TALKS
The committee arranges monthly meetings for lectures, and invite a variety of speakers and academics to talk about art and art practice. Non-members are very welcome to join these meetings and discussions.

2017

March 30th 2017 at 7.30pm Bob Williams
The Treasures of the Methodist Art Collection



This talk will cover the history of the Collection, its touring brief, its
reception at the Abbey in Bath, and then a look at some of the gems of the Collection (Edward Burra, Gill, Frink, Sutherland, Ceri Richards, Craigie Aitchison, Maggi Hambling) and something on the international flavour of the Collection. In all, very much an artistic analysis of the works, obviously placing it within the context
of how it can and is used
in a missional sense, in conveying key elements of the Gospel
Stories but emphasising that it can equally well be enjoyed/ appreciated by people of faith or, indeed, of no faith - by folk who simply admire the skill of of many different artists brought together under the 'umbrella' of the MMAC.


May 25th 2017 at 7.30pm Sophie Cummings
From Where I’m Standing – A Curator’s Perspective


TALK CANCELLED

 

 











CONTACT
The Bath Society of Artists




VENUE

The venue for the BSA meetings is the BRLSI in 16 Queen Square, Bath. Meetings are usually held on the last Thursday of the month in the Duncan or Elwin Room and start at 7.30pm. Admission for non-members is £4.00 on the door.

 

September 28th 2017 at 7.30pm Richard Twose
The Future is History

I have recently begun a series of large scale paintings based on historic artworks such as Rubens'Descent from the Cross' and Picasso's 'Les Demoiselles D'Avignon', paintings that, in their times, contained powerful cultural messages. By stripping down the originals' composition and recasting them with
modern figures such as scientists and artists, I want to explore those messages in relation to our present, a time of super-fast,
disorienting change.

October 26th 2017 at 7.30pm Peter Malone
A Hack’s Progress


From the vagaries of
1970s art education
via an attempt to convince as a painter; teaching at an art school or two; framing Howard Hodgkin’s collection of Indian paintings; having
children (Cyril Connolly’s admonitory pram in the hall: but not necessarily so) to illustrating twenty plus books for children (and the occasional adult);
stamps for Royal Mail; editorial work for The NewYorker and
other journals; enhanced landscapes and orphaned images in
search of a writer (Prima l’illustrazione, dopo le parole). And
never quite managing to construct an elegant sentence.