DOCSLIB.ORG

Jann Haworth: Close Up

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jann Haworth: Close Up Press Release 2019 Jann Haworth: Close Up An exploration of the role of art in community, identity and protest 2 November 2019 – 23 February 2020 Press View: Friday 1 November 2019, 11am – 1pm Jann Haworth and Liberty Blake, Work in Progress, 2016 – ongoing, Vinyl panels, Photography credit: Alex Johnstone © Courtesy of the artist This autumn, Pallant House Gallery will be the community groups in America where first UK gallery to display American Pop artist participants created stencil portraits of women Jann Haworth (b.1942) and Liberty Blake’s selected from across history and areas of mural, Work in Progress. The 28ft mural is the influence. The resulting mural comprises of result of a collaborative community project seven vinyl panels featuring over 100 women that celebrates women who were catalysts for spanning over 3000 years, from the Egyptian change in the arts, sciences and social pharaoh Nefertiti and Queen Elizabeth I to 21st activism. Alongside the mural will be a display century icons including Ellen DeGeneres and of Haworth’s sculptural and wall-based works Malala Yousafzai. Over the last 2 years the mural dating from the 1960s to the present day. has travelled to 23 venues across Europe and throughout America. The mural celebrates the Work in Progress evolved from Haworth’s contributions that women have made to culture critical re-examination of Sgt Pepper’s Lonely and social change and raises the question of Hearts Club Band album cover that Haworth, in how these different lives and endeavours have collaboration with her then husband, Peter become unjustly marginalised or forgotten Blake, produced in 1967. Exploring the role of throughout history. art as instigating collaboration and change, Haworth and her daughter Liberty Blake (b. Alongside the mural will be a display of 1968) organised a series of workshops with Haworth’s wall-based and sculptural artworks, brought together from public institutions and As part of the exhibition, Haworth will select significant private collections. Haworth’s early works from Pallant House Gallery’s collection. work directly challenged the conventional This selection celebrates female creativity and perception of both the form and appropriate ranges across both period and style with a subjects for sculpture - including the elderly, particular interest in the dialogue between the doughnuts, newspaper comic sections, charm figurative and the abstract. bracelets and cowboys - all cast in cloth. This subject matter was informed by her childhood ‘Jann Haworth: Close Up’ will coincide with the experiences of growing up in California as a exhibition ‘Radical Women: Jessica Dismorr and daughter of a film production designer. her Contemporaries’ celebrating the role of Spending time on sets and filming sessions, women artists in avant-garde British art Haworth met Hollywood ‘stars’ including Marlon movements in the early 20th century. Brando and Marilyn Monroe and was inspired by the creativity that happened ‘behind-the-scenes’ --End-- from special effects to prop and costumes. Creating life-size and large-scale works, Notes to editors: Haworth engages the viewer in a dialogue with her work. Since her student days at the Slade, For all press enquiries please contact: Haworth’s aim has been to make art that speaks Sarah St. Amand, Rees & Co – to the broadest of audiences. +44 (0)20 3137 8776 / [email protected] The exhibition will feature key works including The press view will take place Cowboy (1964), part of Pallant House Gallery’s Friday 1 November 2019, 11am – 1pm. Please collection of British Pop art, and Old Lady II rsvp to [email protected]. (1967) which are part of a range of soft sculpture works Haworth created in the 1960s. About Pallant House Gallery: She recalls: Pallant House Gallery in Chichester is a leading UK museum that stimulates new ways of thinking “What thrilled me about cloth was that in the about British art from 1900 to now. As well as face of the air of male superiority at the Slade- I an original and critically-acclaimed exhibition knew a whole language of expression that my programme and a public programme with male colleagues had no inkling of. I knew the inclusion at its heart, the gallery houses one of language of cloth inside out. I knew how to turn the best collections of Modern British art in the two-dimensional flat fabric into any shape that I country. This includes a significant collection of needed to create a 3-D object/figure/concept. I British Pop art by artists including Peter Blake, knew this opened the door to a vast territory of Patrick Caulfield, Richard Hamilton, RB Kitaj, expression.” Eduardo Paolozzi and Colin Self - all within a distinctive setting of an 18th century townhouse Haworth became a leading figure in the British and a 21st century gallery. Pop Art movement and was represented by the ground-breaking Robert Fraser Gallery, holding Opening Hours her first solo exhibition in 1966. In the late Tuesday – Saturday: 10am – 5pm (excl. 1990s Haworth moved to Utah, where she has Thursday: 10am – 8pm) developed works that explore irreverent Sundays/Bank Holidays: 11am – 5pm materials and artistic practices, including Mondays: Closed cardboard, patchwork wall pieces and large- scale urban mural projects. The exhibition will be on view 2 November 2019 – 23 February 2020. .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 2017 Abstracts
