DOCSLIB.ORG

The Revelation of the Head

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Revelation of the Head THE REVELATION OF THE HEAD Messums Wiltshire 01747 445042 Place Farm, messumswiltshire Court Street, Tisbury, @messumsthebarn Salisbury, [email protected] Wiltshire SP3 6LW www.messumswiltshire.com THE REVELATION OF THE HEAD 62 63 THE REVELATION OF THE HEAD THE REVELATION OF THE HEAD SATURDAY 26 MAY - SUNDAY 8 JULY 2018 ‘THE BODY IS BUT A TRIPOD FOR THE HEAD’ 64 65 THE REVELATION OF THE HEAD Roman THE REVELATION OF THE HEAD Portrait of Emperor Antonius Pius, 2nd century CE, Marble, Height 35.5cm If depictions of the human face enjoy long standing and enduring appeal, Messums The sculpture was formed during a period in which artistic interchanges between Wiltshire is perhaps in as good a position as any to provide additional context. Greece and Egypt accelerated and the man’s smile is evocative of the so-called ‘Archaic smile’ which was introduced into the repertoire of Greek sculpture during the sixth As well as providing a unique setting for this remarkable exhibition, the century BCE. Scholars have suggested that the Greek Archaic smile was appropriated by location is also the source for a piece of coral, struck from a fossilised reef Greek sculptors who may have come into contact with Egyptian portraits such as this one. and carried from Tisbury to Swanscombe in Kent more than 400,000 By Roman times a new wave of realistic head portraiture emerged which lasted for more years ago. It is amongst the earliest known manuports, or objects of than 500 years and had an often overt agenda to dominate and mesmerise. significance connected to distant dwellers on these islands and the earliest recognisable - to our eye - depiction of a face. Any hint of a smile is dispensed with in the portrait of Emperor Antonius Pius created in the 2nd century CE, whose aim was to project the realness and humanity of the great and The journey itself is around 130 miles along chalk ridges which remain popular walking as it turned out, equable, leader but project him as a virile leader of men, nonetheless. routes today. The person who carried it was not even a Homo sapiens; he or she was pre Neanderthal, and it is only relatively recently that revisionist thinking has begun to give In contrast to the Greeks and Egyptians who liked to idealise the human form, the weight to even the presence of aesthetic sensibility in the pre Homo sapiens period at all. Romans were interested in the individual; as one can see in this attempt to describe in stone the emperor’s rugged beard, subtly nuanced brow and fleshy chops. Egyptian This exhibition therefore starts with the thought of how deeply entrenched our enduring Head of a Male fascination is with that body part that matters most; the one we cannot live without and Equally, the sculpture of Juno, dating from the 1st or 2nd century CE pays homage to middle 26th to early 27th dynasty, where all our consciousness, emotions and personality lies. aged women rather than idealising young ones. Exquisitely modelled, her wavy hair circa 550-500 BCE, restrained by a ribbon, head turned and tilted to the right, she bears a wistful and Height 17.5 cm The head is the central focus of our lives, the hub of all our senses; we feel as though we live reflective expression and her face is fuller than Greek models. life entirely within its fleshy confines, although recent mindfulness studies show that we The cult of Juno who was wife of Jupiter or Zeus and queen of the Olympian gods can be as present throughout the entirety of our body. In the words of the painter was well established in Rome, where she was worshipped as protector of the city’s Tai-Shan Schierenberg, ‘the body is but a tripod for the head’ and as such the matrons and, more generally of childbirth, making her representative of sovereignty head acts as an instantly recognisable index for each and every one of our and fertility. individual personalities. We human beings often prioritise our heads ‘above’ our bodies, so much so that it has become a common for artists to detach it completely as a subject: a kind of creative decapitation. The earliest work in this exhibition is the enigmatically smiling portrait of an elite government official from ancient Egypt carved out of diorite marble more than 2,500 years ago. He has a captivating presence; with his finely executed facial features and naturalistic brow he faces us head on with an Roman air of calm confidence. Head of Juno 1st - 2nd century CE White marble, Height 38cm 22 3 THE REVELATIONREVELATION OF OFTHE THE HEAD HEAD Antonio Canova Gavin Turk Character Head Ragut Kirn circa 1780, 