Wolverhampton Art Gallery
Wolverhampton Art Gallery
Wolverhampton Art Gallery
4.5
10:30 ص - 04:30 م
الاثنين
10:30 ص - 04:30 م
الثلاثاء
10:30 ص - 04:30 م
الأربعاء
10:30 ص - 04:30 م
الخميس
10:30 ص - 04:30 م
الجمعة
10:30 ص - 04:30 م
السبت
10:30 ص - 04:30 م
الأحد
11:00 ص - 04:00 م
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المنطقة
العنوان
تواصَل مباشرة
أفضل الأماكن القريبة
المطاعم
492 على بُعد 5 كيلومترات
معالم الجذب
128 على بُعد 10 كيلومترات
4.5
309 تعليقات
ممتاز
176
جيد جدًا
97
متوسط
21
سيئ
12
سيئ جدًا
3
Robert Woolfall
8 مساهمات
العائلة • سبتمبر 2024
After looking at the weekend weather forecast which wasn't Brilliant we decided to pay Wolverhampton Art Gallery a visit. We ventured into a room filled with activities that my 2 Grandchildren soon got involved with' drawing Dinosaurs and cutting out the shapes before colouring them in, that was until a Teacher type person appeared telling us that the session had finished and she needed to clear the area we were in. I would have thought that the fact we were all eagerly drawing and colouring in she may have used a little discretion and encouraged us to continue for a short while and finish off what we were doing.
Apart from that which unfortunately spoilt the visit we did have a relatively nice time.
Apart from that which unfortunately spoilt the visit we did have a relatively nice time.
كُتب بتاريخ 2 أكتوبر 2024
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Julia S
Wolverhampton, UK15 مساهمة
زوجان • يوليو 2024
Visited Wolverhampton Art Gallery to see exhibition called "Football designing the beautiful game" it's very good 😉well worth a visit takes about 90minsits on till the 1st September, the cafe is excellent too.
كُتب بتاريخ 27 يوليو 2024
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Jimjimjim2013
Wolverhampton, UK37 مساهمة
بمفردك • يوليو 2024
I came here for an evening event. It's a nice place, clean and tidy. The staff were pleasant and friendly. Most of the exhibits were impressive, from huge 18th century paintings to modern sculptures.
Not all of them were good however. I'm take-it-or-leave-it with pop art, but numerous old racial caricature dolls were on display. Even then, these were less offensive than the description that accompanied them; cherry-picked narratives obviously lifted from American sources and events ("emancipation") that have little to no historical relevance to this country, much less the region.
Also: Beware that the upper level can get extremely hot in summer.
Not all of them were good however. I'm take-it-or-leave-it with pop art, but numerous old racial caricature dolls were on display. Even then, these were less offensive than the description that accompanied them; cherry-picked narratives obviously lifted from American sources and events ("emancipation") that have little to no historical relevance to this country, much less the region.
Also: Beware that the upper level can get extremely hot in summer.
كُتب بتاريخ 22 يوليو 2024
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helensims61
Wark, UK689 مساهمة
بمفردك • يونيو 2024
Took myself off on a jolly and came to the art gallery. Never been before so had a look around, some very large paintings and volunteer to tell you about them. There was a football exhibition on with some good marbella. This is upstairs don't know if there's a lift. There is a small gift shop
كُتب بتاريخ 7 يونيو 2024
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TheLeopard79
برمنجهام, UK1,316 مساهمة
بمفردك • يناير 2024
A gorgeous place to visit and a must see whenever I visit Wolverhampton.
The art works are second to none there's much memorabilia very provincial in a way however it does not detract from the beautiful building the beautiful grounds and of course the wonderful staff will work here.
Thank you again for another lovely visit.
The art works are second to none there's much memorabilia very provincial in a way however it does not detract from the beautiful building the beautiful grounds and of course the wonderful staff will work here.
Thank you again for another lovely visit.
كُتب بتاريخ 24 مايو 2024
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Richard W
5 مساهمات
العائلة • مارس 2024
Lovely, free art gallery in the centre of Wolverhampton with an interesting range of exhibits and very helpful staff. If you happen to be in the area, very much worth a visit.
