DOCSLIB.ORG

Biography and Career Exhibitions Exhibition Titles Are Given Where

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Biography and Career Exhibitions Exhibition Titles Are Given Where Biography and career Exhibitions Exhibition titles are given where these are known. Much of the original information is from Peter Bird’s biographical account, which has been added to where more material has come to light. Catalogues, leaflets and pamphlets relating to some of the exhibitions mentioned can be found in the V&A archive: V&A AAD 1997/18. All exhibitions are in the U.K unless otherwise mentioned. One-person exhibitions are mentioned, otherwise references are to group shows, which means that Skiöld, at the most, may have exhibited only 2/3 works each time. In the main catalogue, exhibitions of named works are listed where these are known, based on information in exhibition lists and catalogues.1 Skiöld’s first significant one-person exhibition in the U.K was at the Curwen Gallery in 1968. Education and early career Skiöld was born in Stockholm, 18 March 1923. She came from a wealthy family who were partners in a shipbrokers firm: Skiöld & Lundberg AB. She was the eldest of 4 surviving children and had 2 brothers and one sister. She grew up in Stockholm and Saltsjöbaden, an elegant seaside town, 20km South-East of Stockholm, on the outskirts of which, her family had a country house. She attended the Saltsjöbaden Samskola and went on to study at the Tekniska Skolan, Stockholm (now the Konstfackskolan - University College of Arts, Crafts and Design), enrolling on the 1st September 1942. She attended for 2 years in the Lower School, but did not complete her studies in the Higher School (3 years). She specialised in furniture design. She married Wilhelm König in 1945 (b.1916). They were divorced on 20 September 1949. Student years in London 1948-1957 Skiöld arrived in London from Stockholm in early 1948. She studied at the Anglo-French Art Centre, St John’s Wood, London where she became acquainted with the work of the French School and in particular the work of 1 Some references do not contain enough precise information to be of use. artists such as Antoni Clavé. She met Francis Bacon, Edouardo Paolozzi, and David Sylvester, who was a tutor there.2 She was impressed by an exhibition of French lithographs arranged by a Swiss publisher, which featured Ernst and Kokoshka; she also noted Henry Moore’s work and was inspired by Hans Erni.3 She was especially interested in Turner’s watercolours, which she saw at the British Museum. She studied lithography in the evenings at Regent Street Polytechnic with Henry Trivick. In the winter of 1950-51, she studied etching with Richard Beer, also at the Polytechnic. By 1953 her diary contained a number of artist contacts, among them Elisabeth Aslin, Antoni Clavé and Eric de Maré. She was living at 15 George Street, WI. Skiöld kept sketchbooks and produced compositional studies, which she transcribed into the print medium, both in etching and lithography, working figuratively at first. She submitted her work (watercolours) to exhibitions, for instance: Nystedts Konstsalong, Linköping, Sweden, (with Birgitta Roos), 9-23 November 1952, and, The Royal Academy Open Show in 1953.4 In 1954 Skiöld visited Paris and studied drawing at the Académie de la Grande Chaumière, Montparnasse, Paris. She already knew Clavé and was influenced by his painterly approach to printmaking, especially his lithographs. She also studied etching, gaining experience in an editioning studio recommended by Clavé.5 In London she was living at 76 Charlotte St. In 1955 she made trips to Austria and Italy and gathered ideas for landscape studies. She moved again to, The Studio, Highwood House, Ogle St. In 1956 she opened a print-studio, in a basement in George St, London, having acquired the lithographic press and stones that had belonged to Vanessa Bell and which had been used by Edward Ardizzone.6 Her student friends came and worked there and they organised small group shows of printmaking work at local venues. She participated in, Landscape Paintings, Ware Gallery, 7-30 January 1956. In October 1956 Skiöld participated in a 2 Additional biographical notes on Skiöld’s early career are from Pat Gilmour’s interview with the artist published in, ‘Artist Observed’, Canvas 11 Vol 4 no 11 March 1970 pp. 36-37. Also recorded in Charles Spencer, Alecto Monographs 9 1973 Editions Alecto p.2. 3 See early biography which was researched extensively by Peter Bird, the artist’s husband, p.15 in, Birgit Skiöld Paintings Drawings Prints Photographs and Artist’s Books 1958-1982 1984 Pimlico Press. The catalogue was produced for the Memorial Exhibition held in 1984 at Camden Arts Centre and Cartwright Hall, Bradford; also at M.O.M.A Oxford in 1985. Bird’s text forms the basis of this account, which has been updated with new information from the V&A Skiöld archive and a range of other sources to include correspondence and Print Workshop Daybooks. Skiöld recalls her early career in an interview by Michael G.McNay, The Guardian Friday 28 January 1968. 