DOCSLIB.ORG

Tim Shaw the Birth of Breakdown Clown

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tim Shaw the Birth of Breakdown Clown Einladung the birth of breakdown clown zur Vorstellung des künstlerischen Projektes Tim Shaw The Birth of Breakdown Clown von Tim Shaw RA Artist in Residence Anne-Marie Bonnet (Professor Dr., Bonn): Kunsthistorikerin. Professorin für Mittlere und Neuere Kunst- geschichte am Kunsthistorischen Institut der Universität Bonn. Forschungs- und Lehraufenthalte u. a. in des Käte Hamburger Kollegs „Recht als Kultur“ München, Leipzig und Freiburg. Mitglied des NRW-Sachverständigenausschusses zur Prüfung national wertvollen Kulturguts. Sie hat grundlegende Arbeiten zum Werke Auguste Rodins, insbesondere seiner mit Anne-Marie Bonnet, Werner Gephart, Dieter Ronte, Aquarelle, sowie zu Albrecht Dürer und zur Kunst der Moderne als Betriebssystem verfasst. Michael Sandle und Tim Shaw Nina Dethloff (Professor Dr. jur., Bonn): Rechtswissenschaftlerin. Inhaberin des Lehrstuhls für Bürger- liches Recht, Internationales Privatrecht, Rechtsvergleichung und Europäisches Privatrecht und Direk- torin des Instituts für Deutsches, Europäisches und Internationales Familienrecht der Universität Bonn. Direktorin (geschäftsführend) des Käte Hamburger Kollegs „Recht als Kultur“. Werner Gephart (Professor Dr. jur. Dr. h.c., Bonn): Soziologe, Rechtswissenschaftler und Künstler. Professor für Soziologie an der Universität Bonn, Gründungsdirektor des Käte Hamburger Kollegs „Recht als Kultur“ und Herausgeber der Schriftenreihe „Recht als Kultur“. Seit 1988 zahlreiche Aus- stellungen, u. a. in Paris, Düsseldorf, Köln, Bonn, St. Louis, Houston, Bloomington, Minneapolis, Tunis, New York, New Delhi und demnächst in London (King’s College). Dieter Ronte (Professor Dr., Bonn): Kunsthistoriker. Ehemaliger Direktor des Museums Moderner Kunst in Wien, des Sprengel Museums Hannover und zuletzt des Kunstmuseums Bonn. Künstlerischer Leiter und Mitglied des Vorstands der Adolf Frohner Privatstiftung. Mitglied des wissenschaftlichen Beirats des Käte Hamburger Kollegs „Recht als Kultur“. Michael Sandle (Professor, Mitglied der Royal Academy, London): Bildhauer, Maler, Grafiker und Profes- sor für Bildhauerei. Mitglied der Royal Academy of Arts und Fellow der Royal Society of British Sculptors. Träger zahlreicher internationaler Preise, u. a. des Rodin Grand Prize und des Hugh Casson Drawing Prize der Royal Academy of Arts Summer Exhibition (2007). Seine Werke sind in namhaften Sammlungen vertreten (u. a. Tate, Imperial War Museum und Arts Council Collection). Zahlreiche Lehrtätigkeiten, u. a. Professor an der Fachhochschule für Gestaltung in Pforzheim und an der Staatlichen Akademie der Bildenden Künste Karlsruhe. Tim Shaw (Mitglied der Royal Academy, London/Bonn): Bildhauer und zeitgenössischer bildender Künstler. Artist in Residence am Käte Hamburger Kolleg „Recht als Kultur“, wo er im Rahmen des Georg-Simmel-Künstlerstipendiums sein Projekt „The Birth of Breakdown Clown“ entwickelt hat. Mit- glied der Royal Academy of Arts und Fellow der Royal Society of British Sculptors, mehrfach inter- national ausgezeichnet, zuletzt 2015 mit dem Jack Goldhill Award for Sculpture der Royal Academy, London. Zahlreiche Einzel- und Gruppenausstellungen im Vereinigten Königreich und international, u. a. im mac Birmingham, in der Riflemaker Gallery in London und in der Kappatos Gallery, Athen. Käte Hamburger Kolleg Konrad-Zuse-Platz 1-3 „Recht als Kultur“ 53227 Bonn Center for Advanced Study Tel.: 0228 73-54050 Gefördert durch of the Humanities Fax: 0228 73-54054 recht als kultur käte hamburger kolleg “Law as Culture” [email protected] law as culture www.recht-als-kultur.de center for advanced study the birth of breakdown clown Tim Shaw The Birth of Breakdown Clown goes on in the ‘dark pools’ of high finance and Das Käte Hamburger Kolleg „Recht als Kultur“ Breakdown Clown is a figure that plays an upon issues pertinent to us today, in particular, lädt ein im Rahmen des „Forum Recht als Kultur“ imaginary powerful role in society similar to the conflict of religious ideologies. It asks, in a that of a priest, shaman or therapist. world of freedom of expression, do we retain the right not to be insulted? The Birth of Breakdown Clown An outsider that community has invited to its door. People