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Generation Painting: Abstraction and British Art, 1955–65 Saturday 5 March 2016, 09:45-17:00 Howard Lecture Theatre, Downing College, Cambridge
Generation Painting: Abstraction and British Art, 1955–65 Saturday 5 March 2016, 09:45-17:00 Howard Lecture Theatre, Downing College, Cambridge 09:15-09:40 Registration and coffee 09:45 Welcome 10:00-11:20 Session 1 – Chaired by Dr Alyce Mahon (Trinity College, Cambridge) Crossing the Border and Closing the Gap: Abstraction and Pop Prof Martin Hammer (University of Kent) Fellow Persians: Bridget Riley and Ad Reinhardt Moran Sheleg (University College London) Tailspin: Smith’s Specific Objects Dr Jo Applin (University of York) 11:20-11:40 Coffee 11:40-13:00 Session 2 – Chaired by Dr Jennifer Powell (Kettle’s Yard) Abstraction between America and the Borders: William Johnstone’s Landscape Painting Dr Beth Williamson (Independent) The Valid Image: Frank Avray Wilson and the Biennial Salon of Commonwealth Abstract Art Dr Simon Pierse (Aberystwyth University) “Unity in Diversity”: New Vision Centre and the Commonwealth Maryam Ohadi-Hamadani (University of Texas at Austin) 13:00-14:00 Lunch and poster session 14:00-15:20 Session 3 – Chaired by Dr James Fox (Gonville & Caius College, Cambridge) In the Thick of It: Auerbach, Kossoff and the Landscape of Postwar Painting Lee Hallman (The Graduate Center, CUNY) Sculpture into Painting: John Hoyland and New Shape Sculpture in the Early 1960s Sam Cornish (The John Hoyland Estate) Painting as a Citational Practice in the 1960s and After Dr Catherine Spencer (University of St Andrews) 15:20-15:50 Tea break 15:50-17:00 Keynote paper and discussion Two Cultures? Patrick Heron, Lawrence Alloway and a Contested -
Frank Bowling Obe, Ra Cv
FRANK BOWLING OBE, RA CV Born February 1934 Bartica, Essequibo, British Guiana Education 1959-1962 Royal College of Arts, London Slade School of Arts, London University 1957-1959 Regent Street Polytechnic, Chelsea School of Art Solo Exhibitions 2019 Retrospective, Tate Britain, London, UK (forthcoming) More Land then Landscape, Hales London, UK (forthcoming) 2018 Towards the Light, Christian Larsen, Stockholm, Sweden Make it New, Alexander Grey Associates, New York, USA Mappa Mundi, Irish Museum of Modern Art, Dublin, Ireland; Sharjah Art Foundation, Sharjah, UAE 2017 Mappa Mundi, Haus der Kunst, Germany Fishes, Wishes in Summertime Blue, Hales Gallery, London, UK Metropolitanblooms, Hales Project Room, New York, USA 2016 New White Paintings, Hampstead School of Art, London, UK 2015 Frank Bowling: The Poured Paintings, Hales Gallery, London Frank Bowling: Map Paintings, Dallas Museum of Art, USA Frank Bowling: Right Here. Right Now. Triangle Space and Cookhouse Galleries, Chelsea College of Art, London, UK Frank Bowling, Marc Selwyn Fine Art, California, USA 2014-2015 Traingone, Paintings by Frank Bowling 1979-96, Spritmuseum, Stockholm, Sweden 2014 Frank Bowling: At 80, Spanierman Modern, New York, USA 2013 The Map Paintings 1967-1971, Hales Gallery, London Paintings 1967-2012, Spanierman Modern, New York, USA 2012 Drop, Roll, Slide, Drip… Frank Bowling’s Poured Paintings 1973–8, Focus Display, Tate Britain, London, UK Frank Bowling New Paintings, Spanierman Modern, New York, NY, USA London, 7 Bethnal Green Road, E1 6LA. + 44 (0)20 7033 -
Contemporary Art from the Richard Brown Baker Collection September 23, 2011-January 8, 2012
Made in the UK: Contemporary Art from the Richard Brown Baker Collection September 23, 2011-January 8, 2012 Made in the UK offers an exceptional look at developments in British art--from the abstract painting of the 1950s to the hyperrealist images of the 1970s to the varied approaches of contemporary work. Throughout this period British art has been integral to international developments in contemporary art, but many of the artists included in this exhibition are less well known in America today than they once were. The RISD Museum's extraordinary collection of postwar British art-- uniquely strong in the United States--was made possible by the foresight and generosity of renowned collector Richard Brown Baker (American, 1912--2002). The show celebrates his extraordinary gift of British art as well as the works purchased with the substantial bequest he provided to continue building the collection. Baker, a Providence native, moved to New York in 1952, living just blocks from the 57th Street art galleries. As the city evolved into the new center of the art world, Baker was compelled to collect. Although he did not have large funds at his disposal, he became one of the most prescient collectors of American and European contemporary art in the late 20th century, acquiring more than 1,600 works, many before the artists had established their reputations. Baker never intended to build a collection of British art; his British holdings developed naturally in the context of his international outlook. He gave most of his collection to the Yale University Art Gallery, his alma mater, but gifted the RISD Museum more than 300 works, of which 136 are British. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
Britain in the World 1860–Now
yale center for british art Britain in the World 1860–now Second-floor galleries Rebecca Salter, born 1955, British K37 1996, mixed media on canvas The work of Rebecca Salter draws on a variety of artistic styles, media, and cultural traditions. Her distinctive approach was shaped primarily by the six years she spent in Kyoto, Japan, in the early 1980s, where she studied ceramics. She returned to her native London with a commitment to two-dimensional art and a particular interest in Japanese printmaking techniques and the subtle textures and surfaces of Japanese papers. In the late 1980s, however, she also began to make regular visits to the Lake District in northern England, taking inspiration from the austere landscape and ever-shifting weather conditions. Working within a tight tonal range and rarely letting one part of the canvas speak louder than any other, Salter’s paintings are nonetheless quietly compelling: a suitable match for the architecture of Louis Kahn (designer of the Yale Center for British Art), in whose memory this painting was purchased. Friends of British Art Fund and Gift of Jules David Prown, MAH 1971, in memory of Louis I. Kahn, B2011.8 Sandra Blow, 1925–2006, British Red Circle 1960, mixed media on board Sandra Blow emerged in the 1950s as one of the most innovative figures in British abstract art. Blow built her reputation as an independent and pioneering force despite making and keeping a loose connection to the modernists at St. Ives, especially Barbara Hepworth, Ben Nicholson, and Patrick Heron. Red Circle’s vivid band of color encircling concentric black rings on a monochrome field exemplifies her bold abstraction, which nevertheless references the natural world and organic forms. -
JOHN HOYLAND Born 1934, in Sheffield, England
JOHN HOYLAND Born 1934, in Sheffield, England; Died July 31 2011 EDUCATION 1960 Graduated from the Royal Academy Schools, London AWARDS 1963 Calouste Gulbenkian Foundation Purchase Award 1964 International Young Artist Award, Tokyo 1965 Prize Winner at John Moores Liverpool Exhibition 1966 Prize Winner at Open Paintings Exhibition, Belfast 1969 First Prize (with Robyn Denny), Edinburgh Open 100 Exhibition 1975 First Prize, Chichester National Art Exhibition 1979 Arts Council of Great Britain Purchase Award 1982 First Prize at John Moores Liverpool Exhibition (with ‘Broken Bride') 1986 Joint First Prize, Korn Ferry International Award Exhibition (with William Scott) 1987 First Prize, Athena Art Award 1991 Elected Royal Academician 1998 Wollaston Award, Royal Academy Summer Exhibition 2000 Elected Foreign Painter Academician, Accademia Nationale di San Luca, Rome, Italy 2003 Honorary Doctorate, Sheffield Hallam University 2008 Honorary Member, Royal West of England Academy SELECTED SOLO EXHIBITIONS 2015 John Hoyland: Power Stations, Newport Street Gallery, London 2011 Beaux Arts, London Charles Nodrum Gallery, Melbourne 2010 Lemon St Gallery, Truro 2009 Galerie White8, Vienna Alan Wheatley Art, London Beaux Arts, London 2008 Beaux Arts, London Lemon Street Gallery, Truro Neville Keating Pictures, London Sarah Myerscough Fine Art, London 2007 Hillsboro Fine Art, Dublin Gallery Aalders, La Garde Freinet, France 2006 Beaux Arts, London Lemon Street Gallery, Truro, Cornwall Tate St Ives, St Ives Michael Carr Gallery, Sydney 2005 Lemon Street -
John Hoyland, Anthony Caro, Kenneth Noland
