DOCSLIB.ORG

London Museums Exhibition Schedule

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
London Museums Exhibition Schedule London Museums Exhibition Schedule Opening This Week 14th April- 21st April 2019 EXHIBITION MUSEUM DATES Estorick Collection of Modern Who’s Afraid of Drawing? Italian Art Works on Paper from the 17th April- 23rd June 39a Canonbury Square, Ramo Collection N1 2AN Somerset House 2019 Sony World Photography Strand 18th April- 6th May Awards Exhibition WC2R 1LA Saatchi Gallery Johnnie Cooper: Throe on Duke of York’s HQ, Kings Rd, 19th April-4th May Throe SW3 4RY What’s On EXHIBITION MUSEUM DATES Drawn in Colour: Degas From National Gallery 20th September – 7th May Burrell Trafalgar Sq, WC2N 5DN Russia, Royalty and the Queen’s Gallery Romanovs/ Roger Fenton’s Buckingham Palace, Buckingham 9th November – 28th April Photographs of the Crimean Palace Road, SW1A 1AA War The CC Land Exhibition: Tate Modern Pierre Bonnard: The Colour of 23rd January – 6th May Bankside, SE1 9TG Memory Christian Dior: Designer of Victoria and Albert Museum 2nd February- 1st September Dreams Cromwell Road, SW7 2RL 17 Hill Street London W1J 5LJ For more information please contact [email protected] +44 (0) 20 7478 2070 www.fineartgroup.com Tate Britain Dan McCullin 5th February – 6th May Millbank, SW1P 4RG Kader Attia: The Museum of Hayward Gallery Emotion/ Diane Arbus: In the 13th February – 6th May Belvedere Rd, SE1 8XX Beginning Hayward Gallery Diane Arbus: in the beginning 13th February – 6th May Belvedere Rd, SE1 8XX South London Story Lab with South London Gallery 18th February – 12th May the Big Family Press 65-67 Peckham Road, SE5 8UH Sir John Soane’s Museum Eric Parry: Drawing 13 Lincoln’s Inn Fields, 20th February – 27th May WC2A 3BP Tate Modern Franz West 20th February – 2nd June Bankside, SE1 9TG Elizabethan Treasures: National Portrait Gallery Miniatures by Hilliard and 21st February – 19th May St. Martin’s Place, WC2H 0HE Oliver Royal Academy of Arts Phyllida Barlow Burlington House, Piccadilly, 23rd February – 23rd June W1J OBD Tate Modern Dorothea Tanning 27th February – 9th June Bankside, SE1 9TG John Bellany and Alan Davie: Newport Street Gallery 27th February – 1st September Cradle of Magic Newport Street, SE11 6AJ National Gallery Boilly: Scenes of Parisian Life 28th February – 19th May Trafalgar Sq, WC2N 5DN The Renaissance Nude Royal Academy of Arts 3rd March- 2nd June Burlington House, Piccadilly, W1J OBD 17 Hill Street London W1J 5LJ For more information please contact [email protected] +44 (0) 20 7478 2070 www.fineartgroup.com Wunderblock: Emma Smith Freud Musuem 6th March- 26th May 20 Maresfield Gdns, NW3 5SX Only Human: Martin Parr National Portrait Gallery 7th March- 27th May St. Martin’s Pl, WC2H 0HE Art Now: Joanna Piotrowska: Tate Britain 8th March- 9th June All our false devices Millbank, SW1P 4RG Jessa Fairbrother: The Photographer’s Gallery 8th March- 28th April Constellations & Coordinates 16-18 Ramilies Street, Soho, W1F 7LW Deutsche Borse Photography The Photographers Gallery 8th March - 2nd June Foundation Prize 2019 16-18 Ramillies Street, W1F 7LW Dave Heath: Dialogues with The Photographers Gallery 8th March - 2nd June Solitudes 16-18 Ramillies Street, W1F 7LW Haegue Yang: Tracing South London Gallery 8th March- 27th May Movement 65-67 Peckham Rd, SE5 8UH Laurie Robins: ‘Free Trade of South London Gallery 8th March- 26th May Else’ 65-67 Peckham Rd, SE5 8UH Behind a Façade of Order Barbican 9th March- 5th May Barbican Centre Silk Street, EC2Y 8DS Kaleidoscope