DOCSLIB.ORG

The Great Gallery Gamble

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Great Gallery Gamble Date 13 November 2016 Page 44,45,46,47,49 THE GREAT GALLERY GAMBLE They called it the Bilbao effect — hire a “starchitect”, build a gleaming new art gallery and then just watch your town rise out of the doldrums. The problem is, it doesn’t always work. As a world-class £21m gallery in Walsall faces closure, Rosie Millard asks if art alone can save a city t all started with Bilbao, the down-on-its-luck that had been sitting up the river at the original port in northern Spain. In 1997 , Juan Carlos I Tate in Millbank. opened the Guggenheim Bilbao, a world-class Tate Modern has become the most visited, the museum designed by the lauded architect most successful and arguably most infl uential Frank Gehry . It looked like a giant, swirling, modern art gallery in the world, and a key part of fl oating spaceship and was hailed as a London’s regeneration. The magic worked. However, I modern wonder of the world. Bilbao was there have been many others all trying for the same transformed into a tourist town overnight. “Bilbao eff ect”, with varying success. In its fi rst three years alone, the Guggenheim As the BBC’s arts correspondent during those heady generated about €500m in economic activity in the days, I became used to reporting on pretty much the region. Suddenly, every other decaying city around same story with dizzying regularity across the country. the world wanted to achieve the same alchemy. It always kicked off in the same way : high hopes, Britain’s cities, freshly awash with lottery money and artists’ impressions and a visionary interview with boasting a breed of fashionable young artists known a “name” architect. A year later there would be the as the YBAs, seemed better placed to replicate obligatory shot with earth diggers, then the hard-hat Bilbao’s success than most. There was cash available, walkabout, usually in the company of a local MP, or and art was going to get it because, as the millennial Peter Mandelson . Eighteen months later came the mantra went, art can change the fortunes of cities. opening reception, usually alongside a YBA such as The apotheosis of this policy was the mothballed Tracey Emin . That’s where the fun stopped. After that power station at Bankside , on the south bank of the was the often painful enterprise of seeing how the Thames in London, which in 2000 was transformed newly created institution fared in the real world. Tate Modern may have been an unqualifi ed into the iconic Tate Modern . At the time it was thought the museum might welcome a couple of success, but what about The Public , the architect million visitors a year. The actual fi gure is now Will Alsop ’s infamous £72m digital creative centre in more like 5.7m, which is astonishing for a collection West Bromwich ? Opened two years late and to Copyright NLA Media Access. For internal use only. Not for reproduction. Date 13 November 2016 Page 44,45,46,47,49 MISS HIT Tate Modern, London | Cost: £134m National Centre for Popular Music, Sheffield | Cost: £15m Opened: 2000 | Visitors a year: 5.7m Opened: 1999. Closed: 2000 | Visitors a year: 150,000 MISS HIT Guggenheim, Bilbao | Cost: £71m New Art Gallery, Walsall | Cost: £21m Opened: 2000. Future in the balance | Visitors a year: 172,000 Opened: 1997 | Visitors a year: 1.1m GO HERE CREDIT TO PICTURE GO HERE CREDIT TO PICTURE Copyright NLA Media Access. For internal use only. Not for reproduction. Date 13 November 2016 Page 44,45,46,47,49 much fanfare in 2008 , it closed in 2013 and was It is diffi cult to fi nd fault with the physical presence dubbed “a monument to ill-conceived ambition ”. of the New Art Gallery. The individual rooms lead one Or the National Centre for Popular Music in in a subtle rhythm, themselves things of careful beauty. Sheffi eld, with its electronic dance fl oors? That is Perfectly proportioned, top-lit, lined with wooden now a students’ union. And then there were panels and fl oored with blond wood, they have wide, numerous art galleries up and down the country, comfy benches on which visitors can sit and survey each heralded as the new Bilbao. masterpieces. Only, nobody is sitting on them. Why The story has not been one of unmitigated aren’t these galleries packed? They should be. The art success. Far from it. They include the Hepworth here is an uncompromising roll call of the greats : Wakefi eld , designed by David Chipperfi eld at a cost Picasso, Matisse, Manet, C ézanne, Titian, Freud, of £35m , which lost its entire senior