FOR IMMEDIATE RELEASE John Hoyland, Anthony Caro, Kenneth Noland 20 November 2015 – 16 January 2016 6 Burlington Gardens, W1S 3ET Private view: Thursday 19 November 2015 London-Pace London is pleased to announce an exhibition of works by John Hoyland, Anthony Caro and Kenneth Noland, celebrating the friendship and connections between the three artists. The exhibition will be on view in the ground floor gallery of 6 Burlington Gardens from 20 November to 16 January 2016. This exhibition is the first presentation by Pace London of Hoyland’s work and follows the recent announcement of Pace’s representation of the artist’s estate. It coincides with John Hoyland: Power Stations (Paintings 1964–1982), on view at Newport Street Gallery, London, until 3 April 2016. The exhibition also marks Noland’s first exhibition in the UK since the artist’s death in 2010 and the first at Pace London. John Hoyland, Anthony Caro, Kenneth Noland will explore the matrix of concerns—colour, form, material and working in series—that these figures shared with a selection of work by each artist from the 1960s and 1970s. It will allow the viewer to consider the inner relations between important works by these modern masters. Hoyland, Caro and Noland all emerged in the wake of the first generation of the New York School and sought to continue the legacies of their abstract forebears. Hoyland first met Noland in 1964 having already been deeply impressed by Caro's historic show at the Whitechapel Gallery in 1963, the year before his own appearance there with the influential 'New Generation' Exhibition. -
Chris, Steve, and Yinka: We Run Tings 3
1 Chris, Steve, and Yinka: We Run Tings 3 Until the 90s, there were hardly any black students at British art colleges. Ofili’s success showed that, if you have the intelligence, savvy and ambition, being an artist is a career option. Someone has to pave the way. And it was clear from the first not just how ambitious Ofili was, but how individual his take on painting was – once he’d ditched his student style of narrative figura- tion (funny how things make their return, and are never entirely lost). Rather than living up to his reputation, he is now more concerned to push his art forward. One of Ofili’s earlier solo shows was called Freedom One Day: let’s see where freedom leads him.2 N ONE OF R ASHEED ARAEEN’S ESSAYS FOR THE OTHER STORY cata- logue,3 one passage stands out as being particularly pithy. It was a com- I ment on the British art scene, which stood accused, by Frank Bowling, of flagrant disregard for his accomplishments, when as a young painter he was overlooked for an important exhibition, The New Generation, held at the Whitechapel Art Gallery in 1964.4 The exhibition, wrote Araeen, “featured all 1 “We Run Tings” was a popular late-1990s reggae record, by an artist known as Red Dragon, which featured in the 1999 Jamaican film Third World Cop. Assuming the voice of a no-nonsense, street-tough police officer, the song expressed the senti- ment that certain persons (“We”) were in control, in charge, rulers of their own destiny and masters, rather than victims, of circumstance – a blessed state owing much to de- termination, self-confidence, and fortitude. -
Complete Dissertation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Table of Contents Page Title page 2 Abstract 3 Acknowledgements 4 Introduction 5 Chapter 1 A brief biography of E J Power 8 Chapter 2 Post-war collectors of contemporary art. 16 Chapter 3 A Voyage of Discovery – Dublin, London, Paris, Brussels, 31 Copenhagen. Chapter 4 A further voyage to American and British Abstraction and Pop Art. 57 Conclusion 90 List of figures 92 Appendices 93 Bibliography 116 1 JUDGEMENT BY EYE THE ART COLLECTING LIFE OF E. J. POWER 1950 to 1990 Ian S McIntyre A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS THE UNIVERSITY OF EAST ANGLIA September 2008 2 Abstract Ian S McIntyre 2008 JUDGEMENT BY EYE The art collecting life of E J Power The thesis examines the pattern of art collecting of E J Power, the leading British patron of contemporary painting and sculpture in the period after the Second World War from 1950 to the 1970s. The dissertation draws attention to Power’s unusual method of collecting which was characterised by his buying of work in quantity, considering it in depth and at leisure in his own home, and only then deciding on what to keep or discard. Because of the auto-didactic nature of his education in contemporary art, Power acquired work from a wide cross section of artists and sculptors in order to interrogate the paintings in his own mind. He paid particular attention to the works of Nicolas de Stael, Jean Dubuffet, Asger Jorn, Sam Francis, Barnett Newman, Ellsworth Kelly, Francis Picabia, William Turnbull and Howard Hodgkin. -
Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan
University of Huddersfield Repository Massey, Ian Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan Original Citation Massey, Ian (2013) Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/19277/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ ART, BIOGRAPHY, SEXUALITY: PATRICK PROCKTOR AND KEITH VAUGHAN IAN BRIAN MASSEY A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for Doctor of Philosophy The University of Huddersfield June 2013 1 CONTENTS Acknowledgements 3 Critical Review Introduction 4 Background to the Research 5 Research Methods and Sources 7 Research Themes 9 Conclusion 17 Literature Review 18 Bibliography 28 2 ACKNOWLEDGEMENTS I am greatly indebted to Dr. -
1403 NLS Annual Report
Life NATIONAL stories Annual Report and Accounts 2005/2006 IN PARTNERSHIP WITH National Life Stories When many people think about history, they think about of innovative interviewing programmes funded almost entirely books and documents, castles or stately homes. In fact history from sponsorship, charitable and individual donations and is all around us, in our own families and communities, in the voluntary effort. living memories and experiences of older people. Everyone has a story to tell about their life which is unique to them. Each collection comprises recorded in-depth interviews of a Whilst some people have been involved in momentous high standard, plus content summaries and transcripts to assist historical events, regardless of age or importance we all users. Access is provided via the Sound Archive’s catalogue at have interesting life stories to share. Unfortunately, because www.cadensa.bl.uk and a growing number of interviews are memories die when people do, if we don’t record what being digitised for remote web use. Each individual life story people tell us, that history can be lost forever. interview is several hours long, covering family background, childhood, education, work, leisure and later life. National Life Stories was established in 1987 to ‘record first-hand experiences of as wide a cross-section of present- Alongside the BL Sound Archive’s other oral history holdings, day society as possible’. As an independent charitable trust which stretch back to the beginning of the twentieth century, within the Oral History Section of the British Library Sound NLS’s recordings form a unique and invaluable record of Archive, NLS’s key focus and expertise has been oral history people’s lives in Britain today. -
G a G O S I a N Howard Hodgkin Bibliography
G A G O S I A N Howard Hodgkin Bibliography Books and Catalogues: 2018 Smith, Stevie, Paul Hills, and Antony Peattie. Howard Hodgkin: Last Paintings. London: Gagosian. 2017 Clayton, Eleanor et al. Howard Hodgkin: Painting India. contributions by Hilary Floe, Shanay Jhaveri, Geeta Kapur, Judy Marle, and Andrew Bonacina. London: Lund Humphries. Lawrence, James. Howard Hodgkin: In the Pink. New York: Gagosian Gallery. 2016 Lawrence, James. Howard Hodgkin: From Memory. New York: Gagosian Gallery. 2015 Meier, Philipp. Howard Hodgkin. Zurich: Galerie Andres Thalmann. Jhaveri, Shanay. Howard Hodgkin: Paintings 1984-2015. Mumbai: Jehangir Art Gallery. 2014 Jhaveri, Shanay. Howard Hodgkin: Indian Waves. London: Gagosian Gallery. Barnes, Julian. James Fenton, Susan Sontag and Jean-Pierre Criqui and Jeff Wall. Howard Hodgkin. Paris: Gagosian Gallery. Marr, Andrew. Howard Hodgkin: Green Thoughts. London: Alan Cristea Gallery. 2013 Fiz, Alberto. Howard Hodgkin. Rome: Gagosian Gallery. 2012 Thorkildsen, Asmund. Howard Hodgkin: The Thinking Painter of Embodied Memories. Milan: Skira. 2011 Kendall, Richard. Howard Hodgkin: New Paintings 2007–2011. London: Gagosian Gallery. Batterham, David. Among Booksellers Tales Told In Letters to Howard Hodgkin. York, England: Stone Trough Books. 2010 Stanley, Michael. Time and Place, essay by Sam Smiles. Oxford: Modern Art Oxford. 2008 Hollinghurst, Alan, Seamus Heaney, Philip Larkin. Howard Hodgkin. London: Gagosian Gallery. Serota, Nicholas and James Meyer. Howard Hodgkin. London: Tate Gallery. 2007 Marciari Alexander, Julia and David Scrase. Howard Hodgkin, Paintings 1992- 2007, essay by Richard Morphet. New Haven: Yale Centre for British Art. 2006 Price, Marla. The Complete Paintings, essay by John Elderfield. London: Thames & Hudson. Juncosa, Enrique. Writers on Howard Hodgkin, essays by Julian Barnes, Bruce Bernard, William Boyd, Bruce Chatwin, James Fenton, Alan Hollinghurst, Anthony Lane, Susan Sontag, Enrique Juncosa and Colm Tóibín.