British Sculpture: Post-War

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British Sculpture: Post-War 9th January – 15th February 2013 Eduardo Paolozzi, Bronze Man, c. 1950, bronze, stone base, 16 x 5 1/8 x 3 3/8 in, 40.5 x 13 x 8.5 cm Connaught Brown will exhibit an exceptional group of sculptures, drawings and paintings from artists Robert Adams, Kenneth Armitage, Reg Butler, Lynn Chadwick, Geoffrey Clarke, Bernard Meadows, Henry Moore, Eduardo Paolozzi and William Turnbull. Following the disasters of the Second World War, the 1950s saw the development of a new aesthetic in British sculpture. Combining a wry sense of humour with an emphasis on the materiality of sculpture, each artist sought in their own way to explore the implications of post-war society. With the exception of Henry Moore, each of these artists exhibited at the 1952 Venice Biennale show ‘New Aspects of British Sculpture’ in the British Pavilion. Heralded internationally as a breakthrough in British art, the group was dubbed the ‘Geometry of Fear’ school following a quote found in Herbert Read’s exhibition catalogue. Focusing on their shared use of exaggeration and abstraction, Read’s quote emphasises the perceived sense of paranoia during this period as a result of the dawning of the Nuclear age and the Cold War. Included in this show will be sculptures and drawings by Kenneth Armitage, whose Two Standing Women (1955), exemplifies many of these ‘New Aspects’ of British sculpture. Influenced by his experience of military machinery and its industrial production during the War, Armitage exploits the use of bronze for its brutal visual appeal, exaggerating the human forms to the point of abstraction, to create an image that speaks simultaneously of a pre-historic past and an uncertain human future. Similarly Paolozzi’s post-apocalyptic Bronze Man (1950) is a humorous depiction of man defeated by machine. The exhibition will also feature classic examples of sculpture by the remaining members of this group, alongside three paintings from the 1950s by William Turnbull. Self Portrait (1955) is a dramatic example of his work from the period, introducing the recurring form of the head as an object that would play an important part in both his painting and sculpture. Also on display will be several drawings and sculptures by Henry Moore, including his Maquette for ‘Draped Reclining Figure’ (1952), exemplifying his influence on this younger group of sculptors. For more information and images please contact Ruth Millington at [email protected] .

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Eduardo Paolozzi Born Edinburgh, Scotland. 1924 Resident London
Eduardo Paolozzi Born Edinburgh, Scotland. 1924 ResidentLondon Eduardo Paolozziwas visited in London by MT in Octo- really preparedto offer him the kind of freedom or the ber, 1968. When A & T was describedto Paolozzion degreeof accessto their personneland hardwarethat he that occasion,he respondedby expressinginterest in required--thoughthe corporation was equipped techni- working with computers. His work at that time was cally to deal with whatever demandsthe artist might involved in computer-generatedimagery, and thus it was make in the areaof computer graphics.On the evening natural that he should wish to developthese ideas. In after this encounter,Paolozzi telephoned Jane Living- Paolozzi'sletter to us of October 30, he spoke about the ston from his hotel and explainedto her that he saw no areashe visualizedpursuing: point in touring the San Josefacility or bothering It is my intention of bringing a portfolio of schemes further with lBM. Paolozzithen visited Wyle Laborator- in connection with the Los Angelesshow. These ies.He was interviewedby the company's president, schemesare an extension of work concerningimages Frank Wyle [1] ; Gail Scott wrote the following memo and words (ref: the Berkeleycatalogue; Christopher recountingthis event and later discussion: Finch's book Art and Objectsl. You may realizethat I did a certain amount of com- puter researchwhile at Berkeley,but the Art Depart- ment there was unable to extend any of these ideas- which certainly could be realizedwithin the frame- work that we discussedin London during your visit. At the moment, I have an assistantworking on colour mosaicsand endlesspermutations on the grid pattern. This is accordingto my interpretation of current computer literature and can be used in connection with sound experiments.Also the reverse,I under- stand, is possible;which is, soundscan be usedto create patterns.
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Out There: Our Post-War Public Art Elisabeth Frink, Boar, 1970, Harlow
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Download Artist's CV
NIGEL HALL RA 1943 Born Bristol Lives and works in London Education 1960-64 West of England College of Art, Bristol 1964-67 Royal College of Art, London Fellowships, Awards and Posts 1967-69 Harkness Fellowship, USA 1971-74 Tutor, Royal College of Art, London 1974-81 Principal Lecturer, Head of MA Sculpture, Chelsea School of Art, London 1977-79 External Examiner, Royal College of Art, London 1979-83 Faculty Member of British School at Rome 1992-94 External Examiner, Royal College of Art, London 1995 Pollock-Krasner Award 2001 Residency at Chretzeturm, Stein Am Rhein, Switzerland 2002 Jack Goldhill Sculpture Prize, Royal Academy 2003 Elected to Royal Academy 2017 Awarded Honorary Doctorate from the University of the Arts, London Selected Solo Exhibitions 2020 12 Images 12 Poems, (1 each month for the year), Wren Library, Trinity College, Cambridge Tangled up in Blue, Annely Juda Fine Art 2019 Una Individual, Galería Álvaro Alcázar, Madrid Call and Response, Galerie Scheffel, Bad Homburg 12 Images 12 Poems, Yorkshire Sculpture Park 2018 From Memory, Galerie Andres Thalmann, Zurich Drawings and Small Sculpture, Zuleika Gallery, London 2017 Sculpture in Steel and Bronze, Heidelberg Sculpture Park, Germany Drawings and Smaller Works, Isaac Newton Institute, Cambridge 2016 Here and Now, There and Then, Annely Juda Fine Art, London Orbits and Ellipses, One Canada Square, London 2015 Curved Spaces, Galerie Alvaro Alcazar, Madrid Plus ça change, plus c’est la même chose, Galerie Scheffel, Bad Homburg 2014 Galerie Andres Thalmann, Zurich (with Manijeh Yadegar) 2013 Jock Colville Hall, Churchill College, Cambridge 2012 Southern Shade, Galerie Andres Thalmann, Zurich 2011 The Spaces Between, Annely Juda Fine Art, London Artists Laboratory, Royal Academy, London 2010 Carbon Handprints, City Arts Center, Oklahoma City, USA Chinese Whispers, Galerie Andres Thalmann, Zurich Galerie Scheffel, Bad Homburg, Germany 2009 Sala Pelaires, Palma de Mallorca Galeri C.
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