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> > > Reframing the Myth: Graeae and Central Illustration Agency

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Celebrating 35 years of Graeae Theatre, prominent figures from its history were paired with artists and illustrators from the Central Illustration Agency to create 40 new artworks. Kate Lovell visited the Reframing the Myth at the Guardian’s offices in London, wishing that it had shouted louder and been bolder.

A photograph of Sara Pope's piece at Reframing the Myth inspired by Jenny Sealey. It depicts a large pair of red lips with a neon light surrounding it.

Sara Pope's piece inspired by Jenny Sealey.

Celebrating 35 years of Graeae Theatre, prominent figures from its history were paired with artists and illustrators from the Central Illustration Agency to create 40 new artworks. Kate Lovell visited the exhibition at the Guardian’s offices in London, wishing that it had shouted louder and been bolder.

disability arts online

An illustration by CIA’s Tobatron inspired by disability rights activist Barbara Lisicki, presented in a 'how to' guide fashion.

CIA’s Tobatron & Graeae’s Barbara Lisicki.

Celebrating 35 years of Graeae Theatre, prominent figures from its history were paired with artists and illustrators from the Central Illustration Agency to create 40 new artworks. Kate Lovell visited the exhibition at the Guardian’s offices in London, wishing that it had shouted louder and been bolder.

disability arts online

A mixed media artwork by Rachel Gadsden inspired by actress Nicki Wildin, featuring photographs of her amidst a swirling colourful background.

Rachel Gadsden's work inspired by Nicki Wildin.

Celebrating 35 years of Graeae Theatre, prominent figures from its history were paired with artists and illustrators from the Central Illustration Agency to create 40 new artworks. Kate Lovell visited the exhibition at the Guardian’s offices in London, wishing that it had shouted louder and been bolder.

Comments

20 February 2016

Sadieei Brown

I wonder if the dullness of the exhibition was informed by the dullness of the artists selected. As I have not seen the whole thing, and am not inclined to having read this review, I could be wrong in thinking that the history they choose to represent was just what had taken place in recent times, and not a fully rounded representation.

Which is of course the main problem with something like this the curatorial eye is narrow and prescriptive and well, dull.

That could also be why its under the stairs as there is no confidence in the quality of the work? Better luck next time all round methinks.

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