The Redfern Gallery 20 Cork Street London, W1S 3HL www.redfern-gallery.com

THEM Exhibition Dates: 22 January - 15 February 2020 Private View: 22 January, 6 - 8pm

The Redfern Gallery is delighted to present THEM, an exhibition exam- ining the work of five artists who came to prominence in the early 1970s, including Duggie Fields, Andrew Logan and Derek Jarman. Curated by James Birch, the show’s title derives from an article of the same name written by the cultural historian Peter York for Harpers & Queen that appeared in October 1976. With great acuity, it sought to unravel an aesthetic sensibility apparent in young Londoners of the time.

To be ‘Them’, York wrote, was to be part of ‘a mysterious aesthetic con- spiracy’ prepared to sacrifice almost anything to ‘look interesting rather

than sexy’. This ‘look’ was a highly refined form of camp and came at Kevin Whitney, Chelita Secunda, 1970, oil on canvas, 153 x 182 cm. Photo by Maria a time when, according to York, ‘marketing of all sorts of things sold to Anastassiou. non-queer people.’

York cited many things that weren’t Them, but also those who per- sonified it. These included the singer and songwriter Bryan Ferry and the fashion designer Zandra Rhodes, while the David Bowie film, The Man Who Fell to Earth (1976), which he considered a Them movie and Andrew Logan’s Alternative Miss World contest as the ultimate Them event.

The date of its publication is significant, because one month later on 26 November, The Sex Pistols released Anarchy in the U.K., an event that Duggie Fields, Fireside Cooke, 1969. Photo by Maria Anastassiou. effectively swept away the concept of Them.

This exhibition, which brings together more than twenty works dating from the late 1960s to the 1980s, including paintings, sculptures and collage, examines the aesthetics behind the concept of THEM through the prism of art. While some of the five featured artists were named in York’s article— Andrew Logan and Duggie Fields are labelled as ‘The Gang’ —this was not a movement in any sense, but a sensibility around which they all loosely confederated.

It is perhaps in Kevin Whitney’s Chelita Secunda (1969/70), a monu- mental portrait of the late journalist and fashion stylist Chelita Secunda, that this spirit is most evident. The work, rendered in oil, depicts Secun- da spilling out of the window of a sports car, her arms flailing as she clasps a small revolver. Dangerous and carefree, the smudge of glitter under her eyes alludes, perhaps, to her role kickstarting the glam rock revolution of the early 1970s. The Redfern Gallery 20 Cork Street London, W1S 3HL www.redfern-gallery.com

Created a year after he graduated from Chelsea School of Art, Duggie Fields’ Fireside Cookies (1969) presents two young women in swimming suits sprawled on a rug in a kitsch, domestic setting. Quotidian items surround the subjects — clothing lies scattered across the floor along- side half-read books and burning cigarettes, while beside the glowing fire sits a coal bucket and household plant. Combining elements from disparate vocabularies, Field’s painting is a masterclass in exuberant, Andrew Logan, Life, Birth and Death, Three Maquettes, 1981. Photo by Sylvain Deleu. post-Pop figuration.

In contrast, Derek Jarman’s The Kingdom over the Sea (1987), strikes a darker note. One of his celebrated Black Paintings, it was created shortly after he was diagnosed with AIDS in 1986 and acts as an au- tobiographical visualisation of his psychological mindset at that time. Embedded into tar are various found objects such as a candle and smashed glass in which words have been violently scratched, acting as a metaphor for Jarman’s reaction to his diagnosis.

The late Luciana Martinez de la Rosa’s epic painting Pru Pru (1981) offers a homage to Manet’s Olympia. However, here the reclining nude female figure is accompanied not by a servant but the artist herself attired in a kimono-like garment, a nod to the influence of Japanese prints in the original work. One of the so-called ‘Blitz Kids’, the band of fashionable club-goers that dominated the cultural dialogue in the early eighties, this work embodies that spirit of assimilation and artful contriv- Luciana Martinez de la Rosa, Pru Pru, 1981. Photo by Maria Anastassiou. ance. Also influenced by 16th-century Florentine court portraitist Bronz- ino, de la Rosa´s canvases are anything but diffident; her vivid palettes include magenta, tangerine and sheets of gold leaf; boldly modelled, her women are powerful, confident and mostly nude.

