1 Derek Jarman 1942
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Artists' Lives
National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS -
Charles Saatchi's 'Newspeak'
Charles Saatchi’s ‘Newspeak’ By Jackie Wullschlager Published: June 4 2010 22:15 | Last updated: June 4 2010 22:15 Is Charles Saatchi having fun? On the plus side, he is the biggest private collector in Britain. His Chelsea gallery is among the most beautiful and well-appointed in the world. It is relaxed, impious, free, and full, which matters because, as Saatchi often admits, “I primarily buy art to show it off.” He buys whatever he likes, often on a whim: “the key is to have very wobbly taste.” Yet for all the flamboyance with which he presents his purchases, it is not clear that he is convinced by them. “By and large talent is in such short supply mediocrity can be taken for brilliance rather more than genius can go undiscovered,” he says, adding that when history edits the late 20th century, “every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote.” These quotations come from a question-and-answer volume, My Name is Charles Saatchi and I am an Artoholic, published last autumn, and their tone of breezy disenchantment, combined with the insouciance with which his new show, Newspeak, is selected and curated, suggests that at 67 Saatchi is downgrading his game. After recent exhibitions concentrated on China, the Middle East, America and India, Newspeak It Happened In The Corner’ (2007) by Glasgow-based duo littlewhitehead returns to the territory with which he made his name as a collector in Sensation in 1997: young British artists. But whereas Sensation, tightly selected around curator Norman Rosenthal’s theme of a “new and radical attitude to realism” by artists including Hirst, Jake and Dinos Chapman, Rachel Whiteread, Marc Quinn, had a precise, powerful theme, Newspeak has a scatter-gun, unfocused approach. -
Georg Baselitz: Raw Views of a Painful Past
The New York Times February 26, 2014 GAGOSIAN GALLERY Georg Baselitz: Raw Views of a Painful Past Farah Nayeri Georg Baselitz in his studio. Credit Martin Müller/Gagosian Gallery LONDON — In the autumn of 1958, an East German art student ventured into an exhibition of American paintings and was staggered by what he saw. Hanging on wall after wall of a West Berlin academy were works by Jackson Pollock, Willem de Kooning and other Abstract Expressionists. “I found those pictures so overwhelming, so totally unexpected, so different from the experience of my own world at the time that I felt totally desperate, because I thought I’d never stand a chance of doing well compared to those painters,” Georg Baselitz recalled in an interview at the Gagosian Gallery here. “The dimensions, to us, were just huge: an expression of freedom,” Mr. Baselitz said, speaking through a translator. “Our canvases felt pathetic, tiny.” More than a half-century later, Mr. Baselitz carries that experience with him. Now 76, he is being honored with three London exhibitions: “Farewell Bill,” a tribute to De Kooning is at Gagosian through March 29; “Germany Divided: Baselitz and His Generation,” through Aug. 31 at the British Museum, features more than 40 of Mr. Baselitz’s works on paper; and he has lent some 16th-century prints to the Royal Academy of Arts’s “Renaissance Impressions: Chiaroscuro Woodcuts From the Collections of Georg Baselitz and the Albertina, Vienna,” which runs from March 15 through June 8. For much of his life, Mr. Baselitz has created work around one central theme: the pain of growing up in the ruins of Nazi Germany. -
Group Exhibition
GALERIE THADDAEUS ROPAC GROUP EXHIBITION SEX AND THE BRITISH SALZBURG VILLA KAST 15 Apr 2000 - 03 Jun 2000 SLAP AND TICKLE A perspective on the sexual content of British Art since the 1960s An exhibition under the curatorship of Norman Rosenthal and Max Wigram Great art has often been inspired and driven by Eros. When we talk about eroticism and sex in art, we touch the most original source of artistic inspiration. Important intemationally renowned British artists such as Francis Bacon, Lucian Freud or David Hockney have repeatedly used sex as a leitmotif for their works, indeed their work has even depended on it. Far from being uptight about sex, these artists have explored areas of sexual practice with a graphic opemiess that never shies away from controversy. Besides significant works by Gilbert + George this exhibition brings together the most sensual exhibits of a younger generation of artists, showing fascinating representations of erotic and sexual motifs in art. The explosive development of British art since 1990 owes much to the Vanguard, which paved the way in the 1960s and l970s. Sex has become even more of a major theme in the work of the so-called YBA's (Young British Artists). Sex is nothing to shy away from nor is its fantasy to be disputed because of its frank inclusion in much of contemporary British work. Using the contemporary energy of shock and more traditional ideas of beauty this exhibition contains some extremely explicit and provocative works. It confronts issues of pomography, homosexuality and amorality with a directness that will subsequently make the British and sex appear in a new light. -
Film Appreciation Wednesdays 6-10Pm in the Carole L
Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced. -
The Cinema of Derek Jarman and Humphrey Jennings’
