G a G O S I a N Howard Hodgkin Bibliography
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TURNER PRIZE: Most Prestigious— Yet Also Controversial
TURNER PRIZE: Most prestigious— yet also controversial Since its inception, the Turner Prize has been synonymous with new British art – and with lively debate. For while the prize has helped to build the careers of a great many young British artists, it has also generated controversy. Yet it has survived endless media attacks, changes of terms and sponsor, and even a year of suspension, to arrive at its current status as one of the most significant contemporary art awards in the world. How has this controversial event shaped the development of British art? What has been its role in transforming the new art being made in Britain into an essential part of the country’s cultural landscape? The Beginning The Turner Prize was set up in 1984 by the Patrons of New Art (PNA), a group of Tate Gallery benefactors committed to raising the profile of contemporary art. 1 The prize was to be awarded each year to “the person who, in the opinion of the jury, has made the greatest contribution to art in Britain in the previous twelve months”. Shortlisted artists would present a selection of their works in an exhibition at the Tate Gallery. The brainchild of Tate Gallery director Alan Bowness, the prize was conceived with the explicit aim of stimulating public interest in contemporary art, and promoting contemporary British artists through broadening the audience base. At that time, few people were interested in contemporary art. It rarely featured in non-specialist publications, let alone in the everyday conversations of ordinary members of the public. The Turner Prize was named after the famous British painter J. -
Artists' Lives
National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS -
DAME BARBARA HEPWORTH 1903 Wakefield - St
LE CLAIRE KUNST SEIT 1982 DAME BARBARA HEPWORTH 1903 Wakefield - St. Ives 1975 Marble Form Oil and pencil over gesso-prepared board. Signed and dated lower left Barbara Hepworth 1963. Further signed, titled, dated and inscribed on the reverse. 455 x 660 mm PROVENANCE: Mr and Mrs H. Davidson, Toronto – Private collection, U.S.A. EXHIBITIONS: Barbara Hepworth: Sculpture and Drawings, Gimpel-Hanover Galerie, Zurich, 16 November 1963 - 11 January 1964 (drawings not listed) – Barbara Hepworth: Sculptures and Drawings, Gimpel Fils, London, 2 - 27 June 1964 (drawings not listed) – Focus on Drawings, Art Gallery of Toronto, Toronto, 15 October – 7 November 1965, cat. no. 117. RELATED DRAWINGS IN PUBLIC COLLECTIONS: Art Gallery of Ontario, Toronto – Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. – National Gallery of Australia, Canberra – Manchester City Art Gallery – Milwaukee Art Gallery – Piers Art Centre, Stromness, Orkney Islands – Rijksmuseum Kröller-Müller, Otterlo – Tate, London Vision is not sight ‒ it is the perception of the mind. It is the discernment of the reality of life, a piercing of the superficial surfaces of material existence that gives a work of art its own life and purpose and significant power.1 (Barbara Hepworth, 1937) In 1966, in her autobiographical essay A Sculptor’s Landscape, Barbara Hepworth reiterated the mental, rather than the visual inspiration that informed virtually all of her abstract, sculptural drawings from the early 1940s onwards, when she wrote: I rarely draw what I see – I draw what I feel in my body.2 By sculp- tural, I mean that the drawings echoed, were a two-dimensional exploration of her current three- dimensional obsessions. -
Or, Read the PDF Version of the Spring 2013 Magazine
Spring 2013 Golden moments at the Minster University marks its 50th Anniversary THROUGH THE STAINED GLASS: CAPTURING THE WONDER OF RESTORATION EXHIBITION UNLOCKS MYSTERIES OF STONE AGE HOUSE PROTECTING THE CHAMPIONS OF CHANGE 15 magazine CONTENTS Spring 2013 Produced by Communications Office Spotlight University of York Heslington York YO10 5DD A Stone Age house unlocked 15 Telephone: +44 (0)1904 322622 Protecting the champions 16 Director of External Relations of change Joan Concannon Restoring a national treasure 18 Editor Jilly Lovett Assistant Editor Alice Jenkins Editorial team Exhibition to showcase Star Carr David Garner, Suzy Harrison, William Haydon and Sheila Perry 9 Photography Suzy Harrison Copy deadlines www.york.ac.uk/magazine Email 18 [email protected] Working to restore the Great East Window in The Communications Office reserves the right to edit York Minster submissions Design The Studio Mystery ring sheds light on York’s past University of York