DOCSLIB.ORG

The Single Prints and Bookworks of Birgit Skiöld 1923- 1982

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Single Prints and Bookworks of Birgit Skiöld 1923- 1982 The Single Prints and Bookworks of Birgit Skiöld 1923- 1982 Introduction: Birgit Skiöld and Print Workshop Skiöld opened her printmaking workshop in 1958 in the basement of 28, Charlotte Street, London. She had run a small workshop for 2 years previously, having been inspired by Robert Erskine, who ran St George’s Gallery Prints, and by the Parisian open-print studios which she had encountered as a student. One of the first workshops of its kind in London, Print Workshop was a non-commercial open studio, where artists could work independently producing etchings and lithographs.1 Few such facilities were available in London at the time.2 Print Workshop provided a professional and friendly place for artists to work and continued to attract visitors for over 2 decades, remaining open until 1983, a year after the artist’s death. Artists and their printers visited there, international visitors came from Europe, Japan, Australia and North America and worked alongside British printmakers. They found a busy centre for avant-garde ideas and printmaking activity and a haven of print culture, presided over by a very special doyen, who ran a fairly strict régime on a shoe-string budget. The excellent reputation of Print Workshop’s printers and the low costs meant that professional standards were attainable outside the bigger and more expensive studios. Proofing and some editioning were carried out there, the proceeds going to the printers with a small subsidy to Skiöld for running the workshop. Work was carried out by, or on behalf of, Michael Ayrton, Boyd & Evans, Jim Dine (Ernest Donagh proofed Jim Dine’s etchings for the portfolio with Lee Friedlander’s photographs), Katherine Gili (for Warren Editions), David Hockney (his etchings, Six Fairy Tales from the Brothers Grimm, 1969, were proofed there for Petersburg Press), Tessa Jaray, Edouardo Paolozzi, Tom Phillips, Dieter Roth, Michael Sandle, William Tillyer, Joe Tilson, and William Tucker, and many other notable artists.3 American artists, Warrington 1 See Biography and career for more detail about the early years. 2 Sylvie Turner highlights this in her article: ‘Printmaking Studios in Britain, The Continuing Tradition’, in Print Quarterly VII 1990 4, p.406 quoting from her interview with Stanley Jones June 1990. 3 For references to Hockney and Dine see the statement in the catalogue, An Exhibition of prints by artists associated with Print Workshop, Curwen Gallery, May/June 1971.There’s an interesting undated note in the V&A Skiöld Archive, tucked into a Studio International article, March1971, that says Gordon House printed for Paolozzi at Print Workshop. The context is, The Conditonal Probability Machine series of 24 prints, EA 760-777, which were photo-etchings on copper, commercially prepared by Central Etching Service Ltd, London. It is possible the reference is to a preliminary proofing stage. See also Sidey, who gives the otherwise known details of proofing and printing by Editions Alecto, in, Editions Alecto Original Graphics, Multiple Originals 1960-1981, Lund Humphries, 2003 p.196. Colescott, and Kathan Brown, who later set up Crown Point Press in San Francisco in 1962; both worked at Print Workshop in the early days.4 While there were a number of women artists and printmakers active at the time, it was unusual for Skiöld, a woman, to be running her own establishment.5 In this and in other ways, for instance in her work with Circle Press, she was a phenomenon. Printmaking underwent dramatic change in the early 1960s in London. Soon there were a number of large studio workshops which introduced new techniques of photo-lithography or screen-printing, among them the famous Kelpra Studio, set up by Chris and Rose Prater in 1958, who pioneered screen-printing; Editions Alecto, established 1962, which gained a reputation for vanguard Fine Art print production and multiples; and Curwen Studio, established in 1958, which specialised in Fine Art lithography. These establishments could offer the services of master printers and helped to transform the Fine Art market.6 This market was volatile and fluctuated but, for a time, it sustained the rising fortunes of the modernist print. Print Workshop offered an intimate working environment, described by some as reminiscent of Parisian print ateliers they had visited.7 There was no house style or tendency, just diversity, individuality and excellence. One might have encountered Tom Phillips, a frequent visitor in the early days working in one corner, or, later on, Maurice Payne proofing for David Hockney, maybe an American or Japanese artist over in London to work for a few months, or Birgit Skiöld herself developing one of her ideas, or one of her printers who made their own