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First-Ever Exhibition of British Pop Art in London
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE | 1 8 J u l y 2 0 1 3 FIRST- EVER EXHIBITION OF BRITISH POP ART IN LONDON Peter Blake, Kim Novak, 1959 Allen Jones, First Step, 1966 Gerald Laing, Number Seventy-One, Private Collection Allen Jones Collection 1965 Courtesy of Institute for Cultural Exchange, Tübingen Courtesy of Waddington Custot Galleries, London When Britain Went Pop! British Pop Art: The Early Years Christie’s Mayfair, 103 New Bond Street 9 October – 24 November, 2013 "Pop Art is: popular (designed for a mass audience), transient (short-term solution), expendable (easily- forgotten), low-cost, mass-produced, young (aimed at youth), witty, sexy, gimmicky, glamorous, Big Business" – Richard Hamilton London - In October 2013 Christie’s, in association with Waddington Custot Galleries, will stage When Britain Went Pop!, an exhibition exploring the early revolutionary years of the British Pop Art movement, which will launch Christie's new gallery space in Mayfair. This is the first comprehensive exhibition of British Pop Art to be held in London. When Britain Went Pop! aims to show how Pop Art began in Britain and how British artists like Richard Hamilton, Peter Blake, David Hockney, Allen Jones and Patrick Caulfield irrevocably shifted the boundaries between popular culture and fine art, leaving a legacy both in Britain and abroad. British Pop Art was last explored in depth in the UK in 1991 as part of the Royal Academy’s survey exhibition of International Pop Art. This exhibition seeks to bring a fresh engagement with an influential movement long celebrated by collectors and museums alike, but many of whose artists have been overlooked in recent years. -
George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
R.B. Kitaj Papers, 1950-2007 (Bulk 1965-2006)
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf0wf No online items Finding Aid for the R.B. Kitaj papers, 1950-2007 (bulk 1965-2006) Processed by Tim Holland, 2006; Norma Williamson, 2011; machine-readable finding aid created by Caroline Cubé. UCLA Library, Department of Special Collections Manuscripts Division Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ © 2011 The Regents of the University of California. All rights reserved. Finding Aid for the R.B. Kitaj 1741 1 papers, 1950-2007 (bulk 1965-2006) Descriptive Summary Title: R.B. Kitaj papers Date (inclusive): 1950-2007 (bulk 1965-2006) Collection number: 1741 Creator: Kitaj, R.B. Extent: 160 boxes (80 linear ft.)85 oversized boxes Abstract: R.B. Kitaj was an influential and controversial American artist who lived in London for much of his life. He is the creator of many major works including; The Ohio Gang (1964), The Autumn of Central Paris (after Walter Benjamin) 1972-3; If Not, Not (1975-76) and Cecil Court, London W.C.2. (The Refugees) (1983-4). Throughout his artistic career, Kitaj drew inspiration from history, literature and his personal life. His circle of friends included philosophers, writers, poets, filmmakers, and other artists, many of whom he painted. Kitaj also received a number of honorary doctorates and awards including the Golden Lion for Painting at the XLVI Venice Biennale (1995). He was inducted into the American Academy of Arts and Letters (1982) and the Royal Academy of Arts (1985). -
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, -
Derek Boshier: Rethink/Re-Entry Online
mM5uc (Ebook pdf) Derek Boshier: Rethink/Re-entry Online [mM5uc.ebook] Derek Boshier: Rethink/Re-entry Pdf Free From Thames Hudson audiobook | *ebooks | Download PDF | ePub | DOC Download Now Free Download Here Download eBook #1211293 in Books 2015-11-09Original language:EnglishPDF # 1 11.60 x 1.20 x 9.50l, .0 #File Name: 0500093881288 pages | File size: 26.Mb From Thames Hudson : Derek Boshier: Rethink/Re-entry before purchasing it in order to gage whether or not it would be worth my time, and all praised Derek Boshier: Rethink/Re-entry: 0 of 0 people found the following review helpful. Five StarsBy DTSExcellent comprehensive monograph on the eclectic work of a significant, but overlooked contemporary artist.0 of 0 people found the following review helpful. Five StarsBy M S BI love everything about this