Chantal Joffe
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PART IV CATALOGUES of Exhibitions,734 Sales,735 and Bibliographies
972 “William Blake and His Circle” PART IV CATALOGUES of Exhibitions,734 Sales,735 and Bibliographies 1780 The Exhibition of the Royal Academy, M.DCC.LXXX. The Twelfth (1780) <BB> B. Anon. "Catalogue of Paintings Exhibited at the Rooms of the Royal Academy", Library of the Fine Arts, III (1832), 345-358 (1780) <Toronto>. In 1780, the Blake entry is reported as "W Blake.--315. Death of Earl Goodwin" (p. 353). REVIEW Candid [i.e., George Cumberland], Morning Chronicle and London Advertiser, 27 May 1780 (includes a criticism of “the death of earl Goodwin, by Mr. Blake”) <BB #1336> 734 Some exhibitions apparently were not accompanied by catalogues and are known only through press-notices of them. 735 See G.E. Bentley, Jr, Sale Catalogues of Blake’s Works 1791-2013 put online on 21 Aug 2013 [http://library.vicu.utoronto.ca/collections/special collections/bentley blake collection/in]. It includes sales of contemporary copies of Blake’s books and manuscripts, his watercolours and drawings, and books (including his separate prints) with commercial engravings. After 2012, I do not report sale catalogues which offer unremarkable copies of books with Blake's commercial engravings or Blake's separate commercial prints. 972 973 “William Blake and His Circle” 1784 The Exhibition of the Royal Academy, M.DCC.LXXXIV. The Sixteenth (London: Printed by T. Cadell, Printer to the Royal Academy) <BB> Blake exhibited “A breach in a city, the morning after a battle” and “War unchained by an angel, Fire, Pestilence, and Famine following”. REVIEW referring to Blake Anon., "The Exhibition. Sculpture and Drawing", Morning Chronicle and London Advertiser, Thursday 27 May 1784, p. -
Bloomberg New Contemporaries 2013
Bloomberg New Contemporaries 2013 Bloomberg New Contemporaries 2013 www.ica.org.uk/learning Bloomberg New Contemporaries 2013 www.ica.org.uk/learning 27 November 2013 - 26 January 2014 27 November 2013 - 26 January 2014 CONTENTS Introduction to the Exhibition and Aims of the Pack 4 - 5 About the ICA 6 History of New Contemporaries 7 - 8 Lower Gallery 9 Upper Gallery 10 Bloomberg New Contemporaries 2013 Discussion & Activities 11 - 12 27 Nov - 26 Jan 2014 TEACHERS PACK Art Rules 13 About ICA Learning and BNC Selectors 14 Forthcoming Events 15 2 3 Bloomberg New Contemporaries 2013 www.ica.org.uk/learning Bloomberg New Contemporaries 2013 www.ica.org.uk/learning 27 November 2013 - 26 January 2014 27 November 2013 - 26 January 2014 INTRODUCTION TO THE EXHIBTION AND AIMS OF THE PACK The pre-visit activities have been designed to ensure that students gain a deep understanding of Bloomberg New Contemporaries 2013 from their visit. Suggested pre-visit activities allow students to engage more fully with the works on display and encourage a stronger understanding of the themes of the exhibition. Bloomberg New Contemporaries 2013 2013 Artists Upper & Lower Galleries Aisha Abid Hussain, Rebecca Ackroyd, Thomas Aitchison, Lewis Betts, Jason Brown, Fatma Bucak, Agnes Calf, Lauren Cohen, Patrick Cole, Menna Cominetti, Calum Crawford, Mark Essen, Adham Fara- For the fourth year running we welcome Bloomberg New Contemporaries with 46 participants to the mawy, Ophelia Finke, Grant Foster, Archie Franks, Joe Frazer, Kate Hawkins, Adam Hogarth, Catherine ICA. This year’s selectors Ryan Gander, Chantal Joffe and Nathaniel Mellors have chosen outstanding Hughes, Antoine L’Heureux, Roman Liška, Lana Locke, Alex McNamee, Steven Morgana, Laura O’Neill, works by the most promising artists coming out of UK art schools from a range of over 1,500 Hardeep Pandhal, Julia Parkinson, Joanna Piotrowska, Hannah Regel, Dante Rendle Traynor, Daniela submissions. -
Chantal Joffe