work too, and participated in the group exhibitions that Skiöld organised.8 The studio had a lively and industrious atmosphere, when it was at its best, and was a little chaotic on a bad day. Clearly Print Workshop 4 See William Packer: ‘London in Print’ Art & Artists Vol 6 no 5 Issue 65 September 1971 pp 25-27. See Richard Cox, ‘Warrington Colescott, the London Years, 1956-1966’, The Tamarind Papers, A Journal of the Fine Print Vol XIV 1991-92 pp. 70-74: Cox says that Anthony Gross introduced Colescott to Birgit Skiöld in 1957. Colescott was looking for a London based printmaking studio in which to work, having visited briefly Atelier 17 in Paris the previous year. He returned again in 1963 for 5 months. Access to Print Workshop was mainly through introduction and recommendation. Kathan Brown was working at the studio in June 1959 according to the Daybook, and visited over the following years, maintaining correspondence with Skiöld. 5 Pat Gilmour mentions Skiold’s achievement and the history of the revival of printmaking in the U.K. in her important introduction to the catalogue, Graveurs Anglais Contemporains, Musée d’Art et d’Histoire, Cabinet des Estampes, Genève, 5 April – 5 May 1974. Only 3 women appeared in the exhibition: Boyd, Riley and Skiöld. 6 Op. cit; Turner 1990, p. 408 who gives examples of other print studios which opened during the 1960s 7 See Robert Erskine’s evocative description of Print Workshop before its expansion, written for the exhibition catalogue, Print Workshop 1966, Curwen Gallery 6-30 April 1966. 8 See Pat Gilmour, Arts Review Vol XXIII no 10 May1971, p.317, who, in reviewing the exhibition of Print Workshop artists’ work at the Curwen Gallery, gives a full account of Print Workshop activity. See also Susan Forsyth’s description: ‘Personalities: An Occasional Series, Birgit Skiöld, Graphics by Susan Forsyth’, in Arts Review Vol XXVII No 18 September 1975, p.516. brought great advantages to many artists, who enjoyed the facilities and the ambience. Skiöld editioned most of her work there and benefited from the skills of the printers and assistants she trained or employed. There were many talented individuals, among them, Marie Walker, who joined c.1968, not long after completing her studies at Hammersmith College of Art, where Skiöld was a tutor; Frank Connelly who joined in 1972; and Richard Michell who joined later in 1977; Ian Brice who joined c.1976, also Mick Templar, a skilled technician, who assisted with photo-processing during the early 1970s. Mick and Marie ran Print Workshop during Skiöld’s visits abroad until Marie’s departure in 1974. Frank was considered by Skiöld to be her partner in running Print Workshop in the later 1970s and was heavily relied upon. These printers were very highly regarded and respected, though never paid well. They were to be of key importance in the genesis and production of Skiöld’s work. There were several others who appear in the Daybooks who also made a crucial contribution, although their stay at Print Workshop was much shorter. There were tensions in the running of Print Workshop, which was hardly a lucrative enterprise. Some felt critical that its prime purpose was to serve Skiöld’s production needs, but, if this was the case, it was an informal arrangement. Skiöld’s diaries from the 1970s record that she paid Marie Walker to print her own editions, aside from the small amount that Marie could earn as a printer at the Workshop. Skiöld began the workshop with a limited amount of printmaking equipment, a star wheel etching press and a stone lithographic press. This served the immediate needs of Skiöld and a small circle of students and friends. Skiöld started to equip Print Workshop for photographic processing during 1971, spending several months perfecting techniques of photo-etching and photo-lithography. During 1971 – 1972, she also rearranged the basement studio to make best use of the small space available, removing a partition so they could accommodate the additional presses and new activity. Alongside the older star-wheel press there was now an Oliviero Bendini etching press, which could take Double-elephant (very large) size paper; a hand operated Furnival lithographic press and a small offset lithographic press (electric), which she had ordered from Japan.9 Print-workshop was never fully equipped for screen-printing and Skiöld herself seldom used this process. 9 Information from a letter to Kathan Brown, Director of Crown Point Press San Francisco, 18 January 1973 V&A AAD 1997/18/BSMB Ic 2 of 3. The NAKAN (KC) offset press came from the Nakanishi Iron Works: order letter 10 February 1972. There were teething problems in adjusting levels but eventually Skiöld was very pleased with it. The Furnival Press replaced Vanessa Bell’s old direct litho press. All her prints, with just a few exceptions, and all the imagery for her bookworks were produced at 28, Charlotte St..