collection of great art. A notable monograph on British artist Derek Boshier, covering his extensive collection of work from the mid-1950s to the present day Derek Boshierrsquo;s art has journeyed through a number of different phases, from films and painting to album covers, photography, and book making. He was a contemporary of Pauline Boty, Peter Blake, and David Hockney at the Royal College of Art and first achieved fame as part of the British Pop Art generation of the early 1960s. He then progressed to making wholly abstract illusionistic paintings with brash colors and strong patterns in shapes that broke playfully free of conventional rectangular formats. At the beginning of the 1970s, Boshier gave up painting for more than a decade and turned to book making, drawing, collage, printmaking, photography, posters, and filmmaking. -
1960S Fashion Opposition to the Vietnam War by the Young and an Age of Social Protest—Led to New, Radically Different Youthful Clothing Styles
1950s, Mother and Daughter Styles 1960s fashion Opposition to the Vietnam War by the young and an age of social protest—led to new, radically different youthful clothing styles 1960 1967 1960’s: Mary Quant invents the miniskirt and helps to usher in a new age… She supported the anti-parent philosophy of life as fun “Working class design, British fashion, Rock and Roll, The Beatles, Carnaby Street…all of a sudden everything came together.” Robert Orbach Lesley Hornby= Twiggy In the 60’s Fashion became central to a young person’s identity • Known for the high fashion mod look created by Mary Quant • Twiggy changed the world of fashion with her short-haired, androgynous look • Embodiment of Youth-quake generation • Face of the decade • Wide-eyed elfin features and slight builds— hence her nickname • Her style has dominated the runways for forty years • She was also famous for drawing long, fake eyelashes under her bottom lashes. These are, unsurprisingly, named “Twiggys.” • Twiggy was regarded as one of the faces of 1960s Swinging London 1960’s model Twiggy recreates the flapper look of the 1920’s. Two revolutionary decades for women and fashion New fabrics that contributed to new clothing styles • Polyester: easy-care, easy-to-wear • New fabrics were comfortable to the touch, wrinkle free, and care free • Perfect match for simple miniskirts and short tunic dresses of the era • Vinyl (also called PVC) was a shiny, wet- look plastic, easy to color and print with flamboyant designs. Was used at first for outerwear then for everything including -
Inperson Innewyork Email Newsletter
Sign In Register You are subscribed to the Dart: Design Arts Daily inPerson inNewYork email newsletter. By Peggy Roalf Wednesday March 31, 2021 Like Share You and 2.3K others like this. Search: Most Recent: Pictoplasma #1FaceValue Daniel Bejar at Socrates Sculpture Park inPerson inNewYork Art and Design in New York The DART Board: 03.18.2021 Mark Jason Page's Workspace Archives: Friday, April 2, 6-8 pm: Owen James Gallery April 2021 March 2021 David Sandlin | Belfaust: Paintings, screenprints, books February 2021 January 2021 The artist will be in attendance at the gallery Saturday April 3rd (from 2-5 PM) to meet with visitors and December 2020 discuss his work. The following is a preview. Above: David Sandlin, Belfast Bus, acrylic on canvas. November 2020 October 2020 From the late 1960s until 1998, Northern Ireland suffered through The Troubles: an era of severe political and September 2020 sectarian violence, which was particularly brutal in the cities of Derry and Belfast. It emerged from a tormented August 2020 national history as a call for more civil rights by the area’s Catholic minority. At its heart was, and is, a bitter July 2020 debate over whether Northern Ireland should remain part of the United Kingdom or rejoin Ireland as a united June 2020 republic. Born in the late 1950s, artist David Sandlin grew up in Belfast during the 1960s and 70s, as the violence May 2020 drastically increased. Sandlin’s family was Protestant, but siblings had married into Catholic families. Due to continued threats Sandlin’s family moved to rural Alabama in the United States. -
Intertextuality and the Plea for Plurality in Ali Smith's Autumn