كُتب بتاريخ 31 مارس 2024
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Jessica S
Wolverhampton, UK49 مساهمة
العائلة • سبتمبر 2023
Beautiful building, inside very clean with lovely galleries. A very nice cafe, friendly staff and most of all love it when the gallery puts activities on for my kids, such as the art play events, will be bringing my children here much more when they're abit older!(age 3 and 0)
كُتب بتاريخ 13 مارس 2024
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bantockbelle
Wolverhampton, UK57 مساهمة
الأصدقاء • فبراير 2024
I’ve visited the art gallery many times but wanted to review the cafe following a recent visit. The service was impeccable. The cafe was spotlessly clean with friendly and welcoming staff; very professional. Atmosphere was relaxed and you didn’t feel compelled to leave.
My friends and I ordered brunch. I was thrilled with the avocado and homemade salsa on sourdough. Freshly cooked and a very hearty portion - lovely bread. Coffee was brewed with care and tasted superb. I asked the name of the person (supervising?) - Leah, who was charming and professional. The whole team seemed to interact well and looked happy being there. Customer service was 10/10. I’d highly recommend!! Mother’s Day afternoon teas available. I’d witnessed this council-owned cafe diminish over the years, to providing uninspiring pre- prepared food with no real atmosphere. It was a lovely surprise to see the current cafe setting the bar high once again!
My friends and I ordered brunch. I was thrilled with the avocado and homemade salsa on sourdough. Freshly cooked and a very hearty portion - lovely bread. Coffee was brewed with care and tasted superb. I asked the name of the person (supervising?) - Leah, who was charming and professional. The whole team seemed to interact well and looked happy being there. Customer service was 10/10. I’d highly recommend!! Mother’s Day afternoon teas available. I’d witnessed this council-owned cafe diminish over the years, to providing uninspiring pre- prepared food with no real atmosphere. It was a lovely surprise to see the current cafe setting the bar high once again!
كُتب بتاريخ 29 فبراير 2024
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Coffeedrinker1000
6 مساهمات
بمفردك • أكتوبر 2023
Visiting the art gallery was an enjoyable experience. The refurbishment looks good - this is not a tired municipal gallery, like so many. Arts Council England has got on board with trying to regenerate Wolverhampton and the West Midlands. It is great to see investment and one can only hope a good ‘chain of pearls’ effect might come of that for the wider city, should the Council, and local organisations experienced in regeneration, seize the opportunity.
I get the impression the art gallery (and mayb the theatre, which I didn’t visit) is the only feature of the city that might put visitors at ease. Yet it cannot reasonably sustain interest without other excellent amenities nearby. Judging by my long walk across Wolverhampton, I suspect it will take time for these to develop around the gallery. At present, there are virtually no conspicuously good restaurants that would indicate a developing cultural quarter, but mostly greasy fayre diners which any international tourist would likely avoid. There is of course the art gallery’s cafe, Glaze, if you like cake, and very nice it is too. If it diversified its menu it could be a welcome lunch destination for tourists.
Wolverhampton’s art collection is strong and features nationally important works - the unique selling points being its British, and select international, works of Pop art, and Black art, including from the Midlands’ seminal Blk Art Group of the late Seventies and early Eighties. Aside from the Ulster Museum’s own definitive collection, Wolverhampton also has very strong coverage of art documenting the Troubles in Northern Ireland (although it is not immediately obvious as to why!).
The temporary exhibition space - a suite of rooms - is extensive and beautifully designed, and the Derek Boshier exhibition, put on by an external guest curator, offered a coherent career retrospective with a great selection of loaned in works. It was a bit baffling, though, that the display’s wall graphics were printed onto ordinary paper, black text onto white, and pinned up with magnets as if place holders for the decal graphics or graphics panels presumably on order. As wall graphics are not especially costly, I doubt this had to do with running out of budget - therefore, it might have been a good idea to put a notice up to explain that they were a work in progress for the recently opened exhibition. A nicely produced book-cum-catalogue for the exhibition was expensive, at around £35 for a fairly slim volume; the price point was too high, especially for a lesser-known Pop pioneer and for an anthology-style publication of short essays, as opposed to a name most audiences would know well, befitting a detailed monograph. I would expect a Marco Livingstone Hockney monograph to suit that price point.
The wider Pop room was a nice summing up of developments with one wall given over to regular rehangs - a great idea for keeping the curatorial effort and overheads manageable while providing good coverage of this nationally esteemed collection.
