Curator of Art
028 9097 3580
The Naughton Gallery is named after its generous benefactors Martin and Carmel Naughton. Since 2001, The Gallery has become one of Belfast's most sought after and exciting visual arts platforms, featuring a rolling programme of works from the University's own collection, touring exhibitions and shows by local and international artists. The Naughton Gallery is a registered museum and is managed by the Members of Queen's Art Board.
The Naughton Gallery presents up to six exhibitions per year and also co-ordinates commissions of new art works for Queen's University. The University's extensive art collection comprises gifts, bequests and purchases since the foundation of Queen's College in 1845. The wide range of works includes paintings, prints, works on paper, sculpture, furniture, metalwork and silver. The collection is on display throughout the University with an impressive hang of over forty portraits in the Great Hall.
In 2004 the Naughton Gallery joined the newly formed Culture and Arts Division at Queen's, along with Queen's Film Theatre and Belfast Festival.
The Gallery welcomes 13,000 annual visitors including a significant number of international tourist visitors.
Statement of Purpose:
To develop the Art Collection and the The Naughton Gallery at Queen's as an aesthetic, academic and creative force which enhances the Queen's experience for staff, students and the wider community.
Mon - Sat 11.00-16.00
THE GIRLS: Alive for your Pleasure
Journeying from the transient seaside pleasures of Bournemouth to Queen’s University Belfast, a grand High Victorian Gothic centre of academia in a city port, The Girls present Alive for Your Pleasure, their first solo exhibition in Northern Ireland. The Girls is a collaboration between British artists Zerelda Sinclair and Andrea Blood, spanning sixteen years.
Sinclair and Blood met at school in Dorset in 1992, aged sixteen, first collaborating as The Girls in 1996 at Central Saint Martins, London. In 2006, after a seven year hiatus from their practice, they began making new work as The Girls. Their practice focuses on creating staged tableaux, with the outcomes including photography, video and performance. Encompassing black comedy, surrealism, silliness, camp, double meanings, and a celebration of the absurd, The Girls’ practice takes on elements of the carnivalesque, albeit in their own distinct fashion.
The Girls invite you to enter this haunting, dimly-lit environment, and to experience all elements of their intriguing practice behind the façade of the Lanyon Building, as architecturally breathtaking as it is intimidating, atmospheric and eerie. For the first time, costumes and paraphernalia from past performances are on display, accompanied by overlapping soundscapes, video works and lushly coloured, large scale photographs. Connected through a haunted, end-of-the-pier quality, the works exhibited in Alive for Your Pleasure were all created or originally performed in The Girls’ seaside hometown of Bournemouth, celebrating the strange nature of popular seaside pleasures, from freak shows and fish and chips to the waxy ‘breathing’ automata of yesteryear. The frivolity of Bournemouth life contrasts sharply with the troubled history of this industrial city, creating a striking juxtaposition, but The Girls’ work has the power to provoke, shock and disturb, and somehow feels equally at home here.
Referencing white weddings, family portraiture, garden parties, bathing and beauty pageants, The Girls’ performances and staged tableaux blur or distort the binary divisions between rich and poor, ugly and beautiful, powerful and meek through costumes, masks and assumed identities, as discussed by Bevis Fenner in his illuminating essay about The Girls‘ practice, The Grand Grotesque Parade: Carnivalesque and the British Seaside (2011). We see The Girls as Queens, characters from fairytales, ghostly beings and mermaids in a range of works that sit somewhere between self-portraiture and performance. Just who are these women whose image we are presented with time and time again, yet who are always concealed behind masks, wigs, costumes and make-up? The Girls are rarely absent from their images, they often perform live in the gallery, yet they always remain enigmatic. Sinclair and Blood shed their individual identities to become The Girls, a compelling, chameleonic duo who are always unmistakably present in their work, but just out of our reach.
The Girls have exhibited at The Photographers' Gallery, the ICA, the National Portrait Gallery, PayneShurvell, the Art Car Boot Fair, Beverley Knowles Fine Art (all London), Golden Thread Gallery (Belfast), and UNO+UNO (Milan). The Girls‘ Studio (Tate Britain, 2010) was a special commission for Loud Tate, and in collaboration with The Photographers' Gallery, The Girls were artists-in-residence at Selfridges' Ultralounge, London, in 2010. The Girls conceived and directed The Grand Grotesque Parade, a multi-collaborative commissioned project for the Bournemouth Arts by the Sea Festival 2011, which re-imagined a forgotten Edwardian carnival. They will next perform at Palazzo Zenobio as part of 2013’s Venice Biennale in association with Arts Pavilion Bournemouth.
A Pale Yellow Sky Haiku Pack for Teachers
This free teachers' pack provides a guide to using haiku in the classroom at Key Stages 2, 3 and 4.
It offers an introduction to writing your own haiku and illustrating them, both visually and musically.
- The Naughton Gallery at Queens, Belfast 2005
How to obtain
To order a free copy please contact Education & Outreach Officer Clare Leeman on +44 (028) 9097 3758.