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191210 BSR FA Digital PDF.Pdf 2017–18 Fine Arts 2017–18 Acknowledgements All works © the artists and architects Antonella Salvatore and Inge L. Hansen, John Cabot University, Rome Editor: Marta Pellerini Graphic design: Praline Juliet Franks, The Ruskin School of Art, University of Oxford Printed in Belgium by Graphius Sarah Linford, Accademia di Belle Arti di Roma, Rome Published in 2019 by the British School at Rome Costanza Barbieri, Vittoria Bonifati, Paola Capata, Martina 10 Carlton House Terrace Caruso, Manuela Contino, Tiziana D’Acchille, Anna D’Amelio London SW1Y 5AH Carbone, Giovanni de Cataldo, Cristina Dinello Cobianchi, Stephanie Fazio, Marta Federici, Valentina Fiore, Jo Melvin, British School at Rome Manuela Pacella, Marco Palmieri, Catherine Parsonage, Marta Via Gramsci 61, 00197 Rome Silvi, Saverio Verini, Sara Zanin A charity registered in England and Wales (no. 314176) Cristiana Cordova, Jacqueline Davies, Antonia Di Nucci, Elinor Staniforth, Chiara Traversaro www.bsr.ac.uk Photography courtesy of the artists and architects, except: ISSN 1475-8733 Roberto Apa (pages 5, 6, 8–11, 14, 16–18, 20–28, 30, 31, ISBN 978-0-904152-83-8 34–45) Augusta Charitable Trust The Bridget Riley Art Foundation The Derek Hill Foundation with David and Pam McKee, and The Lang Foundation The Incorporated Edwin Austin Abbey Memorial Scholarships with Ms Jennifer Dowling Nicholas Berwin Charitable Trust The Carpenters’ Company, London, and other with Karsten Schubert, Keir McGuinness and Alex Hooi donors to the Scholars’ Prize in Architecture Contents 4 Preface: Stephen Milner 7 Introduction: Marta Pellerini Exhibitors 14 Josephine Baker 16 Marie-Claire Blais 18 Stephen Cooper 20 James Epps 22 Oona Grimes 24 Gabriel Hartley 26 Yusuf Ali Hayat 28 Damien Meade 30 Emily Motto 32 Patrick O’Keeffe 34 John Rainey 36 Joseph Redpath 38 John Robertson 40 Deborah Rundle 42 Jennifer Taylor 44 Murat Urlali 46 Dominic Watson 48 Biographies 56 BSR Faculty of the Fine Arts and Staff Preface This is my first preface to the institution that is the British Marta Pellerini, who joined us in February 2018 School at Rome Fine Arts catalogue. Over the last as Visual Art Curator. The care, commitment and twelve months I have had the pleasure of following the quality of their work has been outstanding. work that is being undertaken in the BSR Archive on the The support we receive from our sponsors Fine Arts programme, its history and award-holders. is also humbling. The Fine Arts at the BSR does not During the year, one of our researchers from receive any public funding, and it is only because Australia drew my attention to a newspaper cutting of the remarkable generosity of a series of trusts, from the Daily Mail dated March 1923. The piece, foundations and individuals that we are able to support which was entitled ‘British Students in Rome’, was the residencies we offer. I would like to thank the Arts a review of the work of BSR award-holders on show Council of Northern Ireland; the Arts Council of Wales at the Royal Academy. Under the subtitle ‘What are (sponsored by the Welsh Government and supported the scholars of the British School at Rome doing?’, by The National Lottery); the Augusta Charitable Trust; the anonymous critic noted that the work was the Bridget Riley Art Foundation; the Conseil des Arts ‘terribly disappointing’. et des Lettres du Québec; the Derek Hill Foundation; The reason the cutting is in the BSR archive is that the Giles Worsley Fund (in collaboration with the RIBA); the review hit a raw nerve with the then Director, Thomas the Helpmann Academy (with David and Pam McKee, Ashby. Writing to the Honorary General Secretary of the and The Lang Foundation); the Incorporated Edwin BSR in London, Evelyn Shaw, Ashby noted that there Austin Abbey Memorial Scholarships; the Linbury Trust; was ‘a good deal of annoyance out here’ and enquired the National Art School, Sydney (with Jennifer Dowling); what was to be done. Shaw’s brief reply included the the Nicholas Berwin Charitable Trust (with Karsten pithy rejoinder ‘We are lucky to get the Press to write Schubert, Keir McGuinness and Alex Hooi); the Wallace about us at all’. Arts Trust; and the supporters of the Scholars’ Prize I would like to think those days are now long gone. in Architecture (The Carpenters’ Company, London, The three mostre we hold in Rome during the course as well as by and on behalf of a number of former of the year and the increasing contact we have with architecture award-holders at the BSR (Robert Adam, Italian galleries and other Academies in Rome sees Bob Allies, Tim Bell, Jeremy Blake, Adam Nathaniel the work of our resident artists on regular display. Furman and Hugh Petter)). The lectures by former award-holders and invited We are delighted that new residencies are speakers, and the Fine Arts catalogue itself, are an joining established ones, and we are also very grateful eloquent witness to what is