management Sickert , Ruskin . Floors of it. Room after room of it. team last year. The Middlesb rough Institute of Everything screams quality, not hung in some weary Modern Art , which cost £14.2m, is well below its chronology, but in a ferociously intelligent manner, annual target of 120,000 visitors. Only the Turner allowing one to bounce off the other. It is surely one Contemporary , in Margate , has really borne fruit. of the greatest collections in the country. There’s more : Another Chipperfi eld building , it cost £17.5m, but a Chinese bowl from the 10th century, 14th-century is a roaring success. Five years on from its opening French sculpture, Egyptian artefacts. The gallery has with Tracey Emin and a subsequent visit from the no entrance fee ; it is a treasure trove accessible to all. Queen, it is attracting more than 350,000 visitors. Is But nobody is here. If current plans go ahead, very there an algorithm for why some of these institutions soon nobody will be here even if they wanted to be. have failed and some have not? If so, it is clearly a This month, Walsall council is poised to axe its hard one for funders and artistic directors to fathom. £470,000 annual subsidy to the New Art Gallery over The biggest casualty of them all could be the New four years. This will, in eff ect, kill it. The gallery depends Art Gallery, in Walsall , which was opened by the upon council funding — plus a matching amount from Queen in May 2000 . It cost some £21m and was the Arts Council England . ACE can’t make good the designed by the fashionable architectural practice loss; it doesn’t replace funding removed by local Caruso St John not only as an urban catalyst for authorities. It would be a fatal blow. Julie Fitzpatrick , a Walsall, but also as a triumphant showcase for the councillor and the portfolio holder for community, town’s peerless Garman Ryan Collection. Copyright NLA Media Access. For internal use only. Not for reproduction. Date 13 November 2016 Page 44,45,46,47,49 leisure and culture, sends me an uncompromising about it around the world. It was nominated for the email on the issue. “It is not nice to ‘think the Stirling prize , it won the R iba West Midlands award unthinkable ’, ” she states. But that’s the state of play. and the Interpret Britain award. It won Gallery of the I walk up the beautifully curved staircase, whose Year. Jenkinson’s acknowledged panache and leather-covered handrail is a nod to Walsall’s famous charisma seemed to be leading the world to the history as a town of tanners . I go past the library, doors of the New Art Gallery. which is locked. There is nobody in the activity room, However, the buzz slowly but surely subsided. In 2005, Jenkinson, who had persuaded the local celebrity although this is a weekday morning and one might Noddy Holder to record the announcements in the lift have expected hordes of excited children ready to explore the delights of the Garman Ryan Collection, and whose motto was “ champagne for all ”, left. His which is at the heart of the building and its reason replacement as director was the equally energetic for being. Comprising 365 important works, it was Stephen Snoddy , who had his work cut out : by 2006, gifted to the city in 1973 by Kathleen Garman , the visitor fi gures had halved, down to just 106,000 a year. widow of the sculptor Jacob Epstein , and his pupil Snoddy responded with enterprise . He brought in a Costa coff ee franchise on the ground fl oor and planned Sally Ryan. Garman had grown up in the Black a lively programme of events, which saw fi gures slowly Country and wanted to bequeath something to her childhood home. She insisted upon three caveats : the increase. The gallery now attracts 172,000 visitors a year collection must never be sold off , it must be kept ( includ ing visitors to the caf e, who do not necessarily together and it must be cared for. go upstairs to see the art). Snoddy has also had to In those millennium days when building was going cope with losing £500,000 from his council grant and on across the UK and art was on everyone’s lips, it was 30% of his staff . Yet at least he kept the gallery open. Now, astounding though it seems, after only 16 deemed fi t that the peerless collection must come out years of life, this trophy of the millennium might of dusty igno miny in the city library , where it was actually close. “The council is having to make formerly perched, and fl ourish in its own bespoke savings of £86m . We are having to consider all space. Accordingly, £21m of public money, most of it options ..