Saatchi Gallery 15th March- 5th May Duke of York’s HQ, Kings Rd, SW3 4RY Carmignac Photojournalism Saatchi Gallery 15th March- 5th May Award: Arctic: New Frontier Duke of York’s HQ, Kings Rd, SW3 4RY Tate Britain Mike Nelson 18th March-6th October Millbank, SW1P 4RG Sorolla: Spanish Master of National Gallery 18th March-7th July Light Trafalgar Sq, WC2N 5DN 17 Hill Street London W1J 5LJ For more information please contact [email protected] +44 (0) 20 7478 2070 www.fineartgroup.com The Anxious Ocean and the Barbican 22nd March- 5th May Moon Bathers by Hyphen- Barbican Centre Silk Street, Labs EC2Y 8DS The Anxious Ocean and The Somerset House 22nd March-5th May Moon Bathers by Hyphen- Strand, WC2R 1LA Labs The EY Exhibition: Van Tate Britain 27th March-11th August Gogh and Britain Millbank, SW1P 4RG Whitechapel Gallery Queer Spaces: London, 1980s- 77-82 Whitechapel High St 2nd April-25th August Today E1 7QX Gasworks Pedro Neves Marques: It Bites 11th April-16th June 155 Vauxhall Street Back SE11 5RH British Museum 11th April- 21st July Edvard Munch: love and angst Great Russell Street WC1B 3DG Chisenhale 12th April- 9th June Mandy El-Sayegh 64 Chisenhale Road E3 5 QZ Camden Arts Centre 12th April- 23rd June Jonathan Baldock – Facecrime Arkwright Road NW3 6DG A Tale of Mother’s Bones: Camden Arts Centre Grace Pailthorpe, Reuben 12th April- 23rd June Arkwright Road Mednikoff and the Birth of NW3 6DG Psychorealism The National Gallery Sea Star: Sean Scully at the 13th April- 11th August Trafalgar Square National Gallery WC2N 5DN 17 Hill Street London W1J 5LJ For more information please contact [email protected] +44 (0) 20 7478 2070 www.fineartgroup.com .
Load more

Recommended publications
  • Sean Scully: Inside Outside Media Release
    Sean Scully: Inside Outside Media Release Longside Gallery and Open Air 29 September 2018–6 January 2019 “I have spent my life making the melancholic into something irresistible. Because the world has changed around me and become more regretful, my paintings have become more true.” Sean Scully Yorkshire Sculpture Park (YSP) presents Sean Scully: Inside Outside, the largest-ever presentation of sculptures and first exhibition of sculpture and painting in the UK by the Irish-born artist. Exploring concepts of landscape and abstraction with human experience, the exhibition unites sculpture with important recent paintings on aluminium, together with works on paper. Drawing out ideas pertinent to the singularity of YSP and its landscape, this is a poetic, robust experience that embraces the Park’s topography and Scully’s exceptional vigour, as well as his belief that in life and art there is perpetual discovery. The exhibition presents an artist at the height of his powers. Aged 72, it is evident that there is no curtailment of Scully’s energy, drive and vision. Keenly aware of the labour that dominated the lives of his mining family, Scully’s practice is one of great rigour and toil, his output prodigious. For YSP he has made new paintings and sculpture – resolutely contemporary works that integrate an inclination towards geometry with the romantic sincerity of landscape painting in the historical tradition. Born in Dublin in 1945, raised in London, and now resident in New York, London and Germany, Scully is considered to be one of the most important abstract painters working today. Drawing on European traditions but with the distinct character and scale prevalent Shadow Stack, 2018 and Landline Inwards, 2015 in the USA, Scully is credited with reinvigorating abstract painting.
