The Estate of ROSE FINN-KELCEY
Selected Works
Video
Press
| Born 1945 in Northhampton, lived and worked in London from 1968 – 2014. | |
| SELECTED SOLO EXHIBITIONS AND INSTALLATIONS | |
| 2020 | Rose Finn-Kelcey Works, Kate MacGarry, London |
| 2019 | Bureau de Change, Tate Britain, London, UK |
| Truth, Dare, Double-Dare… by Rose Finn-Kelcey and Donald G Rodney, 1994. Part of On Allyship, ICA Theatre, London. Event with disability activists David Ruebain and Lela Kogbara, hosted by Leah Clements | |
| 2018 | Rose Finn-Kelcey, Power for the People, Firstsite, Colchester, UK |
| 2017 | Rose Finn-Kelcey, Life, Belief and Beyond, Modern Art Oxford, UK |
| 2006 | Rose Finn-Kelcey, Milton Keynes Gallery, Milton Keynes, UK |
| 2004 | Angel, St Paul’s Church, Bow, London, UK |
| 2003 | Bureau de Change, The Irish Museum of Modern Art, Dublin, Ireland |
| 1997 | Rose Finn-Kelcey, Camden Arts Centre, London, UK |
| 1994 | Just Minus, The British School at Rome, Rome, Italy |
| Truth Dare, Double Dare (collaboration with Donald Rodney) Ikon Gallery, Birmingham, UK | |
| 1993 | Rose Finn-Kelcey, Galerie l’Ollave, Lyon, France |
| 1992 | ‘Steam Installation’, Chisenhale Gallery, London, UK |
| 1988 | Bureau de Change, Matts Gallery, London, UK |
| 1984 | Black and Blue – The Button Pusher’s View of Paradise, Matts Gallery, London, UK |
| 1978 | Book and Pillow, Galleria del Cavallino, Venice, Italy (with Tina Keane) |
| 1974 | Rose Finn-Kelcey, Midland Gallery, Nottingham, UK |
| 1972 | Power for the People, Battersea and Bankside Power Stations, London (installation) |
| 1970 | ‘Here is a Gale Warning’ at Art Spectrum, Alexander Palace, London (installation) |
| 1969 | Flags, Railway embankment, Berkhamstead, Hertfordshire |
| SELECTED PERFORMANCES | |
| 1987 | New Works Newcastle, Laing Gallery, Newcastle; Cartwright Hall, Bradford and Cornerhouse, Manchester |
| 1985 | ‘Bull’s Eye’, The British Show, Gallery of New South Wales, Sydney; EAF Foundation, Adelaide; Performance Space, Melbourne |
| Ascending Order, (collaboration with H Walton and Nirrup), The British Art Show, Royal Scottish Academy, Edinburgh | |
| 1984 | Glory, Sculpture Museum, Marl and Jesse Gallery, Bielefeld, Germany |
| Cherabim, Moltkerei Werkstadt, Koln, Germany | |
| Hosts, (collaboration with H Walton and Nirrup) Cross Currents, Royal College of Art, London | |
| ‘Flaming Cheek’, Time-Based Arts, Amsterdam, Simplon Videobar, Groningen, Holland | |
| 1983 | Glory, Serpentine Gallery, London (performance) |
| 1982 | ‘Cut-out’, 4th Symposium of Performance Art, Lyon, Gallerie L’Ollave, Lyon, France |
| 1981 | Mayday – Mayday – Mayday, About Time, Third Eye Centre, Glasgow |
| ‘The Boilermaker’s Assistant’, London Calling, AIR Gallery, London | |
| 1980 | ‘Mind the Gap’, About Time, ICA, London; Franklin Furnace, New York |
| 1977 | ‘Her Mistress’s Voice(collaboration With H Walton), The Eisteddfod, Wrexham, Wales |
| 1976 | One for Sorrow Two for Joy, London Calling, Acme Gallery, London |
| SELECTED GROUP EXHIBITIONS | |
| 2021 | Breaking the Mould, Sculpture by Women since 1945, Ferens Art Gallery, Hull |
| Breaking the Mould, Sculpture by Women since 1945, Djanogly Art Gallery, Nottingham Lakeside Arts | |
| 2020 | Ikon in the 1990s (working title only) Ikon Gallery, Birmingham |
| Breaking the Mould, Sculpture by Women since 1945, New Art Gallery Walsall |
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| 2019 | From the Kitchen Table: Drew Gallery Projects 1984-1900, CGP, London |
| 2018 | Archaeology of the Final Decade, Vali Mahlouji. Dhaka Art Summit 18, Bangladesh |
| 2017 | IT IS JUST A BEGINNING, National Gallery of Modern and Contemporary Art, Rome, Italy |
| 2016 | Re-imaging Donald Rodney at Vivid Projects, Birmingham, UK |
| 2014-15 | Sculptors’ Papers from the Henry Moore Institute Archive, Whitechapel Art Gallery Curated by Lisa Le Feuvre |
| 2014 | Interchange Junctions, Howick Place, London curated by HS Projects |
| Keywords: Art, Culture & Society in 1980s Britain, Tate, Liverpool, UK | |
| Tate permanent collection re-hang. Tate Britain | |
