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01
June
2018

SUMMER EXHIBITION – THE ROYAL ACADEMY

The Royal Academy<www.culturewhisper.com/r/visual_arts/charles_i_king_and_collector_royal_academy_of_arts_london/9519> Summer Exhibition is renowned for its chaotic, non-hierarchical ‘Salon Hang’, glamorous visitors and flourishing emerging arts scene. Originally quite a traditional affair – the Summer Exhibition has been running annually since 1796 – it is today the world’s biggest open submission art show, attracting an overwhelming number of entrants each year. The result is a heady concoction of classic and contemporary, with painting, sculpture, photography, printmaking, architecture and film sharing wall and floor space.
With the Royal Academy set to celebrate its 250th anniversary in majestic style later this year, the 2018 edition is set to be bigger and better than ever.
Distinguished academician Eileen Cooper was 2017’s guest curator. Tackling the provocative theme of ‘Welcome’, it may well have been the most eclectic Summer Exhibition yet. However, with Grayson Perry at the helm of the 250th anniversary edition, anticipation and expectations are running high.
The Summer Exhibition is always a completely different experience to any other show in London. It requires time and effort, and a lot of stamina, if you want to sidestep the hoarding crowds and bypass the mass of mediocre works on display. That said, it does also provide an unparalleled opportunity to discover emerging talent and pick up works by lesser-known and non-commercial artists.
As always, the majority of the artworks in the Summer Exhibition are for sale, in some cases for fairly affordable prices (the cheapest work in the 2017 edition was under £100). So, it’s the perfect opportunity for both new and seasoned collectors to expand on a multi-disciplinary art collection.
We can’t wait to see what Grayson Perry will do with the country’s most established, dare we say, conventional exhibition.
________________________________ WHAT Summer Exhibition 2018, Royal Academy WHERE Royal Academy, Burlington House, Piccadilly, London, W1J 0BD <www.culturewhisper.com/e/whatson/royal_academy> | MAP<www.culturewhisper.com/event/map/id/4378> NEAREST TUBE Green Park (underground) WHEN 12 Jun 18 – 19 Aug 18, 10:00 AM – 6:00 PM
PRICE £18 WEBSITE Click here for more information<www.royalacademy.org.uk/exhibition/summer-exhibition-2018?utm_source=Adestra&utm_medium=email&utm_term=&utm_content=Summer%20Exhibition%20CTA&utm_campaign=Solus%20RASummer%20d_MARKETING%2020180209&…>

14
May
2018

TOP ART EXHIBITIONS TO SEE IN LONDON THIS WEEK

The Top 8 Art Exhibitions to see in London this week 13/05/18
Art critic Tabish Khan brings you ‘The Top Art Exhibitions to see in London’ this week. Each one comes with a concise review to help you decide whether it’s for you. This week it’s been expanded to a top 8, as there are so many strong exhibitions closing this week:
[https://fadmagazine.com/wp-content/uploads/hermann_nitsch_das_orgien_mysterien_theater_012.jpeg]<fadmagazine.com/2018/05/13/top-8-art-exhibitions-see-london-week-130518/hermann_nitsch_das_orgien_mysterien_theater_012/>
Hermann Nitsch @ Massimo de Carlo<www.massimodecarlo.com/exhibitions/view/12077> Blood and paint splattered altars, a mock crucifixion and more gore than you’d ever expect to find in a Mayfair gallery. This is one of the most intense and powerful exhibitions I’ve seen recently … though it’s best to avoid visiting after lunch. Until 25 May.
<fadmagazine.com/2018/05/13/top-8-art-exhibitions-see-london-week-130518/from-the-same-source-i-have-not-taken-3-1/>

02
May
2018

TATE MODERN

The EY Exhibition: Picasso 1932 – Love, Fame, Tragedy at Tate Modern
[Portrait of a woman by Picasso]
Relive one of the most important years in the Spanish artist’s career withPicasso 1932 – Love, Fame, Tragedy at Tate Modern. The display explores, month by month, the most important events in Picasso’s life and work during 1932. This was a pivotal moment in his career, culminating in some of his most famous paintings. Until 9 Sep

17
April
2018

London Exhibition – Colour

Garry Fabian Miller: Voyage
Dovecot Studios
2 February – 7 May 2018
A new tapestry by Garry Fabian Miller extends the artist’s ongoing research into colour.
[https://www.artfund.org/thumbnail/686/assets/what-to-see/exhibitions/2018/02/garry-fabian-miller/garry-fabian-miller-voyage-photo-ken-gray.jpg] [https://www.artfund.org/assets/what-to-see/exhibitions/2018/02/garry-fabian-miller/garry-fabian-miller-voyage-photo-ken-gray-sq.jpg]
Garry Fabian Miller: Voyage Exhibition at Dovecot Studios www.artfund.org A new tapestry by Garry Fabian Miller extends the artist’s ongoing research into colour.
Garry Fabian Miller, Voyage into the deepest, darkest blue (detail), 2017 © Ken Gray
Garry Fabian Miller’s new tapestry, Voyage into the deepest, darkest blue, is the centrepiece of an exhibition of his recent body of work and some key early pieces from his career.
Applying craft ethos to digital printing, Fabian Miller’s current work extends his ongoing research into colour in photographic image, and into how an image comes into being both in print and in tapestry.
This exhibition looks closely at these processes, from the perception and selection of colour in tapestry to recent changes in digital photographic printing that have had a major impact on the artist’s work.
The exhibition also features a rarely seen image from the collection of the Victoria and Albert Museum by photographer Gustave Le Gray (1820-84), one of the first examples of a photograph made by exposing an image from two negatives.