Load more

Recommended publications
  • Gallery Shop | Ground Floor
    Exhibitions / Collections / Studio / Art Library / Shop / Families /Events /ArtExhibitions /Collections /Studio Library /Shop /Families The NewArtGalleryWalsall What's on: June — September 2016 www.thenewartgallerywalsall.org.uk Find us on Facebook Instagram Twitter @newartgallery Cover Image ~ Frank Bowling, Where is Lucienne?, 1971, acrylic on canvas, 308 x 337 cm. Courtesy of the artist and Hales Gallery, London, New York Welcome To The New Art Gallery Walsall Designed by Caruso St John architects The New Art Gallery Walsall opened in February 2000 in the heart of Walsall town centre. Our renowned Garman Ryan Collection was gifted to the Borough in 1973 by Kathleen Garman, widow of the great 20th century sculptor Jacob Epstein. Kathleen was originally from nearby Wednesbury, and although she had spent much of her life in London, wanted to give something back to the Black Country where she had grown up. The Collection includes 365 important works by celebrated artists including Epstein, Van Gogh, Monet, Constable, Picasso, Degas, Matisse and Lucian Freud, alongside a wide range of artworks from across the world. Our Permanent Collection, formed in 1892, has over 3000 works, from Victorian genre paintings to contemporary installations. The changing exhibition programmes focus on the very best in international contemporary art and our Artists’ Studio and Artist Development programmes support artists from across the region. Our education and events programme provides a broad cultural experience for everyone. Exhibition Gallery Roof Terrace Meeting Room Exhibition Galleries Collection Galleries Artists' Studio Collection Galleries Activity Room Art Library / Activity Room The Family Shop Costa Gallery Reception CONTEMPORARY EXHIBITIONS | FLOOR 3 Tania Kovats, All the Sea, 2012 – ongoing, seawater, glass, cork, oak, (365 bottles), 600 x 278.5 cm.
    [Show full text]
  • Modigliani Large Print Guide Room 1–11
    MODIGLIANI 23 November 2017 – 2 April 2018 LARGE PRINT GUIDE Please return to exhibition entrance RO OM 1–11 CONTENTS Room 1 4 Room 2 7 Room 3 18 Room 4 28 Room 5 36 Room 6 43 Room 7 53 Room 8 68 Room 9 77 Room 10 85 Room 11 91 Find Out More 100 5 6 4 7 3 8 2 9 1 10 10 11 Let us know what you think #Modigliani 3 ROOM 1 4 Open To Change When Amedeo Modigliani (1884–1920) decided to leave Italy to develop his career as an artist, there was only one place to go. In 1906, at the age of 21, he moved to Paris. Many factors shaped his decision. Born in the port city of Livorno, he belonged to an educated family of Sephardic Jews (descended from Spain and Portugal), who encouraged his ambition and exposed him to languages and literature. He had seen great Renaissance art and had trained as a painter. But Paris offered excitement. Paris offered variety. There he would encounter ways of thinking, seeing and behaving that challenged and shaped his work. This exhibition opens with a self-portrait, painted around 1915, in which Modigliani presents himself as the tragic clown Pierrot. His contemporaries would have recognised the reference instantly as, at the time, the figure appeared in countless pictures, plays and films. A young person shaping their identity could relate to Pierrot, a stock character open to interpretation, linked to the past and looking towards the future. Pierrot could be comedic, melancholy or romantic, played by any actor or painted by any artist.
    [Show full text]
  • ASSOCIATION of ART HISTORIANS Registered Charity No
    February 1994 BULLETIN ASSOCIATION OF ART HISTORIANS Registered Charity No. 282579 Editor: Jannet King, 48 Stafford Road, Brighton BNI 5PF For information on advertising & membership: Kate Woodhead, Dog and Partridge House, Bxley, Cheshire CWW 9NJ Tel: 0606 835517 Fax: 0606 834799 CHAIR'S REPORT During the autumn the Officers and the put more pressure on Vice-Chancellors for potential sponsors to the Director of Executive Committee of the Association and on the Funding Council itself to have Publicity and Administration. have taken up a number of issues of interest the system amended. Benefactors - Change your terms of to the membership. membership to become a Benefactor. Art History Departments' E-Mail We have also received the excellent Art History Teaching in Scottish Network news that the Association will no longer be Universities The Association wishes to establish an E- charged VAT on subscriptions and other The Scottish Higher Education Funding Mail network to keep colleagues working business. This will save us substantial Council is about to embark upon a Quality in Art History departments across the amounts every year. Many congratulations Assessment Programme for Humanities country more closely in touch with one and thanks to Peter Crocker for his patient subjects in the academic year 1995-96. another. E-mail addresses to the Chair negotiations with HM Customs & Excise. The Association has written to the Director please. 1994 Bookfair: It is vital to the of Teaching and Learning making a case Association's finances that this event is a for Art History to be assessed separately Review of the Academic Year success.