The modern and contemporary displays tend to be more confidently and fluently curated than the 18th and 19th century collections which slightly jostle for space and seem more like didactic social history specimens befitting a general museum, as opposed to aesthetic spectacles for art gallery engagement. The visual enjoyment factor needed greater attention. This alerted me to the issue of period specialisms waning for earlier art in favour of modern and contemporary and the importance of regional galleries’ need for specialists from both fields. I appreciate that is not easy to strike that balance, and with collections that have notable gaps - for example, the Victorian art collection is composed mostly of unremarkable rustic genre works, with few examples of Pre-Raphaelitism and aestheticism, which I expect would make it a challenge to develop a wholly stunning Victorian Room. Still, the collection does boast enough good 18th century portraits to develop a more coherent visual draw than that dedicated room achieved. And the room could have done with some wall colour and the removal of what appeared to be large office tables and conference equipment - a big monitor screen seemed to be a permanent wall fixture, which I thought was a shame. The room appeared to be for hire, presumably by local businesses or council personnel, when instead there might have been a discrete space developed for such activity as part of the capital works.
To achieve a greater balance of collection coverage in the permanent display rooms, I would suggest curating the periods not necessarily in discrete rooms but across all the rooms, and therefore starting with early works and continuing to contemporary in one long run - late 18th century works might feature next to 19th century, and late 19th next to early 20th century. This might make greater use of key collection works, encouraging a sense of art historical continuity and change, without being constrained by room theme and over-emphasising weaker aspects of the collection.
Great care has been taken by the curators to write captions thoughtfully and intelligently. It would seem that the tradition of expertise at Wolverhampton Art Gallery - stretching back to the late Sixties - has so far been maintained, which, again, we rarely see these days in many hard-stretched regionals, as roles are increasingly eroded and diluted with local authority funding cuts. This gallery, in contrast with others (BMAG?), serves to remind us that a museum is only as good as its curation, and when the curation is good funding for a capital redevelopment is deserved.
I enjoyed my visit and would return if I could combine a trip with another destination (ICON? East Side Projects?). I wish that Wolverhampton, the city, could be as enjoyable as the gallery, but I felt I was missing the vital ingredients of attractiveness, culture and cosmopolitanism. I suppose I had hoped there would be less of a contrast between life and art, which was rather abrupt but not necessarily because of the hard times we live through. My impression of the people of Wolverhampton was that they are not necessarily struggling more than many Londoners do (statistically, a greater percentage of Londoners are on Universal Credit, with a much higher cost of living), and I noticed that some seemed happy enough to spend money socialising in large groups outside pubs on a Monday late afternoon. It seems that in the Midlands disposable incomes are perhaps not quite as tight as in many boroughs of London, where pubs are largely empty even on Friday and Saturday nights. Therefore, I can think of few reasons why a cultural quarter development would especially alienate the locals, and if money from visitors could aid the local economy, all the better. I hope that the dots will be joined so that the art gallery becomes less an island and more a galvaniser.
I get the impression the art gallery (and mayb the theatre, which I didn’t visit) is the only feature of the city that might put visitors at ease. Yet it cannot reasonably sustain interest without other excellent amenities nearby. Judging by my long walk across Wolverhampton, I suspect it will take time for these to develop around the gallery. At present, there are virtually no conspicuously good restaurants that would indicate a developing cultural quarter, but mostly greasy fayre diners which any international tourist would likely avoid. There is of course the art gallery’s cafe, Glaze, if you like cake, and very nice it is too. If it diversified its menu it could be a welcome lunch destination for tourists.
Wolverhampton’s art collection is strong and features nationally important works - the unique selling points being its British, and select international, works of Pop art, and Black art, including from the Midlands’ seminal Blk Art Group of the late Seventies and early Eighties. Aside from the Ulster Museum’s own definitive collection, Wolverhampton also has very strong coverage of art documenting the Troubles in Northern Ireland (although it is not immediately obvious as to why!).
The temporary exhibition space - a suite of rooms - is extensive and beautifully designed, and the Derek Boshier exhibition, put on by an external guest curator, offered a coherent career retrospective with a great selection of loaned in works. It was a bit baffling, though, that the display’s wall graphics were printed onto ordinary paper, black text onto white, and pinned up with magnets as if place holders for the decal graphics or graphics panels presumably on order. As wall graphics are not especially costly, I doubt this had to do with running out of budget - therefore, it might have been a good idea to put a notice up to explain that they were a work in progress for the recently opened exhibition. A nicely produced book-cum-catalogue for the exhibition was expensive, at around £35 for a fairly slim volume; the price point was too high, especially for a lesser-known Pop pioneer and for an anthology-style publication of short essays, as opposed to a name most audiences would know well, befitting a detailed monograph. I would expect a Marco Livingstone Hockney monograph to suit that price point.
