Steven Berkoff: Gorbals 1966 (Photography on Screen)
The seventh 'Photography on Screen' work by Street Level Photoworks for Regional Screen Scotland. In this special recording, Steven Berkoff offers a fascinating insight into his photographic series ‘Gorbals 1966' which debuted at Street Level Photoworks in 2018.
AMBIT: Edyta Majewska
One of five short video works, showcasing artists' series from the exhibition 'AMBIT: Photographies from Scotland '. AMBIT is a partnership between Street Level Photoworks (Glasgow), and Stills (Edinburgh), Scotland’s public venues dedicated to photography.
Living In Hope
An audio / visual work made by Antonnia Shegbone and Iseult Timmermans. Developed as part of the Red Road Community Studio programme this work offers an intimate insight of daily life for one woman and her family seeking asylum in Glasgow. The narrative gives an honest reflection of personal experience, struggle and hope.
Commisioned by Street Level and made in collaboration with North Glasgow Framework For Dialogue Group.
My youngest daughter came home from school after her first week and said Mummy are we Asylum Seekers?' Because kids in her class had been calling her that and she didn't know what it meant. All I could say was We are people and we are seeking asylum. That is nothing to be ashamed of. I keep telling myself it is worth it, that the bigger picture means they can have a safe and peaceful life where they can fulfill their potential. They can have freedom in the end -- where nothing holds them back in their lives.
People label you and put you in a box marked asylum seeker. It's hard to keep a hold of your identity and dignity -- your human dignity. But why else would you go through this process, this humiliation if it wasn't because you held onto the hope that this will led to freedom and the chance to live without fear and see your children realize their potential? Hope keeps me going.
Three months after completion of this work, and after 7 and a half years of waiting, Antonnia and her family were granted leave to remain in the UK.
streetlevelphotoworks.org
Lost and Found: Interviews Part 3: Doug Aubrey
In recent years we have seen a provocative return to the moving image artworks of the 70s and 80s and the driving concerns of the period. The aesthetic of video is a profound influence in contemporary artistic practice, but the lineage remains uneven, with many works forgotten, and with the tape medium itself highly fragile to the ravages of time.
Lost and Found revisits a number of video installations, which have been largely unseen since their original presentations in two seminal video exhibitions held in Glasgow. Tony Sindens Behold Vertical Devices was featured in Scotlands first group video show, Video: Towards Defining an Aesthetic, held at the Third Eye Centre (now the CCA) in Glasgow in 1976. Other works by Pictorial Heroes, Stephen Partridge, Zoe Redman and Stephen Littman were all included in the next exhibition of video art, shown in Glasgow ten years later, in EventSpace 1 at Transmission Gallery in 1986.
In the early days of video art, technological advancements were providing new opportunities for the development of the medium, and the Videowall concept helped develop the expanded use of video and its the synchronisation using large playback systems. This was piloted in the Transmission show in 1986, and is reconstructed in its 16 monitor form in the current exhibition. The Videowall was a powerful new tool for the progression of the installational ideas of video art as a whole at the time and it went on to be launched at the first Video Positive Festival in 1989 in Liverpool.
The exhibition also features a new performance and installation work by Kevin Atherton, The Television Repeat includes clips from his 1986 work Stand Up TV Death in Glasgow as well as appearances of Amsterdam cable TV.
Lost and Found underlines the simultaneous developments in gallery exhibitions in Scotland and England in the developing years of electronic and conceptual art practice. The works have been transferred from their original analogue format to digital playback but presented in most part in their original technological apparatus the video monitor as an object, as installation, and as a light source.
What She Came For: The Music of Merchant City
An overview of the sound that makes Merchant City & Glasgow unique. Featuring:
StreetLevel Photoworks-
streetlevelphotoworks.org
Trongate 103-
trongate103.com
Blackfriars Pub-
blackfriarsglasgow.com
13th Note Café-
13thnote.co.uk
Glasgow Music Studios, Ltd.-
glasgowmusicstudios.co.uk
Mono Café Bar-
monocafebar.com
Monorail Music-
monorailmusic.com
Merchant City Glasgow-
merchantcityglasgow.com
Special thanks to-
Ash Paterson
Laura McIntyre
Max Slaven
Gary McKenna
David Disbrowe
RM Hubbert
Lynne Howard
Mono & Monorail management
Music featured in order played; All individual artists' rights reserved-
Moscow -- Orange Juice
What Presence?! -- Orange Juice
It's Kinda Funny -- Josef K
How Much Man is a Man -- The Shiverin' Sheiks
Glasgow Mega-Snake -- Mogwai
Tusk -- Errors
John Candy -- Remember Remember
What She Came For -- Franz Ferdinand
Band footage in order of appearance:
Kassidy
The LaFontaines
Stowaway
Robin Adams
Honey & the Herbs
Adam Stearns & The Glass Animals
Tattie Toes
RM Hubbert
All bands shown and/or played in this video are based in Glasgow, Scotland.