confide in the clown; looking for The project also reflects upon the digital age, mit Beiträgen von signs, seeking wisdom and advice. The ‘over examining how quickly we have become Anne-Marie Bonnet friendly’ clown has become dysfunctional and accustomed to and reliant upon digital tech- its powers of empathy and perception have nology, and asks how this has affected our Werner Gephart become entangled. It responds inappropriately behavior and perception. Dieter Ronte with answers that contain uncomfortable Michael Sandle The Birth of Breakdown Clown is an experi- truths mixed with verbal madness. The clown mental project that consists of a seven-foot und Tim Shaw trawls the boundaries of the human condition robotic figure programmed with artificial intel- bringing to the fore, the absurdities of life and ligence allowing for audience interaction. Begrüßung: testing the limits of what we perceive as Tim Shaw Nina Dethloff acceptable and lawful. Breakdown Clown expresses views on every- Max-Weber-Vortragsraum thing from sex, religion, war, the meaning of und Georg-Simmel-Künstleratelier existence, death, the afterlife and ponders am 8. März 2016 um 18.00 Uhr upon what your next door neighbor might be mit anschließendem Empfang doing in your garden right now. It asks, ‘does law have a smell, a colour and can we be im Émile-Durkheim-Salon des touched by the law?’ It ponders upon, what Käte Hamburger Kollegs „Recht als Kultur“.
Load more

Recommended publications
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [Show full text]
  • A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M
    Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice.
    [Show full text]
  • Whitechapel Gallery Name an Exhibition
    Whitechapel Gallery Name an Exhibition To name an exhibition contact Development Manager Sue Evans T: 0207 522 7860 E: [email protected] 1901 Modern Pictures by Living Artists: Pre-Raphaelites and Older English Masters – Burne- Jones, Constable, Hogarth, Raeburn, Rubens – Dominic Palfreyman Chinese Life and Art Scottish Artists – Bone, Landseer, Mactaggart, Muirhead, Whistler 1902 Cornish School- Forbes, Stokes Japanese Exhibition Children's Work: Tower Hamlets Schools 1903 Artists in the British Isles at the Beginning of the Century – Fry, Legros, Tonks, Watts Poster Exhibition: British, European, Chinese and Japanese Shipping 1904 Scholars' Work from Board Schools in Bethnal Green, Stepney and Poplar Dutch Art – Hals, de Koninck, Metsu, Rembrandt, van Ruisdael, Amateurs and Arts Students Indian Empire 1905 LCC Children's Work from Board Schools in Bethnal Green, Stepney, Poplar British Art 50 Years Ago – Hunt, Millais, Rossetti, Ruskin, Turner Photography – Chesterton, Pike, Reid, Selfe, Wastell 1906 Georgian England Country in Town Jewish Art and Antiquities 1907 Old Masters: XVII and XVIII Century French and Contemporary British Painting and Sculpture – Boucher, Le Brun, Chardin, Claude, David, Grenze, Poussin Country in Town Animals in Art 1908 Contemporary British Artists: Collection of Copies of Masterpieces – Gainsborough, Holroyd, Latour, Stevens, Teniers Country in Town Muhammaden Art and Life (in Turkey, Persia, Egypt, Morocco and India) 1909 Stepney Children’s Pageant Tuberculosis Flower Paintings and Old Rare
    [Show full text]
  • Berlin Studio Conversations
    Edited by Stephanie Buhmann BErlin Studio convErSationS twEnty womEn talk aBout art introduction It was humbling and pleasantly surprising when upon its release in March 2016, the first volume of this ongoing interview series, New York Studio Conversations – Seventeen Women Talk About Art, received enthusiastic, widespread support. That initial book not only inspired three different exhibitions and accompanying panel discussions at the Shirley Fiterman Art Center at the Borough of Manhattan Community College in New York (2015), the Macy Art Gallery at Teachers College at Columbia University, New York (2016), and the Indiana University of Art and Design in Columbus, Indiana (2017), but it subsequently entered the collections of numerous international research libraries. Within a few months, a second printing was announced. All of this encouraging feedback has helped to spark this second volume. At the urging of my Berlin-based publisher The Green Box, I eagerly shifted my focus to artists