4 Newspaper clipping showing Skiöld and fellow students taking work for the Royal Academy exhibition 20.3.1953. She was living in Marylebone at the time. V&A AAD 1997/18 BSMB 1a 5 Op cit. Gilmour, Canvas 1970 6 The workshop was in a basement on the north side of George St between Baker St and Gloucester Place, according to Elizabeth Aslin, a fellow student who worked there. Aslin was later keeper of Bethnal Green Museum. group show at the Ware Gallery, Fulham Road, 13-27 October with her tutor Richard Beer and 3 of his students: Elizabeth Aslin, Rosemary J Foster, and Patricia A Smith. Skiöld became a naturalised citizen according to a Home Office letter dated 23 November 1956.7 She participated in an exhibition, which she probably helped arrange: Swedish Graphic Art, St George’s Gallery Prints, 7 Cork St London W1 21 January - 16 February 1957; work by 10 Scandinavian artists was shown.8 Among the entries in her diary for 1957 is the receipt of a payment of 5gns from Robert Erskine, either for editioning or helping in the organization of exhibitions; she notes, in her diary, the opening of the Senefelder and the Swedish Graphic exhibition at St George’s Gallery Prints (21.1.57). She made trips abroad, to see her family in Sweden, and to Switzerland. In January 1957, with financial support from her family, she bought 5, Westmorland Place which would remain her home and base in London. She applied to register her new business as The Proof Studio 10 October 1957.9 However, during 1957-58 she had to look for new premises for the workshop, possibly because the lease at George Street was about to expire. Skiöld encountered the European concept of the open print workshop during her visits to Paris and there is a suggestion that it was the example of Hayter’s Atelier 17 established in 1927 and which opened again after World War II in 1950, or what it represented, that was the chief inspiration for her idea of an open printmaking workshop, where for a small fee, individual artists could share facilities and enjoy a professional working atmosphere.10 There were few places where young or aspiring artists could make prints in London, other than the art schools, which remained an important though limited resource for young artists and which could not provide commercial editioning services. There were no open studios where individual artists could hire facilities to make their work. Robert Erskine who had opened St George’s Gallery Prints in 1954 had influenced Skiöld. He had gained experience while in Paris, visiting the Lacourière studio and Jacques Frélart, a master printer, and so gained a deeper knowledge of the world of the specially editioned Fine Art print, visiting establishments that worked with artists such as Picasso, Matisse or Bonnard. Erskine encouraged Skiöld in her enterprise.11 7 A letter signed by P.F.Millard 5 July 1956, The Polytechnic 309 Regent Street London W1, states that Skiöld was attending day and evening classes in Lithography, Etching and Painting and asks if she can stay on in Great Britain. William Rees-Mogg also wrote on her behalf on House of Commons notepaper. There is also a letter of support from Edward Ardizzone dated 30.10. 56. See V&A AAD 1997/18 BSMB 1. 8 See review by Stephen Bone, ‘Prints by Swedish Artists, London Exhibition’, Manchester Guardian 26 January 1957.He mentions the expressive handling of the, “brush-drawn aquatints and lithographs by Birgit Skiöld”. 9 In a later account by Peter Bird, based on the artist’s minimal diaries, it seems the starting date of the open workshop running as a business was 1957. In later interviews she usually gave the date of 1958. 10 See Pat Gilmour’s interview with the artist, op.cit. 1970. 11 See James Burr, “Curwen Gallery 5-30 April”, Apollo Vol 83 April 1966 p. 300. Erskine’s pioneering work to revitalise printmaking culture in Britain was mentioned in a BBC Radio review on 15 July 1956. St George’s Gallery Prints, 7 Cork St, London W1, was a place where prints from Paris could be seen. The writer, Myfanwy Piper, went on to say that what is needed “is an atelier where artists and professional engravers can inspire each other”.12 This was very much Erskine’s view. He was also instrumental in encouraging Stanley Jones to run Curwen’s new Artist Studio, having discussed this idea with him while in Paris in 1957.13 In Autumn 1958 Curwen Studio opened at Plaistow to run alongside Curwen Press with which it was associated.