CHANTAL JOFFE Born 1969 in St. Albans, Vermont, USA Lives and works in London, UK Education 1992 - 94 M.A. Fine Art, Royal College of Art, London 1988 - 91 B.A. (Hons) Fine Art, Glasgow School of Art 1987 - 88 Foundation Course, Camberwell School of Arts and Crafts Solo Exhibitions 2020 Lucie and Daryll, Chantal Joffe Looking at Lucian Freud, IMMA Collection: Freud Project, Dublin, Ireland 2019 Chantal Joffe, Victoria Miro Mayfair, London, UK Chantal Joffe, Victoria Miro Islington, London, UK 2018 Personal Feeling is the Main Thing - Chantal Joffe, The Lowry, Salford, UK Chantal Joffe: Pastels, Victoria Miro Venice, Italy 2017 Chantal Joffe, Monica De Cardenas, Milan, Italy Chantal Joffe, Cheim & Read, New York, USA 2016 Galerie Forsblom, Helsinki, Finland Chantal Joffe, Victoria Miro Mayfair, London, UK 2015 Night Self Portraits, Cheim & Read, New York, USA Using Walls, Floors, and Ceilings: Chantal Joffe, curated by Jens Hoffmann, Jewish Museum, New York, USA Chantal Joffe: Beside the Seaside, Jerwood Gallery, Hastings, UK 2013 Chantal Joffe: The Hard Winter, Galerie Forsblom, Helsinki, Finland 2012 Cheim & Read, New York, USA 2011 Il Capricorno, Venice, Italy Victoria Miro, London, UK 2009 Monica de Cardenas, Milan, Italy Cheim & Read, New York, USA 2008 Victoria Miro, London, UK 2007 Galeria Monica de Cardenas, Zuoz, Switzerland Studio d’Arte Raffaelli, Trento, Italy 2006 Regen Project, Los Angeles, USA 2005 Victoria Miro, London, UK Monica de Cardenas, Milan, Italy 2004 Il Capricorno, Venice, Italy 2003 Victoria Miro, London, UK -
CHANTAL JOFFE Chantal Joffe (Born 1969) Is an English Artist Based In
‘PINK PALACE’ (2001) 91 x 304 cm - 35 7/8 x 119 5/8 in. oil and paper collage on board signed and dated on the reverse CHANTAL JOFFE Chantal Joffe (born 1969) is an English artist based in London. Her often large-scale paintings generally depict women and children. In 2006, she received the prestigious Charles Wollaston Award from the Royal Academy. Joffe has exhibited nationally and internationally at the Neuberger Museum of Art, Purchase, New York (2009); University of the Arts, London (2007), MIMA Middlesbrough Institute of Modern Art (2007), Royal Academy of Arts, London (2005), Galleri KB, Oslo (2005) and Bloomberg Space, London (2004). Possessing a humorous eye for everyday awkwardness and an enlivening facility with paint, Chantal Joffe brings a combination of insight and integrity to the genre of figurative art. Hers is a deceptively casual brushstroke. Whether in images a few inches square or ten feet high, fluidity combined with a pragmatic approach to representation seduces and disarms simultaneously. Almost always depicting women or girls, sometimes in groups but recently in iconic portraits, the paintings only waveringly adhere to their photographic source, instead reminding us that distortions of the brush or pencil can often make a subject seem more real. Joffe's paintings always alert us to how appearances are carefully constructed and codified, whether in a fashion magazine or the family album, and to the choreography of display. And yet there's witty neutrality in a career-spanning line-up that has given equal billing to catwalk models, porn actresses, mothers and children. Joffe questions assumptions about what makes a noble subject for art and challenges what our expectations of a feminist art might be. -
Art on Mars: a Foundation for Exoart
THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF CANBERRA AUSTRALIA by TREVOR JOHN RODWELL Bachelor of Design (Hons), University of South Australia Graduate Diploma (Business Enterprise), The University of Adelaide ART ON MARS: A FOUNDATION FOR EXOART May 2011 ABSTRACT ART ON MARS: A FOUNDATION FOR EXOART It could be claimed that human space exploration started when the former Soviet Union (USSR) launched cosmonaut Yuri Gagarin into Earth orbit on 12 April 1961. Since that time there have been numerous human space missions taking American astronauts to the Moon and international crews to orbiting space stations. Several space agencies are now working towards the next major space objective which is to send astronauts to Mars. This will undoubtedly be the most complex and far-reaching human space mission ever undertaken. Because of its large scale and potentially high cost it is inevitable that such a mission will be an international collaborative venture with a profile that will be world- wide. Although science, technology and engineering have made considerable contributions to human space missions and will be very much involved with a human Mars mission, there has been scant regard for artistic and cultural involvement in these missions. Space agencies have, however, realised the influence of public perception on space funding outcomes and for some time have strived to engage the public in these space missions. This has provided an opportunity for an art and cultural involvement, but there is a problem for art engaging with space missions as currently there is no artform specific to understanding and tackling the issues of art beyond our planet. -