    [Show full text]
  • Path to Equilibrium Foozhan Kashkooli Winthrop University
    Winthrop University Digital Commons @ Winthrop University Graduate Theses The Graduate School 5-2015 Path to Equilibrium Foozhan Kashkooli Winthrop University Follow this and additional works at: https://digitalcommons.winthrop.edu/graduatetheses Part of the Art and Design Commons, and the Fine Arts Commons Recommended Citation Kashkooli, Foozhan, "Path to Equilibrium" (2015). Graduate Theses. 3. https://digitalcommons.winthrop.edu/graduatetheses/3 This Thesis is brought to you for free and open access by the The Graduate School at Digital Commons @ Winthrop University. It has been accepted for inclusion in Graduate Theses by an authorized administrator of Digital Commons @ Winthrop University. For more information, please contact [email protected]. PATH TO EQUILIBRIUM A Thesis Statement Presented to the Faculty of the College of Visual and Performing Arts In Partial Fulfillment Of the Requirements for Degree Of Master of Fine Arts In the Department of Fine Arts Winthrop University May 2015 By Foozhan Kashkooli Abstract This statement outlines the theoretical, historical, and conceptual influences that shape my Master of Fine Arts thesis at Winthrop University. It further describes and analyzes the series of paintings that compose my thesis Equilibrium, each one a reflection of my aesthetic experience as I evolved as an artist. As I will illustrate, the aesthetic experiences reflected in my work are intertwined with the artist or movement that inspired me at the time. The series consists of seven large-scale, abstract paintings, where I explore balancing form, shape, and color. In this thesis statement, I am asserting my progression as an evolving artist and elucidating my investigation of painting as a unique medium with its own complexity of composition and arrangements of shape, form, and color.
    [Show full text]
  • New Art Thing That Follows, and That Comes from an Interest in Irish Music – I 1
    Interview Dr Mark Merrony, Director of the Musée d’Art Classique de Mougins, interviews the internationally renowned abstract artist Sean Scully in his Barcelona studio How old were you when you first started to paint or draw? I was about six. While I was at a convent school I was very involved with things like Nativity plays and I used to make the scenery. I was always the school artist. When you were at art school did you only paint abstract pictures? No. I started making very realistic drawings and I drew obsessively for the first couple of years. I pro- duced a lot of beautiful drawings of friends, plants, animals, landscapes. I am showing them in Ireland and in Germany; there is going to be an exhibition that explains this story. I am one of the few artists knock- ing around now that made the tran- 1 sition from realism to abstraction. What was it that steered you towards abstraction? I would say that the drive to abstraction is fundamental to every- Ancient order – new art thing that follows, and that comes from an interest in Irish music – I 1. Sean Scully in 1992, of gravitas and there is a kind of cardboard boxes, and I always was mean, that’s in my soul, and the standing in front of Doric order about them.’ That’s very fascinated by this idea of stack- idea of rhythm, the sense of rhythm, the Doric columns of when I first got the idea of making ing, and just being able to go up by that’s deep within me.
    [Show full text]
  • Sean Scully, 1945 —
    Sean Scully, 1945 — Sean Scully (b. 1945, Dublin, Ireland) is an American-Irish artist who is internationally recognised for his distinctive abstract compositions that interrogate the properties of light, colour and form. Scully studied painting at Croydon College of Art, London and Newcastle University, UK, where he began to work in abstraction. During a trip to Morocco in 1969, Scully was strongly influenced by the local textiles and rich colours of the region, which he translated into the broad horizontal stripes and deep earth tones that characterise his mature style. Scully’s travels throughout Morocco and Mexico would also prompt his decision to move from Minimalism to a more emotional and humanistic form of abstraction. Following fellowships in 1972 and 1975 at Harvard University, Scully’s paintings became increasingly monumental and sculptural, consisting of interconnected three-dimensional panels that anticipated his later sculpture practice. In 1984 he began to develop the Wall of Light series, replacing the precise stripes of his early paintings with solid blocks of colour, built with increasingly loose and feathered brushstrokes into vertical and horizontal ‘bricks’ that suggest a wall of stone. Subtle differences in colour in the paintings indicate the location in which they were created, the changing seasons and the artist’s own emotions. This series formed the subject of a major touring exhibition at The Metropolitan Museum of Art, New York in 2007. In 1984 Scully achieved international breakthrough through his inclusion in the major group exhibition An International Survey of Recent Painting and Sculpture at the Museum of Modern Art, New York.
