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In 2017, Ane Thon Knutsen combined her love of Virginia Woolf and her love of typesetting with her project A Printing Press of One’s Own. The two came together in her hand-set volume by the same name, which she debuted at the 27th Annual International Conference on Virginia Woolf at the University of Reading that June.

Now she’s at it again, this time with a massive installation titled “The Mark on the Wall,” which runs Jan. 22 – Jan. 27 at Kunstnernes Hus, Oslo.

The free exhibition is a part of Artistic Research Week 2019.

Ane’s project

In this practice based PhD. Ane Thon Knutsen reflects on how the material process of typesetting colours the way one thinks about words and the physical materials of literature, from within the practice of typesetting itself.

The results of this research will be presented as a massive installation, an adaptation of Virginia Woolf’s “The Mark on The Wall” (1917). “The Mark on the Wall” is the first story Woolf wrote whilst teaching her self to typeset. The prints will all appear in one installation, filling a huge room.

Knutsen’s adaptions of this short story represents a new way of reading Woolf as a typesetting author. Knutsen reflects on and lives out how thoughts materialize in the world, in a pendular process between the mind and the body. In this installation Knutsen is translating the story from the pages of the book to a room of one´s own.

Knutsen will also be showing previous adaptions of “The Mark on The Wall” simultaneously at Oslo National Academy of The Arts.

See a time-lapse video of the printing process

As Ane says, “This (time-lapse video) documents every minute of the three months it took me to reprint and translate “The Mark on the Wall” to 1828 A3 posters, setting it word by word with moveable type. The whole short story can be read on the door in the centre during two hours and 18 minutes.”

About Ane

Ane Thon Knutsen (b.1984) is a designer & artist living and working in Oslo, Norway. She specialized in letterpress printing and her artistic practice can be placed in-between graphic design, conceptual letterpress printing and performative presentations.

Ane is currently a PhD- candidate in Graphic Design at Oslo National Academy of The Arts. In the project A Printing Press of One´s Own, she is researching Virginia Woolf’s practice as a self taught typesetter and publisher through experimental graphic interpretations of the short story “The Mark on the Wall” (1917).

“The Mark on the Wall” installation in photos

Below are photos of her work on the exhibit that Ane shared with Blogging Woolf.

“900 massive meters of prints are up!” is the comment Ane included with this photo on her Facebook page on Jan. 18.

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I’d heard the rumor — that a Virginia Woolf “collage” could be spotted in the ladies room of London’s Tavistock Hotel. But I did not expect what I actually found.

Tavistock Hotel in Bloomsbury, London

I went in search of the hotel’s unusual homage to Woolf after the 28th Annual International Conference on Virginia Woolf in June at the University of Kent in Canterbury, England.

The clerk at the Tavistock’s front desk directed me to the lobby level ladies room, where I expected to see a lone framed Woolf collage on the wall near the door or the sinks.

Loo decor

I found something entirely different. The wall behind each toilet in each ladies room stall was decorated with a long framed graphic featuring Woolf and her works. Each was cut to feature a different element of her work.

Luckily, the ladies room was unoccupied when I entered, so I was able to take a photograph of each stall. However, some of my photos are a bit tipsy, due to the fact that I had to prop each stall door open with my foot while hurriedly snapping individual pictures.

I made sure to include the commode and toilet tissue roll in the photo when I could manage it, as evidence that this Woolf sighting actually took place in a loo. 

 

The hotel’s Woolf & Whistle serves light meals and beverages.

Traditional afternoon tea is also offered at the Tavistock Hotel’s Woolf & Whistle.

 

About the Tavistock

Blue plaque honoring Virginia and Leonard Woolf installed to the left of the front entrance of the Tavistock Hotel.

The hotel is famous because it is built on the site of Virginia and Leonard’s flat at 52 Tavistock Square, in which they lived from 1924-1939.

A blue plaque commemorating that fact was unveiled on the exterior of the building in April.

 

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Virginia and Vita. Virginia and Leonard. Vanessa and Roger. Vanessa and Duncan. All four of those Bloomsbury couples are included in the exhibit “Modern Couples: Art, Intimacy and the Avant-garde” at The Barbican Art Gallery in London through Jan. 27, 2019.

According to promoters:

Modern Couples explores creative relationships, across painting, literature, sculpture, photography and design. Meet the artist couples that forged new ways of making art and of living and loving, from Frida Kahlo & Diego Rivera, Emilie Flöge & Gustav Klimt to Virginia Woolf & Vita Sackville-West.

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Art inspired by Virginia Woolf always inspires me. And that was the case at the 28th Annual  International Conference on Virginia Woolf last June at Woolf College at the University of Kent in Canterbury, England.

Luz Novillo-Corvalán

Woolfian Artists

Luz Novillo-Corvalán from Argentina’s University of Cordoba was one of three artists on the “Woolfian Artists” panel the first morning of the conference.

