Find out more about Sadie Hennessy work here.
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‘The No Knicker Girls‘ prints are a limited edition of nine. This is a four colour photographic screen print based on an original paper collage. The collage juxtaposed a modern ‘Heat’ style magazine with a 1950’s ‘True Story’ magazine to contrast the expectations and values of the two different eras.

‘Splice‘ is a digital print created from a digital collage. Hennessy took an image of Elizabeth Taylor and one of Richard Burton from 1950’s fan magazines and spliced them together to make a statement about male and female beauty and to celebrate that most enduring of on and off screen romances.

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To coincide with More Strange Hungers (7 February – 23 March 2013) artist Sadie Hennessy will be in conversation with freelance curator and writer Beverley Knowles.

In More Strange Hungers at A Brooks Art Hennessy continues to deliver her humorous, wry, feminist manifesto and a celebration of female empowerment and sexuality. Her unique perspective and current work will be investigated in conversation with Beverley Knowles.

Sadie Hennessy won the Jealous Graduate Art Prize for her final MA show (‘Accident & Emergency’) at Central St. Martins. She is represented by WW Gallery, London and has exhibited with them at the 54th Venice Biennale (June 2011), Crunch Art Festival (November 2011), London Art Fair (January 2011) and Strange Hungers WW Gallery, WC1 (2012).

Beverley Knowles is a freelance curator and writer focusing on contemporary multi-disciplinary and performance art and the history of feminist art. As a commentator on the arts she writes regularly for The Economist and This Is Tomorrow. She holds an MA in contemporary art history from Goldsmiths’ College, London.

This event is free but booking is required. Book Tickets

SUBLET is a project which critically examines the role of the art fair as an exclusive market place. With the help of London Art Fair, ALISN will subvert the traditional booth, by subletting one to a cross section of important artist-led spaces, most of which would not normally consider showing in this environment.

Itself an artist-led organisation, ALISN will open up its booth at London Art Fair 2013 to a selection of the most sophisticated artist-led projects in the UK to present works by promising new artists, whose current, early-stage careers are right now being shaped at these independent spaces. In the booth opposite, artist-led spaces who work with moving image will be part of the fair’s film schedule. Organisations who work with live art will stage performances throughout the four days of the fair.

http://www.alisn.org/SUBLET-London-Art-Fair

A Brooks Art | ALISN | Alma Enterprises | Angus-Hughes Gallery | Artkapsule | ArtLyst | ATOI&CULL | Doorspace 
Dover Arts Development | Jacob’s Island | MOCA London | Lubomirov-Easton | LUPA | Occupy My Time Gallery 
| ]performance s p a c e [ |
Schwartz Gallery | Transition Gallery

If you would like to reserve a printed copy please contact the gallery: julia@abrooksart.com

If your device can’t recognise Flash, please follow this link to see the publication.

C.A.Halpin takes us on a journey that celebrates the overlooked, the left behind, lost & lonely, articles dropped or abandoned. Using a camera as a sketchbook she notes her surroundings, events and objects, made memorable by being photographed. She does not describe herself as a photographer, rather, an artist using the camera as she would a pencil or brush. These photographs rely on a sense of drawing, with the wry wit of the spur of the moment captured in these images.

Free: Limited to 15 places, please book ASAP to avoid disappointment.  Book Tickets
The talk coincides with our current exhibition CAN TS PELLE.

A Brooks Art is taking part this year with CAN TS PELLE by C.A.Halpin.

Find out more here.

Our participants donated plants, flowers and herbs to the project and the gallery. We will include these images in a souvenir publication that will document the progress of the exhibition and this will be published after the exhibition closes and will be available to download from the
A Brooks Art website.

Just what sort of impact does art have on us? Can it change how we perceive the world around us? Or is it just a trivial distraction providing a momentary break from more pressing concerns. Lawrence Daley and Dr Megha Rajguru will discuss these issues in relation to A Brooks Art current exhibition We Florists.

This is an open discussion to which you are invited to attend and also share your opinions.

Lawrence Daley is a UK based artist and has shown work regularly across the UK including Departure Gallery, the South Square centre and the Waterfront Gallery.

Dr Megha Rajguru is a practicing artist, researcher and an academic and lectures in Fine Art
at the University of Brighton on the MA Fine Art programme.

Free: Limited to 15 places, please book ASAP to avoid disappointment.  Book Tickets

It is interesting to note that the first record of the colour blue to refer to obscene or risque material appeared in 1824 in Scotland by John MacTaggart referring to a ‘Thread o’ Blue‘ as ‘any little smutty touch in song-singing, chatting, or piece of writing‘. However, there does not seem to be any link between that record and how pornographic movies came to be called blue films. One theory is that the term came into use in the 1980′s, as pornographic content in video cassettes was sealed using a blue tape. Another suggests that it started with the blue bars across the faces of the actors or actresses to obscure their identities; and since striptease acts might have used blue spotlights, this might also have been the origin of the blue in blue film.

Take a sneak peak here at the Roxanne Series own ‘Blue Movie’ and decide!