based in this dynamic city. My gratitude goes out to Anja Lutz for offering invaluable insight into the overall selection of interviewees. As with the prior volume, Berlin Studio Conversations – Twenty Women Talk About Art aims to provide an intimate look at a vast range of artistic practices. Here, philosophies and intent vary as much as the choices of medium, which span painting, sculpture, drawing, multi-media installation, video, photography, and sound-based work. Certainly, not everything can be covered, and yet what the reader of this book will be able to gather is that there are myriad ways to make or think about art today. As we are forced to maneuver through globally challenging times, art can be both outspoken and referential to current events; it can examine social structures and the human condition at large; it 3 Berlin Studio Conversations introduction can be focused on the everyday or on transformative events; it a temperature.
    [Show full text]
  • Whitechapel Gallery Name an Exhibition
    Whitechapel Gallery Name an Exhibition 1901 Modern Pictures by Living Artists: Pre-Raphaelites and Older English Masters – Burne-Jones, Constable, Hogarth, Raeburn, Rubens – Dominic Palfreyman Chinese Life and Art Scottish Artists – Bone, Landseer, Mactaggart, Muirhead, Whistler 1902 Cornish School- Forbes, Stokes Japanese Exhibition Children's Work: Tower Hamlets Schools 1903 Artists in the British Isles at the Beginning of the Century – Fry, Legros, Tonks, Watts Poster Exhibition: British, European, Chinese and Japanese Shipping 1904 Scholars' Work from Board Schools in Bethnal Green, Stepney and Poplar Dutch Art – Hals, de Koninck, Metsu, Rembrandt, van Ruisdael, Amateurs and Arts Students Indian Empire 1905 LCC Children's Work from Board Schools in Bethnal Green, Stepney, Poplar British Art 50 Years Ago – Hunt, Millais, Rossetti, Ruskin, Turner Photography – Chesterton, Pike, Reid, Selfe, Wastell 1906 Georgian England Country in Town Jewish Art and Antiquities 1907 Old Masters: XVII and XVIII Century French and Contemporary British Painting and Sculpture – Boucher, Le Brun, Chardin, Claude, David, Grenze, Poussin Country in Town Animals in Art 1908 Contemporary British Artists: Collection of Copies of Masterpieces – Gainsborough, Holroyd, Latour, Stevens, Teniers Country in Town Muhammaden Art and Life (in Turkey, Persia, Egypt, Morocco and India) 1909 Stepney Children’s Pageant Tuberculosis Flower Paintings and Old Rare Herbals Historical and Pageant 1910 Society of Essex Artists Students Attending London Technical, Art and Evening
    [Show full text]
  • Top UK Artists Lament Decline of Drawing Classes by DALYA ALBERGE
    REVIEWS MAY 9, 2021 Just get a sketchbook out: top UK artists lament decline of drawing classes BY DALYA ALBERGE British artist Sir Peter Blake says he tried to get Royal Academy Schools students to draw, without success. Photograph: Shaun Curry/AFP/Getty Images The demise of drawing in some of Britain’s most prestigious art schools has been lamented by leading artists. Their comments come as Sir Peter Blake, who is preparing for a new exhibition, and David Hockney recall the inspiration of drawing classes they attended at the Royal College of Art (RCA) in the 1950s. When Blake and Hockney were students, they learned how to draw in classes that were initially compulsory. Today’s RCA students are offered “feedback” rather than classes. In the foreword to the catalogue for Blake’s show, Hockney writes: “There was a compulsory drawing class for the very first term, and I enjoyed that – I was aware at the time that I was learning a lot. I always liked the serious stuff, painting and drawing – and so did Peter. We both knew we were benefiting from a very good arts education, and we made the most of it.” Now the most comprehensive exhibition of his collages will be staged at the Waddington Custot gallery in Lon- don from 18 June to 13 August. Peter Blake: Time Traveller will include his largest single picture, Late Period: Battle, featuring collaged and painted figures such as Elvis Presley. In the catalogue – titled Peter Blake: Collage and published by Thames & Hudson on 10 June – Hockney writes: “Collages are essentially an extension of drawing; so to be really good at collage, like Picasso, you have to understand and master drawing.