John Singer Sargent John Singer Sargent Reproduced with Permission of Punch Ltd
A LEARNING RESOURCE IN FOCUS Featuring works from the Gallery’s Collection, a series of resources focusing on particular artists whose practice has changed the way we think about the art of portraiture and in turn influenced others. by Sir (John) Bernard Partridge, circa 1925. circa Sir (John) Bernard Partridge, by by Alvin Langdon Coburn, 1907 © reserved; collection National Portrait Gallery, London. NPG Ax7779 Gallery, London. collection National Portrait 1907 © reserved; Coburn, Alvin Langdon by John Singer Sargent John Singer Sargent Reproduced with permission of Punch Ltd. NPG D6612a with permission of Punch Reproduced JOHN SINGER SARGENT John Singer Sargent (1856-1925) was the greatest portrait painter of his generation. Sargent combined elegance with a keen eye for distinctive details that convey the essential characteristics of a sitter. Acclaimed on both sides of the Atlantic, he was closely connected to many of the other leading artists, writers, actors and musicians of the time. In Focus: John Singer Sargent Page 1 of 13 INTRODUCTION The son of an American doctor, Sargent was born in Florence. He studied painting in Italy and with Carolus-Duran This is one in a series of ‘In Focus’ resources, aiming to in France and in 1884 caused a sensation at the Paris Salon discuss particular artists whose practice has changed the with his daring and unconventional painting of Madame way we think about the art of portraiture, featuring works X (Madame Pierre Gautreau). He portrayed the beautiful from the National Portrait Gallery Collection. It is useful to American, who was married to a French banker, in an look at developments in portrait painting through the lens unusual pose; her left arm twisted, her head in profile and of a single, significant artist, appreciating their techniques her shoulders bare, initially with one strap of her black gown and innovations, and the way that they have been slipped off her right shoulder (this study is held in the Tate influenced by the advances of others and how in making Collection). -
The Factual Specialists Programme Catalogue 2018-2019
International the factual specialists programme catalogue 2018-2019 tvfinternational.com v programming service With a rich and respected catalogue, TVF International is ideally placed to offer broadcasters a unique programming service. Our specialist sales executives work closely with clients to select themed series and quality collections that are carefully tailored to the individual needs of different channels and programming schedules the world over. Please consult your TVF sales contact to discuss how our programming expertise can work for your platform. our senior team Harriet Armston-Clarke Division Head [email protected] Will Stapley Head of Acquisitions [email protected] Lindsey Ayotte Sales Manager [email protected] Julian Chou-Lambert Acquisitions Manager [email protected] Matt Perkins Senior Sales & Acquisitions Executive [email protected] Catriona McNeish Sales Executive [email protected] Oliver Clayton Sales Executive [email protected] Sam Joyce Sales Executive [email protected] Izabela Sokolowska Head of Programme Servicing [email protected] Alex Shawcross Head of Business Affairs [email protected] CELEBRITY & BIOGRAPHY 2 HISTORY 11 WORLD AFFAIRS 25 LIFESTYLE & ENTERTAINMENT 38 EXTRAORDINARY PEOPLE 51 CRIME & MILITARY 62 RELIGION & PHILOSOPHY 70 ARTS 77 SCIENCE & ENVIRONMENT 89 WILDLIFE 105 TRAVEL & ADVENTURE 113 FOOD 126 HEALTH & FAMILY 133 SEX & RELATIONSHIPS 148 FORMATS 155 INDEX 168 tvfinternational.com 1 CELEBRITY & BIOGRAPHY Peer to Peer Format: 18 x 24/48 (HD) Broadcaster: Bloomberg Television What makes a truly great leader? Renowned financier and philanthropist David Rubenstein sits down with the most influential business people on the planet, from Oprah Winfrey to Bill Gates, Eric Schmidt to former presidents Clinton and Bush, to uncover their personal stories and explore their fascinating paths to success. -