    [Show full text]
  • WADSWORTH ATHENEUM MUSEUM of ART Annual Report 2019 ANNUAL REPORT 2019 WADSWORTH ATHENEUM MUSEUM of ART
    WADSWORTH ATHENEUM MUSEUM OF ART Annual Report 2019 ANNUAL REPORT 2019 WADSWORTH ATHENEUM MUSEUM OF ART Contents 3 From the President 5 Report: the Year in Review 8 175 Years of Serving the Community 12 Making Museums Matter 18 Understanding Artemisia 24 Exhibitions & Acquisitions 40 Program Highlights 54 People, Donors & Gifts 80 Financials Cover: Nicolaes van Verendael, A Still Life, 1682. Oil on copper. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, 2019.8.1 From the President This annual report, capturing the activities of the museum between July 2018 and June 2019, is filled with the variety and quality of experiences and impacts generated by the committed staff, dedicated volunteers of our support organizations, and devoted board of trustees of our institution, on the 175th anniversary of the beginning of the museum’s service to the public. Though the Wadsworth was founded in 1842, it was not until the late summer of 1844 that we opened our doors and truly took hold as a beacon for the visual arts, located at the heart of Hartford, instigating conversations about art which resonate with people—then as now—from all over. We are informed by our history but we are keeping our sights on the future. Our program horizon is robust. None of it would be possible without the steadfast commitment and support from so many of you. My thanks for all you do to ensure the healthy future of this great museum. William R. Peelle, Jr. President, Board of Trustees Left: Sol LeWitt, Black and White Horizontal Lines on Color, 2005.
    [Show full text]
  • Annual Report
    July 1, 2007–June 30, 2008 AnnuAl RepoRt 1 Contents 3 Board of Trustees 4 Trustee Committees 7 Message from the Director 12 Message from the Co-Chairmen 14 Message from the President 16 Renovation and Expansion 24 Collections 55 Exhibitions 60 Performing Arts, Music, and Film 65 Community Support 116 Education and Public Programs Cover: Banners get right to the point. After more than 131 Staff List three years, visitors can 137 Financial Report once again enjoy part of the permanent collection. 138 Treasurer Right: Tibetan Man’s Robe, Chuba; 17th century; China, Qing dynasty; satin weave T with supplementary weft Prober patterning; silk, gilt-metal . J en thread, and peacock- V E feathered thread; 184 x : ST O T 129 cm; Norman O. Stone O PH and Ella A. Stone Memorial er V O Fund 2007.216. C 2 Board of Trustees Officers Standing Trustees Stephen E. Myers Trustees Emeriti Honorary Trustees Alfred M. Rankin Jr. Virginia N. Barbato Frederick R. Nance Peter B. Lewis Joyce G. Ames President James T. Bartlett Anne Hollis Perkins William R. Robertson Mrs. Noah L. Butkin+ James T. Bartlett James S. Berkman Alfred M. Rankin Jr. Elliott L. Schlang Mrs. Ellen Wade Chinn+ Chair Charles P. Bolton James A. Ratner Michael Sherwin Helen Collis Michael J. Horvitz Chair Sarah S. Cutler Donna S. Reid Eugene Stevens Mrs. John Flower Richard Fearon Dr. Eugene T. W. Sanders Mrs. Robert I. Gale Jr. Sarah S. Cutler Life Trustees Vice President Helen Forbes-Fields David M. Schneider Robert D. Gries Elisabeth H. Alexander Ellen Stirn Mavec Robert W.
    [Show full text]
  • Sean S Ully Standin N the Land Sean Scully Standing on the Land Sculpture at Pilane 2021 Pilane
    SEAN S ULLY STANDIN N THE LAND SEAN SCULLY STANDING ON THE LAND SCULPTURE AT PILANE 2021 PILANE. TJÖRN. SWEDEN ”I do believe abstraction is and was meant to embody deep emotions. I believe that´s its job, in the history of art. ” PILANE BURIAL FIELD Time past and time future Pilane, with its fascinating history, its vast, well-preserved Iron-Age burial field, What might have been and what has been its nearby hill-forts and its diverse, seductively beautiful topography, is one of the Point to one end, which is always present. most singular places in Sweden, where nature and culture interact. Here, land- T.S. Eliot, Burnt Norton scape and art share the space and merge their destinies. At Pilane, we experience nature and art simultaneously. It is like stepping inside a magnificent panorama by Joachim Patinir (c. 1475–1524), a Dutch artist who liberated landscape painting from its religious undertones. In one and the same picture, he would combine the most disparate natural phenomena – forests, fields, mountain ranges and ocean bays, giving rise to a genre that is now referred to as the world landscape. To see and be seen by others wandering along the natural paths at Pilane is like being a stock figure in a Patini painting. Pilane is like a living work of art, where land and sea, mighty cliffs and moist valleys, fresh verdure and the unique pale grey and soft red tones of the Bohus granite are all combined. It is a cross- section of the entire world, a niche in reality where nature and art interweave their lives and where we can experience this from within.