    [Show full text]
  • The Henry Moore Foundation Review H Moore Review 15-P1-15 2007 18 Dec:H Moore Review 14/P1-15 2006 21/12/07 06:39 Page 2
    H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 1 Issue Number Sixteen Winter 2007 The Henry Moore Foundation Review H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 2 Contents 3 Chairman’s Introduction Sir Ewen Fergusson 4 Director’s Report Richard Calvocoressi 6 Financial Statement 2006 – 2007 Charles M Joint 7 Henry Moore, Perry Green David Mitchinson 10 Henry Moore in Public Nick Bullions 11 Henry Moore Institute, Leeds Penelope Curtis 14 Why Sculpture, Why Here? Stephen Feeke 16 Publications 18 Grants Programme 22 Looking Ahead 23 General Information Henry and Irina Moore, Hoglands c.1968. Photo: John Hedgecoe Front cover: Installation view of Rote Girlande (Red Garland) 1980 and Kollektion (Collection) 1980 in Fake/Function Thomas Schütte: Early Work, Henry Moore Institute, Leeds. Photo: Jerry Hardman-Jones Back cover: Detail of Figure in a Shelter cast 1983 (LH 652a) seen beside Bourdelle’s plaster Penelope 1912, Henry Moore et la Mythologie, Musée Bourdelle, Paris. Photo: David Mitchinson H Moore Review 15-p1-15 2007 18 Dec:H Moore Review 14/p1-15 2006 21/12/07 06:39 Page 3 Chairman’s Introduction The Review for Winter 2001 was my first. I had been Chairman for barely a month, after three years learning about the Foundation under Sir Rex Richards. I blush now at reading ‘It is too soon to suggest how I shall want to impose my stamp’. My seventh and last introduction needs a more appropriate modesty – no one but Henry Moore has imposed a stamp on the Foundation.
    [Show full text]
  • Making It: Sculpture in Britain 1977-1986 Education Information Pack
    Making It: Making It: Sculpture in Britain 1977-1986 Education information pack www.artscouncilcollection.org.uk twitter: @A_C_Collection Contents Page How to use this pack 2 The Arts Council Collection 2 Introduction to the exhibition 3 The exhibition in context 4 Artists and works in the exhibition 7 What is sculpture? 40 In the gallery – looking at the exhibition 42 Exhibition themes and project ideas: Sites and spaces 45 Material qualities 47 The crafted surface 49 Transforming the ordinary 52 Symbolic objects 54 Making stories 56 The urban and natural worlds 58 The human form 60 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 Making It: Sculpture in Britain 1977-1986 exhibition and the exhibiting artists, a description of techniques and processes used to make sculpture and a selection of project ideas around some key themes. Although written primarily to accompany the exhibition, it can also serve as a stand-alone resource on sculpture in the 1970s and 1980s. The project suggestions may form part of a project before, during, or after a visit to see the exhibition. 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. 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.
