Affiches De Collection “Intemporelles”
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First-Ever Exhibition of British Pop Art in London
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE | 1 8 J u l y 2 0 1 3 FIRST- EVER EXHIBITION OF BRITISH POP ART IN LONDON Peter Blake, Kim Novak, 1959 Allen Jones, First Step, 1966 Gerald Laing, Number Seventy-One, Private Collection Allen Jones Collection 1965 Courtesy of Institute for Cultural Exchange, Tübingen Courtesy of Waddington Custot Galleries, London When Britain Went Pop! British Pop Art: The Early Years Christie’s Mayfair, 103 New Bond Street 9 October – 24 November, 2013 "Pop Art is: popular (designed for a mass audience), transient (short-term solution), expendable (easily- forgotten), low-cost, mass-produced, young (aimed at youth), witty, sexy, gimmicky, glamorous, Big Business" – Richard Hamilton London - In October 2013 Christie’s, in association with Waddington Custot Galleries, will stage When Britain Went Pop!, an exhibition exploring the early revolutionary years of the British Pop Art movement, which will launch Christie's new gallery space in Mayfair. This is the first comprehensive exhibition of British Pop Art to be held in London. When Britain Went Pop! aims to show how Pop Art began in Britain and how British artists like Richard Hamilton, Peter Blake, David Hockney, Allen Jones and Patrick Caulfield irrevocably shifted the boundaries between popular culture and fine art, leaving a legacy both in Britain and abroad. British Pop Art was last explored in depth in the UK in 1991 as part of the Royal Academy’s survey exhibition of International Pop Art. This exhibition seeks to bring a fresh engagement with an influential movement long celebrated by collectors and museums alike, but many of whose artists have been overlooked in recent years. -
EASTERN PAVILIONS Print Portfolio
EASTERN PAVILIONS Print Portfolio 0.1 Paradox of a Pavilion Without Walls Circulating The most thrilling moment of John Berger’s television series Ways of Seeing (1972) has to be the opening scene in which, with purposive insolence, Berger applies a stanley knife to Sandro Botticelli’s Venus and Mars, which hangs in a Regency sitting room. ‘Tonight,’ Berger’s voiceover sounds, ‘isn’t so much the paintings themselves that I want to consider, as the way we now see them in the second half of the twentieth century.’ The image of a gaping canvas cuts to a printing press. Now the redacted Venus looks out at us from rows and columns, multiplied many times, on paper reams speeding through a printer. Later a wide shot reveals the defaced Botticelli in its setting - a fragment of a set constructed within a studio. ‘The image of any painting can be seen in a million different places at any time, as you look at them now on your screen your wallpaper is around them... at this same moment they are on many other screens.’ Berger’s opening iconoclastic act peels away reproduction after reproduction, artifice after artifice. In the little Penguin published book, which wears its insides on its cover, Berger acknowledges his indebtedness to the German philosopher-critic Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction. Published in 1936, the essay describes with messianical acuity how mechanical reproduction - the democratizing effects of mass printing press and photography - has transformed the ways a work of art is experienced in modernity. -
Where Do Ideas Come From?
