockwood-Moran

Pool by Lorna Green was a gallery-filling installation accompanied by music composed by Mark Hewitt on display at the Bonington Gallery from 19 October – 11 November 1992.  As each of Green’s sculptures are site-specific, her ideas and designs for the sculpture changed throughout the planning process, as demonstrated by the archival drawings, correspondence, and even a packet of sample materials.  In the end, the over 4,500 whole and smashed bricks sprayed with the aquatic colours of blue, green and purple, created the gallery-wide impression of a draining pool.  About the exhibit, Green wrote, “My first impression of the Bonington Gallery was that it was like a swimming pool.  You enter by going down the steps, the echoes are reminiscent of a pool and the shape and scale of the gallery confirms that impression.  I hope viewers will walk through and around the forms, absorb the sound and the colours and gradually let the installation work for them.”  NTU students helped Green install the sculpture.

Curated by Brianna Frazier Selph