Load more

Recommended publications
  • 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]
  • Matthew Franks Education 1999-‐2000 M.A Fine Art Goldsmiths
    Matthew Franks Education 1999-2000 M.A Fine Art Goldsmiths College, University of London 1989-1992 B.A Fine Art Staffordshire University Residencies 2012 Artist in residence/Visiting professor Xian Academy of Fine arts, Xi’an China 2011 Artist in residence Kimmel Harding Nelson, Nebraska USA 2004 Artist in residence Weir Farm, Connecticut in partnership with Aldrich Museum Contemporary Art, Connecticut USA 2004 Artist in Residence Triangle Arts, Nairobi, Kenya in partnership with Gasworks and British Arts Council 2002 Artist in Residence, Manukau Institute of Technology, Auckland University, New Zealand, in partnership with British Council and Creative New Zealand SELECTED SOLO EXHIBITIONS 2014 ‘We Taste Custard We Taste Life’, Horatio Jr. Gallery, London. Matt Franks, Punk and sheep Gallery http://punkandsheep.weebly.com 2008 ‘It’s so hard to tell who’s going to love you the best’ Houldsworth Gallery London 2007 CAS Commission for Economist Plaza, London http://www.contemporaryartsociety.org/consultancy/projects/the-economist-plaza- commissions/ 2005 ‘I am alive and you are dead’, Vamiali Gallery, Athens, Greece http://www.vamiali.net/matt.htm 2004 ‘Untitled’ One in the Other Gallery, London 2003 ‘KlingKlang’, Habitat, Tottenham Court Road, London 2002 ‘transcendent plastic infinite’, Art Now, Tate Britain http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-now-matt-franks ‘Late One Evening’, Tetuhi Gallery, Auckland, New Zealand ‘New Gods’, Alison Jacques gallery, London SELECTED GROUP SHOWS 2015-16 ‘Bonfire of the Vanities’, Display Gallery, London http://displaygallery.co.uk/exhibitions/bonfire-of-the-vanities 2014 ‘Between Thought and Space’, Dilston Grove, CGP London http://betweenthoughtandspace.com http://cgplondon.org/between-thought-space/ 2012 ‘Forward thinking’, Horatio Junior Gallery London.
    [Show full text]
  • Timed Auction - Modern and Contemporary Art (6003) Starting: 11/10/2019 10:00 Ending: Sun, 27Th Oct 2019 17:00 Viewing: Wednesday 23Rd Oct
    Timed Auction - Modern and Contemporary Art (6003) Starting: 11/10/2019 10:00 Ending: Sun, 27th Oct 2019 17:00 Viewing: Wednesday 23rd Oct. 9.30am - 5.30pm Thursday 24th Oct. 9.30am - 5.30pm Friday 25th Oct. 9.30am - 5.30pm Lot 5 § Estimate: £150 - £250 + Fees Anthony Gross CBE (1905-1984)- Saturday Night at Richmond Yorkshire in 1940 Etching Anthony Gross CBE(1905-1984) British 20th Century, 'Saturday Night at Richmond Yorkshire in 1940', print numbered 10/50, signed bottom right, mounted and framed. Measurements 16.2 x 26cm (PL), framed measurements 40 x 52.5 cm 16.2 x 26cm Anthony Gross (1905-1984) was a British etcher and painter, born in London. He studied at the Slade School of Fine Art, Ecole des Beaux-Arts in Paris and at the Academia de San Fernando in Madrid. He was taught etching under Jozef Hecht and was a lifelong friend of Stanley William Hayter. During World War Two he was appointed as an official war artist which saw him create depictions of English coastal defences and training grounds as well as being posted to the front lines of India and Burma, and was present at D-Day. His style is characterised by the use of variegated marks to express tone and texture rather than cross-hatching. Post- war, Gross divided his time between London and le Boulve. In 1965 he created the first President of the Printmakers Council and in 1982 awarded a CBE. Condition Report The print has full margins, hand signed bottom right and is framed with glazing.