| 2011 | Modern British Sculpture, The Royal Academy of Art, London |
| Ideal Home, Chelsea Space, London | |
| Re.act Feminism #2, Centro Cultural Montehermoso, Victoria-Gasteiz, Spain | |
| 2009 | Reading by Light, The Civic, Barnsley, Yorkshire |
| 2008 | 100 Years, 100 Artists,100 Works of Art, Art on the Underground, A Foundation Gallery, London |
| Turned On, Alan Cristea Gallery, London | |
| Building Bridges, Today Art Museum, Beijing, China | |
| 2006 | How to Improve the World: 60 years of British Art, Arts Council exhibition, Hayward Gallery, London |
| Please Close the Gate, Roche Court, New Art Centre, Salisbury, UK | |
| 2005 | Size Matters, Arts Council touring exhibition, travelling to Longside Gallery, Yorkshire Sculpture Park, Wakefield and Millais Gallery, Southampton |
| 2004 | Dog Happy, Zoo Art Fair, London |
| 2003 | A Century of Artists’ Film in Britain, Tate Britain, London |
| 2002 | Self Evident, Linbury Galleries, Tate Britain, London |
| About Face, The Clocktower Gallery, Croydon | |
| Multiplication, British Council touring exhibition, Romania | |
| It Rules, The Multiple Store, numerous venues | |
| 2001 | Return to Sender: the Dead exhibition, The Roundhouse, London and Welfare State International, Ulverston, Cumbria |
| House Rules, The Multiple Store, numerous venues including Tate Gallery, Liverpool and Brooke Alexander Gallery, New York | |
| Verbal into Visual, The Letharby Gallery, London | |
| 2000 | London Seoul, The Total Museum of Contemporary Art, Seoul, South Korea |
| A Shot in the Locker, Structurally Sound, Exconventa de Santa Teressa, and Museo Carrillo Gil, Mexico City | |
| Live in your Head: Concept and Experiment in Britain 1965-75, Whitechapel Art Gallery, London and Museo de Chiado, Lisbon, Portugal | |
| 1999 | It Pays to Pray, North Meadow Sculpture Project, , Millennium Dome, London, UK |
| 1998 | Llathyard, Cardiff City poster sites |
| Out of Actions: Between Performance and the Object 1949-1979, Museum of Contemporary Art, Los Angeles | |
| Irredeemable Skeletons, Shillam and Smith, London | |
| 1997 | Through the Viewfinder, Stitchling de Appel, Amsterdam |
| Signs of the Times, Museum of Modern Art, Oxford | |
| Bar Doors, Landscapes, The Houston International Festival, Texas | |
| 1994 | Laser and Kunst, Galeria Medium, Bratislava, Slovakia |
| 1993 | Young British Artists Part II, The Saatchi Gallery, London |
| Civil War, Angel Row Gallery, Nottingham | |
| 1992 | Documenta IX, Kassel, Germany |
| 1991 | Shocks to the System, Royal Festival Hall, London and the Ikon Gallery, Birmingham |
| 1990 | A New Necessity, Tyne International, Gateshead Garden Festival, Tyne and Wear |
| 1989 | Something Solid, Cornerhouse, Manchester, UK |
| The Suitcase Show, Harris Museum, Preston, Aberdeen City Art Gallery, Aberdeen and Wolverhampton Art Gallery, Wolverhampton | |
| The Tree of Life, Cornerhouse, Manchester; The Royal Albert Memorial, Exeter; The Royal Festival Hall, London; The Mappin Art Gallery, Sheffield; Cartwright Hall, Bradford, and the Usher Gallery, Lincoln | |
| 1988 | Depicting History, City Art Gallery, Leeds and Rochdale Art Gallery, Manchester |
| 1987 | Depicting History, Mappin Gallery, Sheffield |
| Rhetorical Image, New Museum of Contemporary Art, New York |
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| 1986 | The Window Box, AIR Gallery, London, UK |
| 1981 | Live, Neutral and Earth, Circles, Midland Gallery, Nottingham |
| 1977 | International Exhibition of Women Artists: 100 Years of Women’s Art, Chalottenberg Palace, Berlin |
| 1973 | Sieben Aus London/Seven from London, Kunsthalle, Bern, Switzerland |
| 1971 | London Now, Telekomunikation Tower, Berlin, Germany |
| Co-selector of the 1995 British Art Show along with Richard Cork and Tom Lawson | |
| FILM AND VIDEO DOCUMENTARIES | |
| 2019 | Tate Shots |
| 1993 | Steam Installation, video documentary edited by Nick Collins |
| 1992 | Bureau de Change, film documentary edited by Nick Collins |
| SELECTED PUBLICATIONS | |
| 2019 | Objects of wonder, British Sculpture from the Tate Collection 1950s-Present. Palais Populaire. Art, Culture & Sports by Tate and Deutsche Bank |