Andrew Logan is represented by his iconic Pegasus sculptures, Life Birth and Death (c.1980s). Constructed from fibreglass, glass, resin and glitter, they link back to the artist’s childhood obsession with Greek and Roman myth; his imagination was fired by the tale of the winged white horse that sprang from the severed neck of the Gorgon, slain by hero Perseus. His very first Pegasus in 1980 was built in six weeks and pre- sented at the London premiere of the Alternative Miss World film, then paraded through Chelsea, Knightsbridge and Fulham. At least one new Pegasus has been created in each decade since. In white, red and black, these three Pegasus symbolise three different aspects of exis- tence – life, birth and death – which is interchangeable according to the viewer’s perspective.

Says James Birch: ‘It is more than forty years since Peter York wrote about Them. It was a time — perhaps the last time — before culture be- came commodified. And while its time in the spotlight was fleeting, it has endured and the art created by the featured artists remains as fresh and Derek Jarman, Black Painting. exciting, almost timeless, and is still invested with the power to provoke and disorientate, amaze and excite.’ The Redfern Gallery 20 Cork Street London, W1S 3HL www.redfern-gallery.com

The exhibition is accompanied by a catalogue which includes essays by the playwright Polly Stenham and the cultural historian Barry Miles, as well as interview by art historian Adrian Dannatt with Peter York.

For press information, please contact Albany Arts Communications:

Mark Inglefield Carla von der Becke [email protected] [email protected] t: +44 (0) 20 78 79 88 95; m: +44 (0) 75 84 19 95 00 t: +44 (0) 20 78 79 88 95; m: +44 (0) 79 74 25 29 94

Notes to Editors:

About the Artists:

Duggie Fields Duggie Fields (b. 1945, Tidworth, UK) lives and works in London, UK. He graduated in 1968 from Chelsea School of Art, London and at the end of that year moved into the Earls Court apartment and studio that he lives in today. As a student his work moved from Minimal, Conceptual and Constructivist phases before ar- riving at a more hard-edge post-Pop figuration. By the middle of the 1970s his work included many elements that were later defined as Post-Modernism. In 1983, the Shiseido Corporation in Tokyo created a gallery specifically for his show, and Fields and his work were featured in a simultaneous national television, mag- azine, billboard and subway advertising campaign. He started working with digital media in the late 1990s describing his work in progress as Maximalist.

Selected solo exhibitions include: Duggie Fields – Welcome to my World, The Gallery Liverpool, Liverpool (2012); Random Retrospective, Virtual Gallery, DuggieFields.com (2000); Shiseido Exhibition, Tokyo (1983); Spacex Gallery, Exeter (1982); and lkon Gallery, Birmingham (1980). Selected group exhibitions and film festivals include: Pink Floyd: Their Mortal Remains, V&A Museum, London (2017); THE GAP BETWEEN THE FRIDGE AND THE COOKER, The Modern Institute, Aird’s Lane, Glasgow (2017); Flare Film Festival, British Film Institute, London (2016); Dover Street Market, London (2008); Zulurama 2, ICA Gallery, London (2004); Britart, Selfridges, London (2003); Digital Interface, Leicester Square, London (2002); Rapture, The Barbican, London (2002); Venice Short Film Festival (2000); Fashion and Surrealism, Victoria and Albert Museum, London (1989); The Embellishment of the Statue of Liberty, Cooper Hewitt Museum/Barney’s New York (1986); and London International Film Festival (1982).

Derek Jarman Derek Jarman (1942 —1994) was an English film director, stage designer, diarist, artist, gardener, political activist and author. He was educated at the University of London and at the Slade School of Art. In 1967 Jar- man exhibited in Young Contemporaries, Tate Gallery, London; Edinburgh Open 100, Lisson Gallery, London and Fifth Biennale des Jeunes Artistes, Musée d’Art Moderne, Paris. Jarman’s first work in cinema was as a set designer on Ken Russell’s The Devils (1971), selected set designs include Savage Messiah (1972) and The Rake’s Progress (1982) with numerous designs for stage and ballet.