Chantal Joffe Opens Thursday May 25 from 6–8 Pm Exhibition Continues Through June 30, 2017
PRESS RELEASE Chantal Joffe Opens Thursday May 25 from 6–8 pm Exhibition continues through June 30, 2017 Cheim & Read is pleased to present an exhibition of new works by the American-born British painter Chantal Joffe. The show will open on May 25 and run through June 30. With influences ranging from Piero della Francesca to Edgar Degas and Francis Bacon, Joffe has based her work on a direct and intimate observational relationship between the painter and her sitter. She is also engaged in a continuing series of candid, often searing self-portraits, and tender double portraits featuring herself and her daughter, Esme. Joffe regards her previous show at Cheim & Read, Night Self-Portraits (May 14–June 20, 2015), as a personal breakthrough. As she told the Canadian cultural journal Border Crossings, “I felt those self-portraits were getting closer to the kind of honesty I want.” In the current exhibition, the artist paints women and girls alone, with Bella on Red, 2016, oil on canvas, 48 3/8 x 27 1/8 in, 122.9 x 68.9 cm the exception of “Self-Portrait with Esme in a Striped Nightie,” which contrasts the soft ovals of the artist’s nearly naked body with the horizontal blue-and-white stripes of her daughter’s nightgown. Within this relatively narrow subject area, Joffe experiments wildly with form, color, texture, and approach. There are a number of portraits of Bella, the 9-year-old daughter of a close friend, whose eyes turn toward the viewer with a startling self-confidence bordering on defiance. -
Press Release Chantal Joffe
PRESS RELEASE CHANTAL JOFFE Opening Thursday 7 May from 6 to 8 pm. Exhibition continues through 13 June 2009. Cheim & Read is pleased to announce an exhibition of new work by British painter Chantal Joffe. This is Joffe’s first solo show with the gallery. Born in 1969, Chantal Joffe studied at Glasgow School of Art and in 1994 received her master’s degree from the Royal College of Art, London. Associated with the second (and more paint-focused) wave of young British artists, Joffe works mostly from secondary source material—magazine ads, fashion spreads, snapshots. Her painting style, fluid and loose, is simultaneously bold and distinctive; as she has stated, “I don’t like the lack of commitment to a mark.” In the tradition of Alice Neel, Joffe’s unsentimental portraits, mostly Kelsey 2009 of women and children, convey an emotional and psychological Oil on board 84 x 55 in 213.4 x 139.7 cm intensity, belying the objectification of her subject. Joffe’s recent paintings are part of a new group of work, culled from her own photographs of models backstage during Paris fashion week. Inspired in part by an interest in Degas and his depictions of dancers at the Royal Ballet, Joffe’s paintings of models reveal a sense of vulnerability and openness, characteristics not usually associated with the polished identity of high fashion. Joffe’s provocative reappropriation of imagery challenges the viewer by providing her figures with poignancy and psychological depth. While seemingly casual, Joffe’s paintings are highly observant, and capture not only the unique gaze of her subject, but the color, texture and pattern of their clothing and environment. -
NICOLA HICKS Riverside Studios, London, UK 1996 Furtive Imagination, Yorkshire Sculpture Park
NICOLA HICKS Riverside Studios, London, UK 1996 Furtive Imagination, Yorkshire Sculpture Park, Wakefield, UK Née/Born – 1960, Londres/London, UK Furtive Imagination, Whitworth Art Gallery, Vit et travaille/Lives and works – Londres/London, UK University of Manchester, Manchester, UK Flowers East, London, UK EDUCATION Aberystwyth Arts Centre, Aberystwyth, UK 1995 Kings Lynn Arts Centre, Norfolk, UK 1982-85 MA, Royal College of Art, London, UK Flowers East, London, UK 1978-82 Chelsea School of Art, Chelsea, UK Nicola Hicks Sculpture and Drawings, Djanogly Art Gallery, University of Nottingham, Nottingham, EXPOSITIONS INDIVIDUELLES SÉLECTIONNÉES UK SELECTED SOLO EXHIBITIONS 1994 Flowers East at London Fields, London, UK 1993 Castlefield Gallery, Manchester, UK 2015 Nicola Hicks – Pause, Flowers, London, UK Peter Scott Gallery, Lancaster, UK Nicola Hicks, Tayloe Piggott Gallery, WY, USA 1992 Flowers East, London, UK Sorry Sarajevo, St Pauls Cathedral, London, UK 1991 Drawings, Tegnerforbundet, Oslo, Norway 2014 Nicola Hicks, Flowers Cork Street, London, UK Fire and Brimstone, Flowers East, London & 2013 Nicola Hicks, Yale Centre for British Art, New Watermans Art Centre, Brentford, UK Haven, CT, USA 1990 Envelope Drawings and Small Paintings, Flowers East, Nicola Hicks, Flowers, New York, NY, USA London, UK 2012 Close Up, Flowers Cork Street, London, UK 1989 Flowers East, London, UK 2011 Aesop’s Fables, Flowers Kingsland Road, London, 1988 Flowers East, London, UK UK 1987 Beaux Arts Gallery, Bath, UK 2010 Nicola Hicks, Lister Park, Cartwright -
1 Whitechapel Gallery Large Print Season Guide September
Whitechapel Gallery Large Print Season Guide September-December 2018 1 2 Contents: Elmgreen & Dragset: This Is How We Bite Our Tongue…………………………………………………….p.4-8 Ulla von Brandenburg: Sweet Feast …..p.9-13 Surreal Science: Louden Collection with Salvatore Arrancio……………………………….p.15-19 Staging Jackson Pollock……………………….p.20-23 Artists Film International…………………….p.28-31 V-A-C Live………………………………………………p.33-35 September Events………………………………..p.36-38 November Events…………………………………p.46-55 December Events…………………………………p.55-57 Schools & Teachers…………………………....p.58-61 Families………………………………………………..p.62-64 Youth…………………………………………………….p.64-67 Community…………………………………………..p.67-68 Is This Tomorrow?.........................p.69-71 Shop……………………………………………………..p.72-77 Gallery Information………………………..p.78-80 3 27 September 2018 –13 January 2019 Galleries 1, 8 & 9 Exhibition Elmgreen & Dragset: This Is How We Bite Our Tongue £15/£10 concs The corpse of a collector floating in his swimming pool; the remains of a party to which we were not invited; and the apartment of a failed modernist architect hidden in the V&A Museum have been among Elmgreen & Dragset’s uncanny environments. For their first survey in the UK, they conjure the ghost of a civic facility, an immense and immersive memorial to public space lost to commercially driven and politically sanctioned development. This abandoned community resource also 4 represents ‘someone’s broken dreams or scarred ideals’. Since 1995 Michael Elmgreen (b.1961, Denmark) and Ingar Dragset (b.1969, Norway) have worked together to create beguiling scenarios inhabited by a cast of characters. They invite us to investigate tragi-comic environments that unveil power structures embedded in the everyday. -
THEN for NOW an Exhibition of Delfina Studio Trust Alumni–Artists in Support of Delfina Foundation
THEN FOR NOW An exhibition of Delfina Studio Trust alumni–artists in support of Delfina Foundation 09/10 — 14/11/15 CONTENTS AARON CEZAR Foreword Director As the cost of living in London continues to rise and financial support for the arts becomes increasingly strained, Then for Now encapsulates the kind of artistic solidarity that is urgently needed. This fundraising exhibition features 18 of the Delfina Studio Trust’s alumni–artists, including five Turner Prize nominees and winners, who have donated artworks to support the next generation of artists at Delfina Foundation. Selected by INTRODUCTION: alumna–artist Chantal Joffe and curator–critic Sacha Craddock, 3 Aaron Cezar [Foreword] the artists taking part in Then for Now define a specific era of 6 Delfina Entrecanales CBE [Quote] the Studios, one that witnessed a period of radical growth in 7 Chantal Joffe [Quote] London’s contemporary art scene. Craddock reflects on this time 7 Sacha Craddock [Essay: Then for Now] in her essay [page 7], as well as on the importance of Delfina [12] Studios as a hotbed of creativity. FEATURED ARTISTS: 12 Anna Barriball The Studios held an outstanding record for nurturing the careers [3] 14 Simon Bill of over 400 artists, including more than a dozen Turner Prize 16 Ian Dawson nominees, in nearly 20 years. Beginning in Stratford in 1988 18 Tacita Dean then relocating to Bermondsey in 1992, the Studios provided free 20 Ceal Floyer and subsidised workspaces to young British artists at first, 22 Anya Gallaccio eventually creating opportunities for artists from across the 24 Lucy Gunning world to live and work in London.