Load more

Recommended publications
  • Contemporary Art Society Annual Report 1982
    Contemporary Art Society Annual Report and Statement of Accounts 1982 ate Gallery 0 John Islip Street Dndon SW1 P 4LL 1-821 5323 The Annual General Meeting of the Contemporary Art Society will be held at Warwick Arts Trust, 33, Warwick Square, S.W.1 on Tuesday, August 9th, 1 983 at 6.1 5 p.m. 1 . To receive and adopt the report of the committee and the accounts for the year ended December 31,1 982, together with the auditor's report. 2. To appoint auditors, special notice having been given, pursuant to section 1 42 of the Companies Act 1 948 and section 1 4 (1} (a) of the Companies ' Act 1 976, of the intention to propose the following resolution as an ordinary resolution:-- that Messrs. Neville Russell be, and are hereby, appointed auditors of the Society in place of the retiring auditors, Messrs. Sayers Butterworth, to hold office until the conclusion of the next general meeting at which accounts are laid before the Society. 3. To authorise the committee to determine Messrs. Neville Russell's remuneration for the coming year. 4. To elect to the committee the following who has been duly nominated; Philip Poilock, The retiring members are Joanna Drew and the Marquess of Dufferin and Ava. 5. Any other business. By order of the committee Petronilla Spencer-Silver Company Secretary May 28 1 983 Company Limited by Guarantee Registered in London No. 255486 Charities Registration No. 208178 Untitled Drawing from a series of paintings made in Australia, 1 981 Chalk, charcoal and wash on paper 44£ x 62 inches/1 13x157 cm.
    [Show full text]
  • 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]
  • TESS JARAY Present Lives and Works in London, UK 1957-60 Slade
    TESS JARAY Present Lives and works in London, UK 1957-60 Slade School of Fine Art, University College, London, UK 1954-57 Saint Martins School of Art and Design, London, UK 1938 Moved to UK 1937 Born in Vienna, Austria Public Collections Abbot Hall Art Gallery, Kendal, UK Arts Council Collection, London, UK Contemporary Art Society, London, UK Graves Art Gallery, Sheffield, UK Museum of Contemporary Art, Belgrade, Serbia Museum des 20 Jahrhunderts, Vienna, Austria Städtisches Museum, Leverkusen, Germany Sundsvall Museum, Sundsvall, Sweden Szépmüvészeti Múzeum, Budapest, Croatia The British Council, London, UK The British Museum, London, UK The Fogg Art Museum, Harvard University, MA, US The Sainsbury Centre, Norwich, UK The Tate Collection, London, UK The Victoria and Albert Museum, London, UK University College London, London, UK Walker Art Gallery, Liverpool, UK Western Australia Art Gallery, Perth, Australia Whitworth Art Gallery, Manchester, UK Worcester City Art Gallery and Museum, Worcester, UK Select Solo Exhibitions 2018 Tess Jaray: Aleppo, Exile Gallery, Berlin, Germany 2017 Tess Jaray, Early Paintings, Sotheby’s S|2, London, UK Tess Jaray, Djanogly Art Gallery, Nottingham, UK Tess Jaray: Into Light, Marlborough Fine Art, London UK Tess Jaray: The Light Surrounded, Albertz Benda, New York, NY 2016 Tess Jaray: Dark & Light, Megan Piper, London, UK 2015 Extra Terrestrial, East Gallery NUA, Norwich University of the Arts, Norwich, UK 2014 The Landscape of Space, Djanogly Art Gallery, Nottingham, UK 2013 Drawings, Karsten Schubert,
    [Show full text]
  • Frank Bowling Cv
