We have been helping the Laing rehang some of their galleries in 2013. Some of the gems in their collection graced the walls in this hang, including works by Gaugin, Reynolds, Gainsborough, Holman Hunt, Burne-Jones, Waterhouse and Martin amongst others.
The Hatton Gallery asked us to hang their Ed Ruscha exhibition in February 2013, part of the Artist Rooms touring programme. It was a great pleasure working with Anthony d’Offay, who spent a day placing the works and curating the show with Rob Airey.
We can build crates and transit frames completely fitted out to Tate specifications with plastazote or foam interiors to order.
Woodhorn are custodians of part of the famous Burrell Collection of paintings which we hung in the Granary Art Gallery, Berwick upon Tweed in 2012.
The Baltic’s big retrospective show of Jim Shaw’s work opened at the end of 2012. It was great to be involved with the installation and a great honour to spend time with the artist during the hang.
The 2012 exhibition of Turner prize winner Mark Wallinger covered two floors of Baltic Centre for Contemporary Art and emblazoned the exterior of the building too. We were involved in helping install the thousands of brick slips bought in to create a fake ‘exterior’ interior wall. A unique number was written on each brick after installation. The river stones were sorted into size, placed on a repeating chessboard pattern and individually numbered.
This show of photographs by artist Zed Nelson at the Durham Light Infantry Art gallery in Durham is titled “Love Me”. The photographs challenge our obsession with body image and western ideals of beauty. The extremes of body image are given equanimity within the context of the show, drawing attention to their abnormality out of the normalising context of modern society aspirations. We hung this show in early May 2012 which will run alongside a show of drawings by Henry Tonks, official war artist during the Great War, whose depictions of wartime injuries and mutilated faces hold great resonance with the images self-inflicted mutilations in the next gallery.
In February 2012 we installed a retrospective show of works by the overlooked pioneer of British Modernism, John Cecil Stephenson. The show was hosted by the DLI Museum and Durham Art Gallery and curated by Conor Mullan. The works were on loan from private lenders, The V&A, The British Museum and the UK Government Art Collection. The pink painting hung in Peter Mandelson’s office for years and graced the wall David Cameron’s office for a while.
The Hatton Gallery have just exhibited some of the Lough works that have lived in their foyer space for years, with some other works of his on loan from public and private collections notably the V&A, National Portrait Gallery, Alnwick Castle, Laing Art Gallery and British Museum. North Exhibition Services assisted The Hatton with the installation of these works according to the specific lifting instruction which come with each unique work. It was a pleasure working with registrars, conservators and technicians from all of these institutions to bring about the reunion of works from his studio many years ago.
North Exhibition Services were privileged to be part of the installation team for the Turner Prize this year at the Baltic.
Richard Dorment writing for the Telegraph had this to say about the show:
“Here’s a turn up. Just when I thought the Turner Prize couldn’t get more irrelevant if it tried, bingo, along comes a first-class shortlist and an exhibition as good as any I’ve seen in two decades of reviewing the event.
This year, the show is being staged not at Tate Britain but at the Baltic in Newcastle and the improvement in the way the art is displayed is like the difference between night and day. For many years I haven’t cared two hoots who won the Turner Prize. This year, I found myself emotionally engaged with the work of two of the nominees, deeply impressed with a third and interested to encounter the one artist on the list whose work I didn’t know.”
Charles Darwent had this to say in the Independent:
“So perhaps it is that this year’s Turner show is away from Tate’s Millbank HQ that makes it seem less doctrinaire than usual; better, in fact. The Baltic in Gateshead has had its ups and downs, but the Turner looks happier there than it ever has in the tomb-like Tate Britain. Of course, the Tate is still behind the prize, but you wouldn’t necessarily guess it. I can’t recall a stronger show over the past 27 years, better chosen, better displayed, more poised or grown-up.”