David Annesley (b.1936) Michael Bolus (1934–2013) Anthony Caro (1924–2013) David Annesley studied at St Martin’s Born in South Africa in 1934, Michael Bolus Anthony Caro played a central role in the School of Art in London (1958–62), settled in London in 1957, studying at St development of British sculpture in the initially enrolling on the painting course Martin’s School of Art. He initially worked second half of the twentieth century. Caro before switching to sculpture. Annesley’s in stone, but quickly turned to sheet worked as an assistant to Henry Moore lyrical sculptures of the 1960s are mostly steel and aluminium, preferring a more in the 1950s, but abandoned his early constructed from welded steel and coated constructed approach to sculpture. This shift figurative work after encountering the in brightly-coloured paint. They explore in materials enabled Bolus to explore ideas sculpture of the American artist, David multiple iterations of basic shapes and of structural and compositional balance, Smith. A highly influential tutor at St forms: boxes, triangles, rippling curves and as well as repeated form and colour. 4th Martin’s School of Art, Caro was committed rings. The large circular form in Blue Ring Sculpture (1965) sits directly on the gallery to sculpture as a social activity. (1966) is based on the breadth of the artist’s floor, occupying our space. Although the He abolished individual studio spaces and outstretched arms, a pose reminiscent of form of 4th Sculpture is three dimensional, insisted on discussing sculpture with his Leonardo Da Vinci’s Vitruvian Man (c.1490). the artist’s concern with flatness rather than students in group ‘crits’. Slow Movement The steel structure of the sculpture is volume is evident. Cut and folded sheets (1965) is one of many abstract works that hidden beneath a thick layer of blue paint, of steel become planes of colour, and Caro produced in the 1960s, constructed which disguises the making process and the shape of the sculpture appears to shift by welding and bolting pieces of industrial An Arts Council Collection Exhibition Touring creates an overall sense of lightness. and change depending upon the angle scrap steel together. There is a tension from which it is seen. between the three elements of the work, which together forge a sense of passage, articulating the surrounding space. John Dee (b.1938) Robyn Denny (1930–2014) Antony Donaldson (b.1939) John Dee studied sculpture at Reading Robyn Denny studied at St Martin’s School After graduating from the Slade School University (1956–60) and at the Slade School of Art and then at the Royal College of Art of Fine Art in London in 1962, Antony of Art in London (1960–62). During the in London. In 1960, Denny was involved Donaldson developed a distinctive body of 1960s, Dee developed a distinctive body in the Situation exhibition of abstract work, using flat planes of dazzling colour of sculpture combining sensual, undulating painting at the RBA Galleries, and came depicting pin-ups, strippers or fast cars. forms with strong colour and strict to be associated with the ‘Situation Group’ Despite his links to Pop art, a clear interest symmetry. In 2016, Dee reflected: ‘Several of along with fellow artists including Gillian in abstraction, particularly American my works in the 1960s were given titles with Ayres, Bernard Cohen and Gwyther Irwin. hard-edge painting and the Dutch De a non-religious biblical association. That Throughout the 1960s Denny exhibited Stijl, underpins Donaldson’s work. In 1966 of Exodus, for example, drew attention to widely across Europe and in New York, Donaldson moved to Los Angeles and the shift in structural emphasis from vertical and he represented Britain at the Venice during the following two years he made to horizontal and, in a second version, Biennale in 1966. The influence of American a series of paintings influenced by the the migration of colour from a wall- post-painterly abstraction is evident in architecture of the 1930s cinemas then based painting to floor-based sculpture. Over Reach (1965–66), where Denny has still existing in Hollywood. Hollywood Pix Revelation concluded both this series employed hard-edged blocks of colour (1967) references the landmark cinema on and another running parallel concerning upon a large canvas. The strong vertical and Sunset Boulevard. The work features two (for want of a better word) the oracular. symmetrical forms emphasise the scale related forms which appear to hover against These mostly bilaterally symmetrical of the painting, giving space and form to the backdrop of an infinite clear sky. The works played with the possibility of pure the flat planes of muted colour. use of an airbrush and spray gun enabled geometry metamorphosing into an impure Donaldson to create a new sense of deep form capable of human interaction, even space and to make a surface seemingly communication. … Revelation is fully untouched by human hand. opened, a book of colour waiting to be read.’ KALEIDOSCOPE Colour Sequence and Art British in 1960s Bernard Farmer (1919–2002) Barry Flanagan (1941–2009) Anthony Hill (b.1930) Bernard Farmer studied at Chelsea Barry Flanagan studied architecture at Alongside Mary Martin, Kenneth Martin Polytechnic School of Art and exhibited Birmingham College of Art before attending and Victor Pasmore, Anthony Hill was one his work with the London Group of artists. the sculpture course at St Martin’s School of the leading figures of the mid-twentieth He received attention during the 1960s of Art in London. heap 4 (1967) is a fine century Constructionist Group. In 1956 for abstract compositions featuring zones example of the radical sculpture Flanagan Hill abandoned painting and began to of brightly-coloured paint set against made during the 1960s, described by the construct reliefs using new mass-produced a neutral white background. Farmer art historian Charles Harrison as materials such as acrylic and aluminium. often used acrylic paint, which enabled ‘disturbingly organic’. Flanagan often His compositions make reference to him to build up areas of colour to the worked with soft materials such as sand, mathematical formulae. Relief Construction picture surface with speed and freedom. muslin, rope and hessian – malleable G2 (1966) is one of many reliefs produced As the artist once explained, the simplicity materials which are free to form by Hill during the 1960s to feature of the composition is crucial: ‘the more themselves. In heap 4, one of a series of aluminium sections that jut out from simple I can make an image the better ‘heap’ works, sand-filled hessian bags the base plane at 120°. As the units are I like it... the less can always expand the are informally piled on top of one another, identical, the only way of telling one from mind, whereas more either constricts or with gravity dictating the final form. another is by variations in the light reflected becomes too much.’ from their sloping surfaces, revealing their precise, sequential placement. A_C_Collection @ artscouncilcollection Gallery Guide #Kaleidoscope artscouncilcollection.org.uk John Hoyland (1934–2011) Tess Jaray (b. 1937) Phillip King (b. 1934) Kim Lim (1936–97) Mary Martin (1907–69) Jeremy Moon (1934–73) John Hoyland was a leading British abstract Following her studies at St Martin’s School After studying Modern Languages at Born in Singapore, Kim Lim moved to Mary Martin studied at Goldsmith’s College Before becoming an artist Jeremy Moon painter and printmaker who came to of Art (1954–57), and the Slade School the University of Cambridge, Philip King London in 1954, where she studied at St of Art (1925–29) and at the Royal College of studied law at Cambridge University. prominence in the 1960s. In 1964, Hoyland of Fine Art (1957–60), Tess Jaray travelled attended the sculpture course at St Martin’s Martin’s School of Art (1954–56) and then Art (1929–32) in London. Along with Victor From 1960, he took up painting as well visited New York and made contact with to Italy and France, where she drew School of Art (1957–58). A trip to Greece at the Slade School of Art (1956–60). She Pasmore and her husband Kenneth Martin, as ballet, choreography and poetry influential artists and critics including influence from Renaissance architecture. in 1960 exposed the young artist to ancient often spoke of how the similarities and she was one of the early pioneers of the alongside his day job in advertising. Robert Motherwell, Helen Frankenthaler, Jaray’s paintings of the 1960s are often Greek architecture, and the Documenta differences between Eastern and Western post-war British Constructionist Group. A visit to the second Situation exhibition Kenneth Noland and Clement Greenberg. suggestive of an interior, with simple lines, exhibition in Germany that same year art influenced her approach to sculpture Throughout her career, Martin applied at the Whitechapel Gallery in 1961 inspired 15.5.64 (1964) is characteristic of Hoyland’s repeated forms and flat zones of colour introduced King to contemporary American and she was particularly inspired by formal mathematical principles such as the Golden Moon to enroll at the Central School of Art work of this period: strong colours buzz employed to delineate space, structure and abstraction. Upon his return to London, simplicity. Her work of the 1960s expresses Section and the Fibonacci Sequence to in London. Cape Red (1965) exemplifies next to one another, while the repeated scale. As the artist explains: ‘St Stephen’s King destroyed his work to date, stating a particular emphasis on rhythm and her constructions and reliefs, emphasising Moon’s mature style. His hard-edged shapes create and yet confuse a sense of Way (1964) was titled after the Cathedral in that he had ‘established new ideas about repetition, with forms becoming flatter geometric form and incorporating new approach to abstract painting involved depth.