Telephone: +44 (0)1904 328414 www.studio.crevado.com University highlights 16 Printed by University marks 50th 3 Wyke Printers, Hull Anniversary celebrations The University of York Magazine ©University of York. If you require this publication in an January graduation ceremonies 7 alternative format visit www. york.ac.uk/magazine York Concerts 8 York in pictures Life and work at York 11 In memoriam 21 University news At the chalk face 22 8 Karak Denyok, one of York’s human rights defenders Alan Ayckbourn in the audience the university of york magazine 50TH ANNIVERSARY 3 York Minster launch for 50th Anniversary The University of York returned to the scene of its inauguration at York Minster for a 50th Anniversary celebration which proved an inspirational start to a year-long calendar of Anniversary events. -
BBC AR Front Part 2 Pp 8-19
Executive Committee Greg Dyke Director-General since Jana Bennett OBE Director of Mark Byford Director of World customer services and audience January 2000, having joined the BBC Television since April 2002. Service & Global News since research activities. Previously as D-G Designate in November Responsible for the BBC’s output October 2001. Responsible for all European Director for Unilever’s 1999. Previously Chairman and Chief on BBC One, BBC Two, BBC Three the BBC’s international news and Food and Beverages division. Former Executive of Pearson Television from and BBC Four and for overseeing information services across all media positions include UK Marketing 1995 to 1999. Former posts include content on the UKTV joint venture including BBC World Service radio, Director then European Marketing Editor in Chief of TV-am (1983); channels and the international BBC World television and the Director with Unilever’s UK Food Director of Programmes for TVS channels BBC America and BBC international-facing online news and Beverages division and (1984), and Director of Programmes Prime. Previously General Manager sites. Previously Director of Regional Chairman of the Tea Council. (1987), Managing Director (1990) and Executive Vice President at Broadcasting. Former positions and Group Chief Executive (1991) at Discovery Communications Inc. include Head of Centre, Leeds and Carolyn Fairbairn Director of London Weekend Television. He has in the US. Former positions include Home Editor Television News. Strategy & Distribution since April also been Chairman of Channel 5; Director of Production at BBC; Head 2001. Responsible for strategic Chairman of the ITA; a director of BBC Science; Editor of Horizon, Stephen Dando Director of planning and the distribution of BBC of ITN, Channel 4 and BSkyB, and and Senior Producer on Newsnight Human Resources & Internal services. -
Ivon Hitchens & His Lasting Influence
Ivon Hitchens & his lasting influence Ivon Hitchens & his lasting influence 29 June - 27 July 2019 An exhibition of works by Ivon Hitchens (1893-1979) and some of those he influenced 12 Northgate, Chichester West Susssex PO19 1BA +44 (0)1243 528401 / 07794 416569 [email protected] www.candidastevens.com Open Wed - Sat 10-5pm & By appointment “But see Hitchens at full pitch and his vision is like the weather, like all the damp vegetable colours of the English countryside and its sedgy places brushed mysteriously together and then realised. It is abstract painting of unmistakable accuracy.” – Unquiet Landscape (p.145 Christopher Neve) The work of British painter Ivon Hitchens (1893 – 1979) is much-loved for his highly distinctive style in which great swathes of colour sweep across the long panoramic canvases that were to define his career. He sought to express the inner harmony and rhythm of landscape, the experience, not of how things look but rather how they feel. A true pioneer of the abstracted vision of landscape, his portrayal of the English countryside surrounding his home in West Sussex would go on to form one of the key ideas of British Mod- ernism in the 20thCentury. A founding member of the Seven & Five Society, the influential group of painters and sculptors that was responsible for bringing the ideas of the European avant-garde to London in the 30s, Hitchens was progres- sive long before the evolution of his more abstracted style post-war. Early on he felt a compulsion to move away from the traditional pictorial language of art school and towards the development of a personal language. -
OLAFUR ELIASSON a View Becomes a Window
