Jim Harold studied Fine Art at Reading University, and has a doctorate from Glasgow University for his research into the comparative analysis of the poetics of the desert and of desert spaces as found in the literature of Arab and European travellers.
He has worked extensively as a lecturer and senior lecturer in Fine Art, most significantly at Central St Martin’s, London, Northumbria University at Newcastle, and Glasgow School of Art where he is currently a visiting lecturer. He has also been a visiting lecturer to institutions in Germany, Finland and Canada. His work has been exhibited widely in the UK and Europe, and he has work in public and private collections in Australia, the USA and the UK, including the Arts Council of England and the V&A Museum. His practice focuses upon our understanding of landscape and its refiguring within European cultures as a result of the shifting currents of thought set in motion by the disciplines of aesthetics, the natural sciences, philosophy, sociology and politics. It considers the way that ‘value’ has been placed on certain types of land or landscape experiences: in particular, the question of marginality in those areas of land that exist at the edge or at the limit.
Published works include: ‘Caesura: Cyprus–Kibris–Kypros’ in Interstices, ‘The Drouth’, Issue 54, Winter/Spring 2016; ‘Witnessing the Momentous: Crowds, Stones and Images, Silent Witnesses’ in Tanya Leighton & Pavel Büchler (eds) Saving the Image: Art after film, CCA, Glasgow/MMU, Manchester 2003.
For more information visit http://diffusion.org.uk/?p=55 or
Susan Brind & Jim Harold also have a substantial collaborative practice which has been exhibited nationally and internationally, with expertise in working in response to site and context.
Recent collaborations include: a temporary commission for the Library at Hospitalfield House, Arbroath (2010); sound installations for ‘What we make with words’, CCA, Glasgow (2011); and a wall text, Hinterlands, Renmin University Gallery, Beijing (2015). Further recent text installations include, ‘Foreign Encounter’, Munich (2015); and ‘For you …’, part of the Bitter Rose project, Glasgow International (2016).
Their published collaborative works include ‘Curious Arts – No.6’, (a book funded by the Royal Society of Edinburgh, published by CCA, 2013) and artist’s pages in the journal ‘The Burning Sands: Vol 5’ (April 2016). Both publications focus on the relationship between culture and nature.
For more information visit http://radar.gsa.ac.uk/4439/
Ruth Barker, Jasper Coppes, Alan Currall, Sarah Forrest, Susan Brind, Jim Harold, Shona Macnaughton, Duncan Marquiss, Shauna McMullan, and Joanna Peace
A collaboration between ten artists and the National Trust for Scotland, Cabinet Interventions interrogates the role of material culture in defining place. In post-Brexit Scotland, how might often-contested identities and histories be articulated through institutions such as the Trust?
In 2017 the artists spent time in residence at Pollok House, exploring the cultural, political, historical, ecological and sensorial context of the site. This exhibition draws upon that research and dialogue to present sound, film, sculpture, text and performance.
Supported by The Royal Society of Edinburgh and Glasgow School of Art.
Fri 20 April – Mon 7 May
Mon – Sun, 10am-5pm