    [Show full text]
  • On Collecting (Part One) • Prints and Posters in the Fin
    US $25 The Global Journal of Prints and Ideas May – June 2017 Volume 7, Number 1 On Collecting (Part One) • Prints and Posters in the Fin de Siècle • An Artist Collects • eBay as Archive Norman Ackroyd • Collecting for the Common Good • Hercules Segers • Prix de Print • Directory 2017 • News Art_in_Print_8.25x10.75_ExpoChicago 4/24/17 12:55 PM Page 1 13–17 SEPTEMBER 2017 CHICAGO | NAVY PIER Presenting Sponsor Opening EXPO ART WEEK by Lincoln Schatz Lincoln by Series Lake (Lake Michigan) (Lake Off-site Exhibition 16 Sept – 7 Jan 2018 12 Sept – 29 Oct 2017 expochicago.com May – June 2017 In This Issue Volume 7, Number 1 Editor-in-Chief Susan Tallman 2 Susan Tallman On Collecting (Part One) Associate Publisher Fleur Roos Rosa de Carvalho 3 Julie Bernatz Interviewed by Catherine Bindman Small Apartments and Big Dreams: Managing Editor Print Collecting in the Fin de Siècle Isabella Kendrick Jillian Kruse 7 Associate Editor Postermania: Advertising, Domesticated Julie Warchol Brian D. Cohen 11 An Artist Collects Manuscript Editor Prudence Crowther Jennifer S. Pride 14 Secrets of the Real Thing: Building a Editor-at-Large Collection as a Graduate Student Catherine Bindman Kay Wilson and Lesley Wright 18 Design Director Speak with Sarah Kirk Hanley Skip Langer To Serve the Common Good: The Grinnell College Art Collection Roslyn Bakst Goldman and 24 John L. Goldman A Socially Acceptable Form of Addiction Kit Smyth Basquin 26 Collecting a Life Patricia Emison 28 Norman Ackroyd’s Collectors Stephen Snoddy Speaks 32 with Harry Laughland Collecting in the Midlands: the New Art Gallery Walsall Prix de Print, No.
    [Show full text]
  • The New Art Gallery
    The New Art Gallery Customer Service Standards Publication date Oct 2008 Version 2.0 Created by The New Art Gallery The new Art Gallery Customer service standard Page 1 of 7 A. What does the The New Art Gallery service do? We provide the West Midlands a high quality cultural and educational service and a focus for civic pride and community identity. A gallery of outstanding excellence, our artistic programming, presentation, development and interpretation of collections are a model of how art galleries can contribute meaningfully to 21 st century culture. B. What can our customers expect from The New Art Gallery service? These are our Customer care values. We will: 1. Manage your request promptly 2. Provide good quality services 3. Be helpful, fair, honest, professional, courteous and consistent 4. Provide the relevant information that you need 5. Take ownership of your query 6. Be realistic in what we say we can do, or can’t 7. Treat your personal information as confidential and keep it secure 8. Listen to your comments ~ and learn from them. 9. To have all gallery information provided in a clear and concise format that I can understand/interpret. 10. Excellent customer service 11. Quality exhibitions and interpretation 12. Educational value 13. Community satisfaction 14. To be creative in our approach to all our work 15. To support and nurture artists in every aspect of their work 16. To work with audiences and artists together 17. To explore that which can be innovative and challenging 18. To be inclusive and welcoming in everything we do 19.
    [Show full text]
  • Epstein's Rock Drill L Transformed by War
    Between 1909 and 1916, Rock Drill is no exception. Not only excluded from his oeuvre. In 1940, moving in the opposite direction. has been praised as representing Jacob Epstein (1880-1959) does the head of the drill appear remembering the devastation of This has had an impact on his legacy. ‘a dramatic, revolutionary moment created his most radical as a powerful phallic symbol; the First World War in the context After his death in 1959, Epstein’s when sculpture in Britain first work. His early, naturalistic the driller’s ribcage contains of the Second World War, Epstein contribution to modern British became uncompromisingly modern’ sculptures and drawings an unexpected foetal form. described Rock Drill as ‘the armed sculpture was overshadowed by (Richard Cork, 2009). Whilst there is gave way to a more abstract, Its presence is ambiguous – is sinister figure of to-day and to- more abstract sculptors such as truth in this - Rock Drill is undeniably geometric and modern style Epstein suggesting that the new morrow. No humanity, only the Henry Moore (1898-1986) and revolutionary and hugely important which culminated in Rock machine-age will bring with it a terrible Frankenstein’s monster Barbara Hepworth (1903-1975). - it is interesting to reflect whether Drill (c.1913), his most daring renaissance, or, is he questioning we have made ourselves into.’ Interestingly, in 1973, an article a sculpture that was destroyed by avant-garde sculpture. whether the vulnerable organic in The Times proposed that ‘if its maker and reconstructed almost Part of the reason for the form will mature into a robot as Two of Epstein’s close friends someone were to reconstruct 60 years later should be considered stylistic shift in Epstein’s dehumanised as the driller himself? were killed during the war.