Where do ideas come from? Where do ideas come from? 1 Where do ideas come from? At Deutsche Bank we surround ourselves with art. International contemporary art plays its part in helping us to navigate a changing world. As a global bank we want to understand, and engage with, different regions and cultures, which is why the Deutsche Bank Collection features contemporary artists from all over the globe. These artists connect us to their worlds. Art is displayed throughout our offices globally, challenging us to think differently, inviting us to look at the world through new eyes. Artists are innovators and they encourage us to innovate. Deutsche Bank has been involved in contemporary art since 1979 and the ‘ArtWorks’ concept is an integral part of our Corporate Citizenship programme. We offer employees, clients and the general public access to the collection and partner with museums, art fairs and other institutions to encourage emerging talent. Where do ideas come from? 2 Deutsche Bank reception area with artworks by Tony Cragg and Keith Tyson Art in London The art in our London offices reflects both our local and global presence. Art enriches and opens up new perspectives for people, helping to break down boundaries. The work of artists such as Cao Fei from China, Gabriel Orozco from Mexico, Wangechi Mutu from Kenya, Miwa Yanagi from Japan and Imran Qureshi from Pakistan, can be found alongside artists from the UK such as Anish Kapoor, Damien Hirst, Bridget Riley and Keith Tyson. We have named conference rooms and floors after these artists and many others. -
Download Biographies of Artist and Makers
ROCK PAPER SCISSORS Contemporary and Country’s (C&C) latest exhibition Rock, Paper, Scissors encompasses art and handmade objects fashioned with the process of their making in mind. Skills made evident in bringing about their innovative ideas through a diverse range of art and handmade objects have been a recurring point of interest for the artists and makers that work with C&C. Rock, Paper, Scissors refers to the childhood game of chance where material properties prescribe the outcome of each playful exchange between two players, with the material choice made by one player winning the point. The artists and makers contributing to C&C’s latest exhibition at Houghton Hall Stables show how they exploit material qualities during the production process to create an original and unique work of art. Technical ability has played a subsidiary role in the production and appreciation of art in recent decades. More conceptual work has proved dominant in contemporary museums and galleries around the world. Rock, Paper, Scissors celebrates creatives who have developed what they do against the grain, despite this prevailing direction. They’ve accumulated a wellspring of personal experience coaxing their creative ideas into being. Carved stone bowls, single sheet paper cuts, clever collages, poured paintings, hand-built porcelain vessels, hand woven baskets, welded and sand-cast sculptures, hand blown glass, tactile turned wooden bowls and hand-hewn wooden platters acknowledge their material origins. Each piece reveals the alchemy that occurs between creative intent, material choice and dexterous fabrication. Artists and makers contributing to C&C projects live and work in non-metropolitan, rural locations in the east of England. -
Robert Fraser's Groovy Arts Club Band Clive Barker, Peter Blake
Bridget Riley, Pause, 1964, Emulsion on Board, 112 x 107 cm. © Robert Fraser’s Groovy Arts Club Band, special edition double ©Bridget Riley 2018. All Right Reserved vinyl album, artwork by Derek Boshier.. Robert Fraser’s Groovy Arts Club Band Clive Barker, Peter Blake, Derek Boshier, Brian Clarke, Jim Dine, Jean Dubuffet, Richard Hamilton, Keith Haring, Jann Haworth, Bridget Riley, Ed Ruscha, Colin Self Private View & Vinyl Launch: 10th January 2019, 6–8pm Tuesday Talk: 5th February 2019, 6–8pm Exhibition Dates: 11th January–23rd February 2019 #GroovyBob Gazelli Art House presents Robert Fraser’s Groovy Arts Club Band celebrating the esteemed London gallerist Robert Fraser (1937-1986) curated by Mila Askarova and David G.A. Stephenson. This exciting group exhibition brings together thirteen artists who Fraser championed during his time along with other members of the pop art movement. The exhibition title takes inspiration from Harriet Vyner’s oral history of Robert Fraser entitled Groovy Bob, one of the key influencers and trendsetters in the 1960s when pop culture, music and art collided. To accompany the exhibition, Gazelli Art House in collaboration with The Arts Club will launch an eponym double-vinyl album containing fourteen songs in tribute to Fraser, a.k.a. Groovy Bob. The exhibition together with the songs emphasise the relationship between music and art, and to celebrate Fraser’s artists’ continued relevance and influence. 39 DOVER STREE T LONDON W1S 4NN +44 207 491 8816 [email protected] GAZELLIARTHOUSE.COM Fraser led a glamorous life and embodied the cultural movement of the ‘Swinging Sixties’. He was a high profile and flamboyant bridge between the worlds of contemporary art and rock music, bringing together artists, writers, filmmakers, celebrities and rock stars, most prominently The Beatles and The Rolling Stones. -