    Abstracts for the Annual SECAC Meeting in Columbus, Ohio October 25th-28th, 2017 Conference Chair, Aaron Petten, Columbus College of Art & Design Emma Abercrombie, SCAD Savannah The Millennial and the Millennial Female: Amalia Ulman and ORLAN This paper focuses on Amalia Ulman’s digital performance Excellences and Perfections and places it within the theoretical framework of ORLAN’s surgical performance series The Reincarnation of Saint Orlan. Ulman’s performance occurred over a twenty-one week period on the artist’s Instagram page. She posted a total of 184 photographs over twenty-one weeks. When viewed in their entirety and in relation to one another, the photographs reveal a narrative that can be separated into three distinct episodes in which Ulman performs three different female Instagram archetypes through the use of selfies and common Instagram image tropes. This paper pushes beyond the casual connection that has been suggested, but not explored, by art historians between the two artists and takes the comparison to task. Issues of postmodern identity are explored as they relate to the Internet culture of the 1990s when ORLAN began her surgery series and within the digital landscape of the Web 2.0 age that Ulman works in, where Instagram is the site of her performance and the selfie is a medium of choice. Abercrombie situates Ulman’s “image-body” performance within the critical framework of feminist performance practice, using the postmodern performance of ORLAN as a point of departure. J. Bradley Adams, Berry College Controlled Nature Focused on gardens, Adams’s work takes a range of forms and operates on different scales.
    [Show full text]
  • EASTERN PAVILIONS Print Portfolio
    EASTERN PAVILIONS Print Portfolio 0.1 Paradox of a Pavilion Without Walls Circulating The most thrilling moment of John Berger’s television series Ways of Seeing (1972) has to be the opening scene in which, with purposive insolence, Berger applies a stanley knife to Sandro Botticelli’s Venus and Mars, which hangs in a Regency sitting room. ‘Tonight,’ Berger’s voiceover sounds, ‘isn’t so much the paintings themselves that I want to consider, as the way we now see them in the second half of the twentieth century.’ The image of a gaping canvas cuts to a printing press. Now the redacted Venus looks out at us from rows and columns, multiplied many times, on paper reams speeding through a printer. Later a wide shot reveals the defaced Botticelli in its setting - a fragment of a set constructed within a studio. ‘The image of any painting can be seen in a million different places at any time, as you look at them now on your screen your wallpaper is around them... at this same moment they are on many other screens.’ Berger’s opening iconoclastic act peels away reproduction after reproduction, artifice after artifice. In the little Penguin published book, which wears its insides on its cover, Berger acknowledges his indebtedness to the German philosopher-critic Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction. Published in 1936, the essay describes with messianical acuity how mechanical reproduction - the democratizing effects of mass printing press and photography - has transformed the ways a work of art is experienced in modernity.
    [Show full text]
  • Where Do Ideas Come From?
    Where do ideas come from? Where do ideas come from? 1 Where do ideas come from? At Deutsche Bank we surround ourselves with art. International contemporary art plays its part in helping us to navigate a changing world. As a global bank we want to understand, and engage with, different regions and cultures, which is why the Deutsche Bank Collection features contemporary artists from all over the globe. These artists connect us to their worlds. Art is displayed throughout our offices globally, challenging us to think differently, inviting us to look at the world through new eyes. Artists are innovators and they encourage us to innovate. Deutsche Bank has been involved in contemporary art since 1979 and the ‘ArtWorks’ concept is an integral part of our Corporate Citizenship programme. We offer employees, clients and the general public access to the collection and partner with museums, art fairs and other institutions to encourage emerging talent. Where do ideas come from? 2 Deutsche Bank reception area with artworks by Tony Cragg and Keith Tyson Art in London The art in our London offices reflects both our local and global presence. Art enriches and opens up new perspectives for people, helping to break down boundaries. The work of artists such as Cao Fei from China, Gabriel Orozco from Mexico, Wangechi Mutu from Kenya, Miwa Yanagi from Japan and Imran Qureshi from Pakistan, can be found alongside artists from the UK such as Anish Kapoor, Damien Hirst, Bridget Riley and Keith Tyson. We have named conference rooms and floors after these artists and many others.
