July – December 2017
Becky Beasley joins the Artists’ Research Centre writers’ programme. During the course of 2017 she will be researching and developing a new work of fiction responding to the history, geography and culture of Southend.
This research will form the core of a new piece of writing commissioned by the Artists’ Research Centre which will be published and accessioned into the Library at the Forum in Southend. Additional events relating to Beasly’s research can be found in the events section below along with related reading, viewing and research material.
This project is a collaboration with Focal Point Gallery, Southend Libraries and Museums, and Essex University
This is a scan of John Nash’s Ariel Flowers which he designed shortly before he died in 1946 and was produced one year later by his friends and Chiswick Press. The edition was in a run of 1000 of which this is no. 663.
Here you can see a new film by Anna Winter of Beasley’s recent exhibition, Ous, at the Towner Gallery in which she talks about some of her research processes, the relationship between pictorial and sculptural spaces and forms, and the role of collaboration in her practice.
Following the completion of her recent project A Gentle Man, a film made with her Father, Beasley made a research visit to Southend to begin gathering materials and ideas as part of the process for developing a companion piece to that work. The trip included a planned conversation with the artist’s mother about the future as they visited various historic, cultural and natural sites around the town which informed their discussions. These images are an informal record of that trip, intended to set the tone for the writing which Beasley will be working on over the summer.
Beasley’s current exhibition at the 80WSE gallery in New York features a suite of four new films, offered as minor transgressions (of engagement, responsibility, cliché, profound love), and proposing their transformative potential as choices. Each chapter’s location, along a floor design that traces Broadway through Manhattan, represents, symbolically, a different time of day—morning, afternoon, evening, and night—and, emotionally, an unspecified interior or exterior. In the exterior scenes it is always raining. The floor design scarcely maps the space of Bernard Malamud’s early writing, and the short story, “Spring Rain” (1942), which is set around Morningside Heights.
Click on the link below to view the first chapter from the exhibition.