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NEJS- Merchant City, Glasgow, February 2012
The Legacies of Maud Sulter
Lecture by Deborah Cherry
Thursday 17th October at Street Level Photoworks
Maud Sulter (1960--2008) was an award-winning artist and writer of Scottish and Ghanaian heritage who lived and worked in Britain. Sulter won critical praise for her bold, experimental photographs with their sensual splendour and inventive image construction that interrogated and reinvented the visual imagery of black women. This pioneering vision extended to her curating, writing and publishing. What are the legacies today of her innovative multi media practice?
Deborah Cherry is Professor of Art History at the University of the Arts London, and Deputy Director of TrAIN, the university's research centre on Transnational Art and Nation. She has written extensively on the art and curating of Maud Sulter.
This talk was the first public outcome of a curatorial research project being undertaken by Deborah and Ajamu, funded by Arts Council England. It is part of an Autograph ABP / Street Level Photoworks partnership, in association with TrAIN. Part of Autograph ABP and Street Level Photoworks' ongoing research into Maud Sulter's work and legacy.
Son of a Bastard The Ride 2012, The Selecter & Pauline Black #04
Harry Papadopoulos Talks - 27th Jan 2012
The exhibition 'What Presence' -The Rock Photography of Harry Papadopoulos' was accompanied by a series of talks panels featuring guest artists, writers, label and fanzine owners amongst others, documenting the Post Punk explosion in Glasgow and beyond in an era when the city's musicians were a focus of the global music industry.
Friday 27th January: Talks Panel
Davy Henderson: Fire Engines, Win, Nectarine No. 9, The Sexual Objects.
Douglas MacIntyre: Article 58, Flesh, Love and Money, Creeping Bent Records.
Libby McArthur: Sophisticated Boom Boom, Actress (River City, and more).
Jacquie Bradley-Heeps: Sophisticated Boom Boom, His Latest Flame.
Stephen McRobbie: The Pastels.
David Belcher: Writer and Music Critic.
Rock Against Racism - Syd Shelton Talk
Walk & Talk with Syd Shelton and co-curator of the exhibition Carol Tulloch. Street Level Photoworks, Saturday 11th February 2017.
The Absurdist Pipe Band At The Commonwealth Games - Day 07
Boffo and Giblet hit Glasgow Green looking for a bird.
Many thanks to Street Level Photoworks for taking our pictures and allowing to share them. View the full range here -
Lost and Found: Interviews Part 2: Stephen Littman
In recent years we have seen a provocative return to the moving image artworks of the 70s and 80s and the driving concerns of the period. The aesthetic of video is a profound influence in contemporary artistic practice, but the lineage remains uneven, with many works forgotten, and with the tape medium itself highly fragile to the ravages of time.
Lost and Found revisits a number of video installations, which have been largely unseen since their original presentations in two seminal video exhibitions held in Glasgow. Tony Sindens Behold Vertical Devices was featured in Scotlands first group video show, Video: Towards Defining an Aesthetic, held at the Third Eye Centre (now the CCA) in Glasgow in 1976. Other works by Pictorial Heroes, Stephen Partridge, Zoe Redman and Stephen Littman were all included in the next exhibition of video art, shown in Glasgow ten years later, in EventSpace 1 at Transmission Gallery in 1986.
In the early days of video art, technological advancements were providing new opportunities for the development of the medium, and the Videowall concept helped develop the expanded use of video and its the synchronisation using large playback systems. This was piloted in the Transmission show in 1986, and is reconstructed in its 16 monitor form in the current exhibition. The Videowall was a powerful new tool for the progression of the installational ideas of video art as a whole at the time and it went on to be launched at the first Video Positive Festival in 1989 in Liverpool.
The exhibition also features a new performance and installation work by Kevin Atherton, The Television Repeat includes clips from his 1986 work Stand Up TV Death in Glasgow as well as appearances of Amsterdam cable TV.
Lost and Found underlines the simultaneous developments in gallery exhibitions in Scotland and England in the developing years of electronic and conceptual art practice. The works have been transferred from their original analogue format to digital playback but presented in most part in their original technological apparatus the video monitor as an object, as installation, and as a light source.