2010, Terracotta, Varnished clay, Height 8cm 27 x 23 x 22cm Of all the sculptors of the 18th century probably the most celebrated is The destruction of a sculpted head, although by chance in this case, is explored by Antonio Canova. Famed for his ability to master facial expressions to some of the more contemporary artists in this show as a way of expressing fragmented create a narrative in sculpted form, the head by him in this exhibition identity. Gavin Turk, Glynn Williams and Laurence Edwards, have all created heads that dates from when Canova was in his early twenties and depicts an are spliced, smashed and rebuilt as metaphors for the human struggle. Turk made a androgynous figure, with a quizzical, almost comical look. His hair is series of 72 self portrait heads in clay and then invited members of the public to come the unkempt thatch of an adolescent; his expression woebegone. Made and distort them with the result that the sculpture exhibited here was one of many that of terracotta, this unusual but lively work from an artist now principally had a hole gouged out where facial features should be. remembered for his delicate evocation of female desire in his marble sculpture of The Three ‘Somehow we ended up with something that felt close to a self-portrait’ says Turk. Graces, it endorses Canova’s assertion that: ‘clay is the life, plaster the death and marble the ‘I always get a shock when I look in the mirror because what I feel like on the inside resurrection of sculpture.’ The subject here looks like a horny handed son of toil and there doesn’t correlate to what I look like on the outside. My mental image of myself changes daily. is something faintly comic about his pained expression; inspired it is believed by that of the For instance, if I’ve got toothache, I feel like my face is totally swollen and that I am one figure wrestling with a snake in the celebrated Roman sculpture of Laocoön and his sons. great big tooth, but I look in the mirror and you wouldn’t know. Or, if I’ve a nervous eye tic, By the 18th century the vogue for Greek art had returned with renewed vigour, inspired I feel that I am a huge twitching eyeball, but I don’t look like that in the mirror.’ by a rediscovered love for all classical art awoken by the Grand Tour. The psychic energy of the head is instinctively understood by children, who always make the One of the most arrestingly beautiful sculptures in this show is a bronze sculpture heads in their drawings and paintings much bigger than the bodies. Equally, the inhabitants of Hercules dating from the 18th century based on a Roman - and before that of Easter Island hundreds of years ago sculpted enormous heads modelled on one a Greek - prototype. Thought to have been a portrait of Julius Caesar’s son, of their tribe to give protection to those living nearby as if the size of the cranium Lucius, it captures a man at that liminal point in his life when women are in the translated into power. past and men, the future; the downcast eyes accentuating his haunted beauty. The giant Chthonic Head by one of Britain’s most improvisational bronze sculptors, Laurence Edwards, suggests a similarly ancient, almost atavistic being, emerging from is the depths of a primeval swamp. Chthonic means from the underworld and, as in much of Laurence’s sculpture the feeling of antiquity and heaviness borne of the bronze contrasts with the vigorous, light and playful handling of the clay from which it was cast giving it a sense of kinetic life. Italian Laurence Edwards Bust of Hercules, (After the antique) Chthonic Head No 1 Second half of 18th century, 2014-18, Bronze, Bronze, (edition of 9) Height 41.5 cm 110 x 55 x 65cm 4 5 THE REVELATIONREVELATION OF OFTHE THE HEAD HEAD Brian Taylor Keith Coventry Gabriel aged 17 Supermodel (Kate Moss) 2013, 2000, Bronze, (edition of 10) Steel with gold plate, 40 x 37 x 30cm 68.5 x 43 x 11.5cm It is the ancients from Egypt and Greece who over time seem to have the most Perhaps the neatest and most reductionist of all the artists inspired by persistent influence not only on Edwards but on many sculptors in this show classical art is Keith Coventry, whose sculpture of Kate Moss is formed including Kevin Francis Gray, Ellen Christiansen, Christie Symington and Nuria simply from two golden rings based on the ‘golden ratio’ the ancient Greeks’ Torres who are all also in their different ways, neo-classicists. used to calculate perfect facial beauty; according to the ancients’ algorithm, the distance from the nose to the edge of the eye, divided by the distance from One artist who was wonderfully deft yet daring in his moulding the edge of the eye to the corner of the lips should equal 1.618.
