Born in Penzance, Harold Harvey was the only Cornishman to play a significant role in both the Newlyn School and the Lamorna group. He and his wife, Gertrude, were close friends with many of the second generation artists, including Dod and Ernest Procter and Laura and Harold Knight.
The supermarket is sometimes characterised as a faceless place almost anti-community but the small to medium sized stores that serve smaller villages and towns can still feel 'local' with workers knowing and recognising many of the shoppers and families that use the shop. Here a grandmother stops to tie her grandaughter's shoelace.
'96 Tears' (installation view) Paul Conneally, Scaffold Gallery, Manchester, 2016
'96 Tears' is a piece in response to the question 'Where do our morals come from?' for the Scaffold Gallery show 'The Great Unanswered Vol III'.
It consists of 96 screenshots from the artists iPhone of photographs tagged #moral on the social media site Instagram - the 96 'most recent' posts tagged #moral. These were then each directly colour laser printed on a Xerox photocopier at A4 size, put in an envelope and sent to Will Marshall with some emailed suggestions about how they might me exhibited with the final decision left to him and colleagues at Scaffold. The result is a triptych of boards each with 32 tears pasted to them, the boards leant against the gallery walls rather than hung directly and flat to the walls.
The sound you should carry in your head or better still sing or hum as you view and interact with the work is the song '96 Tears' by ? and the Mysterians (1966). If you don't know the song here it is:
In an age where many including the artist spend hours viewing and interacting with screen based media we might consider to what extent the internet now informs our morals.
'96 Tears' takes images found in the digitally coded world and returns them to the chemically coded world. The images are time coded and might also be seen as a portrait of the artist as he sat on his sofa watching TV, searching Instagram on his iPhone at the same time for the most recent posts tagged #moral.
The passing on physically of the images through the postal system rather than by email or digital dropbox to Will Marshall, the curator at Scaffold Gallery, a gallery which itself has no permanent physical presence is an essential component of the work including the 'link and shift' inherent with the freedom given to Will to exhibit the works in a way that he felt best fitted the space, a space that was initially not decided when the work was first envisaged.
'96 Tears' (two panels of three) - Paul Conneally, Scaffold Gallery, Manchester, 2016
'96 Tears' (one panel of three) - Paul Conneally, Scaffold Gallery, Manchester, 2016
'96 Tears' (detail) - Paul Conneally, Scaffold Gallery, Manchester, 2016
All photographs are by Scaffold Gallery 2016
.
.
.
.
This older lady doesn't want the bother of weaving in and out of the people walking La Croisette and chooses instead to take her chances with the automobiles and motorbikes along the boulevard itself. Even in the mid-summer heat she manages to maintain a certain style one that comes with confidence and a sense of purpose.
The public beaches in Cannes are truly egalitarian.
Everyone is welcome no matter their age, gender, race, sexuality, or body shape.
People have been coming to La Plage for generations and save for a few changes in fashion and technology the scene today is probably very similar to that of fifty years ago.
sand between her toes she writes for the tenth time 'wish you were here'
Little Onion
UPDATE: The decision of the Mayor of Cannes to institute and enforce a 'BURKINI BAN' on the beaches of Cannes makes the idea of them being egalitarian redundant. Terrible decision! Photograph: Paul Conneally, Cannes Plage, August 2016
In the early evening, families, groups of friends and couples gather on the public beaches of Cannes. Some bring food and drink others just take time out from walking La Croisette. Children build sandcastles and eat ice-creams.
This is a must see show at Espace Culturel in Mougins. Very intimate and curated beautifully. It's funny but because we are so accustomed to seeing Warhol and Warhol inspired images around us that it's easy to forget the power of seeing some of the original prints up close - the over printing - the textures of the black blocks for instance over printed by screen on the large Mick Jagger prints on show here .. and the Warhol works here juxtaposed with some of Arman's musical instrument sculptures - just great. It's a very small gallery but it's organisation and utilisation of space for this show is wonderful. Try and see it.
"The original Chateau de Mouans was built in 1504-1510 by Jean de Grasse, and remained in the Grasse family until 1750, when the Villeneuves took control. In 1572 the Pompée de Grasse was assinated, and in 1597 the chateau of Mouans was destroyed. It was rebuilt by Suzanne de Villeneuve, the widow of the Pompée de Grasse. Suffering various amounts of destruction and rebuilding over the centuries, the chateau has finally been rebuilt, especially following the original basic design with its rare triangular form and three towers.
Today the chateau houses an art museum, L'Espace de l'Art Concret, with 25 rooms and two resident artists."
Amphitrite stands at the entrance to the Porte Pierre Canto in Cannes. She is a statue by the sculptor Amaryllis Bataille and was installed in the year 2,000 to mark the new millennium.
Amphitrite was an Ancient Greek sea-goddess and wife of Poseidon.
She was seen as less the wife of but the consort of Poseidon, becoming a symbolic representation of the sea.
She is mentioned by Homer in The Odyssey: "moaning Amphitrite" nourishes fishes "in numbers past all counting" (Odyssey xii.119).
Standing 175 cm tall she welcomes sailors into Cannes' Port Pierre Canto and bids them good fortune when they leave to journey the Mediterranean and beyond.
To see her on foot you have to walk all the way out around the Port Canto from La Croisette past the many Super Yachts that berth there. In the height of summer it's a walk probably best done early morning or late afternoon to avoid the heat and rays of the midday sun.