FOR IMMEDIATE RELEASE MUSEUM OF THE MOVING IMAGE PRESENTS ‘POETS OF PANDAEMONIUM: THE CINEMA OF DEREK JARMAN AND HUMPHREY JENNINGS’ February 8–17, 2019 Astoria, New York, January 23, 2019—From February 8 through 17, 2019, Museum of the Moving Image will present Poets of Pandaemonium: The Cinema of Derek Jarman and Humphrey Jennings, a partial dual retrospective that allows these two English filmmakers’ work to be experienced in juxtaposition. Jennings (1907–1950) was a pioneering documentarian who captured life during wartime and the immediate postwar period, while Jarman’s (1942–1994) iconoclastic films addressed late- twentieth-century queer life. Organized by guest curator Max Carpenter, the screening series looks at the two directors—and their reactions to the external and internal turmoils of their ages—through seven pairings. Of particular note, this February marks 25 years since Jarman’s death. Many of the films will be presented in rare imported 35mm prints and restored DCPs. The series will also be presented at Harvard Film Archive from January 25 through February 11. The films of Humphrey Jennings and Derek Jarman are separated by a gulf of decades, decades in which their native Britain metamorphosed from a world power into a melancholy little island. They were both radical in their employment of audiovisual montage, non-professional actors, and their frequent use of recited poetry, though Jennings utilized these techniques in the espousal of his signature brand of optimistic patriotism, while Jarman was preoccupied by the psychological strife of late-twentieth- century queer life. The two artists shared a detached skepticism of the cinematic medium; as dually accomplished abstract painters, skilled theatrical designers, and acclaimed authors, they saw the cinema as only one facet of their voluminous oeuvres. -
Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene -
PUBLICATIONS Spring 2012 CORNERHOUSE PUBLICATIONS SPRING 2012 INDEX to FEATURED PUBLISHERS
PUBLICATIONS Spring 2012 CORNERHOUSE PUBLICATIONS SPRING 2012 INDEX TO FEATURED PUBLISHERS Welcome to our new catalogue featuring 156 titles from many of the most innovative Arnolfini 1 galleries, museums and publishers working in contemporary visual arts. We are Art Editions North 1 particularly pleased to have been appointed distributor for Blain|Southern, Lisson Gallery, Blain|Southern 1 Parasol unit, and Tatton Park Biennial, and new titles from these publishers are featured. Cornerhouse 2 Our list encompasses all the visual arts including architecture, art theory and education, Drawing Room 3 design, digital media, fashion, film and video, painting, photography, performance and DuMont Buchverlag 3 sculpture. We have over 2,700 titles currently available. If you require further details or if Ffotogallery 4 you want to order any of these titles, please contact us or visit our online bookstore. Firstsite 5 GlobalArtAffairs Publishing 5 For further information about our services, please contact Paul Daniels, Publications Haunch of Venison 5 Director. Hayward Publishing 7 Cornerhouse Publications Information as Material 9 JRP|Ringier* 10 70 Oxford Street, Manchester M1 5NH, England Kerber Verlag** 19 Publications Director Paul Daniels Verlag der Buchhandlung Walther König 25 Lisson Gallery 39 Arnolfini Art Editions North Blain|Southern orders / customer services contact Debbie Fielding, James Brady or Suzanne Davies distributed by Cornerhouse world-wide distributed by Cornerhouse world-wide distributed by Cornerhouse world-wide trade orders -
Watch with Saatchi
Watch with Saatchi Painting had its last, much-trumpeted revival in the early 1980s, with the Royal Academy exhibition A New Spirit in Painting, jointly curated by Nicholas Serota and Norman Rosenthal. In the two decades since, it hasn't been lost exactly, but it has sometimes been overlooked, especially during the heyday of the artists with whom Charles Saatchi was previously closely associated. The latest exhibition at the Saatchi Gallery, however, announces unequivocally the international survival - indeed, triumph - of paint. Walking around the gallery, it becomes clear that surface, rough pigment and neo- expressionism are all back in fashion. You are immediately confronted by a big room of paintings by Peter Doig. It is exceptionally powerful, full of the mournful narrative of middle Canada, pine forests and snow and the memory of watery sunlight. The large rotunda room, which includes slightly tricksy paintings by Martin Kippenberger and Jörg Immendorf, is less impressive. But this might be because their best work has been kept back to be installed in a corridor of old GLC committee rooms - not least Kippenberger's Paris Bar Berlin, a neo-Edward Hopper painting of the bar he had previously decorated and installed with his own works. Marlene Dumas's work is rather cold and dispassionate: images of childhood and prepubescent sexuality that are deeply ambiguous in their intent. But Hermann Nitsch's paintings are unexpectedly exciting. He goes back to 1950s action painting: huge canvases violently attacked with red paint. Dealing with birth, death and violence, his work revives the idea of paint as a medium to move the emotions. -
Little Women the Irish Film Institute