Load more

Recommended publications
  • Artists' Lives
    National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS
    [Show full text]
  • Anya Gallaccio
    ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition,
    [Show full text]
  • THE ART of LIVING Marianka Swain Shares Her Capital Cultural Highlights
    THE ART OF LIVING MARIANKA SWAIN SHARES HER CAPITAL CULTURAL HIGHLIGHTS PICK OF THE MONTH DON’T MISS PUBLIC DISPLAY MODERN MASTER How often do you walk past a piece of art without Historic England has taken action by listing 40 giving it a second glance? A new Historic England pieces, which should demonstrate the value of such exhibition at Somerset House aims to change that by art to councils and developers. “There are sculptors highlighting exceptional public work created between like Anthony Gormley who would love more public 1945 and 1985 by artists like Barbara Hepworth, platforms if the commissions were there,” notes Sarah. Henry Moore, Geoffrey Clarke and Elisabeth Frink – much of which has since disappeared, explains She hopes the exhibition, which features drawings, curator Sarah Gaventa. maquettes, letters and photographs as well as large- scale pieces, opens our eyes to such art. “There’s “We’re desperately trying to track these pieces down, a Barbara Hepworth Winged Figure off Oxford and leads are still coming in. There’s actually a wall Street ignored by a million people every day. Let’s in the exhibition with descriptions of lost art, like the appreciate how much this work enriches our lives, missing cat posters stuck on trees. This is our – the because it might not be there if we don’t.” nation’s – collection, but unless we all get involved, we’re in danger of losing even more of it.” OUT THERE: OUR POST-WAR PUBLIC ART The post-war period was extraordinarily democratic, TO APRIL 10 notes Sarah, with local authorities regularly commissioning art to go with new structures like hospitals.
    [Show full text]
  • Michael Landy Born in London, 1963 Lives and Works in London, UK
    Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian
    [Show full text]
  • Film Producer Buys Seacole Bust for 101 Times the Estimate
    To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp ISSUE 2454 | antiquestradegazette.com | 15 August 2020 | UK £4.99 | USA $7.95 | Europe €5.50 koopman rare art antiques trade KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Face coverings Film producer buys Seacole now mandatory at auction rooms bust for 101 times the estimate across England A terracotta sculpture of Mary Seacole by Alex Capon (1805-81) sparked fierce competition at Dominic Winter. Wearing a face covering when Bidding at the South Cerney auction house attending an auction house in England began with 12 phones competing for the has now become mandatory. sculpture of Seacole, who nursed soldiers The updated guidance also applies to visitors to galleries and museums. during the Crimean War. Since July 24, face coverings have been It eventually came down to a final contest compulsory when on public transport as involving underbidder Art Aid and film well as in supermarkets and shops including producer Billy Peterson of Racing Green dealers’ premises and antique centres. The government announced that this Pictures, which is currently filming a would be extended in England from August biopic on Seacole’s life. 8 to include other indoor spaces such as Peterson will use the bust cinemas, theatres and places of worship. as a prop in the film. It will Auction houses also appear on this list. then be donated to the The measures, brought in by law, apply Mary Seacole Trust Continued on page 5 and be on view at the Florence Nightingale Museum.
    [Show full text]
  • Press Release Keith Coventry Junk & Pure Junk
    PRESS RELEASE KEITH COVENTRY JUNK & PURE JUNK 24 February – 4 April 2018 Official opening and book release on Saturday February 24th, from 5 to 7 pm. Reflex Amsterdam is proud to announce the first Benelux exhibition by internationally acclaimed British artist Keith Coventry. Widely admired for his work which takes aspects modernism and grafting them on to socio- political issues, Coventry appropriates global symbols of junk culture – the golden McDonald’s arch, in particular – and recontextualises them, inviting the viewer to consider these logos afresh in a gallery context. Working in white monochrome, or colour, he hones in on the curves of the infamous “M”, cropping, recasting and framing, to striking minimalist effect. In his extensive “Estate Painting” series Coventry focuses on the architectural layouts of London’s notorious tower blocks and council estates and distils them into abstract colour block patterns which have been likened to works by Russian Constructivist painter Kazimir Malevich. In employing these tropes of modernism, Coventry has said he is returning to the original ideas of utopianism behind these urban projects – now widely regarded as failures. As Coventry put it, this kind of social housing: “it was a promise given at the beginning of the 20th century that was unfulfilled.” Living in central London, his immediate urban environs have remained Coventry’s main source of inspiration: “Making art is about the things that surround me.” Yet, despite the socio-political undertone of his work, Coventry insists: “I’m totally ambivalent. I have no message. People can take one side or another. I don’t have any polemic or didactic stance.” Coventry was born in Burnley in Lancashire, in 1958 and studied at London’s progressive Chelsea school of Art.