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. -
Jann Haworth: Close Up
Press Release 2019 Jann Haworth: Close Up An exploration of the role of art in community, identity and protest 2 November 2019 – 23 February 2020 Press View: Friday 1 November 2019, 11am – 1pm Jann Haworth and Liberty Blake, Work in Progress, 2016 – ongoing, Vinyl panels, Photography credit: Alex Johnstone © Courtesy of the artist This autumn, Pallant House Gallery will be the community groups in America where first UK gallery to display American Pop artist participants created stencil portraits of women Jann Haworth (b.1942) and Liberty Blake’s selected from across history and areas of mural, Work in Progress. The 28ft mural is the influence. The resulting mural comprises of result of a collaborative community project seven vinyl panels featuring over 100 women that celebrates women who were catalysts for spanning over 3000 years, from the Egyptian change in the arts, sciences and social pharaoh Nefertiti and Queen Elizabeth I to 21st activism. Alongside the mural will be a display century icons including Ellen DeGeneres and of Haworth’s sculptural and wall-based works Malala Yousafzai. Over the last 2 years the mural dating from the 1960s to the present day. has travelled to 23 venues across Europe and throughout America. The mural celebrates the Work in Progress evolved from Haworth’s contributions that women have made to culture critical re-examination of Sgt Pepper’s Lonely and social change and raises the question of Hearts Club Band album cover that Haworth, in how these different lives and endeavours have collaboration with her then husband, Peter become unjustly marginalised or forgotten Blake, produced in 1967. -
Clive Barker
CLIVE BARKER CLIVE BARKER CROSSROADS 13 November – 11 December 2015 All works are for sale WHITFORD FINEART 6 DUKE STREET ST. JAMES’S LONDON SW1Y 6BN +44 (0)20 7930 9332 [email protected] Clive Barker, 2015 CLIVE BARKER: CROSSROADS Nearly five decades after emerging as a Pop Artist, Clive Barker continues to make sculptures characterised by themes and techniques drawn from popular mass culture. In contrast to the abstract sculptor’s means of arranging shapes in a process of trial and error in order to create the final form, Barker’s creative process relies purely on intuition, association and memory. Barker’s past is still central to his present work, as 1960s London and New York are brought in to echo his present day mood. Barker’s 1960’s works celebrated the instant possibilities and freedoms of a transformed society, embodied in chrome-plated bronze casts of the everyday, the banal or kitsch elements of our culture, often through the use of irony. During recent years Barker has returned to the highly shiny finishes of his iconic 1960s works and revived that manufactured, shiny and new gift-wrapped feeling which he first marveled at in New York. As Barker’s technique still imbues his work with the instantaneous feeling of indulgence, his current iconography contemplates and investigates the outcome of mass- consumerism proclaimed as the way forward during the heyday of Pop. In addition Barker has introduced a radical new subject matter, placing the artist at the crossroads of West and East, the past and the present, the fame and energy of his youth and the introspective manner of his older self. -
International-Pop.Pdf
INTERNATIONAL POP INTERNATIONAL 4 BILLY APPLE 42 WALLY HEDRICK 8 ARMAN 44 JAN HENDERIKSE POP 10 EVELYNE AXELL 46 KEY HIRAGA 12 IMRE BAK 48 ALLEN JONES 14 RAFAEL CANOGAR 52 LUO BROTHERS 16 SISTER MARY CORITA KENT 54 ROBERT MALLARY 15 JUNE ‒ 29 JULY 2020 18 GERARD DESCHAMPS 56 DÉCIO NOVIELLO 20 ANTONY DONALDSON 58 MARIO SCHIFANO ONLINE AND BY APPOINTMENT ONLY 22 ERRÓ 60 COLIN SELF BOOK A VIEWING: [email protected] 26 FERDI 62 BOB STANLEY 28 STANO FILKO 64 EMILIO TADINI 30 CLAUDE GILLI 66 SHINKICHI TAJIRI 34 JOE GOODE 68 JOHN TWEDDLE 38 RICHARD HAMILTION 70 ANDY WARHOL THE 40 JANN HAWORTH 72 LIST OF WORKS MAYOR GALLERY BILLY APPLE® b. 1935 Auckland, New Zealand Born in New Zealand in 1935, Apple (then known as Barrie Bates) studied at the Royal College of Art between 1959 and 1962 exhibiting alongside fellow artists such as David Hockney, Derek Boshier and Pauline Boty in the annual Provenance: Young Contemporaries exhibitions. Acquired directly from the artist In 1962 after graduating he notoriously changed his name Exhibited: and altered his appearance becoming ‘Billy Apple®’ in a London, Hilton Hotel, British D&AD Professional self-conscious art action that doubled as a canny exercise Awards, 1963 in re-branding. In 1964 he moved to New York working London, RBA Galleries, 2 April – 24 April 1962 with Andy Warhol in the pivotal exhibition The American London, Victoria and Albert Museum, Rewind: 40 Supermarket including Oldenburg, Wesselmann and years of Design and Advertising from the D&AD Johns. In 1969, the artist opened Apple at 161 West 23rd Awards, 7 November 2002 – 2 February 2003, ill. -