DECEMBER 2019 LITTLE WOMEN THE IRISH FILM INSTITUTE The Irish Film Institute is Ireland’s EXHIBIT national cultural institution for film. It aims to exhibit the finest in independent, Irish and international cinema, preserve PRESERVE Ireland’s moving image heritage at the Irish Film Archive, and encourage EDUCATE engagement with film through its various educational programmes. IFI MEMBERSHIP IFI FILMSHOP IFI Membership is the perfect stocking filler! For From the best in Irish film to the top DVDs of 2019, just €35 (€20 concession), IFI Members get cheaper including Apollo 11, Marianne and Leonard, and hit TV show tickets, discounts, double loyalty points, and lots more. Chernobyl, look no further than the IFI FilmShop for the best Moreover, you also directly help support the IFI’s vital Christmas gifts. Don’t forget, if you’re an IFI Member, you’ll work in preserving and restoring Ireland’s moving automatically get 10% off purchases (excluding gift cards) image heritage, via the IFI Irish Film Archive, as well and the IFI Film Shop will be open on Christmas Eve for that as engaging young people through our national last-minute shopping! education programme. IFI CAFÉ BAR NAME A SEAT The IFI Café Bar’s festive fare returns on Monday 2nd with Looking for a truly special and memorable festive gift this year? a delicious and great value set menu with dishes including Naming a seat in the newly refurbished Cinema 1 is a great way Smoked Salmon Mousse, Roulade of Roast Turkey, and to celebrate a loved one’s passion for film. -
Bamcinématek Presents Queer Pagan Punk: the Films of Derek Jarman, Oct 30—Nov 11
BAMcinématek presents Queer Pagan Punk: The Films of Derek Jarman, Oct 30—Nov 11 A complete retrospective of Jarman’s 12 feature films, the most comprehensive New York series in nearly two decades New restorations of debut feature Sebastiane and Caravaggio “It feels like the correct time to be reminded of an ancient tradition that has always served civilization well, that of the independent, truth-telling poet provocateur.”—Tilda Swinton The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Sep 30, 2014—From Thursday, October 30 through Tuesday, November 11, BAMcinématek presents Queer Pagan Punk: The Films of Derek Jarman, a comprehensive retrospective of iconoclastic British filmmaker and crusading gay rights activist Derek Jarman, following its run at the BFI this spring. Jarman not only redefined queer cinema, but reimagined moviemaking as a means for limitless personal expression. From classical adaptations to historical biographies to avant-garde essay films, he crafted a body of work that was at once personal and political, during a difficult period when British independent cinema was foundering and the AIDS crisis provoked a wave of panic and homophobia. Also a poet, diarist, and painter, Jarman first entered the realm of the movies as a production designer for Ken Russell. The Devils (1971—Oct 31), Russell’s controversial opus of repressed nuns and witchcraft trials, played out in a 17th-century French village that Jarman spent a year creating. His own first feature, Sebastiane (1976—Nov 9), playing in a new restoration, placed a daring emphasis on male nudity and eroticism as it chronicled the death of the Christian martyr; Jarman called it “the first film that depicted homosexuality in a completely matter-of-fact way.” A time-traveling Queen Elizabeth I wanders among the ruins of a dystopic modern London in Jubilee (1978—Oct 30), a shot-in-the-streets survey of the burgeoning punk scene that captures early performances by Adam Ant, Wayne County, Siouxsie and the Banshees, and the Slits. -
Derek Jarman Early Films (Super-8Mm)
FOR IMMEDIATE RELEASE Derek Jarman Early Films (Super-8mm) January 17 – February 21, 2009 Elizabeth Dee Gallery is proud to present an exhibition of early films by Derek Jarman, one of the most important and groundbreaking figures of British Independent cinema. Although his oeuvre crossed a range of media boundaries including literature, painting, set design, gardening, and activism, Jarman is best known for his film work, producing over 40 films from the early 1970s until his untimely death in 1994. His full length features such as the homoerotic Sebastiane (1976), one of the first films to represent gay sexuality and the first to be shot entirely in Latin, Jubilee (1977), arguably the first punk film, and the poignant Blue (1993) established Jarman as one of the primary catalysts for a generation of artists and filmmakers whose work is marked by a visionary and dark, subversive imagination. However, it is his early work produced in Super-8, a medium he returned to throughout his career, that reveals the style and sensibility of Jarman’s unique artistic vision and the range of approaches he would come to take in his more well known feature length works. Highly personal, poetic and affecting, Jarman’s Super-8 works fall roughly into two, overlapping categories: documents of his immediate environment and imaginative experiments in film-making that sought to express emotion through image rather than acting. The films are “fascinating in their multi-layeredness; they interweave reworkings of history, recuperations of iconic figures, avant-garde forms, personal diaries, gay polemics, political statements and social documents.”1 Referred to as “home movies” by the artist and often screened for small audiences composed of Jarman’s close friends (many of whom served as the actors in the films), the Super-8s express Jarman’s personal concerns and interests as an artist at the time rather than reflect popular trends in mainstream narrative cinema.