    [Show full text]
  • Artaid 2002 Brochure
    REG CHARITY. 1011718 brochure 19/08/02 8/20/02 10:21 AM Page 1 Page AM 10:21 8/20/02 19/08/02 brochure brochure 19/08/02 8/20/02 10:21 AM Page 2 Cover: Venice, Night (detail) – Howard Hodgkin 17 October – 02 November 2002 at Bloomberg Space 50 Finsbury Square London EC2A 1HD Open Tuesday – Saturday 11.00am – 6.00pm brochure 19/08/02 8/20/02 10:21 AM Page 3 Pick me (detail), audition 10 Richard Cuerden ARTAID CRUSAID 03 – We are very fortunate indeed to be able Please be assured that it is the money raised targeting those most in need in the UK. We do hope you feel inspired to purchase one to show ARTAID 2002 in Bloomberg Space – via unique occasions such as this that We shall fund innovative educational of the highly collectable works in ARTAID a spectacular location – and our sincere allows Crusaid to distribute funding both in programmes and provide grants to over fifty 2002 - and you can feel confident in the gratitude goes to this year’s ARTAID sponsor, the UK and internationally – funding that HIV/AIDS programmes annually. knowledge that the art you buy will not only Bloomberg, and to the many leading does make a difference. In the UK alone, we provide years of pleasure, but will clearly help contemporary artists whose generosity and are seeing the highest incidence of infections We shall establish examples of best practice us to make a real difference. support have made this exhibition possible. since records began and we are faced with an in the international arena, such as the unprecedented global pandemic.
    [Show full text]
  • Publications Catalogue 2015–16
    Publications Catalogue 2015 –16 Vogue 100 New titles A Century of Style Robin Muir While principally a fashion magazine, Vogue has never been just that. It has assumed a central and vital role on the cultural stage, with a history that spans the most inventive decades in fashion and taste, and in the arts and society. Published to mark the magazine’s centenary, and accompanying a major exhibition, this book celebrates the twentieth century and beyond with an authoritative and discriminating eye. In more than 2,000 issues, British Vogue has acted as a cultural barometer, putting fashion in the context of the wider world – how we dress, how we entertain, what we eat, listen to, watch, who leads us, excites us and inspires us. The century’s most talented photographers, Lee Miller, Norman Parkinson, Cecil Beaton, Irving Penn, David Bailey, Snowdon and Mario Testino among them, have contributed to it. In 1916, when the First World War made transatlantic shipments of American Vogue impossible, its proprietor, Condé Nast, authorised a British edition. It was an immediate success, and over the following ten decades cover Provisional of uninterrupted publication continued to mirror its times – the austerity and optimism that followed two world wars, the ‘Swinging London’ scene 310 x 254 mm, 304 pages of the sixties, the radical seventies, the image-conscious eighties – and in Over 300 illustrations its second century remains at the cutting edge of photography and design. ISBN 978 1 85514 561 0 Decade by decade, Vogue 100 celebrates the greatest moments in Price £40 TBC (hardback) fashion, beauty and portrait photography.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [Show full text]
  • Curriculum Vitae
    Curriculum Vitae Roland Piché ARCA FRBS Born 1938, London Art Education 1956-60 Hornsey College of Art Worked with sculptor Gaudia in Canada 1960-64 Royal College of Art 1963-64 Part-time assistant to Henry Moore Teaching Experience Slade School of Art Royal College of Art Central School of Art Falmouth School of Art Gloucestershire College of Art & Design Chelsea School of Art Birmingham Polytechnic Lancaster Polytechnic Manchester Polytechnic Goldsmiths College of Art Loughborough College of Art Newcastle upon Tyne Polytechnic Newport College of Art & Design North Staffordshire Polytechnic Stourbridge College of Art Trent Polytechnic West Surrey College of Art Wolverhampton Polytechnic Edinburgh School of Art Bristol Polytechnic (Sculpture) Leicester Polytechnic (Sculpture) 1964-89 Principal Lecturer, in charge of Sculpture, Maidstone College of Art Subject Leader, Sculpture, School of Fine Art, Kent Institute of Art & Design, Canterbury One Person Exhibitions 1967 Marlborough New London Gallery 1969 Gallery Ad Libitum, Antwerp B Middelheim Biennale, Antwerp B 1975 Canon Park, Birmingham 1980 The Ikon Gallery, Birmingham Minories Galleries, Colchester "Spaceframes & Circles" 1993 Kopp-Bardellini Agent Gallery, Zurich CH 2001 Glaxo Smith Kline - Harlow Research Centre 2005 Chappel Galleries, Essex 2010 Time & Life Building, London Group Exhibitions 1962 Towards Art I, Royal College of Art 1963-4 Young Contemporaries, AID Gallery 1964 Young Contemporary Artists, Whitechapel Gallery Maidstone College of Art Students, Show New Metropole Arts Centre, Folkestone 1965 Towards Art II, Royal College of Art, Sculpture at the Arts Council The New Generation, 1965, Whitechapel Gallery Whitworth Art Gallery Manchester Summer Exhibition Marlborough New London Gallery 4th Biennale de Paris 1966 The English Eye, Marlborough-Gerson Gallery, New York Structure 66, Arts Council of Gt.