Smithers 1 Intertextuality and the Plea for Plurality in Ali Smith’s Autumn BA Thesis English Language and Culture Annick Smithers 6268218 Supervisor: Simon Cook Second reader: Cathelein Aaftink 26 June 2020 4911 words Smithers 2 Abstract This thesis analyses the way in which intertextuality plays a role in Ali Smith’s Autumn. A discussion of the reception and some readings of the novel show that not much attention has been paid yet to intertextuality in Autumn, or in Smith’s other novels, for that matter. By discussing different theories of the term and highlighting the influence of Bakhtin’s dialogism on intertextuality, this thesis shows that both concepts support an important theme present in Autumn: an awareness and acceptance of different perspectives and voices. Through a close reading, this thesis analyses how this idea is presented in the novel. It argues that Autumn advocates an open-mindedness and shows that, in the novel, this is achieved through a dialogue. This can mainly be seen in scenes where the main characters Elisabeth and Daniel are discussing stories. The novel also shows the reverse of this liberalism: when marginalised voices are silenced. Subsequently, as the story illustrates the state of the UK just before and after the 2016 EU referendum, Autumn demonstrates that the need for a dialogue is more urgent than ever. Smithers 3 Table of Contents Introduction ................................................................................................................................ 4 “A Brexit Novel” ...................................................................................................................... -
Nepantla Press Release
Garth Greenan Gallery 545 West 20th Street New York New York 10011 212 929 1351 www.garthgreenan.com FOR IMMEDIATE RELEASE Contact: Garth Greenan (212) 929-1351 [email protected] www.garthgreenan.com Derek Boshier: Alchemy Alchemy Possibilities of Nature, 2020, acrylic on canvas, 66 x 96 inches Garth Greenan Gallery is pleased to announce Derek Boshier: Alchemy Alchemy, an exhibition of paintings and works on paper by Derek Boshier, all made in 2020. Since his landmark early paintings that helped establish the British Pop Art scene in the 1960s, Boshier has continued to combine popular imagery into visually stunning and intellectually confounding works. Opening Thursday, March 25, 2021, the exhibition is the artist’s first at the gallery. The exhibition includes several of the artist’s paintings, each containing Boshier’s careful clustering of logically contradictory but psychically resonant elements. “I collect images,” says Boshier, “and like to use them randomly.” In spite of the inevitable meanings they produce, Boshier’s juxtapositions are often the products of serendipity. The images, thoughts, and events that present themselves over the course of a day, or in the sequential pages of a magazine, are often non-sequiturs, yet occasionally create lasting and meaningful psychic impact. In his sprawling painting Afghanistan (Christmas Day) (2020), Boshier relates the experience of handling Christmas wrapping paper while watching news of war in snowy Afghanistan. The jarring combination of smiling snowmen next to coils of barbed wire, blood, and bodies again suggests a cascade of meanings: about the extremes of human possibility in peaceful celebration and war, or about the links between our civilization’s polite opulence and its aggressive military adventures. -
Fashion in The
1 Sheffield U3A 1960s Fashion Project: What We Wore Sheffield U3A 60s Project 2018 – Fashion Group narrative 2 This document has been compiled by members of the Sheffield University of the Third Age (SU3A) who formed a Fashion Group as part of a wider Remembering the 1960s project. The group met regularly during 2018, sharing memories, photographs and often actual items of clothing that they wore during the 1960s, when most of the group were teenagers or young adults. The 1960s was a very exciting time to be a young fashion-conscious person, with most having enough spare cash to enjoy the many new styles pouring out of the waves of creativity which characterised the decade in so many ways. New easy-care fabrics became available, and cloth was still cheap enough to enable most women to copy the latest designs by making garments at home. In fact, the ubiquity of home-dressmaking was a