The others were Ane Thon Knutsen with “Reading Woolf from the Type Case Perspective: Finding Artistic Freedom Through ‘The Mark on the Wall'” and Adriane Little with “Virginia Woolf Was Here” in which she combined Woolf’s words with water from Woolf sites.

Portraits and more

Luz’s presentation, “Portraits of Radical Women: From Anais Nin to Virginia Woolf,” featured her lovely portraits of those artists and others, embroidered in one continuous chain stitch on paper.  The Woolf portrait is pictured below, along with other pieces Luz displayed — and sold — at the conference.

Luz Novillo-Corvalán’s embroidered portrait of Virginia Woolf

“Why should men drink wine and women water,” asks Virginia Woolf in A Room of One’s Own, and Luz Novillo-Corvalán adds a new twist to the question by embroidering it on a handkerchief.

Displayed at the conference: paper art with a Woolf theme featuring The Waves, Orlando and Monk’s House from Luz Novillo-Corvalán.

Luz Novillo-Corvalán’s artistic interpretation of The Waves

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Virginia Woolf’s A Room of One’s Own has inspired a two-story bronze sculpture, “Beyond Thinking,” which apparently has a double meaning and is prompting discussion on social media and beyond.

It will be unveiled at Newnham College, Cambridge, on the 70th anniversary of the first degree ceremony for its female graduates, held in 1948.

Positioned at the entrance to the College’s new Dorothy Garrod building, named after the pioneering archeologist, the sculpture is the first thing that students and visitors will see.

Artist Cathy de Monchaux commissioned artwork inspired by Virgina Woolf’s ‘A Room of One’s own’ at Newnham College, Cambridge photographed by Alun Callender.

Former Turner Prize nominee Cathy de Monchaux, who is known for using vulvas in her work, created the piece, which stands out in relief from a wall and repeats an intricate motif. It is one that — depending upon the viewer — can be seen as a vulva or an open book.

While The Guardian reported that the sculpture depicts the female vulva, the college says it depicts a tower of books.

Two views

The sculpture is “standing out in relief from a wall . . . [and] repeats an intricate genital motif which can also be seen as an open book, the pages lined with the branches of a tree of knowledge,” writes The Guardian.

The sculpture “shows a vertical column of open books set into the fabric of the building. Instead of words, a vine-like structure is embedded in the pages. The spine of each open book holds a female figure gazing out at the world,” says the college news release.

Take the poll

You can decide for yourself by viewing additional photos and taking the online poll available on this CambridgshireLive post.

A Room of One’s Own (1929) was based on a talk Woolf gave to the female students of Newnham and Girton Colleges, Cambridge, in 1928.

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Oh, to be in London next week! The book launch of From Omega to Charleston: The Art of Vanessa Bell and Duncan Grant 1910-1934 will take place at Hatchards Piccadilly, 187 Piccadilly, London, W1J 9LE, March 14.

A panel discussion with Piano Nobile will be held at 5 p.m.  The book launch is 6 – 8.30 p.m. Limited seating is available. RSVP by emailing events@hatchards.co.uk

About the book

Added below is information provided by the Virginia Woolf Society of Great Britain:

The book is published to accompany the exhibition From Omega to Charleston: The Art of Vanessa Bell and Duncan Grant, 1910-1934, this fully illustrated catalogue includes an essay and catalogue entries by Richard Shone (author of Bloomsbury Portraits (1993) and curator of The Art of Bloomsbury, Tate, (1999), the book explores the unique creative relationship shared by Bell and Grant through rarely seen works from private collections, some of which are reproduced for the first time, and a selection of loans from The Charleston Trust.

Famous Women Dinner Service

The second half of the publication focusses exclusively on The Famous Women Dinner Service. Begun in 1932 at the request of the art historian and director of the National Gallery Kenneth Clark and his wife Jane, these fifty plates were decorated with images of famous women through the ages, from Sappho to Greta Garbo.

Considered lost by art historians for nearly 40 years, the dinner service forms an impressive testament to Bell and Grant’s close working partnership. A ground-breaking essay by Hana Leaper is succeeded by closer scholarship dedicated to the individual plates. Produced in partnership with the Paul MellonCentre for Studies in British Art, this research is published in print for the first time.

The glorious catalogue is available for view on the Issuu website.

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Lots of Woolf on the Web these days. Here are a few important sightings gleaned via Twitter links shared by Jane deGay and Maggie Humm.

  • Sentencing Orlando: Virginia Woolf and the Morphology of the Modernist Sentence, edited by Elsa Högberg and Amy Bromley, is a collection of 16 original essays offers fresh perspectives on Orlando through a unique attention to Woolf’s sentences.
  • Six Ways Virginia Woolf Pre-Empted Spring’s Key Looks,” by Kaye Fearon in British Vogue, Feb. 21, 2018.
  • Bonnie Greer on Virginia Woolf and the Bloomsbury Group, a podcast discussing the friendships, work and designs behind the artists, coordinated with the Virginia Woolf exhibition at Tate St Ives, 10 February – 29 April 2018. Then view her art walk below.

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