Judy Clark (artist)
Judy Clark | |
|---|---|
| Born | 1949 (age 74–75) |
| Education | Slade School of Art |
Judy Clark (born 1949) is a British artist. She works in many media, including painting, photography, performance, sculptural media, and print processes.
She studied at Portsmouth Polytechnic and the Slade School of Art.[1] During the 1980s she worked in a studio in Carpenters Road in Stratford. Her work is in the permanent collection of the Tate Gallery.
Early work
[edit]After exhibiting her post-graduate work at Slade, she was approached by the curators of the newly opened Garage Art gallery in London. She was invited to exhibit more of her work, and created the solo exhibition 'Issues' for November 1979. Clark was inspired by Mary Douglas anthropology work on taboos and disorder, published in Purity and Danger.[2] Clark cited from the book throughout the exhibition. She was also inspired by travel in Europe, where she saw the contemporary work of Joseph Beuys, Dieter Rot, and others. Clark also cited a TV programme exploring fictional investigations of forensic science teams as an influence.[3] 'Issues' explores the body through Clark's collection of bodily fluids and parts, such as menstruation and hair. Clark was one of the first artists to explore menstrual blood in her art.[4] The exhibition received an unusual amount of attention for an artist who was young and just done with art school.[5] 'Issues' was reviewed in mainstream media by Caroline Tisdall in The Guardian[6] and Marina Valzey in Financial Times.[7]
Later work
[edit]In 1990, Clark was commissioned to design a series of acoustic wall hangings' for Portcullis House, Westminster.
In 1990, Clark won an Arts Council Grant for the project 'A Rare Sighting' with Cable Street Gallery, London.
Clark was awarded a major award from Arts Council to develop her artistic practice from 2000 to 2017.
Solo exhibitions
[edit]- Solo exhibition, 'The Occupier,' Pallant House Gallery, Chichester, 1998
- Solo exhibition, 'Issues', Garage Art, Earlham Street, London, November–December 1973
Further reading
[edit]Judy Clark's work has been explored by several art writers, critics, and art historians:
- Kathy Battista, Renegotiating the Body: Feminist Art in 1970s London, I.B. Tauris, 2013.[8]
- Alicia Foster, Tate Women Artists, Tate Publishing, 2004.[9]
- Ricard Cork, Everything Seemed Possible, Yale University Press, 2003
- Griselda Pollock and Rozsika Parker, Framing Feminism, Pandora, 1985
References
[edit]- ^ Foster, Alicia (2004). Tate women artists. London: Tate. p. 188. ISBN 9781854373113.
- ^ "Home Page". www.judyclarkartist.co.uk. Archived from the original on 2 July 2019. Retrieved 6 March 2019.
- ^ "Home Page". www.judyclarkartist.co.uk. Archived from the original on 2 July 2019. Retrieved 6 March 2019.
- ^ Lewis, Jen (2015). Widening the Cycle, A Menstrual Cycle and Reproductive Justice Art Show.
- ^ Kathy, Battista (2013). Renegotiating the Body: Feminist Art in 1970s London. I.B. Tauris.
- ^ Tisdall, Caroline (1973). "Bodyworks". The Guardian.
- ^ Valzey, Marina (1973). "Judy Clark". Financial Times.
- ^ Kathy, Battista (2013). Renegotiating the Body: Feminist Art in 1970s London. I.B. tauris.
- ^ Foster, Alice (2004). Tate Women Artists. Tate.
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