Lucian Freud (1922-2011) Drawing of a Girl, Alice, 1974
Education Information Pack Contents Page How to use this pack 2 The Arts Council Collection 2 Introduction to the exhibition 3 Artists and works in the exhibition 4 In the gallery – looking at the 34 exhibition Project and activity ideas: People and relationships 34 Events and stories 36 Mark-making and materials 38 Composition and viewpoint 40 Recommended reading ` 42 Useful websites 42 Cover image: Jack Smith Girl Reclining, 1953 Chalk on paper 48.3 x 37.2cm 1 How to use this pack This pack is designed for use by teachers and other educators including gallery education staff. It provides background information about the exhibition and the exhibiting artists, as well as a glossary of key terms and art movements. The pack also contains a selection of project ideas around some key themes. As well as offering inspiration for art, the Drawn from Life exhibition also links well to literacy, drama and history. The project suggestions are informed by current National Curriculum requirements and Ofsted guidance. They are targeted primarily at Key Stage 2 and 3 pupils, though could also be adapted for older or younger pupils. They may form part of a project before, during, or after a visit to see the exhibition. Information in the pack will also prove useful for pupils undertaking GCSE and ‘A’ level projects. This education information pack is intended as a private resource, to be used for educational purposes only. As such, the images included within this pack are for internal use only and may not be copied, distributed or used for any other purposes without appropriate permissions being sought. -
Mornington Crescent, Early Morning Frank Auerbach Oil on Canvas
Mornington Crescent, Early morning Frank Auerbach Oil on canvas, 1992-93 Since moving to his Camden Town studio in 1954, Frank Auerbach has intensively painted and drawn the streets, buildings and parks in the local area. “It’s never just topography,” he has said, “it is never just recording the landscape. It always has to do with some sort of feeling about my life”. David Ross Collection Study for Camden Theatre Frank Auerbach Coloured wax crayon on paper, 1978 The area surrounding Frank Auerbach’s studio in London has been the artist’s muse ever since he moved there in the 1950s. He has said, “This part of London is my world. I've been wandering around these streets for so long that I have become attached to them, and as fond of them as people are of their pets.” David Ross Collection Study for Primrose Hill Frank Auerbach Coloured wax crayon on paper, 1978 Frank Auerbach has been painting and drawing London’s Primrose Hill, close to his Camden studio, for over sixty years. For many years he would begin the day by doing a drawing outside, “so as to have an impulse, an idea, a new fact, a newly discovered structure to work from —and then to paint with older and newer drawings pinned up.” David Ross Collection Bus Stop, Willesden Leon Kossoff Oil on board, 1983 This painting belongs to a series of work depicting an area of North London close to where the artist was born. “London, like the paint I use seems to be on my bloodstream,” he has said. -
Pop Art Heroes Britain
S T N I E R A O A T I R P R O E P B H POP ART HEROES BRITAIN WHITford FINE ART 00WFA PAH Covers 2016_Whitford Cover 18/04/2016 16:22 Page 1 01-65WFA PAH Pages 2016_Whitford 14/04/2016 18:31 Page 1 POP ART HEROES britain 27 May – 1 July 2016 WHITFORD FINEART 6 DUKE STREET ST. JAMES’S LONDON SW1Y 6BN +44 (0)20 7930 9332 [email protected] 01-65WFA PAH Pages 2016_Whitford 14/04/2016 18:31 Page 2 Foreword The present catalogue is an anthology composed by the very pioneers of British Pop Art. As such, it endeavours to revive the original spirit of the movement through each artist’s individuality. The texts are drawn from a short questionnaire sent to all living artists including: Clive Barker, Peter Blake, Derek Boshier, Anthony Donaldson, Allen Jones, Peter Phillips, Colin Self and Joe Tilson. The questions touched on the particular year the works presented here were made, the general mood of that year and the mood of the artist, the music they listened to, each artist’s interaction with other artists, the level of influence of America, and their view on the term Pop Art as defined by Richard Hamilton in 1957. The editing of each unique response to these work-specific questions was kept to a minimum, to offer the reader the experience of a true informal encounter with each artist at the time they made the work. For those pioneers who are no longer with us, such as Pauline Boty, Patrick Caulfield, Adrian Henri and Gerald Laing, known contemporary sources and interviews were consulted and quoted.