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Luke Elwes a D a M G a L L E R Y
Luke Elwes a d a m g a l l e r y Luke Elwes 13 JOHN STREET BATH BA1 2JL t: 01225 480406 e: [email protected] www.adamgallery.com floating world Over the last few years the work on paper - both those made here on the east coast and during recent US residencies - as well as the new ‘floating world’ paintings have begun not only to revolve around the aqueous realm but also grow into a wider meditation on natural forces. If they are reflections on landscape and memory, both many layered and recurring across time (and within which questions about how we might locate ourselves in the world have remained more or less constant), they are also fleeting commentaries – made through images uncertainly balanced between emergence and disappearance - on an increasingly unstable present. It is as if the cumulative experience of travelling over many years to deserts, mountains and coastlines have been drawn together to form a locus around a time and space that is less culturally inflected and much more wildly elemental in its references to physical erasure, submersion and loss. The sense of discovery that still comes from exploring, walking or just ‘being’ in a place has also given rise to a feeling of reverie 1. Crossing | Oil on Canvas | 150 x 100 cm In particular the passage of days (marked out here with fugitive impressions on paper) spent by the tidal waters at Landermere in the interzonal territory of creeks and marshes on the East Anglian coast has developed into an extended reflection on dissolution and the return to wilderness (as witnessed also in the remote mountain tracts and extreme climates of Tibet and Mustang with their wind scoured walls and surfaces). -
2017–2018 Report
UNIVERSITY OF IOWA STANLEY MUSEUM OF ART ANNUAL REPORT 2017–2018 The University of Iowa Stanley Museum of Art is funded by the General Education Fund of the University of Iowa (UI) through the Office of the Provost and by the generous support of its members and donors. Cover image: Jackson Pollock (American, 1912–1956) Mural (detail), 1943 150 North Riverside Drive Tel: +1 319 335 1727 Oil and casein on canvas 100 Old Museum of Art E-mail: [email protected] 95 5/8 x 237 3/4 in. (242.9 x 603.9 cm) Gift of Peggy Guggenheim, 1959.6 Iowa City, IA 52242 Website: uima.uiowa.edu Reproduced with permission from the University of Iowa Copyright ©2018 TABLE OF CONTENTS 4 From the Director 5 Volunteers, Museum Staff 6 The Year in Review 10 Audience and Participant Totals 11 Exhibition, Event, and Education Sponsors 12 Curatorial 23 Education 38 University Teaching Division 41 Registrar and Collections Management 72 Membership Activities 75 Press Collaborations and Mentions in Regional Media 79 Development and Finance 2017–2018 ANNUAL REPORT 3 FROM THE DIRECTOR I am very proud to have been hired as Director groundbreaking exhibitions at home. Building vision statements, shaping a collections plan, of the University of Iowa Stanley Museum of on the innovative "Iowa Idea" of linking art to and preparing for the inaugural installation Art during this pivotal and eventful year. As the interdisciplinary teaching, first formulated by of the collection. In addition, we hope to museum approaches its fiftieth anniversary University of Iowa President Walter Jessup in offer UI students more opportunities to gain and we prepare to break ground for a beautiful the 1920s, we partnered with faculty and staff valuable knowledge through pre-professional new building, I am conscious of all the visionary across the university’s campus to make these work experiences in the Museum, build new directors, curators, collections managers, exhibitions focal points of cross-disciplinary partnerships on and off campus, and assemble educators, and board members who have teaching and learning. -
VITAL SIGNS Work on Paper