    [Show full text]
  • RAOOF HAGHIGHI True to Life, True to Art
    #29 INTERIOR DESIGN TRENDS From Alys Bryan RAOOF HAGHIGHI True to Life, True to Art Lyn Hall’s FRAMING CHOICES Masterclass brought to you by INTRODUCTION Welcome to issue 29 of 4walls. This quarter in 4walls. Alys gives a very visual overview of our cover story features Raoof Haghighi who her thoughts and observations on pages promises great things for the future. Read all 6 and 7. about this fascinating artist on pages 16 and 17. Our Masterclass from Lyn Hall looks at how On pages 4 and 5, we review a talented Indian the choice of framing influences artwork artist called Varsha Patra, who was crowned on pages 25, 26 and 27 – the spectrum of Best in Show at Index 2018. She was chosen different effects is truly amazing! from a field of more than 60 artists who We also showcase a number of stunning were exhibiting as part of the show’s Artists artists and photographers, alongside other Avenue. I felt very privileged to be part of regular features. In fact, we have so much to the judging panel and was totally bowled over tell you about that we have gone to 28 pages! by her monochrome works of black ink and Do let us know what you think of the issue pencil on white paper. on email, by phone or connect with us on [SAND CLOCK] Furniture designer Alys Bryan presented her social media. Raoof Haghighi thoughts on trends to the Arqadia team in Bedford recently and we were so impressed with her insight that we wanted to share it Pauline Pauline Hutchinson, Editor [email protected] 4walls by Arqadia @4wallsbyArqadia @4wallsbyarqadia INTERIOR DESIGN TRENDS From Alys Bryan 6 RAOOF HAGHIGHI True to Life, True to Art 16 VARSHA PATRA LYN HALL’S FRAMING Best in Show at Index 2018 MASTERCLASS 4 25 ALSO inside: 03.
    [Show full text]
  • Tate Report 2002–2004
    TATE REPORT 2002–2004 Tate Report 2002–2004 Introduction 1 Collection 6 Galleries & Online 227 Exhibitions 245 Learning 291 Business & Funding 295 Publishing & Research 309 People 359 TATE REPORT 2002–2004 1 Introduction Trustees’ Foreword 2 Director’s Introduction 4 TATE REPORT 2002–2004 2 Trustees’ Foreword • Following the opening of Tate Modern and Tate Britain in 2000, Tate has consolidated and built on this unique achieve- ment, presenting the Collection and exhibitions to large and new audiences. As well as adjusting to unprecedented change, we continue to develop and innovate, as a group of four gal- leries linked together within a single organisation. • One exciting area of growth has been Tate Online – tate.org.uk. Now the UK’s most popular art website, it has won two BAFTAs for online content and for innovation over the last two years. In a move that reflects this development, the full Tate Biennial Report is this year published online at tate.org.uk/tatereport. This printed publication presents a summary of a remarkable two years. • A highlight of the last biennium was the launch of the new Tate Boat in May 2003. Shuttling visitors along the Thames between Tate Britain and Tate Modern, it is a reminder of how important connections have been in defining Tate’s success. • Tate is a British institution with an international outlook, and two appointments from Europe – of Vicente Todolí as Director of Tate Modern in April 2003 and of Jan Debbaut as Director of Collection in September 2003 – are enabling us to develop our links abroad, bringing fresh perspectives to our programme.
