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Ozlem and her Work

Ozlem displaying her work at the “Mark on the Wall” exhibition

It has been almost one month since the 25th Annual International Conference on Virginia Woolf, but I am still thinking about all of the great events and presentations from the conference.

One of the highlights from this year’s conference was the “Mark on the Wall” exhibition, which presented art work that was inspired by Virginia Woolf and her female contemporaries. Artists from around the world were represented, and I had the lucky opportunity to interview one of the artists whose work was selected for this exhibition.

Ozlem Habibe Mutaf Buyukarman is an assistant professor of graphic design at Yeditepe University in Turkey. After seeing her piece, “Do Not Call Me Anything IV” displayed at the “Mark on the Wall” exhibition, I asked her a few questions about her work:

In what ways do you think this piece connects with Virginia Woolf and/or the Modernist movement?

Ozlem: In my artwork “Do Not Call Me Anything IV”, you can see knee high stockings worn with trousers by a woman (who probably has a room of her own). The knee-high women’s stockings are a metaphorical expression of stepping forward. This is what modernist women writers and artists do I believe. Along with the stockings I placed labels/tags which stand for the prejudice against women. Thus, the name of the series is “Do Not Call Me Anything.” Also, in terms of style, this is not a decorative piece or an oil on canvas; it is based on experimental, instantaneous involvements of objects and textures presenting the drama of modern life with its consuming, exhausting and unstable condition. This differentiates it and makes it modern, I suppose.

“Do Not Call Me Anything IV”

Much of your work, including “Do Not Call Me Anything IV,” seems to put a focus on women’s clothing. In what ways does your work speak to and for women?

Ozlem: The clothing items are somehow the witnesses of our lives, our passions, our emotional commitments, the violence we faced to both physical and psychological in a modern, demanding world. They may symbolise the abandoned self or the avant-gardist… I present the aesthetics of personal items while documenting them, a moment of confrontation.

As a female artist, what kinds of struggles do you think that women artists face today?

Ozlem: Still many… women have to wear many hats at a time. And women writers or artists around the world are facing many struggles such as censorship, visibility and representational issues. Virginia Woolf inspired many women all around the world.

You can view Ozlem’s work and all of the exhibition selections in the “Mark on the Wall Online Catalogue”.

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The juried Mark on the Wall exhibition at the 25th Annual International Conference on Virginia Woolf presents artists from all over the world who have been inspired by Woolf and her female contemporaries.

The show of works on paper attracted woolf_callforentriesmore than 400 submissions, with 49 chosen for the exhibit, including Susie Lilly, a former women’s studies student of mine at the University of Akron, where she graduated with a degree in art.

The opening and awards presentation will be 6-8 p.m. Thursday, June 4, at The Gallery at Greenly Center, 50 East Main St., Bloomsburg. The exhibit runs through June 30.

Those chosen are: TBettina Badr • Laura Bernstein • Mischa Brown • Deborah Bruns-Thomas • Dylan Collins • Laura Collins • Ozlem Habibe Mutaf Buyukarman • Maria DiMauro • Elaine M. Erne • Nicole Foran • Anita Ford • Leah Gallant • Lori Glavin • Stephanie Haughton • Craig Hill • Susie Lilley • Erika Lizée • Yvonne Love • Janet Maher • Jo Margolis • Marcella Marsella • Tonia Matthews • Alberto Meza • Chieko Murasugi • Jacqueline-Dee Parker • Frank Pulaski • Dana Scott • Carolyn Sheehan • David Thomas • Rhonda Thomas-Urdang • Maxene White • Jacqueline Young

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Paula Maggio:

This is a wonderful piece that puts Bloomsbury art in the social, political and cultural context of the 1920s-1930s.

Originally posted on The Charleston Attic:

There was one item in the Gift this week which particularly caught our eye, as it documents two different aspects of Duncan Grant’s life as an artist; his creative style and his status as a member of the British art world.

CHA-P-1415-R_red

CHA-P-1415 Recto: Duncan Grant, drawing, nude woman carrying a basket, ink on paper, 20.1 cm x 14.1 cm. Photograph © The Charleston Trust

On one side of this postcard-sized piece of cream card is an ink drawing of a bare-breasted woman carrying what appears to be a basket of flowers. While there is no annotation or attribution accompanying the drawing, the classical theme and stylised figure suggest that it was made by Grant, possibly as a study for a decorative scheme. For example, it is reminiscent of the figures in Grant and Bell’s large interior painting of 1929 for Penns in the Rocks, the home of the poet, Lady…

View original 1,048 more words

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Charleston AtticOh, the lovely connections we make in the world of Woolf. This time, the connection gives us all a behind-the-scenes look at Charleston, the Sussex site known as Bloomsbury in the country.

