Friday 13 August 2010

Edinburgh Art Festival Vacancy - Director


Salary £27k pro rata, 4 days a week
Maternity Cover (six months in the first instance)
8 November 2010 - 6 May 2011

The Edinburgh Art Festival is seeking a dynamic Director. You will have the commitment, enthusiasm and skills to build on the continued success of The Edinburgh Art Festival, its annual festival, strategic plans and other activities.

The EAF is Scotland's largest visual art festival, promoting and enhancing the work of visual art organisations, and encouraging innovative approaches to the presentation and interpretation of art that celebrates and develops the interface between art and audiences.

This is an exceptional opportunity for a proven arts manager with vision, ambition, strong strategic leadership skills and fundraising experience to develop The Edinburgh Art Festival, both within the visual art sector and across the public realm. It is the only partnership of public, commercial, national, academic and artist led visual art organisations across Edinburgh therefore a collaborative and strategic thinker is essential. You will also represent the EAF on the Board of Festivals Edinburgh, working alongside colleagues in other Edinburgh festivals towards local, national and international initiatives.

We welcome applications from candidates who have a proven track record in strategic thinking, collaborative working, fundraising, event and people management.

For further information and to receive an application pack please contact Joanne S. Brown, Tel: 0131 225 5668, E-mail:  

The Edinburgh Art Festival is an Equal Opportunities Employer and welcomes applications from a diverse range of people.

Deadline for Applications: 4pm Thursday 9th September 2010
Interviews to be held: Edinburgh, Thursday 7th October 2010

Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201 

Thursday 5 August 2010

Edinburgh Festival Pecha Kucha

Reservation on line for Volume 9 at Inspace on Friday the 3rd September. Seating limited so best to reserve as expect will be pretty busy. Click link on Pecha Kucha web site below venue details to book.

Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201 

Tuesday 3 August 2010

The Wild Pansy Press BRITISH BOOK OF VIOLENCE : Call for Contributors

The Wild Pansy Press
Call for Contributors

Britain has a long and distinguished history of violence - in this we  
are like any other nation; however, it has been argued that we inflict  
it on ourselves and on others with particular enthusiasm and efficiency.

The way this history is manifested is specific, violence being part of  
our national identity. The British brand of violence informs our art,  
our humour our politics, our sexual habits and our social identities.  
Its present threat underwrites political and social hegemonies and  
haunts our dreams; we laugh with relief at our escape when it is  
inflicted on someone else; we turn it inwards on ourselves in  
spectacular cycles of addiction, abuse and self-hatred. Our artists  
and writers inflict violence on materials, ideas and language (and  
sometimes on themselves) as an intrinsic part of the creative process.
What are the particular forms in which our national history of  
violence is manifested through language and culture?

WPP invites artists’ and writers‘ initial outline responses to the  
idea of British Violence - historical, political, sexual, ritual,  
comical, subliminal, practical, institutional... we would particularly  
welcome material from non-british contributors  either resident or  
offering a view from “outside”.

WPP will work with the selected contributors to produce work to be  
included in the second* of an ongoing series of themed group  
publications in which the editors at WPP act as curators and  
animateurs to develop publications which extend and confound the usual  
notions of the book.

We are looking for: visuals of all kinds, instructional projects,  
games, short texts of any kind (notional maximum 2000 words) - works  
of fiction, fact or any combination of the two. We need to receive  
proposals and expressions of interest by September 30th 2010, with a  
view to completion by December 30th and publication in early 2011.


*The Wild Pansy Press is a collective art practice which also  
functions as a small publishing house. Our most recently-completed  
project is the ‘Wild Pansy Press Book of Rainy Day Activities’, a  
compilation of instructional projects from an international roster of  
artists and other contributors, distributed as four A2 sheets to be  
folded into a 64-page book. Like many of our projects, it was  
distributed free as part of an exhibition and later through our website.
WPP is based in the School of Fine Art at the University of Leeds and  
has built up a considerable catalogue of books and projects exploring  
and advancing publication in its widest sense as both a distributional  
          strategy and medium of practice.
Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201 


SunBear Gallery, 4 Lorne Street (opposite Boda), Edinburgh

Preview: Friday 6th August, 6-9

SunBear Gallery
presents a specially selected and multifarious collection of paintings by emerging artists from across the UK whose practise primarily explores painting in the context of contemporary art.

Featured artists:

Alexa Hare is interested in the study of music culture, sub-culture and fandom. Her work has an outsider quality generally experienced by the fan - a longing to be part of something bigger, something revolutionary, something cool. For It’s 1992 every day all day all over again, Hare appropriates from 90’s sub-pop music videos. Specifically taking windows from ‘Tad’s’ grunge-conscious “Wood Goblins”.