    [Show full text]
  • 20 June 2012 the New Art Gallery, Walsall Report of the Community Services Scrutiny and Performance Panel
    Agenda item 15 Cabinet – 20 June 2012 The New Art Gallery, Walsall Report of the Community Services Scrutiny and Performance Panel Portfolio: Councillor A Harris – Leisure and Culture Directorate: Neighbourhoods Report The Community Services Scrutiny and Performance Panel established a working group to consider issues at the New Art Gallery at its meeting on 28 February 2012. The working group considered the following issues: · Community engagement role; · Achievements and challenges; · Finance and funding. The working group’s final report and recommendations was presented to and approved by the Community Services Scrutiny and Performance Panel at its meeting on 10 April 2012. At the meeting the Panel were particularly supportive of the idea in the working group report that the New Art Gallery bid to host the Turner Prize. Recommendations of the Panel That: 1. The New Art Gallery continues to strengthen its links with activities held within local communities; 2. Future events are considered by the New Art Gallery that have the potential to contribute both cultural and economically to Walsall; 3. That innovative use of social media continues to be used by the New Art Gallery, particularly in attracting and retaining young audiences; 4. The New Art Gallery continues its efforts to engage with local communities; 5. The council considers supporting the re-opening of the New Art Gallery on Sundays. Contact officer Craig Goodall – Scrutiny Officer ( 01922 653317 * [email protected] Chair’s Foreword The working group was established to consider a number of issues in relation to the New Art Gallery. This included consideration of its community engagement role, together with achievements, challenges and finance and funding.
    [Show full text]
  • The Ey Exhibition Van Gogh and Britain Large Print Guide
    THE EY EXHIBITION VAN GOGH AND BRITAIN 27 March 2019 – 11 August 2019 LARGE PRINT GUIDE Please return to the holder CONTENTS Introduction ........................................................................3 Room 1 ................................................................................5 Room 2 .............................................................................. 11 Room 3 ..............................................................................35 Room 4 ..............................................................................87 Room 5 ............................................................................ 103 Room 6 .............................................................................111 Room 7 ............................................................................ 131 Room 8 ............................................................................144 Room 9 ............................................................................ 166 Find out more .................................................................. 184 Credits ............................................................................. 188 2 INTRODUCTION INTRODUCTION The young Vincent van Gogh spent nearly three years in England between 1873 and 1876. His love of British culture lasted his whole life and contributed to the style and subject matter of his art. Born in the Netherlands in 1853, Van Gogh tried careers in the art trade and as a teacher and then a preacher before becoming an artist in 1880, at the age
    [Show full text]
  • The Studio Practice of Jacob Epstein (1880-1959) As Revealed by an Examination of Selected Contemporaneous Photographs and a Selection of His Sculptural Fragments
    THE STUDIO PRACTICE OF JACOB EPSTEIN (1880-1959) AS REVEALED BY AN EXAMINATION OF SELECTED CONTEMPORANEOUS PHOTOGRAPHS AND A SELECTION OF HIS SCULPTURAL FRAGMENTS By ELIN JANE MORGAN A Thesis Submitted to the University of Birmingham for the degree of MPHIL (B) Department of Art History School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham March 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis explores the studio practice of Jacob Epstein (1880-1959), via an examination of selected contemporaneous photographs of the sculptor and his studio, and a selection of his sculptural fragments. Whilst the photographs purport to ‘document’ Epstein’s work in the studio, more accurately the images reveal a partial, highly constructed projection of Epstein’s self-image. In contrast, the sculpted fragments, not only function as indexes of the sculptor’s creative process, but also open up multiple lines of enquiry regarding Epstein’s approach to sculpture. Additionally, the juxtaposition of two disparate sources – photographs and part-objects – which, despite their crucial differences, lend themselves to a discussion of Epstein’s studio practice, also provokes discussion of Epstein’s convergence and departure from many of his contemporaries.
    [Show full text]
  • A Century of Painting Life 5
    ART HISTORY REVEALED Dr. Laurence Shafe This course is an eclectic wander through art history. It consists of twenty two-hour talks starting in September 2018 and the topics are largely taken from exhibitions held in London during 2018. The aim is not to provide a guide to the exhibition but to use it as a starting point to discuss the topics raised and to show the major art works. An exhibition often contains 100 to 200 art works but in each two-hour talk I will focus on the 20 to 30 major works and I will often add works not shown in the exhibition to illustrate a point. References and Copyright • The talks are given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • The notes are based on information found on the public websites of Wikipedia, Tate, National Gallery, Oxford Dictionary of National Biography, Khan Academy and the Art Story. • If a talk uses information from specific books, websites or articles these are referenced at the beginning of each talk and in the ‘References’ section of the relevant page. The talks that are based on an exhibition use the booklets and book associated with the exhibition. • Where possible images and information are taken from Wikipedia under 1 an Attribution-Share Alike Creative Commons License. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 ART HISTORY REVEALED 1. Impressionism in London 1.
    [Show full text]