    FRANK BOWLING CV Born 1934, Bartica, Essequibo, British Guiana Lives and works in London, UK EDUCATION 1959-1962 Royal College of Art, London, UK 1960 (Autumn term) Slade School of Fine Art, London, UK 1958-1959 (1 term) City and Guilds, London, UK 1957 (1-2 terms) Regent Street Polytechnic, Chelsea School of Art, London, UK SELECTED SOLO EXHIBITIONS 1962 Image in Revolt, Grabowski Gallery, London, UK 1963 Frank Bowling, Grabowski Gallery, London, UK 1966 Frank Bowling, Terry Dintenfass Gallery, New York, New York, USA 1971 Frank Bowling, Whitney Museum of American Art, New York, New York, USA 1973 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1973-1974 Frank Bowling, Center for Inter-American Relations, New York, New York, USA 1974 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1975 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, William Darby, London, UK 1976 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, Watson/de Nagy and Co, Houston, Texas, USA 1977 Frank Bowling: Selected Paintings 1967-77, Acme Gallery, London, UK Frank Bowling, Recent Paintings, William Darby, London, UK 1979 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA 1980 Frank Bowling, New Paintings, Tibor de Nagy Gallery, New York, New York, USA 1981 Frank Bowling Shilderijn, Vecu, Antwerp, Belgium 1982 Frank Bowling: Current Paintings, Tibor de Nagy Gallery,
    [Show full text]
  • Michael Kidner Interviewed by Penelope Curtis
    NATIONAL LIFE STORIES ARTISTS’ LIVES Michael Kidner Interviewed by Penelope Curtis & Cathy Courtney C466/40 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/40/01-08 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Kidner Title: Interviewee’s forename: Michael Sex: Male Occupation: Dates: 1917 Dates of recording: 16.3.1996, 29.3.1996, 4.8.1996 Location of interview: Interviewee’s home Name of interviewer: Penelope Curtis and Cathy Courtney Type of recorder: Marantz CP430 and two lapel mics Recording format: TDK C60 Cassettes F numbers of playback cassettes: F5079-F5085, F5449 Total no.
    [Show full text]
  • David Hockney
    875 North Michigan Ave, Chicago, IL 60611 Tel. 312/642/8877 Fax 312/642/8488 1018 Madison Avenue, New York, NY 10075 Tel. 212/472/8787 Fax 212/472/2552 DAVID HOCKNEY Born in Bradford, England, 1937. Lives and works in Los Angeles, California. EDUCATION 1953-57 Attended Bradford College of Art 1959-62 Attended Royal College of Art 1964 Teaching Position at University of Iowa 1965 Teaching Position at University of Colorado 1966-67 Teaching Position at University of California, Los Angeles & Berkeley SELECTED SOLO EXHIBITIONS 2016 David Hockney: I Draw, I Do, The MAC, Belfast, Ireland (forthcoming) The Yosemite Suite, L.A. Louver, Venice, California The Yosemite Suite, Annely Juda Fine Art, London David Hockney: 77 Portraits, 2 Still Lifes, Royal Academy of Arts, London, United Kingdom David Hockney: The Yosemite Suite, Pace, 537 West 24th Street, New York, New York. David Hockney: Six Tales from the Brothers Grimm, Gallagher & Turner, Newcastle, United Kingdom David Hockney: From the Beginning, River and Rowing Museum, Henley on Thames, United Kingdom 2015 – 2016 Hockney’s Double Portraits, Tate Britain, London, United Kingdom The Arrival of Spring, Fondation Vincent van Gogh Arles, Arles, France 2015 David Hockney, Works on Paper, Paul Kasmin Gallery, New York, New York David Hockney: Early Drawings, Offer Waterman, London, United Kingdom The Arrival of Spring in Woldgate, Galerie Lelong, Paris, France David Hockney: Painting and Photography, Annely Juda Fine Art, London, United Kingdom; traveled to L.A. Louver, Venice, California [cat.]