    [Show full text]
  • Sean Scully, Jim Dine, Zhang Huan, Wang Guangyi and Historian and Scholar Barry Schwabsky
    Skira Skira Spring 2020 SKIRA EDITORE Spring 2020 Palazzo Casati Stampa via Torino 61 I - 20123 Milan T: +39 02 72 444 1 F: +39 02 72 444 211 [email protected] www.skira.net DISTRIBUTION in USA, Canada, Central & South America through ARTBOOK | D.A.P. (see Trade Information page) in the rest of the world by Thames & Hudson (see Trade Information page) SkiraSpring2020 Skira Group Milan Genève Spring2020 Skira editore All prices apply in the UK, 7 Palazzo Casati Stampa US and Canada only Via Torino, 61 and are subject to alteration Highlights and New Titles I – 20123 Milano without notice. For Value Limited Editions T +39 02 724441 Added Tax (VAT) purposes, F +39 02 72444211 books are zero rated. Photography www.skira.net Information contained Design and Applied Arts Marketing, Publicity and Rights Enquiries in this catalogue was Please contact the International Marketing correct at the time of going Special Editions Manager at Skira: [email protected] to press but is liable to Ancient Art alteration without notice. Editions d’Art Skira Genève Contemporary Art Place du Molard 3 CH 1204 Genève Fashion Distribution details are listed on the Architecture Trade Information pages of this catalogue. Printed in Italy 51 Backlist visit our website Limited Editions www.skira.net Sports find us on Japanese and Oriental Art facebook.com/skiraeditore Modern and Contemporary Art follow us on twitter.com/skiraeditore Catalogues raisonnés instagram.com/skiraeditore pinterest.com/skiraeditore Ancient Art youtube.com/skiraeditore Louvre Abu
    [Show full text]
  • Sean Scully Wall of Light Cubed Opens Thursday March 30 from 6–8 Pm Exhibition Continues Through May 20, 2017
    PRESS RELEASE Sean Scully Wall of Light Cubed Opens Thursday March 30 from 6–8 pm Exhibition continues through May 20, 2017 Cheim & Read is pleased to announce an exhibition of new paintings, drawings, and sculpture by Sean Scully, which will open on March 30, 2017, and run through May 20. In this show, Scully underscores the interplay between his two-dimensional and three-dimensional work, employing an expansive array of forms and materials, including oil and spray paint, watercolor, graphite, pastel, and oil stick, as well as aluminum, Corten and stainless steel. Among the largest works in the show are the 9-foot Untitled (Tower) (2016), composed of alternating sections of Corten and stainless steel, and Blue Note (2016), a monumental painting on six joined aluminum panels measuring 9.2 by 26.7 feet. For Blue Note, Scully used oil paint on four of the panels and acrylic spray paint on two, a combination inspired by his own work from the 1970s, which was shown by Cheim & Read last year in its first off-site exhibition. Block Red, 2016, oil on aluminum, 85 x 75 in, 215.9 x 190.5 cm © Sean Scully The concepts animating the show, according to the artist, lie in the opposition between ‘ascending’ (the steel tower) and ‘descending and compression’—the latter evoking his teenage experience as the operator of a baling machine at Woolworths, crushing and stacking cardboard boxes. A number of paintings (Block Red and Block Brown both 2016), supplemented by related watercolors and drawings, use isometric perspective to isolate a three-dimensional form in space, representing a significant departure from the frontal compositions widely associated with the artist’s practice.