Ivorypress presents OLAFUR ELIASSON A view becomes a window Official opening: Thursday 19 September 2013 at 7:30 p.m. Exhibition: From 19 to 28 September 2013 Venue: Ivorypress Space C/ Comandante Zorita 48 (Madrid) Once the exhibition has ended, the book will continue to be exhibited in the permanent exhibition of Ivorypress’s artists’ books, which can be visited by appointment every Wednesday. On 19 September Ivorypress will present the artist’s book A view becomes a window, by Olafur Eliasson. An edition of nine unique books in which the author proposes a new experience between the book and its observer. Until 28 September, Ivorypress will host—as part of the programme of the next edition of the event APERTURA, in Madrid—an exhibition in which several of the volumes of this book, published by Ivorypress, will be shown. Glass and light are the main elements of the work. In lieu of pages, the volumes contain a variety of glass sheets of various colours, qualities, and degrees of opacity. Each copy, bound with leather, sits upon a bookrest to be observed in great detail and thus experience the abstract narrative game initiated by the artist. ‘A view becomes a window is an homage to the book as a space in which we find ourselves. You can see the previous page and the next one through those you are perusing; you never read only one page at a time. In a sense, the full book is present within any one spread’, explains Eliasson. ‘This internal depth and texture is merged with the immediate surroundings; the space and the reader are reflected in the deep, glassy surfaces in which ultimately you—the reader—are read by the book.’ Some of the glass plates have ellipses and circles cut into them, framing the lector’s face as they turn the pages. -
Every Drawing Tells a Story the Big Draw Launch 2015 19 September Adam Dant Adam
Every drawing tells a story The Big Draw Launch 2015 19 September Adam Dant Adam Chris Riddell book signing at Blackwell’s Bookshop 1-2.30pm FREE workshops and events across oxford www.thebigdraw.org Pick up a free walk & draw trail and discover treasures new and old in creative workshops at nine venues every drawing tells a story At 11am join Philip Pullman and Chris Riddell, Children’s Laureate, to launch the 2015 Big Draw Festival at the Weston Library, Activities for all ages unless stated otherwise Bodleian Libraries, Broad Street, Oxford OX1 3BG Radcliffe Square, 11am–4pm Weston Library, Bodleian Libraries, 11am–4.30pm 2 Yarn-storming 1 Join woolly street artist Deadly Knitshade in conjuring a street art story with just wool, Workshops inspired by the Marks of Genius exhibition run 11.15am -12.15pm easy-peasy French knitting and a lot of Drawing together with Chris Riddell on a drop-in basis from 11am–4.30pm: imagination. Learn a new skill and bring Sign in on the world’s longest visitor out your inner graffiti artist. book and draw alongside famous and Drawing with camera obscura The Same River Twice (video) budding illustrators. See Chris draw his Experience the magic of drawing with Tamarin Norwood and Anton Viesel’s Museum of the History this historic tool, thanks to the Museum video contrasts romantic and sceptical Laureate’s Log live and large! 3 of Science, 12 noon–4pm of the History of Science. Be inspired attitudes towards genius. Drawing an X-ray Line by beautiful buildings and use your analogy between man-made marks and Join artists from Oxford Brookes University 2–4.30pm Create a bibliotopia drawing to create a linocut print. -
Charles Saatchi's 'Newspeak'
Charles Saatchi’s ‘Newspeak’ By Jackie Wullschlager Published: June 4 2010 22:15 | Last updated: June 4 2010 22:15 Is Charles Saatchi having fun? On the plus side, he is the biggest private collector in Britain. His Chelsea gallery is among the most beautiful and well-appointed in the world. It is relaxed, impious, free, and full, which matters because, as Saatchi often admits, “I primarily buy art to show it off.” He buys whatever he likes, often on a whim: “the key is to have very wobbly taste.” Yet for all the flamboyance with which he presents his purchases, it is not clear that he is convinced by them. “By and large talent is in such short supply mediocrity can be taken for brilliance rather more than genius can go undiscovered,” he says, adding that when history edits the late 20th century, “every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote.” These quotations come from a question-and-answer volume, My Name is Charles Saatchi and I am an Artoholic, published last autumn, and their tone of breezy disenchantment, combined with the insouciance with which his new show, Newspeak, is selected and curated, suggests that at 67 Saatchi is downgrading his game. After recent exhibitions concentrated on China, the Middle East, America and India, Newspeak It Happened In The Corner’ (2007) by Glasgow-based duo littlewhitehead returns to the territory with which he made his name as a collector in Sensation in 1997: young British artists. But whereas Sensation, tightly selected around curator Norman Rosenthal’s theme of a “new and radical attitude to realism” by artists including Hirst, Jake and Dinos Chapman, Rachel Whiteread, Marc Quinn, had a precise, powerful theme, Newspeak has a scatter-gun, unfocused approach. -