    [Show full text]
  • 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
    [Show full text]
  • JEFFREY STEELE (Born 1931) Is a British Abstract Painter
    JEFFREY STEELE (born 1931) is a British abstract painter. He grew up in Cardiff, Wales. During the 1950s he experimented with re- presentational styles. In Paris in 1959 he encountered the work of geometric abstractionists such as Victor Vasarely and Max Bill, and adopted a lifelong abstract approach. For eight years he worked purely in black and white and was identified with the Op-art movement. He has participated in more than 100 group exhibitions in Europe and the Americas and had 17 one-man shows and been featured in many groundbreaking shows, including the Responsive Eye, at MoMA and Dynamo, at the Grand Palais in Paris. He lectured in fine art in Portsmouth, Hampshire, from 1968 to 1989. His work is kept in many major museums including: Tate Britian, London; Victoria and Albert Museum, London; Museum of Contemporary Art, Buenos Aires; Walker Art Centre; National Museum of Wales, Cardiff; British Museum, London, etc. SELECTED SOLO EXHIBITIONS 1961 -Institute of Contemporary Arts, London 1963-Dillwyn Gallery, Swansea, Wales 1964 -Regional College of Art Gallery, Manchester -Grabowski Gallery, London 1966- McRoberts and Tunnard, London 1967-Sheffield University Art Gallery 1974 -Lucy Milton Gallery, London -Galerie Média, Neuchâtel 1976-Le Disque Rouge, Brussels 1977-Galerie Gilles Gheerbrant, Montreal -Galerie Swart, Amsterdam 1978 - Galerie Swart, Amsterdam 1979 -Galerie Lydia Megert, Bern 1989 -Galleria Seno, Milan 1992 -Clare Hall, Cambridge 1998 -Musée des Beaux-Arts, La Chaux-de-Fonds, Switzerland 2008 -Association Maison Blanche,
    [Show full text]
  • David Hockney Selected Bibliography
    DAVID HOCKNEY SELECTED BIBLIOGRAPHY BOOKS AND EXHIBITION CATALOGUES 2018 David Hockney: Something New in Painting (and Photography) [and even Printing] (exhibition catalogue). Text by Lawrence Weschler. New York: Pace Gallery, 2018. Gayford, Martin. Modernists & Mavericks: Bacon, Freud, Hockney & The London Painters. London: Thames & Hudson, 2018. Modern British Art. London: Offer Waterman, 2018: 24–29, illustrated. Royal Academy of Arts 250th Summer Exhibition (exhibition catalogue). London: Royal Academy of Arts, 2018. 2017 The Art Museum. London: Phaidon, 2017: 407, illustrated. Booknesses: Artists’ Books from the Jack Ginsberg Collection (exhibition catalogue). Johannesburg, South Africa: University of Johannesburg Art Gallery, 2017: 137, illustrated. David Hockney: The Exhibition (exhibition catalogue). Paris: Centre Pompidou, 2017. David Hockney (exhibition catalogue). Texts by Didier Ottinger, Chris Stephens, Marco Livingstone, et al. Paris: Centre Pompidou, 2017. David Hockney: Selected Bibliography—Books 2 David Hockney (exhibition catalogue). London: Tate Publishing, 2017. David Hockney: The Yosemite Suite (exhibition catalogue). Text by Alfred Pacquement. Paris: Galerie Lelong, 2017. Hockney, David. “David Hockney with William Corwin.” In Tell Me Something Good: Artist Interviews from The Brooklyn Rail. New York: David Zwirner Books, 2017: 204–210, illustrated. Kinsman, Jane. David Hockney Prints: The National Gallery of Australia Collection. Canberra: National Gallery of Australia, 2017. Nippe, Christine and Christiane Wedemann. 50 Modern Artists You Should Know. Munich, London and New York: Prestel, 2017: 136–137, illustrated. UBS Art Collection: To Art Its Freedom. Text by Mary Rozell. Berlin: Hatje Cantz Verlag CmbH, 2016: 90, illustrated. 2016 Art at Work: The JPMorgan Chase Art Collection. Third edition. New York: JP Morgan Chase & Co., 2016: 307, illustrated.
    [Show full text]
  • Craigie Aitchison CBE RA Hon
    Trevor Jones BIOGRAPHY 1945 Stourbridge, Worcestershire, England 1960-1963 Stourbridge College of Art 1963-1965 Birmingham College of Art 1965-1968 Royal College of Art, London 1982 First print published at Advanced Graphics for the The London Suite 1999 Head of Department, Camberwell School of Art SOLO EXHIBITIONS 1972 New Art Centre, London 1974 Touring Exhibition: Peterloo Gallery, Manchester Dudley Art Gallery, Dudley New Art Centre, London Park Square Gallery, Leeds Arnolfini, Bristol 1978 New Art Centre, London 1979 Reneth Gallery, New York 1987 New Art Centre, London 1990 New Works on Paper, Flowers East, London 43rd Aldeburgh Festival, Suffolk 1992 Trevor Jones Prints 1982 - 1992, Flowers Graphics, London 1993 Trevor Jones New Prints, Flowers Graphics, London 1995 Trevor Jones Paintings, Flowers East, London 2000 'Intimate Layers', Open Studio, Suffolk Glass Mountain Gallery, Connecticut, USA 2002 New Paintings, Glass Mountain Gallery, Connecticut, USA 2006 'Paintings', Foyer Space, Camberwell College of Art London SELECTED PUBLIC COLLECTIONS BP Group; Credit Suisse/First Boston; Johannesburg Art Gallery and Melbourne Art Gallery; Lasmo UK; Office of National Statistics; Scottish National Gallery of Modern Art; Unilever; Victoria and Albert Museum ; SELECTED GROUP EXHIBITIONS 1969 'Some Recent Art in Britain', Leeds City Art Gallery 1970 'New British Painting', ICA, London 1974 'British Painting', Hayward Gallery Biennial, London 1976 Aberdeen Art Gallery 1977 'Works on Paper 1952-1977', Royal Academy Graduate Gallery, London 'British Painting 1952-1977', Royal Academy, London 1978 British Council Travelling Exhibition, Canada (touring) 1987 Woodlands Art Gallery, London 1988 'Artist of the Day', Angela Flowers Gallery, London 1989 'Monoprints', Flowers East; 'The Print Show', Flowers East, London Advanced Graphics London FINE ART PRINTERS, PUBLISHERS AND DEALERS 32 Long Lane London SE1 4AY t: 020 7407 2055 f: 020 7407 2066 e: [email protected] w: www.advancedgraphics.co.uk SELECTED GROUP EXHIBITIONS cont.