VITAL SIGNS Work on paper Tony Bevan Christopher Le Brun Luke Elwes Timothy Hyman Andrzej Jackowski Merlin James Glenys Johnson Alex Lowery Lino Mannocci Thomas Newbolt Arturo Di Stefano Charlotte Verity 9 March – 24 April 2015 Vital Signs Vital Signs features twelve artists who, rather than having any particular technique or style in common, are drawn together by shared sympathies. Having long sustained a dialogue amongst themselves, they feel affinities and respect differences or, more accurately, respond to the stimulus of differences. This is a group defined by patterns of friendship, rather than any community of style. But as art historian Brendan Prendeville, writing about an early exhibition of the group, noted ‘Friendships are not only grounded in affinity, but create new common ground.’ The informal group not only share galleries and exhibitions together, but also have spent time in one another’s studio, as well as many animated evenings in each other’s company, discussing painting and painters, past and present. While this has deepened their familiarity with each other’s work, it has also helped facilitate an understanding of their own particular concerns, in each case about some essential engagement with the possibilities and problems of the act of painting. In this their latest manifestation, Vital Signs focuses on works on paper. As Luke Elwes explains ‘This exhibition is about the activity of mark making and the myriad thoughts and imaginings that surface on paper through this elemental act. Sometimes it is simply a beginning, a way of moving forward into as yet unknown territory – a ‘voyage’ as Andrzej Jackowski describes it. -
60 NEW SHOWS and the ART GIFT Pictures Objets Books Frames
DECEMBER 2016 S E I R E L 60 NEW SHOWS and L THE ART GIFT pictures objets books frames A materials previews news listings new shows maps galleries.co.uk G GALLERIES GALLERIESCONTENTSDECEMBER2016 regular FEATURES GALLERIES map pages map/section Articles: gallery names in bold see index Principal cities & regions are covered by maps showing gallery locations New Shows Diary –exhibition opening days page 4 Art Services to the trade & public section 31 Round up –3 shows 11 Books – ideas for christmas 17,20,22,26,30,36,38 Bankside & Southwark – Waterloo, Tower Bridge 29 Twitter – the top tweet 21 Bath – City Centre 12 Coda – the final word 45 Bloomsbury/Fitzrovia – Charlotte St, Windmill St 22 Artist Websites – online art 50 Bristol – City Centre 11 Artlinkedin – Laurence Broderick 50 Artist Index –artists listed by gallery 51 Cardiff – City Centre 4 Gallery Specialisations – general stock index 52 Chelsea & Fulham – King’s Rd, Fulham Rd, Battersea 20 Gallery Index –dealers & services 54 City, Islington & East End – Upper St, Bethnal Grn 30 Cork St – Clifford St, Regent St 25 CHRISTMAS Cornwall – Land’s End to St Austell, Penzance Centre 7 shopping the art 5 Cotswolds –Gloucestershire to Oxfordshire 13 East Anglia – Essex to Lincolnshire 15 Edinburgh – City Centre 3 Galleries for Hire & Sale around the UK 32 Glasgow – City Centre 2 Hampstead, St John’s Wood, Camden – Highgate 18 Kensington & Notting Hill – High St, Westbourne Grove 19 Knightsbridge & Belgravia – Old Brompton Rd, Victoria St 21 on the COVER Zeng Chuanxing Marylebone – Baker -
Luke Elwes a D a M G a L L E R Y
Luke Elwes a d a m g a l l e r y Luke Elwes writing on water 67 MORTIMER STREET LONDON W1W 7SE t: 0207 580 4360 13 JOHN STREET BATH BA1 2JL t: 01225 480406 e: [email protected] www.adamgallery.com ‘Gihon’ – both the word and the sound - belongs not only to the physical flow of time through this passage of land (and the memories that once surrounded it) but also to a wider sea of stories, as one of the four rivers of Genesis issuing from the Garden of Eden. In the first century the historian Josephus associated the Gihon with the river Nile (the original Hebrew word may be interpreted as ‘bursting forth, gushing’), and within the turbulent streams and creeks of its North American incarnation it also brought life of another kind with the trace of gold. The cursory markings employed as a loosely flowing calligraphic undercurrent to the river-saturated colour washes are by way of rhythmic inscriptions, ghosted signs that evoke a now indecipherable meaning. The resulting series of images (28 in all), each made in one continuous sitting and on successive days, contain their own silent language (like the empty space between words) and what remains of the drawing process in the shadowy residue left on the surface becomes a kind of writing on water. Luke Elwes Gihon: writing on water What you see here is the result of a month spent in Vermont exploring and responding to the wild terrain of the Green Mountains, working each day by the flowing waters and cascading rapids of the Gihon river.