    [Show full text]
  • Patronage, Professionalism and Youth: the Emerging Artist and London’S Art Institutions 1949–1988
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988 https://eprints.bbk.ac.uk/id/eprint/40044/ Version: Public Version Citation: Massouras, Alexander (2013) Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS 1949–1988 Alexander Massouras London Consortium Birkbeck, University of London Submitted for the degree of Ph.D. in Humanities and Cultural Studies 1 Declaration I, ALEXANDER MASSOURAS, declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. I confirm that: 1. This work was done wholly while a candidate for a research degree at this University. 2. Where I have consulted the published work of others, this is always clearly attributed. 3. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work. 4. I have acknowledged all main sources of assistance. 5. None of this work has been published before submission. Signed: ………………………………………………………. 2 ABSTRACT PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS, 1949–1988 [London: The London Consortium 2012] In 1949, the first Young Contemporaries exhibition presented work by art school students in London.
    [Show full text]
  • Contemporary Art Society Annual Report 1979
    The Annual General Meeting of the Contemporary Art Society will be held at Commercial Union Assurance, St Helen's, 1 Undershaft, London ECS on Thursday, June 19, 1980 at 6.45 p.m. To receive and adopt the report of the committee and the accounts for the year ended December 31,1979, together with the auditor's report. 2. To reappoint Sayers Butterworth as auditors of the society in accordance with section 14 of the Companies Act, 1976, and to authorize the committee to determine their remuneration for the coming year. 3. To elect to the committee the following who has been duly nominated: Lady Vaizey. The retiring members are Edward Lucie- Smith and Alistair McAipine. 4. Any other business. By order of the Committee Pauline Vogeipoe! May 19,1980 Company Limited by Guarantee Registered in London No 255486 Charities Registration No 208178 1 Patron Chairman's Report Her Majesty Queen Elizabeth The Queen Mother In 1979 the Contemporary Art Society did once again what it was created in 1910 to do: it presented 135 works by 101 artists of today to 89 public Executive Committee art galleries in Great Britain and the Commonwealth. Nearly all these pictures and sculptures had been acquired during the previous four years, Nancy Balfour OBE Chairman some of them by gift or bequest but most of them by purchase with funds Alistair McAlpine Vice Chairman provided by subscriptions and donations from individual members, private Lord Croft Honorary Treasurer trusts, business firms and public galleries, supplemented by grants from Caryl Hubbard Honorary Secretary the Arts Councils of Great Britain and Scotland.
    [Show full text]
  • British Abstract
    BRITISH108 Fine ArtABSTRACT 1 2 British Abstract Norman Adams Victor Anton Frank Beanland Trevor Bell Maurice Cockrill Alan Davie Brian Fielding Keith Grant Derrick Greaves John Hoyland Kim Lim Kenneth Martin John Plumb Iain Robertson Michael Sandle Peter Sedgley Jack Smith William Turnbull 108 FINE ART, HARROGATE, 2015 Michael Tyzack www.108fineart.com 3 Jack Smith (1928 -2011) Shimmer 3 Acrylic on canvas, 1962 48 x 48 inches (122 x 122cm) £12,000 Born in Sheffield, Jack Smith was awarded a scholarship to Sheffield College of Art 1944–6, before taking up his National Service in the R.A.F, 1946–48. He resumed studies at St Martin’s School of Art 1948–50, and at the R.C.A. 1950–53 under John Minton, Ruskin Spear and Carel Weight. At first he worked in a neo-realist style (the so-called ‘Kitchen-Sink School’), choosing subjects from the domestic life of his own home, but from 1956 he became increasingly interested in representing light and its transformatory effects on shapes seen in the open air and under water. His first one-man exhibition was held at the Beaux Arts Gallery in 1953. In 1954 he visited Madrid and Toledo, and the following year travelled to Venice. In 1956 he won first prize at the first John Moores Liverpool Exhibition. From this time onwards he began to visit Mevagissey and Zennor, Cornwall on a regular basis. From 1957 he taught at Chelsea School of Art. Jack Smith exhibited at the Venice Biennale in 1956 together with Ivon Hitchens and Lynn Chadwick.
    [Show full text]