| The Lie of the Land. Published by MK Gallery | |
| The Art Book: Women Artists. Phaidon Press | |
| 2018 | Gilane Tawadros and Judy Adam. Edward Woodman: The Artist’s Eye. John Hansard Gallery, Southampton. Art360 Foundation |
| 2013 | Rose Finn-Kelcey. Monograph. Ridinghouse |
| 2012 | Tamsin Dillon (ed), The Roundel: 100 Artists Remake A London Icon, Art/Books Publishing, London |
| 2009 | Petra Lange-Berndt, Animal Art: Prä parierte Tiere in der Kunst 1850–2000, Verlag Silke Schreiber, Munich |
| James Putnam, Art & Artifact: The Museum as Medium, Thames & Hudson, London | |
| 2007 | Jemima Montagu (ed), Open Space: Art in the Public Realm in London 1995–2005, Arts Council England, London and Central London Partnerships, London |
| 2006 | Roger Malbert, ‘New and Improved! Exhibiting Collections’, How to Improve the World: 60 Years of British Art: Arts Council Collection, Michael Archer, Marjorie Allthorpe-Guyton and Roger Malbert (eds), Hayward Gallery, South Bank Centre, London |
| 2004 | Guy Brett, ‘Vacating the Premises: Rose Finn- Kelcey’, Carnival of Perception: Selected Writings on Art, INIVA, London |
| 2003 | Richard Cork, Breaking Down the Barriers: Art in the 1990s, Yale University Press, New Haven Sarah Kent, Shark Infested Waters: The Saatchi Collection of British Art in the 90s, Philip Wilson Publishers Ltd, London |
| 2002 | Ann Elliot, ‘Biographies and Texts’, Sculpture at Goodwood: A Vision for Twenty-First Century British Sculpture, Wilfred Cass (ed), Sculpture at Goodwood, Goodwood |
| 1997 | Matthew Collings, Blimey! From Bohemia to Britpop: The London artworld from Francis Bacon to Damien Hirst, 21, Cambridge |
| 1996 | Guy Brett, ‘Rose Finn-Kelcey’, A Directory of Film & Video Artists, David Curtis (ed), John Libby Media, Luton |
| SELECTED ARTICLES AND REVIEWS | |
| 2018 | The Visual Commentary on Scripture Foundation website (thevcs.org) |
| 2015 | Andrée Cooke Rose Finn-Kelcey Power For The People (1972). Henry Moore Journal, Issue 71.Essays on Sculpture, January 2015. |
| Eleanor Roberts, ‘Restless Images: The Feminist Performances of Rose Finn-Kelcey’, Oxford Art Journal, Volume 38, Number 3. October 2015. Pages 387-403. Published by Oxford University Press | |
| Eleanor Roberts, ‘Restless Images: The Feminist Performances of Rose Finn-Kelcey’, Oxford Art Journal, Volume 38, Number 3. October 2015. Pages 387-403. Published by Oxford University Press | |
| Dr Aaron Rosen. Art & Religion in the 21st Century, Thames & Hudson | |
| 2014 | Spare Rib magazine, digitized (1973-1993) The British Library |
| 2000 | Andrea Schlieker, ‘Review of It Pays to Pray’, Make: the Magazine of Women’s Art, issue 89, September–November, p.34 |
| 1998 | Mark Harris, ‘Review of Rose Finn-Kelcey solo exhibition, Camden Arts Centre, London’, Art in America, July |
| Stella Santacatterina, ‘Review of Rose Finn-Kelcey at Camden Arts Centre,’ Flash Art, vol.XXXI, no.200, May–June | |
| 1997 | Guy Brett, ‘Review of Rose Finn-Kelcey, Camden Arts Centre’, Art Monthly, December–January |
| Catherine Elwes, ‘In Praise of Older Women’, Make: the Magazine of Women’s Art, issue 78, December–February | |
| 1996 | Audio Arts Magazine, vol.15 , no.4 |
| 1994 | Michael Archer, ‘Collaborators’, Art Monthly, no.178, July–August |
| 1993 | Lynn MacRitchie, ‘Uneasy Rooms’, Art in America, October |
| 1992 | Audio Arts Magazine, vol.12, no.2, 3 |
| 1991 | Marjorie Allthorpe-Guyton, ‘Obsession: Interview with Robin Klassnik’, Artscribe: The International Magazine of New Art, Summer |
| 1988 | Marjorie Allthorpe-Guyton, ‘Bureau de Change’, Performance Magazine, Spring David Lovely, ‘Something Solid’, Arts Review, May Guy Brett, ‘Depicting History for Today’, Art Monthly, October, p.19 |
| 1986 | Jeni Walwin, ‘Close to the Horns’, Performance, no.43, September–October |
| 1983 | Steve Rogers, ‘Glory’, Performance Magazine, July |
| 1980 | Catherine Elwes, ‘About Time’, Primary Sources, Christmas issue, p.189 John Sharkey, ‘Performance Art in Britain’, Flash Art, Spring, p.48 |
Exhibitions
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