    [Show full text]
  • Fttfe MUSEUM of MODERN1 ART
    jr. ,•&-*- t~ V* *«4* /C^v i* 41336 - 2Z f± **e y^^A-^-^p, fttfE MUSEUM OF MODERN1 ART P WEST 53RD STREET, NEW YORK -uEPHONE: CIRCLE 5-89CO FOE IMMEDIATE RELEASE (Note* Photographs of paintings available) BRITAIN DELIVERS WAR PAINTINGS TO MUSEUMxOF MODERN ART. LORD HALIFAX TO OPEN EXHIBITION. On Thursday evening, May 22, Lord Halifax, Great Britain's Ambassador to the United States, will formally open at the Museum of Modern Art an exhibition of the Art of Britain At War, designed to show the wartime roles England assigns to her artists and de­ signers. It will be composed of oils, watercolors, drawings, prints, posters, cartoons, films, photographs, architecture and camouflage of the present war as well as work of British artists during the first World War. The exhibition will open to the public Friday morning, May 23, and will remain on view throughout the summer. It will then be sent by the Museum to other cities in the United States and Canada, The nucleus of the exhibition opening in May will be the group of paintings, watercolors and prints which the Museum expected to open as a much smaller exhibition in November 1940. After several postponments the Museum was finally forced to abandon it as, due to wartime shipping conditions, the pictures did not arrive although word had been received that the shipment had left London early in November. The Museum received the shipment late in January. After weeks of further negotiation with British officials in this country and by cable with London the Museum decided that it would be possible to augment the material already received with other work done by British artists since the first material was sent.
    [Show full text]
  • Print Rebels
    Bankside Gallery | 48 Hopton Street | London SE1 9JH | 020 7928 7521 | [email protected] Print REbels Haden, Palmer, Whistler and the Origins of the RE (The Royal Society of Painter-Printmakers) 25 April - 13 May 2018, Private View 24 April 6-8pm Bankside Gallery Then touring to other UK venues in 2018 and 2019 1. Print REbels celebrates the 200th anniversary of the birth of the founder and first President of the Royal Society of Painter-Printmakers, Sir Francis Seymour Haden. A prestigious collection of works has been brought together to show prints produced by Haden along with those who inspired him such as Rembrandt and Dürer, and his contemporaries, including Samuel Palmer and JAM Whistler. In 1880, the time the RE was founded, artists such as Haden, Palmer and Whistler were considered revolutionary in their championing of printmaking as a creative medium. In mid-Victorian England, printmaking was seen primarily as a means to make reproductions of artworks, and many printmakers only made a living working as a copyist. These printmakers were not eligible for membership of The Royal Academy, as creative printmaking was not recognised as an art form on the same level as painting and sculpture. It was this that prompted Haden to rebel against this and form a new society, the RE. Haden and Whistler are credited with instigating the Etching Revival, an art movement which lasted 75 years. The RE has always been closely connected with the RA, with several Royal Academicians being founding members of the RE along with Seymour Haden, and the 2nd 3rd and 4th RE Presidents being also RAs.