key factor which emerged from our project and represents one of the biggest changes in everyday clothing between the 1960s and 50 years later. In those days almost every family had someone skilful enough make their own garments, and doing so was generally less expensive than buying clothing. Many books and a wealth of information and online resources are now available for students of 1960s fashion history and it is not our intention here to repeat that well-documented narrative. Instead we wanted to tell our own stories and record our personal recollections of our favourite outfits and memories associated with them. We did this by sharing and talking about our photographs, by showing each other garments and accessories we have kept and treasured, by reminiscing, and by writing up those reminiscences. -
Fashion Revolutionary Mary Quant Comes to Tāmaki Makaurau in a Major Exhibition This Summer
MEDIA RELEASE WEDNESDAY 11 AUGUST 2021 Fashion revolutionary Mary Quant comes to Tāmaki Makaurau in a major exhibition this summer Mary Quant and Vidal Sassoon, 1964. © Ronald Dumont/Daily Express/Hulton Archive/Getty Image ‘It is given to a fortunate few to be born at the right time, in the right place, with the right talents. In recent fashion there are three: Chanel, Dior and Mary Quant.’ – Ernestine Carter An international exhibition exploring the work of legendary fashion designer Mary Quant is set to open at Auckland Art Gallery Toi o Tāmaki this summer. Here from the V&A in London, Mary Quant takes a look at the fashion icon who harnessed the youthful spirit of the sixties and embraced new mass production techniques to create a new look for modern women. Auckland Art Gallery Director Kirsten Lacy is excited to share the fashion revolutionary and youthquake of the 1960s with New Zealanders through an exhibition that cleverly explores Quant’s transformative effect on the fashion scene. ‘Mary Quant was all about revolution. She dressed the liberated woman with her fun, youthful and creative designs. Quant made designer fashion affordable for working women, overturning the dominance of luxury couture from Paris,’ says Lacy. Famously modelled by Twiggy, Grace Coddington and more, Mary Quant’s clothes personified the energy and fun of swinging London and Quant became a powerful role model for the working woman. Challenging conventions, she is known as the face of the miniskirt and popularised colourful tights and tailored trousers – encouraging a new age of feminism. Inspiring young women to rebel against traditional dress worn by their mothers and grandmothers, Quant turned a tiny boutique on the King’s Road, London, into a wholesale brand available in department stores across the UK, US, Europe and Australia. -
The Swinging Sixties
The Swinging Sixties 3 Leggi i brani e rispondi alle domande. The idea of ‘teenagers’, with their own style of clothes and music, originated in the USA in the 1950s. Rock and Roll was born there, and Elvis Presley was the first global rock star. People all around the world are still interested in American music, films and celebrities. But in the 1960s, Britain, not the USA, was the centre of the world’s pop culture! Music The Beatles were the best-selling British band in history and their influence on modern music is enormous. They were international superstars in the 1960s and they had millions of fans. It was often impossible to hear the music at Beatles’ concerts because of the screaming! But there were lots of other very successful British pop groups in that decade and the trendiest place in the world was ‘Swinging’ London. The UK’s capital city was the home of the Rolling Stones and lots of other pop stars. The Beatles moved there from Liverpool in 1963 and worked at the famous recording studios on Abbey Road. Glossary screaming urla swinging vivace, dinamica, alla moda recording studios studi di registrazione 1 Where did the idea of ‘teenagers’ originate? 2 What was the name of the best-selling British band in history? 3 When did the Beatles move to London? 4 Where were their recording studios in London? Go Live! Level 2 Culture C, pp.212–213 © Oxford University Press PHOTOCOPIABLE Fashion The biggest fashion invention of the 1960s was the miniskirt. Girls in the 1950s wore long, wide skirts, but in 1964 everything changed.