    [Show full text]
  • Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow
    CONTENTS 6 28—29 Foreword SOS – Save Our Sculpture 8—11 30—31 Brave Art For A Brave New World Out There Now 12—15 32—33 Harlow Sculpture Town Get Involved 16—17 34 Art For The People Acknowledgements 18—19 Private Public Art 20—21 City Sculpture Project All images and text are protected by copyright. No part of this book may be reprinted or reproduced 22—23 in any form or by any electronic means, without written permission of the publisher. © Historic England. Sculpitecture All images © Historic England except where stated. Inside covers: Nicholas Monro, King Kong for 24—27 the City Sculpture Project, 1972, the Bull Ring, Our Post-War Public Art Birmingham. © Arnolfini Archive 4 Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow Out There: Our Post-War Public Art 5 FOREWORD Winston Churchill said: “We shape our buildings and afterwards our buildings shape us”. The generation that went to war against the Nazis lost a great many of their buildings – their homes and workplaces, as well as their monuments, sculptures and works of art. They had to rebuild and reshape their England. They did a remarkable job. They rebuilt ravaged cities and towns, and they built new institutions. From the National Health Service to the Arts Council, they wanted access-for-all to fundamental aspects of modern human life. And part of their vision was to create new public spaces that would raise the spirits. The wave of public art that emerged has shaped the England we live in, and it has shaped us.
    [Show full text]
  • New Editions from Armleder to Zurier • Ross Bleckner • Dan Halter • Tess Jaray • Liza Lou • Analia Saban • and More
    US $25 The Global Journal of Prints and Ideas March – April 2017 Volume 6, Number 6 New Editions from Armleder to Zurier • Ross Bleckner • Dan Halter • Tess Jaray • Liza Lou • Analia Saban • and more Alan Cristea Speaks with Paul Coldwell • Richard Pousette-Dart • Andrew Raferty Plates • Prix de Print • News Todd Norsten Inquiries: 612.871.1326 Monoprints [email protected] highpointprintmaking.org Todd Norsten, 2016, Untitled (Targets #6), Monoprint, 33 x 24 in. Over 25 unique works in the series, see all available at highpointprintmaking.org/project/todd-norsten-monoprints/ March – April 2017 In This Issue Volume 6, Number 6 Editor-in-Chief Susan Tallman 2 Susan Tallman On Border Crossings Associate Publisher New Editions 2017 4 Julie Bernatz Reviews A–Z Managing Editor Alan Cristea in Conversation 28 Isabella Kendrick with Paul Coldwell Papering the World in Original Art Associate Editor Julie Warchol Exhibition Reviews Thomas Piché Jr. 33 Manuscript Editor From Tabletop to Eternity: Prudence Crowther Andrew Raftery’s Plates Editor-at-Large David Storey 36 Catherine Bindman Richard Pousette-Dart’s Flurries of Invention Design Director Skip Langer Owen Duffy 39 Leah Beeferman: Rocky Shores Prix de Print, No. 22 40 Juried by Katie Michel Aerial: Other Cities #9 by Susan Goethel Campbell News of the Print World 42 Contributors 56 Guide to Back Issues 57 On the Cover: Susan Goethel Campbell, detail of Aerial: Other Cities #9 (2015), woodblock print with perforations. Printed and published by P.R.I.N.T. Press, Denton, TX. Photo: Tim Thayer. This Page: John McDevitt King, detail of Almost There (2016), hardground etching.
    [Show full text]