    [Show full text]
  • Arthur Graham Reynolds 1914–2013
    GRAHAM REYNOLDS Arthur Graham Reynolds 1914–2013 GRAHAM REYNOLDS (the ‘Arthur’ was firmly suppressed from an early age) was born in Highgate on 10 January 1914. His father, Arthur T. Reynolds, a monu- mental mason, made the tombstones and crosses for Highgate cemetery, priding himself on his lettering. When Graham was about ten, his father died as the result of a war wound and his mother, Eva (née Mullins), daughter of a bank clerk, married Percy Hill, a property manager, who became mayor of Holborn in the 1930s. He was, according to Reynolds, a ‘bad tempered brute’, but he had the saving grace of having acquired a collection of mezzotints which provided the beginnings of a visual education in the home. Furthermore, the family’s move to 82 Gower Street, so near to the British Museum, encouraged Graham’s early interest in art. From Grove House Lodge, a local preparatory school, he obtained a schol- arship to Highgate School. The years there were largely unmemorable, except for the fact that one of the teachers was descended from Sir George Beaumont, Constable’s patron. At school, as he later recollected, he did not suffer unduly from being known as ‘the brain’ and ‘the swot’. In 1932, he went to Cambridge on a maths scholarship at Queens’ College. After the first year he switched to English, but something of the mathematician’s precision remained with him all his life. He used to say that if there had been a faculty of art history in Cambridge at the time, he would have joined that.
    [Show full text]
  • Contemporary Art Society Report 1940-41
    Contemporary Art Society - REPORT 1940-41 THE CONTEMPORARY ART SOCIETY FOR THE ACQUISITION OF WORKS OF MODERN ART FOR LOAN OR GIFT TO PUBLIC GALLERIES President LORD HOWARD DE WALDEN Chairman SIR EDWARD MARSH K.C.v.o., C.B., C.M.G. Treasurer THE HON. JASPER RIDLEY 440 Strand,W.C.2 Joint Hon. Secretaries LORD IVOR SPENCER-CHURCHILL g Dilke Street, S.W.3 ST. JOHN HUTCHINSON, K.C. Merton Hall, Cambridge Committee SIR EDWARD MARSH, K.c.v.o., C.B., C.M.G.(Chairman; The Earl of Crawford and Balcarres Lord Keynes, c .B. Sir Muirhead Bone J. B. Manson Miss Thelma Cazalet, M.P. Ernest Marsh Sir Kenneth Clark, K.C.B. The Hon. Jasper Ridley Samuel Courtauld J . K. M. Rothenstein Sir A. M. Daniel, K.B.E . Sir Michael Sadler, K.c.s.1., c.B. Campbell Dodgson, c.B.E. The Earl of Sandwich A. M. Hind, O.B.E. Lord Ivor Spencer-Churchill St. John Hutchinson, K.C. C. L. Stocks, c.B. Assistant Secretary: R. IRONSIDE Printed in England at The Curwen Press Speech by the Chairman at the Eleventh Ordinary General Meeting of the C.A.S. held at the Tate Gallery on May 20, 1942 "Ladies and Gentlemen, We are keeping our heads above water, we are keeping the flag flying; and at the same time we are cutting our coat according to our cloth-acting, in fact, as best we can on all the maxims appropriate to times of difficulty-so I hope to be able to show that in the year which has passed since I last addressed you we have been conducting our affairs with a combination of courage and prudence.
    [Show full text]
  • ETHEL GABAIN, EVEL YN Gffibs and EVEL YN DUNBAR Volume
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2006 Three officially commissioned women war artists of the Second World War : Ethel Gabain, Evelyn Gibbs and Evelyn Dunbar Strickland , Alice Marina http://hdl.handle.net/10026.1/599 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. THREE OFFICIALLY COMMISSIONED WOMEN WAR ARTISTS OF THE SECOND WORLD WAR: ETHEL GABAIN, EVEL YN GffiBS AND EVELYN DUNBAR Volume I by ALICE MARINA STRICKLAND A thesis submitted to the University ofPiymouth in partial fulfi lment for the degree of DOCTOR OF PIDLOSOPHY School of Art and Performance Faculty of Arts JULY 2006 \ . ' ';.· ; 1 L)niversit)''ofPiymouth · ! • LibrarY ' litem No _ i · Cjoo~i'i9'Lq 7-Lf · c· , . · · - · : . _..,;; ll.' She!fril~rk 0 0 1 ~~E.IS. JJit t1C\ 4:0S")i! st F ~~~~~- \,-._~,~ ~~ ~,., ~ J<- ?--~TOO~ 5 .. ~ . Abstract Alice Marina Strickland Three Officially Commissioned Women War Artists of the Second World War: Ethel Gabain, Evelyn Gibbs and Evelyn Dunbar. This thesis has been written with the intention of providing an account of the work of Ethel Gabain (1883-1950), Evelyn Gibbs (1905-1991) and Evelyn Dunbar (1906-1960). All three were commissioned as war artists during the Second World War by the War Artists Advisory Committee and are probably best known today for the work they performed as war artists, indeed, the major repository for their work is the Imperial War Museum.