Andy Slater works in a range of media, including artist’ s book, embroidery and installation, however the main body his work is interior and garden-scape  painting. Recent themes have dealt with beauty, wonder, and misogyny. He is currently investigating land ownership, urban planning, and traffic islands.

Conor Kelly’s paintings explore the continuing question of the art object as historiographical device. Owning up to a corrupted authorship within this branch of knowledge, his practise attempts to unravel certain dominant representational systems.

Emily Beckmann strips back visual information to its rawest and most immediate forms, and cross references disparate associations to provoke conflicting emotional responses.  Although apparently culturally and historically non-specific, her work can generate a sensation of indefinable familiarity.

James Metcalfe is a portrait painter with a deft ability for getting a likeness, but his paintings also have a deeper, unsettling psychological quality suggesting an understanding of his sitters seeing beyond superficial appearance.  

Jonathan Murphy’s recent paintings concern themselves with the rich territory between abstraction and figuration. His ripe, fecund paintings are richly painted excavations revealing an image and growth toward an autonomous and abstracted object.

Levi Hanes’ painting, IRNS, comes from a series focusing on the abstraction of landscapes through photographing city lights at night.  The title refers to the location (IRNS stands for Irish Night Scene) but the ambiguity of specific visual location signifiers adds to the dislocation of the image.

Leigh Chorlton's Retro Renaissance is an empty space that was once filled with delusions of grandeur in the lofty spiritualism of renaissance painting or a modern ideal. Retro Renaissance expresses sadness in the loss of a grand idea or ideology that no longer holds weight; a sadness that is then substituted with humour in order to either ignore the empty space, or at least make it tolerable.

Liesel Thomas’ painting Remnant depicts the remains of an ornamental domestic Victorian railing destroyed during wartime recycling in the efforts to conserve natural resources. It is a totemic piece which aims to draw attention to these fast depleting, often unobserved, tiny yet monumental remnants of historical importance.

Tim Dodds’ recent series of paintings depict encyclopaedic collections of recognisable objects alongside ambiguous forms in dreamlike / nightmarish undefined landscapes. His painting is a form of imaginative exploration through which he rediscovers the myriad realms of art history and occasionally glimpses the vistas of untrodden terrains.

Tim Le Breuilly’s paintings reference figuration and landscape through motif but are in essence abstractions dealing with texture, surface and painting as object. A playful materiality within the work sometimes incorporates exposed, or slashed canvas.  Re-working over time gives some of the works a sense of history imbued within the canvas.

Vivienne Hollis’ painting, ‘In a Picture Tree, In a Blossom Garden, Far East of Anywhere you Know - Take me Home',  is based on the notion that anything is possible in the imagination, and painting creates an avenue for the imagination to exist in a visual reality.

Further information:
SunBear Gallery is an artist run space currently based at 4 Lorne Street, Edinburgh. Started in 2008, it has exhibited artists from Edinburgh and further afield. As well as its founders Thomas Aitchison, Tim Dodds and Tim Le Breuilly other artists include: Spartacus Chetwynd, Luke Collins, Adham Faramawy, Ursula Llewelyn, Steven Murray, Katie Orton, Emmett Walsh. It has also launched a publication co-curated by experimental cartoonist, Malcy Duff.

Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201 

ARTACHAT this Sunday 6 - 7.30pm RSVP

and Artachat present:

Where is Public Art Today?

With Guest Speaker, artist Kenny Hunter

This Sunday 8th August 2010

18:00 - 19:30

Portobello Public Art House

56 Kings Road, Portobello, EH15 1DX

Artachat and Big Things on the Beach present an informal yet informative exploration into the current state of Public Art.

What is the relevance of the monumental sculpture today?

How will the current changes in funding affect public art and artists?

And audience participation... how much does and should the public decide?

Please join us, along with guest speaker Kenny Hunter, for this special Edinburgh Art Festival discussion and debate.

* This is a free event but due to limited seating, please reply to this email at to confirm a place.

Big Things on the Beach is a public art trust in Portobello, a seaside suburb of Edinburgh, Scotland. It was formed by a group of residents in 2003 to explore the potential of the seafront as a site for engagement with public artworks by both emerging and established artists. Since 2004 we have commissioned artists to create substantial temporary artworks, trained ourselves and others in the process of commissioning public artworks and successfully raised funding to these ends.

Big Things on the Beach, Portobello Public Art House
56 Kings Road, Portobello, Edinburgh, UK, EH15 1DX
t: 0131 669 7559

You can keep up-to-date on our website, Facebook, Twitter and Flickr:

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Big Things on the Beach is a Charity Registered in Scotland (Scottish Charity Number: SC 35107)

Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201