    [Show full text]
  • The Contemporary Art Society Annual Report and Statement of Accounts 1986 Tate Gallery 20 John Islip Street London SW1P 4LL 01-8
    The Contemporary Art Society Annual Report and Statement of Accounts 1986 Tate Gallery 20 John Islip Street London SW1P 4LL 01-821 5323 The Annua! General Meeting of The Contemporary Art Society wiii be held at the Warwick Arts Trust, 33 Warwick Square, London S.W.1. on Monday, 13 July, 1987, at 6.15pm. 1. To receive and adopt the report of the committee and the accounts for the year ended 31 December, 1986, together with the auditors'report. 2. To reappoint Neville Russeii 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: Richard Morphet. The retinng members are David Brown and William Packer. 4. Any other business. By order of the committee Petronilla Silver Company Secretary 1 May, 1987 Company Limited by Guarantee Registered In London No. 255486 Chanties Registration No. 208178 Cover: Cartoon by Michael Heath from 'The Independent' of 5 November, 1986 The 3rd Contemporary Art Society Market was held at Smith's Gallenes, Covent Garden, 5-8 November 1986 Sponsored by Sainsbury's, and Smith's Galleries Her Majesty Queen Elizabeth The Queen Mother The most important event of the year, after our 75th birthday celebrations (which figured in our last Report), was the triennial Distribution show for which Christie's kindly lent us their Rooms. We opened the exhibition with a lunch for museum Balfour OBE directors and curators on 8 January.
    [Show full text]
  • David Hockney
    875 N Michigan Ave, Ste 3800 Chicago, IL 60611 +1 312 642 8877 1018 Madison Ave, 2nd Fl New York, NY 10075 +1 212 472 8787 DAVID HOCKNEY Born in Bradford, England, 1937. Currently lives and works in Normandy, France. EDUCATION 1962 Royal College of Art, London, England 1957 Bradford College of Art, Bradford, England SOLO EXHIBITIONS 2021 David Hockney: The Arrival of Spring, Normandy, 2020, Royal Academy of Arts, London, England Hockney in Normandy, Richard Gray Gallery, New York, New York 2020 David Hockney: Ma Normandie, Galerie Lelong & Co., Paris, France David Hockney: Drawing from Life, The Morgan Library and Museum, New York, New York [cat.] (2021) David Hockney: Video Brings Its Time to You, You Bring Your Time to Paintings and Drawings, Annely Juda Fine Art, London, England David Hockney: Drawing from Life, National Portrait Gallery, London, England David Hockney: Works from the Tate Collection, Bucerius Kunst Forum, Hamburg, Germany 2019 David Hockney's Yosemite, Heard Museum, Phoenix, Arizona (2020) Alan Davie & David Hockney: Early Works, The Hepworth Wakefield, West Yorkshire, England (2020) David Hockney: La Grande Cour Normandy, Pace Gallery, New York, New York [cat.] Hockney and Hollywood, The Bowes Museum, Barnard Castle, England David Hockney's Yosemite, Monterey Museum of Art, Monterey, California David Hockney, Seoul Museum of Art, Seoul, South Korea David Hockney: Etchings, Pace Prints, New York, New York David Hockney: Something New in Painting (and Photography) [and even Printings]... Continued, L.A. Louver, Venice,
    [Show full text]