    [Show full text]
  • Annual Report 2002
    2002 ANNUAL REPORT NATIONAL GALLERY OF ART WASHINGTON, D C. BOARD OF TRUSTEES Robert F. Erburu AUDIT COMMITTEE TRUSTEES' COUNCIL Sally Engelhard Pingree (as of 30 September 2002) Chairman (as of 30 September 2002) Diana C. Prince Robert F. Erburu Mitchell P. Rales Chairman Victoria P. Sant, Chair Catherine B. Reynolds Paul H. O'Neill La Salle D. Leffall Jr., Vice Chair Sharon Percy Rockefeller Robert H. Smith The Secretary of the Treasury Leon D. Black President Robert M. Rosenthal Robert H. Smith W. Russell G. Byers Jr. Roger W. Sant Julian Ganz, Jr. Calvin Cafritz B. Francis Saul II David 0. Maxwell William T. Coleman Jr. Thomas A. Saunders III Victoria P. Sant Edwin L. Cox Julian Ganz, Jr. Albert H. Small — James T. Dyke James S. Smith FINANCE COMMITTEE Mark D. Ein Ruth Carter Stevenson Edward E. Elson Roselyne C. Swig Robert H. Smith Doris Fisher Chairman Frederick A. Terry Jr. David 0. Maxwell Aaron I. Fleischman Paul H. O'Neill Joseph G. Tompkins Juliet C. Folger The Secretary of the Treasury John C. Whitehead John C. Fontaine Robert F. Erburu John Wilmerding Marina K. French Julian Ganz, Jr. Dian Woodner Morton Funger David 0. Maxwell Nina Zolt 1 Victoria P. Sant Lenore Greenberg Victoria P. Sant Rose Ellen Meyerhoff Greene EXECUTIVE OFFICERS ART AND EDUCATION Frederic C. Hamilton (as of 30 September 2002) COMMITTEE Richard C. Hedreen Teresa F. Heinz Robert H. Smith William H. Rehnquist i: Raymond J. Horowitz President The Chief Justice Robert H. Smith of the United States Chairman Robert J. Hurst Earl A.
    [Show full text]
  • Solitude in the City SELECTED WORKS on PAPER from the TCU PERMANENT COLLECTION
    Solitude in the City SELECTED WORKS ON PAPER FROM THE TCU PERMANENT COLLECTION Curated by Emily Dorward Jennifer Earthman Elizabeth Theban Jennifer Yuhas In conjunction with the exhibition Solitude in the City, On show at Texas Christian University’s Moudy Gallery January 17, 2019 through February 7, 2019 Created as a part of the Art Museum Seminar Taught by Professor Babette Bohn Art History Masters Program Texas Christian University Fall 2018 With special thanks to: Sara-Jayne Parsons Lynné Bowman Cravens Stefanie Ball Rachel Livedalen Ashley Stecenko Chris Wickers Zeke Williams Cover illustration, center image: Noel Mahaffey (American, b. 1944) Night Times Square, 1981 (cat. No. 12) Background image: Ching-Jang Yao (Taiwanese, 1941-2001), Building Reflection, 1981 (detail, cat. No. 13) Cover Design: Jennifer Yuhas Formatting: Emily Dorward 1 The prints in this exhibition represent solitude in the modern city. Compositional conventions like the shadowed arch and doorway, the crowds across the street unaware of our gaze, and views from outside and above the city recur across styles and cultures. While varying in size and technique, the works in the show are all prints from the last century, representing the nature of urban life through a range of perspectives. Colorful, large-scale silkscreen prints by some of the biggest names in Photorealism, intimate WWII-era etchings of Europe’s architectural magnificence, and crisp Japanese woodblock prints from an ancient culture finding its way into modernity are all part of the exhibition. These prints span eras and cultures, techniques, color, and scale, but all deal with the common solitude of the human condition.
