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"Drawing, British 20th century Exhibitions."
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JMW Whistler (1834–1903) and Sir Garnet Wolseley (1833–1913)
JMW Whistler's drypoint of the celebrated Anglo-Irish soldier Sir Garnet Wolseley (1833-1913), later Field-Marshal Viscount Wolseley, who was rivalled in fame only by Earl Roberts of Kandahar in the British military history of the period, is one of his least-known prints. Wolseley, a remarkably successful officer, who did much to make the British army more efficient, might seem an unexpected subject for an American artist such as Whistler and it is not yet known when and how the two men first met. It is, however, now possible to relate the circumstances under which this small drypoint portrait was executed.
Journal Article
Out of Australia : prints and drawings from Sidney Nolan to Rover Thomas
Summary: This book follows the rise of a distinctive school of Australian art that first emerged in the 1940s. Beginning with the artists of the Angry Penguins movement, Arthur Boyd, Albert Tucker, Joy Hester and Sidney Nolan, whose work exhibited a new strain of surrealism and expressionism, the book continues with the rich variety of 1970s work by Jan Seberg, Robert Jacks and George Baldessin, moving through to contemporary artists such as Rover Thomas and Judy Watson. Stephen Coppel traces the major developments in Australian art from the 1940s to the present day, and examines the significant interplay with the British art scene and the recent rise of Aboriginal printmaking.
Book
Beyond Bauhaus: Modernism in Britain, 1933–1966
Beyond Bauhaus: Modernism in Britain, 1933–1966 Royal Institute of British Architects, London 1 October 2019–1 February 2020. Amid a slew of publications, broadcasts, and events marking the centenary of the founding of the Bauhaus, the Royal Institute of British Architects launched its autumn/winter 2019–20 exhibition Beyond Bauhaus, which looked beyond the origins of the school to its influence on British architectural culture and practice from the 1930s to the 1960s. Taking as its starting point the departure from London in 1937 of three Bauhaus teachers—Marcel Breuer, Walter Gropius, and László Moholy-Nagy—after a brief sojourn in the city, the exhibition sought to probe the impact of these figures on the contemporary architectural scene and to ask in turn whether the émigrés' short time in Britain had any ongoing significance for their practice. Materials from the RIBA's rich archives, including photographs, models, drawings, and letters, were gathered to shed light on “both the well-known and the overlooked British architects with whom the Bauhaus émigrés collaborated and inspired.”
Book Review
Augustus John : drawn from life
\"Despite achieving extraordinary fame in his lifetime, when he was widely considered to be one the greatest living British artists and his drawings were thought by John Singer Sargent to be amongst the finest seen since the Renaissance, Augustus John has grown increasingly obscure. [This book] seeks to restore this ... artist to his rightful place in the canon of British art\"--Publisher marketing.
Book
Artists Afloat: Tuke and Hemy at Sea
Dinn reviews Artists Afloat: Tuke and Hemy at Sea, an exhibition of the works of Charles Napier Hemy and Henry Scott Tuke at the Falmouth Art Gallery in Falmouth, England, from March 25-June 17, 2017..
Book Review
\William Blake and the Age of Aquarius\.(EVANSTON, ILLINOIS)
EVANSTON, ILLINOIS Block Museum of Art September 23, 2017-March 11, 2018. Curated by Stephen F. Eisenman This erudite Summer of Love golden-anniversary exhibition places the Beat-generation muse, proto-hippie, politically radical poet-engraver, and generally unclassifiable William Blake in the context of twentieth-century American art and popular culture. Identifying Allen Ginsberg, Agnes Martin, Maurice Sendak, counterculture communards, and the Fugs (to name a few) as Blake's successors, the show features more than fifty of Blake's engravings, etchings, watercolors, and illustrations, as well as some 150 paintings, drawings, photographs, film clips, and LPs from the 1950s, '60s, and '70s.
Magazine Article
Queer British Art 1861-1967
The word 'queer' remains loaded for many with a violence that reclamation cannot shake off. Nonetheless, for its historical (although self-admittedly partial) survey of British art addressing deviant sexualities and gender identities from 1861 to 1967, Tate Britain has chosen 'queer' as an adequate adjective.The show uses two significant dates to bookend the period: the first, 1861, marks the end of the death penalty for sodomy; the second, 1967, was the year gay male sex was (partially) decriminalised. Notably, this positions the show exclusively towards the male.
Magazine Article
John Latham: A World View
'A World View' articulates a narrative of key moves Latham made with materials from 1958 through to 2005 that address these complex concerns. Spray paint gun works were developed as a way to visually depict a moment in time. The act of making a mark inseparable from its durational signature was typified by his (Noits) One Second Drawings, 1970-72. The roller works THE, 1976, and Time Base Roller, 1972, are kinetic paintings that unravel canvas from a roll into draped lengths using a motor. With text, stripes and painted surfaces, they exhibit complex fields of information that are spatially, temporally and linguistically in flux. Key works which incorporate books are presented too, from the planet-like assemblages suspended from the ceiling to the 15-panel The Story of RIO, 1983, that incorporates glass, spray paint marks and books in relief.
Magazine Article
Integration Alone is Not Enough: Selected Works of British Concrete Poetry 1960-80
A group exhibition titled Integration alone is not enough: Selected works of British concrete poetry 1960-80, held at the Richard Saltoun Gallery in London (3 February-24 March 2017) is reviewed. This group exhibition is of work from visual art's half of this equation. It has little to do with a context of modern literature and a lot to do with British Conceptual Art of the 1960s and 1970s, and its adoption of then-modern typing/ copying/reproduction media.
Magazine Article