    [Show full text]
  • R.B. Kitaj: Obsessions
    PRESS RELEASE 2012 R.B. Kitaj: Obsessions The Art of Identity (21 Feb - 16 June 2013) Jewish Museum London Analyst for Our Time (23 Feb - 16 June 2013) Pallant House Gallery, Chichester, West Sussex A major retrospective exhibition of the work of R. B. R.B. Kitaj, Juan de la Cruz, 1967, Oil on canvas, Astrup Fearnley Museum of Modern Art, Oslo; If Not, Not, 1975, Oil and black chalk on canvas, Scottish Kitaj (1932-2007) - one of the most significant National Gallery of Modern Art, Edinburgh © R.B. Kitaj Estate. painters of the post-war period – displayed concurrently in two major venues for its only UK showing. Later he enrolled at the Ruskin School of Art in Oxford, and then, in 1959, he went to the Royal College of Art in This international touring show is the first major London, where he was a contemporary of artists such as retrospective exhibition in the UK since the artist’s Patrick Caulfield and David Hockney, the latter of whom controversial Tate show in the mid-1990s and the first remained his closest painter friend throughout his life. comprehensive exhibition of the artist’s oeuvre since his death in 2007. Comprised of more than 70 works, R.B. During the 1960s Kitaj, together with his friends Francis Kitaj: Obsessions comes to the UK from the Jewish Museum Bacon, Frank Auerbach and Lucian Freud were Berlin and will be shown concurrently at Pallant House instrumental in pioneering a new, figurative art which defied Gallery, Chichester and the Jewish Museum London. the trend in abstraction and conceptualism.
    [Show full text]
  • 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).
    [Show full text]
  • 2019/20 Exhibitions
    2020/21 EXHIBITIONS (list updated on 25 February) National Gallery, London Young Bomberg and the Old Masters (until 1 March) (Free) https://www.nationalgallery.org.uk/exhibitions/young-bomberg-and-the-old-masters Nicolaes Maes: Dutch Master of the Golden Age (until 31 May) (Free) https://www.nationalgallery.org.uk/exhibitions/nicolaes-maes-dutch-master-of-the-golden-age Titian: Love, Desire, Death (16 March – 14 June) https://www.nationalgallery.org.uk/exhibitions/titian-love-desire-death Artemisia Gentileschi (4 April – 26 July) https://www.nationalgallery.org.uk/exhibitions/artemisia Sin (15 April – 5 July) (Free) https://www.nationalgallery.org.uk/exhibitions/sin Raphael (3 October – 24 January 2021) https://www.nationalgallery.org.uk/exhibitions/the-credit-suisse-exhibition-raphael Dürer’s Journeys: Travels of a Renaissance Artist (13 February 2021 – 16 May 2021) https://www.nationalgallery.org.uk/exhibitions/durers-journeys-travels-of-a-renaissance-artist National Portrait Gallery, London (will be closed from June 2020 for three years for revamp!) Cecil Beaton’s Bright Young Things (12 March – 7 June) https://www.npg.org.uk/whatson/exhibitions/2019/cecil-beatons-bright-young-things/ David Hockney: Drawing from Life (27 February – 28 June) https://www.npg.org.uk/whatson/exhibitions/2019/david-hockney-drawing-from-life/ BP Portrait Award (21 May – 28 June) https://www.npg.org.uk/whatson/bp-portrait-award-2020/exhibition/ Royal Academy Picasso and Paper (until 13 April) https://www.royalacademy.org.uk/exhibition/picasso-and-paper Léon
    [Show full text]
  • UC Irvine Electronic Theses and Dissertations
    UC Irvine UC Irvine Electronic Theses and Dissertations Title Surrealism: a Marxist Enterprise in 1930s London Permalink https://escholarship.org/uc/item/6vk769zn Author Obarski, Susan King Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Surrealism: a Marxist Enterprise in 1930s LonDon DISSERTATION submitteD in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Susan King Obarski Dissertation Committee: Professor James D. Herbert, Chair Professor Cécile Whiting Associate Professor Catherine L. Benamou 2014 © 2014 Susan King Obarski DEDICATION To my parents Joan anD Jim King, and my Daughter Katie Obarski, for their love and unconditional support. ii TABLE OF CONTENTS Page LIST OF FIGURES v ACKNOWLEDGMENTS xi CURRICULUM VITAE xii ABSTRACT OF THE DISSERTATION xiv INTRODUCTION 1 CHAPTER 1: Establishing the Revolutionary Aims of British Surrealism 11 Extending Unit One 15 Aligning with Breton and Local