    [Show full text]
  • List of Exhibitions - Western Art 1891
    LIST OF EXHIBITIONS - WESTERN ART 1891 Exhibition of paintings in the University Galleries. 1895 Exhibition of Rembrandt etchings in the University Galleries. William Turner of Oxford. 1897 Maiolica and enamelled earthenware of Italy. 1928 Silver plate belonging to Oxford Colleges. 1929 Sidney William Carline. 1939 Younger British Painters. 1940 Contemporary British Drawings (May-August). 1941 Modern British Paintings. Euston Road Group (May-July). Contemporary Art Society (Oct-Dec). 1942 Exhibition by Slade and Ruskin Schools. (Also Nov. 1943 & Nov. 1944) Selection from Tate Gallery Wartime exhibitors. 1943 Civil Defence Artists (Sept). British Landscapes from George II - Victoria (Oct 9-31) Contemporary paintings and drawings (6-27 March) Paul Nash (April 12-28) Poster Design in Wartime Britain (May 8-29) Oxford Art Society 50th Exhibition. (June 4 - July 3) Work by Living Scottish Artists (July 24 - Aug 14) 1944 Children’s paintings (Feb 22 - March 21) Contemporary Sculpture (30 March - 30 April) British narrative paintings from Tate Gallery - Regency - 20th century (May 15 - June 5) Paintings by Firemen Artists (June 15-30) Dous of the Nations (7 July - 9 Sept) Miniature Theatre Exhibition (Sept 15) Old Decorative Maps and Charts (5 Dec) The Glasgow School (Dec) 1950 All held in the newly commissioned Exhibition Gallery on the ground floor of the Beaumont Street wing: Works by Members of the Oxford Art Society (May) Works by Pupils of the Ruskin School (June) Oxfordshire Bygones by the Oxford Preservation Trust and Oxfordshire Rural Community Council (also in a portion of the Weldon Lecture Room) (July) Drawings in the M.V. Braikevitch Bequest (Aug-Sept) Works by Robin Rae and Peter Davis: Exhibition arranged by the O.U.
    [Show full text]
  • Britain at War Edited by Monroe Wheeler
    Britain at war Edited by Monroe Wheeler. Text by T.S. Eliot, Herbert Read, E.J. Carter and Carlos Dyer Author Museum of Modern Art (New York, N.Y.) Date 1941 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/3002 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art U6RHRY THE VIt) UM W ^ A8TI RICHARD EURICH. The Withdrawal from Dunkerque. 1940. This painting of the most celebrated event of this war shows troops being ferried from the beaches to the drifter and the sidewheel naval tug in the right foreground. At the far right a destroyer is departing. At the extreme left motor trucks have been lined up to form a small subsidiary pier. Across the center may be seen the jetty from which many troops were rescued. Eurich was born in 1903 at Bradford. He studied art at the Bradford Art School and at the Slade School. An amateur yachtsman, he has specialized in naval subjects. (Oil on canvas, 30Vs x 40 inches) BRITAIN AT WAR EDITED BY MONROE WHEELER. TEXT BY T. S. ELIOT, HERBERT READ, E. J. CARTER AND CARLOS DYER THE MUSEUM OF MODERN ART, NEW YORK ACKNOWLEDGMENTS For Films: The films shown in connection with the exhibition were acquired by the Museum of Modern Art Film Library from the British Library of Information, New York. The President and Trustees of the Museum of Modern Art wish to record their deep appreciation of the services of Sir For Assistance in the Preparation of the Book: Miss Lenore H.
    [Show full text]