Jarman’s first films were experimental Super 8mm shorts and his first full-length feature filmSebastiane was released in 1976, followed by selected filmsJubilee (1978), Angelic Conversation (1985), Caravaggio (1986), The Garden (1990) and Edward II (1991).

Selected solo exhibitions include: Sarah Bradley’s Gallery, London (1978); Edward Totah Gallery, London (1982); ICA, London (1984); Richard Salmon Ltd., London (1987) and Whitworth Art Gallery, Manchester The Redfern Gallery 20 Cork Street London, W1S 3HL www.redfern-gallery.com

(1994). Jarman also wrote several books, including the autobiographical Dancing Ledge (1984) and two volumes of memoirs, Modern Nature (1992) and At Your Own Risk (1992). Derek Jarman’s Garden, which documents the creation of his extraordinary garden at Dungeness was published in 1995.

Andrew Logan Andrew Logan (b. 1945, Witney, UK) is an English sculptor, performance artist, jewellery-maker, and portrait- ist. He was educated as an architect at the Oxford School of Architecture, graduating in 1970. One of Britain’s principal sculptural artists, he challenges convention, mixes media and plays with our artistic values and has worked across the fields of sculpture, stage design, drama, opera, parades, festivals and interior design. He is also the founder of the Alternative Miss World, an annual pansexual beauty pageant.

Luciana Martinez de la Rosa Luciana Martínez de la Rosa (1984 –1995) was best known for her work on Derek Jarman’s Jubilee (1978), In the Shadow of the Sun (1981) and Sebastiane (1976). At age 16, she moved from LA to Greenwich Village, NYC and found her permanent passion in portraiture. Most often she painted friends from her highly varied international circle including Arch Duchess Francesca von Habsburg, British fashion designer Jasper Con- ran, director Nicolas Roeg and his actress wife, Theresa Russell, and downtown club phenomenon Suzanne Bartsch.

Kevin Whitney In 1982 the British Olympic Association appointed Kevin Whitney as the first ever Official Olympic Artist. The artist’s own initiative, it combined his lifelong passion for Greek art with his fascination with the Olympic movement. Whitney has been promoting Olympic art to students since 1982 and has toured schools around the country since 2004. He also created two Paralympic mosaic murals involving autistic students for Suffolk County Council’s 2012 team. Whitney’s work is in public and private collections all over the world, including the International Olympic Museum in Lausanne and the British Olympic and Paralympic Associations. His work is also held in private collections including those of Prince Ernst of Hanover and David Bowie.

About the Curator:

James Birch James Birch was born in London and educated at the University of Aix-en-Provence, where he studied Art History, before training in the Old Master department of Christie’s Fine Art in London where he later estab- lished the 1950s Rock & Roll department. In 1983 he opened his first gallery, James Birch Fine Art, on the King’s Road, London, where he specialised in the work of British surrealists such as John Banting, Eileen Agar and Conroy Maddox.

In 1984 Birch gave the Turner Prize winner Grayson Perry his first show, with a second quickly following in 1985. He then concentrated on exhibiting Francis Bacon in Moscow in 1988, and Gilbert & George in Mos- cow in 1990 and Beijing in 1993. In 1997 Birch returned to exhibiting in London when he opened the A22 Gallery in Clerkenwell, where he showed Keith Coventry, Dick Jewell, Genesis P-Orridge and two exhibitions by members of The Colony Room. Birch regularly lends art works to art institutions and galleries for major and small-scale exhibitions.