Double Trouble - Tall Storeys
Tall Storeys is Multi-storys summer video project from resident artist, Lindsay Perth. Multistory, part of Street Level Photoworks collaborative arts programme is based in the Red Road housing estate, North Glasgow. Tall Storeys collaborates with young people under 25 who live in or around the high-rise buildings of Red Road.
Over Summer 09, Tall Storeys has produced 6 video works in varying styles of documentary, narrative, animation by young people age 8 16 years old.
Double Trouble (Animation 4 min)
The boy wizard, Ronaldo, has his magic book stolen by his alter ego/foe Kaka. Can Ronaldo get back what is rightfully his before Kaka uses it for no good. Mehran stars in this stop frame animation that jauntily reworks the classic theme of good vs evil. A collaborative project between Mehran and artist Billy McCall for Tall Storeys.
The Sexual Objects - Glasgow SECC March 2011
Merrie England
Jock Scot - For Davey Henderson - Old Queen's Head, Islington, London. 14 March 2012
Jock Scot at Klub Gutenberg - opening for the Sexual Objects and Vic Godard. Filmed by TSH.
Lost and Found: Interviews Part 1: Kevin Atherton, Zoe Redman, Stephen Partridge
In recent years we have seen a provocative return to the moving image artworks of the 70s and 80s and the driving concerns of the period. The aesthetic of video is a profound influence in contemporary artistic practice, but the lineage remains uneven, with many works forgotten, and with the tape medium itself highly fragile to the ravages of time.
Lost and Found revisits a number of video installations, which have been largely unseen since their original presentations in two seminal video exhibitions held in Glasgow. Tony Sindens Behold Vertical Devices was featured in Scotlands first group video show, Video: Towards Defining an Aesthetic, held at the Third Eye Centre (now the CCA) in Glasgow in 1976. Other works by Pictorial Heroes, Stephen Partridge, Zoe Redman and Stephen Littman were all included in the next exhibition of video art, shown in Glasgow ten years later, in EventSpace 1 at Transmission Gallery in 1986.
In the early days of video art, technological advancements were providing new opportunities for the development of the medium, and the Videowall concept helped develop the expanded use of video and its the synchronisation using large playback systems. This was piloted in the Transmission show in 1986, and is reconstructed in its 16 monitor form in the current exhibition. The Videowall was a powerful new tool for the progression of the installational ideas of video art as a whole at the time and it went on to be launched at the first Video Positive Festival in 1989 in Liverpool.
The exhibition also features a new performance and installation work by Kevin Atherton, The Television Repeat includes clips from his 1986 work Stand Up TV Death in Glasgow as well as appearances of Amsterdam cable TV.
Lost and Found underlines the simultaneous developments in gallery exhibitions in Scotland and England in the developing years of electronic and conceptual art practice. The works have been transferred from their original analogue format to digital playback but presented in most part in their original technological apparatus the video monitor as an object, as installation, and as a light source.
David Williams Book Launch
27th Feb 2016 - Street Level Photoworks.
David Williams 'The Royal Wedding, London 1981' was the first project ever undertaken by Williams and marked the beginning of a successful career involving a remarkable diversity of artistic practice. The book was recently published by Café Royal Books and to mark this, Street Level hosted a Q+A event with the artist in conversation with Robin Gillanders.
Trembling Bells: The Singing Blood
at The Glad Cafe, Glasgow - August 2015
VLOG 043 John Szarkowski | William Eggleston's Guide #richfotoBOOKS
BUY: William Eggleston’s Guide by John Szarkowski
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William Eggleston's Guide was the first one-man show of colour photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of colour photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with colour photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren't some average person's Instamatic pictures from the family album. These photographs heralded a new mastery of the use of colour as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually superrefined look at the surrounding world. Here are people, landscapes and odd little moments in and around Eggleston's home town of Memphis - an anonymous woman in a loudly patterned dress and cat's eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up in flames, framed by a shiny silver tricycle; the curves of a gleaming black car fender, and someone's torso; a tiny, grey-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston's Guide, The Museum of Modern Art has made new colour separations from the original 35mm slides, producing a facsimile edition in which the colour will be freshly responsive to the photographer's intentions.
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WILLIAM EGGLESTON WIKI:
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Richard Chambury is a photographer based in London.
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The Sexual Objects - Merrie England - The Dublin Castle, Camden. 9th April 2010
Davy Henderson's The Sexual Objects headline the Creeping Bent night at the Dublin Castle in Camden, London. Ian Holford and Simon Smeeton of Win and the Nectarine no 9 are featured in the band, as well as Creeping Bent bassist Douglas McIntyre. This is a live version of their second single. Filmed by Lee McFadden.
Trembling Bells: The Wide Majestic Ayre
at The Glad Cafe, Glasgow - August 2015