The wider Pop room was a nice summing up of developments with one wall given over to regular rehangs - a great idea for keeping the curatorial effort and overheads manageable while providing good coverage of this nationally esteemed collection.
The modern and contemporary displays tend to be more confidently and fluently curated than the 18th and 19th century collections which slightly jostle for space and seem more like didactic social history specimens befitting a general museum, as opposed to aesthetic spectacles for art gallery engagement. The visual enjoyment factor needed greater attention. This alerted me to the issue of period specialisms waning for earlier art in favour of modern and contemporary and the importance of regional galleries’ need for specialists from both fields. I appreciate that is not easy to strike that balance, and with collections that have notable gaps - for example, the Victorian art collection is composed mostly of unremarkable rustic genre works, with few examples of Pre-Raphaelitism and aestheticism, which I expect would make it a challenge to develop a wholly stunning Victorian Room. Still, the collection does boast enough good 18th century portraits to develop a more coherent visual draw than that dedicated room achieved. And the room could have done with some wall colour and the removal of what appeared to be large office tables and conference equipment - a big monitor screen seemed to be a permanent wall fixture, which I thought was a shame. The room appeared to be for hire, presumably by local businesses or council personnel, when instead there might have been a discrete space developed for such activity as part of the capital works.
To achieve a greater balance of collection coverage in the permanent display rooms, I would suggest curating the periods not necessarily in discrete rooms but across all the rooms, and therefore starting with early works and continuing to contemporary in one long run - late 18th century works might feature next to 19th century, and late 19th next to early 20th century. This might make greater use of key collection works, encouraging a sense of art historical continuity and change, without being constrained by room theme and over-emphasising weaker aspects of the collection.
Great care has been taken by the curators to write captions thoughtfully and intelligently. It would seem that the tradition of expertise at Wolverhampton Art Gallery - stretching back to the late Sixties - has so far been maintained, which, again, we rarely see these days in many hard-stretched regionals, as roles are increasingly eroded and diluted with local authority funding cuts. This gallery, in contrast with others (BMAG?), serves to remind us that a museum is only as good as its curation, and when the curation is good funding for a capital redevelopment is deserved.
I enjoyed my visit and would return if I could combine a trip with another destination (ICON? East Side Projects?). I wish that Wolverhampton, the city, could be as enjoyable as the gallery, but I felt I was missing the vital ingredients of attractiveness, culture and cosmopolitanism. I suppose I had hoped there would be less of a contrast between life and art, which was rather abrupt but not necessarily because of the hard times we live through. My impression of the people of Wolverhampton was that they are not necessarily struggling more than many Londoners do (statistically, a greater percentage of Londoners are on Universal Credit, with a much higher cost of living), and I noticed that some seemed happy enough to spend money socialising in large groups outside pubs on a Monday late afternoon. It seems that in the Midlands disposable incomes are perhaps not quite as tight as in many boroughs of London, where pubs are largely empty even on Friday and Saturday nights. Therefore, I can think of few reasons why a cultural quarter development would especially alienate the locals, and if money from visitors could aid the local economy, all the better. I hope that the dots will be joined so that the art gallery becomes less an island and more a galvaniser.
كُتب بتاريخ 5 نوفمبر 2023
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i_love_london2007
نورويتش, UK12 مساهمة
زوجان • أكتوبر 2023
we visited on a late night opening on Saturday,welcomed at the door and the chap whos name i didnt get, saw i was interested in a couple of exhibits and gave me some interesting info which i appreciated.diverse collection,wit local as well as international items.
كُتب بتاريخ 30 أكتوبر 2023
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Hi there
The gallery is free. They sometimes have a special area of art or an exhibit where there may be a small fee. Entrance to most or often all is free. Birmingham also has a fabulous art gallery which is also free.
كُتب بتاريخ 14 يناير 2018
ljflanagan
Wolverhampton, المملكة المتحدة
Are there any childrens activities over the school holidays?
كُتب بتاريخ 24 يوليو 2016
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