going on in Rome today. to all those who have supported visiting artists’ talks As art historians and BSR scholars begin to delve and studio visits, and in particular Mrs Robin Hambro into the archive of past award-holders and re-examine for her invaluable support of the Fine Art programme their work, it also will become more apparent what was this year. All of this generosity is critical for our future, also going on in Rome in the past, including some and for sustaining the vibrant culture of the BSR. of the artists mentioned in the 1923 review. Only this The BSR will continue to support artists, often year Sacha Llewelyn was awarded the William MB at the early stage of their careers, offering them Berger Prize for British Art History by the President the chance to join other practitioners and scholars of the Royal Academy of Arts for her monograph in a community that has as its priority creativity Winifred Knights 1899–1947. Over 90 years after and inspiration. The seeds sown in Rome often the Daily Mail’s disappointment, the Guardian hailed germinate after the residency, and the experience Knights, a female artist who drew heavily on Italian often proves formative in a manner not imagined Renaissance fresco and panel painting, as an ‘unknown at the outset. The BSR’s studios will continue to be genius’. Such are the fortunes of artistic careers. spaces of experimentation and reflection, and the This year I would like to thank Marco Palmieri for work produced in them bears witness to the continued all the hard work he has done over the last few years generative power of the dialogue a BSR residency in curating the Fine Art programme, and to welcome enables between Rome, Italy and the wider world. 5 STEPHEN J. MILNER — DIRECTOR December Mostra Installation view, 2017 6 December Mostra Installation view, 2017 7 Introduction This year I was given the extraordinary opportunity at Fondazione Memmo) and Sara Zanin (owner of z2o to work as the Visual Art Curator at the British School Sara Zanin Gallery). These visits introduce the artists at Rome. On entering this renowned centre for and their work to a wider context in Rome, sharpen multidisciplinary and interdisciplinary research, one has critical thought and develop exciting new relationships the perception of entering into a unique community, and collaborations. This is particularly demonstrated where artists, archaeologists and historians live and by the solo show by Gabriel Hartley (Abbey Fellow work in a dynamic space of exchange and collaboration. in Painting), titled Spoiled, at Sara Zanin Gallery To observe the daily practice and routines of the in June and July, a product of his residency. Finally, I am award-holders has been truly insightful, and proven extremely grateful to Vivien Lovell and Maria Chevska, to me the vital importance of fostering and supporting members of the BSR’s Faculty of the Fine Arts, for having their research and growth. The BSR acts as a testament spent much of their time in Rome with our artists, making to the view that the work of our award-holders is both studio visits. invaluable and necessary: that these dynamic, creative Through continual dialogue and development, individuals not only hold a mirror to, but also shape and the award-holders produce work that is exhibited in our define, our contemporary culture. Mostre, exhibitions that present the fruitful endeavours The cross-pollination of knowledge and of our artists every three months. In this, my first, year experience between artists and academics is integral as Visual Art Curator, I have had the pleasure to curate to the BSR. It is propelled and enriched by a series these exhibitions, where the presence of Rome as a city of visiting artist talks kindly supported by the generosity and stimulus is palpable: organs of baroque churches, of Robin Hambro and of a donor who wishes ancient pagan rites of Republican Rome, the films to honour the memory of Felicity Powell (1961–2015; of Pier Paolo Pasolini glimmer in the work. Gulbenkian Rome Scholar at the BSR 1986–7). This We are particularly grateful to Mrs Robin Hambro, is complemented by the ambitious programme of events for her generous support of the Fine Art Programme this organised by Marina Engel and Tom True. year (including the exhibitions so richly represented This year, we had the privilege to host lectures in these pages). by Denzil Forrester, John Russell, Nicholas Hatfull I offer my special thanks to all of the BSR staff (in conversation with Marco Palmieri) and Allison and of course our award-holders for their dedicated Katz. Each artist presented a talk about their practice hard work; and to the Fine Arts Programme interns — and recent projects, offered studio visits to the artists, Cristiana Cordova, Jacqueline Davies, Antonia and was our honoured dinner guest alongside invited Di Nucci, Elinor Staniforth and Chiara Traversaro — curators, writers and gallerists.
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