The Cornerstone Gallery is located in and above the large main entrance to Liverpool Hope University’s city centre Creative Campus.
Practice and research are at the forefront of the gallery philosophy and exhibiting artists comprise of a wide range in the best of national and international practitioners. The Cornerstone Gallery strives to engage in the discourse within contemporary visual arts through an exciting and dynamic exhibition line-up. The programme seeks to engage both student and public audiences with a selection of thematic exhibitions involving significant contemporary art practitioners. Cornerstone exhibitions are crucial to the student experience at Liverpool Hope and works exhibited endeavour to enhance both their contextual study and the development of critical faculties. The gallery is also utilised across the Department of Fine and Applied Arts, for student-focussed professional practice exhibitions and related seminars.
Historically the gallery has hosted such artists as John Hoyland, Alan Davie, Stuart Sutcliffe, Paula Rego and many others. More recent exhibitors include Michael Stubbs, Andrew Bick, John Bunker, Choterina Freer and Jemma Egan.
All exhibitions are free and open daily for public viewing from 9.30-5.30pm
Our address is Liverpool Hope University, The Creative Campus, 17 Shaw Street, L6 1HP.
Les Peuples Figurants / History's Extras
The Cornerstone Gallery presents the work of Steph Goodger. This collection comprises of three series of works, which include The Barricades, The Album Portrait’s and the Photographic Stills from The Peepshow Series. Steph has exhibited in The John Moores Painting Prize at Liverpool’s Walker Art Gallery in 2004 and more recently in 2016.
This special exhibition will run from 10th January to 9th February 2018.
'Revolution is a drama perhaps more than a history, and its pathos is a condition as imperious as its authenticity.' A quote by the Nineteenth Century revolutionary Auguste Blanqui L’ Année Terrible (The Terrible Year), as Victor Hugo put it, of 1870-71, saw the beginning and ending of both the Franco-Prussian War and the Paris Commune. Les Non-réclamés (The Unclaimed) and the Barricades, are two parallel themes I’ve pursued in response to the Paris Commune, through the study of two photographers, Adolphe-Eugène Disdéri and Bruno Braquehais. The Communards were photographed posing theatrically on the barricades by Braquehais, then still and silent in their coffins by Disderi. Although nothing is quite what it seems, as barricades were often quickly assembled in order to take the photograph. I’ve always been interested in the artificiality of staging. I see painting as a form of staging, or re-staging, so I’m naturally curious about other forms. In the barricade photographs of the Paris Commune, the barricade itself is a platform of power, a kind of spontaneous architectural rebellion. On this makeshift stage, in front of the camera, the Communards posed and played up to the lens. Their bravado is absurd, humorous, and that adds to its poignancy.
The Cornerstone GalleryLiverpool Hope UniversityThe Creative Campus
T: 0151 291 3997