British Traditions 18 Part of a Growing British Left 21 The International Surrealist Exhibition 31 Postmortem anD Response to the Press 46 Standing with anD Against English Culture 48 Conclusions 56 CHAPTER 2: Eileen Agar anD the Compromises of Pursuing A Free Revolutionary Art 65 Surrealism ConceiveD Upmarket 72 Autobiography of an Embryo 76 Angel of Anarchy 93 Agar as ProDucer 97 Cultural Production as a Political Cause 106 Conclusions 113 CHAPTER 3: Speaking to the Masses with Surrealist Film 125 Contributions to the British Surrealist Group 136 Presenting the Social by Experimental Means 144 Evolving Labor and Technology in The Birth of the Robot 154 MoDern Workers in Spare Time 161 Conclusions 174 CHAPTER 4: Exhibiting Picasso’s Guernica: Melding Marxist ideology and Capitalist Enterprise to Oppose Fascism 185 Spain as a Defining Surrealist Issue 189 Unity and Conflict in the A.I.A.
    [Show full text]
  • Magazine Media
    SEPTEMBER 2012: IMAGES & ICONS M M MediaMagazine edia agazine Menglish and media centre issue 41 | septemberM 2012 FEMINIST ICONS OF NORDIC NOIR THE ICONOGRAPHY OF THE ALBUM COVER STEVE JOBS AND THE ICONIC APPLE THE ICONOGRAPHY OF THE WESTERN english english and media centre SELF-IMAGE AND THE | issue | 41 issue | september 2012 MEDIA ICONS IN THE HOOD MM MM MediaMagazine is published by the English and Media Centre, a Welcome to new readers just starting out on your media and non-profit making organisation. film journey – and welcome back to those of you returning to A2 The Centre publishes a wide range and other Level 3 courses. of classroom materials and runs courses for teachers. If you’re This first issue of the year is on Images and Icons – traditionally studying English at A Level, look out the first port of call in Media Studies. You’ll already be well for emagazine, also published by practised in reading and analysing still and moving images, but the Centre. what’s this slippery term icon? And what does iconography mean in the context of The English and Media Centre Media Studies? You’ll know the word from the graphic symbols on your desktop, but 18 Compton Terrace that’s only one meaning. At its simplest, it’s described as: ‘An image; a representation’ London N1 2UN or ‘a symbol resembling the thing it represents’. Most definitions remark on the Telephone: 020 7359 8080 term’s derivation from religious imagery: ‘the representation or picture of a sacred Fax: 020 7354 0133 or sanctified Christian personage, traditionally used and venerated in the Eastern Email for subscription enquiries: Church’ (http://www.thefreedictionary.com/icon).
    [Show full text]
  • Pallant House Gallery
    __ The Economic Contribution of Pallant House Gallery 16 June 2016 Contents 5. Economic Model ............................................................................... 20 5.1 Additionality Analysis .......................................................................... 21 1. Executive Summary ........................................................................... 3 5.2 Economic Multipliers ........................................................................... 23 1.1 Growing Organisation ........................................................................... 3 5.3 GVA and FTE Conversion .................................................................. 23 1.2 Dedicated Audience ............................................................................. 3 5.4 Economic Modelling Results ............................................................... 24 1.3 Overall Economic Impact ..................................................................... 3 5.4.1 Audience Analysis ............................................................................... 24 1.4 Expansion since 2008 .......................................................................... 4 5.4.2 Organisation Analysis ......................................................................... 25 2. Introduction ........................................................................................ 5 5.4.3 Overall Assessment ............................................................................ 25 2.1 Methodological Overview ....................................................................