Authors of Catalogue Texts:

Barry Miles Barry Miles is an English author known for his participation in and writing on the subjects of the 1960s Lon- don underground and counterculture. He is the author of numerous books and his work has also regularly appeared in many newspapers, including The Guardian and The Times. In the 1960s he helped start the The Redfern Gallery 20 Cork Street London, W1S 3HL www.redfern-gallery.com

independent newspaper International Times. In 1965 Allen Ginsberg gave a reading at Better Books, where Miles worked, that led to the International Poetry Incarnation, a seminal event co-organised by Miles. In the same year, Miles and his wife introduced The Beatle Paul McCartney to hash brownies by using a recipe for hash fudge that they had found in The Alice B. Toklas Cookbook. Following the International Poetry In- carnation, Miles established the Indica Gallery and Bookshop, allowing him to meet many of the stars of the Swinging London social scene. Miles brought McCartney into contact with people who wanted to start Inter- national Times, which McCartney helped to fund. With John Hopkins and Dave Howson, Miles organised The 14 Hour Technicolor Dream, a concert on 29 April 1967 at Alexandra Palace to raise funds for International Times. It was a multi-artist event, featuring poets, artists and musicians. Pink Floyd headlined the event and other artists included Yoko Ono and John Lennon, Arthur Brown, jazz-rock group Soft Machine, Tomorrow and The Pretty Things. Miles became the de facto manager of the Apple’s short-lived Zapple Records label in 1969. Miles’ book Hippie is a reminiscence of the Hippie sub-culture of the 1960s and early 1970s, with interviews, quotes and images. He co-wrote I Want to Take You Higher (documenting the Rock and Roll Hall of Fame and Museum exhibit by the same name) with Charles Perry and James Henke. He also wrote Paul McCartney’s official biography, Many Years from Now (1998), and has written biographies of Frank Zappa, John Lennon, William S. Burroughs, Jack Kerouac, Charles Bukowski and Ginsberg, in addition to books on The Beatles, Pink Floyd and The Clash, as well as a definitive history of London’s counterculture since 1945, London Calling.

Polly Stenham Polly Stenham is an English playwright best known for That Face, which she wrote when she was 19 years old. She attributes her love of theatre to her father as he took her to various shows from a young age, includ- ing many at the Royal Court which would later stage her first play. She began a degree in English at Universi- ty College London, but abandoned her place to work on her debut play after hearing it was to be staged and following the death of her father in 2006.

Stenham represented the Royal Court at the 2007 Latitude Festival before That Face transferred to the Duke of York’s Theatre in the West End in 2008 with largely the same cast and again under Jeremy Herrin’s direction. Her second play, Tusk Tusk, premiered in the downstairs theatre at the Royal Court in March 2009 directed by Jeremy Herrin. In 2011 Stenham, along with friend Victoria Williams, opened an art gallery, the Cob Studios and Gallery in Camden, London. In 2013 her third play No Quarter was staged at the Royal Court and was directed by Jeremy Herrin and starred Tom Sturridge.

Peter York Peter York (b. 1944) is a cultural commentator, management consultant, author, broadcaster and one of the UK’s leading strategic researchers. He co-founded the influential management consultancy SRU with Lord Stevenson. He is a shareholder and associate of Editorial Intelligence and a former Board Trustee of Arts & Business and of the Tate Members’ Council. He writes regularly for the Independent and other broadsheets. The Sloane Ranger Handbook — co-authored with Ann Barr — was the UK’s biggest-selling trade book of the 1980s, and he has written six other books on social style/social change. He was the writer and presenter of Peter York’s 80s, a six-part BBC series shown in 1996, with an accompanying BBC book. He is a columnist for The Independent, where he writes weekly, and his book Cooler, Faster, More Expensive: The Return of the Sloane Ranger, was published in October 2007. His documentary The Rise and Fall of the Adman for the BBC was shown on BBC2 in June 2008. He is a Visiting Professor at the University of the Arts London.

Adrian Dannett Adrian Dannett (b.1963) is a writer, curator, editor and artist. His fiction and poetry has been published in an- thologies including Best British Short Stories and PEN New Poetry and his books include the U.S. Holocaust Memorial Museum, Wim Delvoye, and most recently Les Lalanne: In the Domain of Dreams.

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