Image: Detail of ‘South Downs Way, East Sussex, 2007’ from the series, We English
British Landscape and the Imagination: 1970s to Now
I have several pieces included in this group show, an Arts Council Collection National Partner Exhibition running from 30 SEP – 21 JAN 2018.
This major survey exhibition focuses on artists who have shaped our understanding of the British landscape and its relationship to identity, place and time. Exploring how artists interpret urban and rural landscape through the lens of their own cultural, political or spiritual ideologies, the exhibition reveals the inherent tensions between landscape represented as a transcendental or spiritual place, and one rooted in social and political histories.
Though primarily photography, A Green and Pleasant Land includes film, painting and sculpture by over 50 artists, illustrating the various concerns and approaches to landscape pursued by artists from the 1970s to now.
Artists included in the exhibition: Keith Arnatt, Gerry Badger, Craig Barker, John Blakemore, Henry Bond and Liam Gillick, Paul Caponigro, Thomas Joshua Cooper, John Davies, Susan Derges, Mark Edwards, Anna Fox, Melanie Friend, Hamish Fulton, Fay Godwin, Andy Goldsworthy, Paul Graham, Mishka Henner, Paul Hill, Robert Judges, Angela Kelly, Chris Killip, John Kippin, Karen Knorr, Ian Macdonald, Ron McCormick, Mary McIntyre, Peter Mitchell, Raymond Moore, John Myers, Martin Parr, Mike Perry, Ingrid Pollard, Mark Power, Paul Reas, Emily Richardson, Ben Rivers, Simon Roberts, Paul Seawright, Andy Sewell, Theo Simpson, Graham Smith, Jem Southam, Jo Spence, John Stezaker, Paddy Summerfield, The Caravan Gallery, Chris Wainwright, Patrick Ward, Clare Woods and Donovan Wylie.
Necsus: European Journal of Media Studies (Autumn 2016) has a review of my Pierdom work. Written by Brydon, Lavinia and Jenzen, Olu (2016).
Review of British photographer Simon Roberts’s project Pierdom, exhibited at the Brighton Museum and Art Gallery in 2015. Interview with Roberts. The review discusses Robert’s work which centres on questions of people and place, particularly in regard to the construction and promotion of national identity both from an aesthetic, historical and cultural studies point of view. The exhibition and its engagement with its audiences is contextualised in relation to the AHRC Connected Communities Research Project ‘The People’s Pier’. Drawing on research findings about local communities and their relation to their pier as a heritage asset and popular culture venue, the review argues the exhibition portrays piers as lived experiences shaped by the mood of the time and the socio-cultural make-up of their location. Roberts captures details which reveal the small economies of British seaside tourism as well as the context of piers in the landscape and the imprint of economic changes in these costal regions. From 2011-2013 Roberts toured the British coastline capturing the country’s 58 surviving pleasure piers as well as a few ‘lost’ piers with a 4×5 inch field camera.
Read the full text here.
NECSUS is an international, double blind peer-reviewed journal of media studies connected to NECS (European Network for Cinema and Media Studies) and published by Amsterdam University Press. The journal is multidisciplinary and strives to bring together the best work in the field of media studies across the humanities and social sciences. We aim to publish research that matters and that improves the understanding of media and culture inside and outside the academic community.
Pierdom is featured in the Autumn issue of NECSUS (European Network for Cinema and Media Studies), reviewed by Lavinia Brydon (University of Kent) and Olu Jenzen (University of Brighton).
You can read the piece here:
Hastings Pier is proud to present an exhibition from Simon Roberts Pierdom collection on the Pier Head.
At the turn of the 20th century, the British coastline boasted over 100 pleasure piers. Now only 58 survive. Simon Roberts spent three years photographing them, culminating in a fascinating record of these monuments of Victorian engineering and eccentricity.
Roberts’ 4×5 inch field camera, used for the series, reflects the rapidly developing photographic technology during the Victorian era.
This presentation presents the first time Pierdom has been exhibited on a pier.
There will also be several pinhole camera workshops available to attend: http://hastingspier.org.uk/event/pierdom-free-pinhole-camera-workshops/
I will be showing several prints from Pierdom at this year’s PondyPHOTO in Pondycherry, India. The prints are part of a group show curated by Cheryl Newman entitled ‘The Kitchen Sink’.
The exhibition also includes works by Mustafah Abduliaziz (USA), Corey Arnold (USA), Marcus Bleasdale, UK, Antoine Bruy (France), Solmaz Daryani (Iran), Mitch Epstein (USA), Rose Lynn Fisher (USA), Stephen Gill (UK), Noemie Goudal (France), Tom Hunter (UK), Max Pinckers (Belgium), Yan Preston (China/UK), Alessandra Sanguinetti (USA), Nigel Shafran (UK), Bharat Sikka (India), Alec Soth (USA), Maurice Van Es (Netherlands) and Vasantha Yogananthan (France).
PondyPHOTO, a biennale festival initiated by PondyART, is a platform where art and education attempt to break existing social barriers, by presenting visually impactful photography-oriented events focused on today’s social and environmental issues in public spaces. The theme for PondyPHOTO 2016 is WATER.
Other artists showing with the gallery are Mirko Baselgia, Mathieu Bernard-Reymond and Thibault Brunet. More details here.
Photo London will open to the public at Somerset House from 19 to 22 May 2016.
London WC2R 1LA
Thursday 19 May 12:00 – 20:30
Friday 20 May 12:00 – 19:30
Saturday 21 May 12:00 – 18:00
Sunday 22 May 12:00 – 18:00
Tickets to the fair are available here.
My comprehensive photographic survey titled #Pierdom celebrates the personality, architecture and history of the iconic British Pleasure Pier. The work will be exhibited at Brighton Museum & Art Gallery until 21 February, 2016.
Image: Pierdom installation at Brighton Museum & Art Gallery / Photo by James Pike.
Photomonitor have reviewed my Pierdom exhibition.
“Pierdom is an elegant show with a long-shelf life and it will, no doubt, become part of an archive of British heritage. It is also a very personal response by Roberts to a cultural icon that is part of the British psyche.” Miranda Gavin, January 2016
You can read the full review here.
Pierdom will continue to be on show until 20 February 2016. More details here.
A profile about Pierdom in the current issue of El Pais magazine (in Spanish). Read online:
and view a slideshow here.
As part of the Pierdom exhibition at Brighton Museum and Art Gallery, we are hosting a series of short talks exploring the history of British Piers along with related artworks in the Museum’s collection.
All of the events are free to attend (with an admission ticket) and take place in the Pierdom Exhibition gallery.
Brighthelmstone, Sussex (1824) by Joseph M W Turner
A special opportunity to see Turner’s depiction of Brighton at the height of the city’s development, With Fine Art Curator Jenny Lund.
Tuesday 27 October 12:00pm – 1:00pm
Passion for Piers
Explore the personality, architecture and history of British piers made before 1914, With Explainer Jackie Marsh-Hobbs.
Tuesday 10 November 12:00pm – 1:00pm
Passion for Piers
Take a closer look at the history and architecture of the West Pier, with explainer Michael Carey.
Tuesday 22 December 12:00pm – 1:00pm
Passion for Piers
Explore the delights and disasters that feature in the history of British piers made after 1914, with explainer Jackie Marsh-Hobbs.
Tuesday 29 December 12:00pm – 1:00pm
More information about the Bite-Size Museum events can be found here.