Caro/Araeen: a Conversation the Sculpture of Anthony Caro (1924
Caro/Araeen: A Conversation The sculpture of Anthony Caro (1924-2013) inspired a generation of young artists in the 1960s and 1970s encouraging them to think differently about the forms and meanings of sculpture, about its relationship to the human body and about its material and spatial possibilities. Soon championed by the American art critic Clement Greenberg, a supporter of the sculptor David Smith (1906-65), Caro enjoyed huge success, both in the context of the ‘New Generation’ exhibition at Whitechapel Art Gallery in 1965 and the acclaimed St Martins’ Sculpture Department which included Philip King (b. 1934), William Tucker (b. 1935) and Tim Scott (b. 1937). For Rasheed Araeen (b. 1935) who first encountered Caro’s work in 1965 soon after moving to Britain from Pakistan, such sculpture was hugely influential. On seeing it, Araeen decided to make a ‘fresh start’ (to quote the artist), giving up painting and creating works such as ‘Sculpture No. 2’ (1965), in which painted metal beams were stacked together in rows to form a cube which comprised tunneled internal spaces. Such works would begin a rich and complex conversation with Caro’s sculpture that effectively carries on into the present, as the lives of Araeen’s fabricated structures extend into the present. In recent years, Araeen himself has reflected on this early mid-1960s shift, reading it as a moment of continuation as much as conversion. He has recalled that he was open to new ideas whilst also channeling pre-existent expertise into new areas. He was also a young, thirty-year old man quickly looking for other ways of seeing and doing things, as he has recalled in relation to Caro: ‘I soon became fed up with this juggling of material – putting things here and there until you found something significant.’ Araeen was not alone in this and it would be interesting to triangulate such considerations by considering potential so-called ‘minimalist’ dialogues with works by other constructivist artists working in Britain at this time, such as Kenneth Martin (1905-84), Mary Martin (1907-69), Anthony Hill (b. -
Gagosian Gallery, the Former Director of the Tate Analyses His Career
The Times May 31st, 2018 GAGOSIAN ‘I learnt so much from Howard Hodgkin’: Nicholas Serota on the late painter’s brilliance As an exhibition of the work of the abstract painter Howard Hodgkin opens at Gagosian Gallery, the former director of the Tate analyses his career Nicholas Serota ‘I learnt so much from Howard Hodgkin’: Nicholas Serota on the late painter’s brilliance As an exhibition of the work of the abstract painter Howard Hodgkin opens at Gagosian Gallery, the former director of Tate analyses his career Nicholas Serota May 31 2018, 12:01am, The Times Howard Hodgkin in 2008 with his painting Home, Home on the Range CATE GILLON/GETTY IMAGES No artist likes to be pinned down, and Howard Hodgkin was no exception. He rather liked that he was regarded as an abstract painter in England, with its love of figuration, and as a figurative painter in America, where they respect abstraction. Two exhibitions last year at the National Portrait Gallery and in Wakefield, Absent Friends and Painting India, the first of which opened days after his death, and now a show of his final works opening tomorrow at Gagosian Gallery in London, remind us that he was so much more than the general characterisation of his work — the painter of small paintings on panel that are records of a social encounter in an “intimiste” domestic interior. Of course, many of his paintings do capture the character, and even the appearance, of friends. But the principal subjects of these paintings are emotion and mood; attraction and allure; seduction and love; conversation and argument; words left hanging in the air. -
Strategic Anomalies: Art & Language in the Art School 1969-1979
Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in the Art School 1969-1979 Mark Dennis A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Master of Philosophy/Master of Research September 2016 Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit.