Victoria miro11/11/2022 We recycle and reuse most soft materials where possible, rarely using those that can’t be recycled for packing. Internally, we implement measures to reduce our carbon footprint by organising a weekly shuttle truck between the gallery and London storage locations alongside minimising singular shipments and using shared sea containers where possible, which has the added benefit of reducing costs for all involved. We are increasingly aware of our environmental impact internally and with external suppliers, and this recent focus on sustainability is starting to inform our decisions. How is Victoria Miro working to be more environmentally friendly? I work closely with our exhibitions, technical and sales teams on a daily basis. Video meetings with different teams are scheduled throughout the week, alongside reviews of longer ranging projects for storage, customs and condition checking of artworks. First up What does an ‘average’ day look like for you as a Senior Registrar in one of London’s top galleries?Īside from working from home for the past year, my regular routine will involve checking on various timely shipments, ensuring all internal records and paperwork are updated for our loans programme, our artists and our clients. Interested to find out how being a registrar has changed during the pandemic and how Victoria Miro is working to become more environmentally friendly, we asked Alice a few questions. If that wasn’t enough, Alice also liaises directly with around 15 artists and works closely on their customs records as well as working on client services and art fair arrangements with the rest of the Victoria Miro team. Keen to share what others within the industry are doing to become more environmentally friendly, we speak with a friend and client of Queen’s, Alice Panton, from Victoria Miro gallery.Īlice has been a registrar for the past eight years and is currently four years into her role at Victoria Miro, where she manages their loans programme. MacArthur Foundation.It’s been a hot topic within the industry for a while now and rightly so. #Victoria miro series#Invited by the exhibition’s curator, Ralph Rugoff, director of the Hayward Gallery, the artist used the opportunity to return to her earlier interest in portraiture, creating a series that explores the legibility of the body as a surface, in which hair, skin, clothing, jewellery, and self-presentation resonate culturally and historically. Works on view were first exhibited at La Biennale di Venezia, 58th International Art Exhibition, May You Live in Interesting Times. An amalgam of processes including painting, drawing and photo-transfer techniques are harnessed in works that, precise in style, nonetheless conjure the complexity of contemporary diasporic experience. One of the most distinctive voices of her generation, Njideka Akunyili Crosby draws on art historical, political and personal references to make luminous, densely layered figurative compositions whose intricate surfaces combine disparate materials and aesthetic traditions. ‘I was taking the tradition I had learned at the American institutions I attended and trying to do something different with it, throwing myself challenges, from the subject matter down to the surface of the paint.’ - Njideka Akunyili Crosby
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