    [Show full text]
  • READ ME FIRST Here Are Some Tips on How to Best Navigate, find and Read the Articles You Want in This Issue
    READ ME FIRST Here are some tips on how to best navigate, find and read the articles you want in this issue. Down the side of your screen you will see thumbnails of all the pages in this issue. Click on any of the pages and you’ll see a full-size enlargement of the double page spread. Contents Page The Table of Contents has the links to the opening pages of all the articles in this issue. Click on any of the articles listed on the Contents Page and it will take you directly to the opening spread of that article. Click on the ‘down’ arrow on the bottom right of your screen to see all the following spreads. You can return to the Contents Page by clicking on the link at the bottom of the left hand page of each spread. Direct links to the websites you want All the websites mentioned in the magazine are linked. Roll over and click any website address and it will take you directly to the gallery’s website. Keep and fi le the issues on your desktop All the issue downloads are labeled with the issue number and current date. Once you have downloaded the issue you’ll be able to keep it and refer back to all the articles. Print out any article or Advertisement Print out any part of the magazine but only in low resolution. Subscriber Security We value your business and understand you have paid money to receive the virtual magazine as part of your subscription. Consequently only you can access the content of any issue.
    [Show full text]
  • Stroke of Genius: Gesture and Brushstroke in Postmodernist Painting
    Stroke of Genius: Gesture and Brushstroke in Postmodernist Painting by Susan Post “Rose near green and sky blue gives both honour and life.” Leon Battista Alberti Della Pintura 1436 "Every day I look at the sky to capture the colour of the day" Sean Scully 20 Top: Sean Scully Arrest 1987 oil on linen; Bottom: Jonathan Lasker Fachwerkwald 2005 1 PREFACE Priming is my favorite part of preparing a canvas for painting because, after the physical exertion of stretching the canvas, applying gesso puts me in an almost meditative state. I start by wetting the whole thing down, dipping my palm into a bucket of water. When the water first hits the taut dry cotton duck, it forms glistening disks that dance across the surface, breaking up and then coalescing again, in picture plane parties of mercurial oblate globs. It looks very spacy and hyperreal, and I think about making a painting of that. But then I rub my warm hand against the cool water, and it melts through the surface and is absorbed into the canvas which, once wet, will be able draw the gesso deep into its weave, forming a protective seal. It feels so soft, connecting me with each canvas in such a physical, sensual way that I know that, really, this is what I want to be painting about. This kind of presence cannot be simulated. Some paintings are like the water-soaked canvas, full of remnants of a human touch, and for me these are far more interesting and approachable than those that resemble the beautiful, shiny beads of water sitting on the surface of the canvas.
    [Show full text]
  • Sean Scully: the WANDERER Soon to Turn 70, the Irish- Born Painter Has Been on the Move Since the Age of Four
    62 THE ART NEWSPAPER Number 268, May 2015 FEATURES Artist interview Sean Scully: THE WANDERER Soon to turn 70, the Irish- born painter has been on the move since the age of four. With major shows opening in Venice and other cities, he tells how travelling the world helps him stay “in an active situation”. By Pac Pobric n the Bavarian Alps, mobile phone reception is elusive and Sean Scully is chasing it when I reach him by phone. He is driving to his farmhouse and studio in the village of Mooseurach with his five-year-old son, Oisín, who is in the back seat playing with Star Wars Lego. Scully is in an enthusiastic mood. He is in Germany for a five-month stay and has been Ilooking forward to the reprieve. “I always paint well here because it’s very relaxed,” he says on the phone. “But I paint well wherever I am.” Scully turns 70 in June, and the unfolding birthday celebrations have taken him all over the world. His retrospective Follow the Heart opened at the Himalayas Art Museum in Shanghai in November 2014 and travelled to the Central Academy of Fine Arts in Beijing, where it closed in April. Another survey, Moving or Profound or Necessary or Beautiful, at the Pinacoteca do Estado in São Paulo (until 28 June), opened in April. By the end of the year, 13 galleries and museums in eight countries will have hosted exhibitions of Scully’s work, including the National Gallery of Ireland in Dublin (12 May-20 September), the reopened Museum Liaunig in Wandering animates Scully’s imagination of a story about a visit to his studio from Diane Neuhaus, Austria (which was due to open on 26 and there is a James Joycean quality to his roving Waldman, a former curator at the Solomon April, as we went to press), and the Palazzo Falier thoughts.
    [Show full text]