    [Show full text]
  • State 17QUN Layout 1
    FREE 17 | HOT&COOL ART SETTING THE PACE ROBERT FRASER BRIAN CLARKE 2014 BRIAN CLARKE ADVENTURES IN ART DAFYDD JONES KLAUS STAUDT LIGHT AND TRANSCENDENCE ams Trust Albert Ad © , Acrylic on canvas, 127 x 114cm , Acrylic on canvas, The Captive image: Klaus Staudt (b. 1932 Otterndorf am Main, Germany) 1/723 SG 86, Diagonal, 1992, Acrylic, wood and plexiglas, 76.5 x 76.5 x 7.5 cm, 30 1/8 x 30 1/8 x 3 inches ALBERT ADAMS (1930 – 2006) PAINTINGS AND ETCHINGS THE MAYOR GALLERY %46-0ď 21 CORK STREET, FIRST FLOOR, LONDON W1S 3LZ 30 May – 10 July 2015 UNIVERSITY GALLERY Northumbria University Sandyford Road Newcastle upon Tyne NE1 8ST TEL: +44 (0) 20 7734 3558 FAX: +44 (0) 20 7494 1377 T: 0191 227 4424 E: [email protected] www.universitygallery.co.uk [email protected] www.mayorgallery.com 29 MAY 2015 CHARLIE SMITH london Anti-Social Realism Curated by Juan Bolivar & John Stark 3 April – 9 May 2015 Dominic Shepherd 15 May – 20 June 2015 Emma Bennett 26 June – 25 July 2015 336 Old Street, London EC1V 9DR, United Kingdom +44 (0)20 7739 4055 | [email protected] www.charliesmithlondon.com | @CHARLIESMITHldn Wednesday–Saturday 11am–6pm or by appointment Emma Bennett, ‘Tender Visiting’, 2014 Oil on canvas 50x40cm Visiting’, Emma Bennett, ‘Tender DIARY NOTES COVER IMAGE DAFYDD JONES Brian Clarke, 2015 Photographed at Pace Gallery Burlington Gardens London FOOLS RUSH IN Brian Clarke added curating to his many talents when he agreed The FRANCIS BACON MB Art Foundation, established by Majid Boustany and based in to produce a tribute to his former agent, gallerist and friend, Robert Fraser.
    [Show full text]
  • Download Biographies of Artist and Makers
    ROCK PAPER SCISSORS Contemporary and Country’s (C&C) latest exhibition Rock, Paper, Scissors encompasses art and handmade objects fashioned with the process of their making in mind. Skills made evident in bringing about their innovative ideas through a diverse range of art and handmade objects have been a recurring point of interest for the artists and makers that work with C&C. Rock, Paper, Scissors refers to the childhood game of chance where material properties prescribe the outcome of each playful exchange between two players, with the material choice made by one player winning the point. The artists and makers contributing to C&C’s latest exhibition at Houghton Hall Stables show how they exploit material qualities during the production process to create an original and unique work of art. Technical ability has played a subsidiary role in the production and appreciation of art in recent decades. More conceptual work has proved dominant in contemporary museums and galleries around the world. Rock, Paper, Scissors celebrates creatives who have developed what they do against the grain, despite this prevailing direction. They’ve accumulated a wellspring of personal experience coaxing their creative ideas into being. Carved stone bowls, single sheet paper cuts, clever collages, poured paintings, hand-built porcelain vessels, hand woven baskets, welded and sand-cast sculptures, hand blown glass, tactile turned wooden bowls and hand-hewn wooden platters acknowledge their material origins. Each piece reveals the alchemy that occurs between creative intent, material choice and dexterous fabrication. Artists and makers contributing to C&C projects live and work in non-metropolitan, rural locations in the east of England.
    [Show full text]