Alice Purkiss, a curatorial trainee at The Charleston Trust, contacted Blogging Woolf via a Facebook message last week to ask that we help publicize The Charleston Attic. The blog was created by Purkiss and fellow trainee Dorian Knight, who just left the project. His replacement at Charleston is Samantha Wilson.

CharlestonIn existence one year,The Charleston Attic shares the trainees’ research at the former home of Vanessa Bell and her family and includes discussions of Woolf and her works. According to the blog, it “is a record of our work cataloguing, researching and interpreting the Angelica Garnett Gift from the Charleston attic – overlooked by a bust of Virginia Woolf.”

Recent posts of particular interest to Woolfians include:

The curatorial trainee project with the Charleston Trust provides for six-month training periods for a dozen trainees over three years.

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In the closing lines of Mrs. Dalloway (1925), Virginia Woolf wrote these lines for Peter Walsh: “It is Clarissa, he said. For there she was.”Virginia Woolf in words

A variation on that theme popped into my head last Saturday when I attended a party at Pure Intentions, an organic wheat grass grower in Akron, Ohio. As I opened the door into the building, the first thing I saw was Woolf.

“Oh, it’s Virginia,” I said aloud, for on the wall facing the doorway was a large, unique and haunting portrait of Woolf with eyes that followed me wherever I went.

What made the heavy framed portrait even more mesmerizing was the fact that her features, facial contours, hair and clothing were all formed from the text of A Room of One’s Own (1929).

The portrait’s appropriate title, A Room of One’s Own by Virginia Woolf, suggested so many weighty layers of meaning that my own head felt filled with a tumbling jumble of words and their various meanings.

Kathy Evans, owner and operator of the wheat grass business and its School of Energy, said someone gave her the portrait. She explained that she hung it above an overstuffed chair so that Woolf could look down on the intelligent folks who settled in for a good read.

I wished I had asked more questions about the Woolf portrait, but I thought I would be able to Google it and find one for myself. So far, no luck.

Perhaps I will have to go back to Pure Intentions for another look and more questions. For I just can’t get the Woolf face made of words out of my head.

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If you won’t be able to take a seat on the Mrs. Dalloway bench in Gordon Square, this summer, you can still see it up close. Artist Fiona Osborne of One Red Shoe has generously shared photos of the bench at various stages of her artistic process.

If you look closely, you can even see her workspace in some of the photos, including drop cloth, paint pots and brushes, a blow dryer, and natural light streaming through a round window.

Osborne’s Mrs. Dalloway bench is one of  50 installed by the National Literacy Trust for its Books About Town art trail. Each is shaped as an open book and is decorated by a professional illustrator or local artist.

Side view of the Mrs. Dalloway bench

Side view of the Mrs. Dalloway bench

 

Front view featuring Clarissa Dalloway

Front view featuring Clarissa Dalloway

Front view in progress

Front view in progress

Close-up of back view featuring Septimus Warren Smith

Close-up of back view featuring Septimus Warren Smith

Back view in progress

Back view in progress

Detail of the orchid

Detail of the orchid

Detail of the swallow

Detail of the swallows

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Amanda Ann White creates collages, using paper clipped from old magazines. And sometimes the subject of her collages is Monk’s House.

Night and Day, Monk's House

Night and Day, Monk’s Househer collages is Monk’s House.

White emailed Blogging Woolf to share her collages of Virginia Woolf’s Sussex home, which are sold in the home’s new shop.

“The images of Monk’s House were the first things that went into the new shop incorporated into Monk’s House. In fact they were on sale before it was installed. They sell as cards and small prints there. Visitors to Monks House do seem to like them,” White wrote.

She also sells the collages at her Etsy shop. Larger high quality art prints are available on her website in the Giclee section.

White says she will offer new cards based on details from a long picture of the house and garden, which is a design for a bookmark, later in the year.

Collage is a not a new topic for Woolfians. The subject came up on the VWoolf Listserv in 2012.

Monk's House 1931

Monk’s House 1931

After the Waves: Virginia Woolf's Writing Lodge

After the Waves Virginia Woolf’s Writing Lodge

 

Monk's House Welcome Home

Monk’s House Welcome Home

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