31
March
2018

TATE MODERN – Photography & Abstract Art

For the first time, Tate Modern tells the intertwined stories of photography and abstract art
The birth of abstract art and the invention of photography were both defining moments in modern visual culture, but these two stories are often told separately.
Shape of Light is the first major exhibition to explore the relationship between the two, spanning the century from the 1910s to the present day. It brings to life the innovation and originality of photographers over this period, and shows how they responded and contributed to the development of abstraction.
Key photographs are brought together from pioneers including Man Ray and Alfred Stieglitz, major contemporary artists such as Barbara Kasten and Thomas Ruff, right up to exciting new work by Antony Cairns, Maya Rochat and Daisuke Yokota, made especially for the exhibition.
Right [Maya Rochat A Rock is a River (META CARROTS) 2017 © Maya Rochat – courtesy Lily Robert]
Maya Rochat, A Rock is a River (META CARROTS), 2017 © Maya Rochat – courtesy Lily Robert
[László Moholy-Nagy, ‘K VII’ 1922] László Moholy-Nagy K VII 1922 Tate [John Divola 74V11 1974 Jack Kirkland Collection, Nottingham © John Divola]
John Divola 74V11, 1974, Jack Kirkland Collection, Nottingham © John Divola
[Barbara Kasten Photogenic Painting, Untitled 74/13 1974 Courtesy the artist and Thomas Dane Gallery, London © Barbara Kasten]
Barbara Kasten, Photogenic Painting, Untitled, 74/13 1974 Courtesy the artist and Thomas Dane Gallery, London © Barbara Kasten
[Man Ray Rayograph 1922 Private Collection © Man Ray Trust/ADAGP, Paris and DACS, London 2018]
Man Ray, Rayograph, 1922, Private Collection © Man Ray Trust/ADAGP, Paris and DACS, London 2018
[Aleksandr Rodchenko Radio Station Power 1929 Lent by Jack Kirkland Collection, Nottingham © A. Rodchenko & V. Stepanova Archive. DACS, RAO 2018]
Aleksandr Rodchenko, Radio Station Power, 1929, Lent by Jack Kirkland Collection, Nottingham © A. Rodchenko & V. Stepanova Archive. DACS, RAO 2018
[Alvin Langdon Coburn Vortograph 1917 George Eastman House, Rochester, New York © The Universal Order]
Alvin Langdon Coburn, Vortograph, 1917, George Eastman House, Rochester, New York © The Universal Order
[Wyndham Lewis Workshop c.1914-5 Tate Purchased 1974 © Wyndham Lewis and the estate of Mrs G A Wyndham Lewis by kind permission of the Wyndham Lewis Memorial Trust (a registered charity)]
Wyndham Lewis, Workshop, c.1914-5 Tate Purchased 1974 © Wyndham Lewis and the estate of Mrs G A Wyndham Lewis by kind permission of the Wyndham Lewis Memorial Trust (a registered charity)
[Maya Rochat A Rock is a River (META LOVE) 2017]
Maya Rochat A Rock is a River (META LOVE) 2017
TATE MODERN Bankside London SE1 9TG Plan your visit DATES
2 May – 14 October 2018
PRICING
£16FREE for Members
Admission £18 (£16 Advance booking)
Concession £17 (£15 Advance booking)
Under 12s FREE (up to four per family adult)
Family tickets available (two adults and two children 12–18 years) by telephone or in the gallery
See Shape of Light and The EY Exhibition: Picasso 1932(until 9 Sep) for £32 with a combined ticket. Offer bookable via The EY Exhibition: Picasso 1932exhibition page

13
March
2018

MARTYN BREWSTER – Northwest Gallery AUB

MARTYN BREWSTER: THE NOCTURNES
Upcoming Exhibition Exhibition in Northwest Gallery / Exhibition in TheGallery
Curated by Professor Simon Olding
1 March – 12 April 2018 Northwest Gallery, AUB
Brought to you in partnership with TheGallery, AUB and Waterhouse & Dodd, London. Martyn Brewster: The Nocturnes, a text + work exhibition at TheGallery, Arts University Bournemouth.
The exhibition Martyn Brewster: The Nocturnes at TheGallery, AUB is a selection of recent works including paintings and drawings by the long-time associate Martyn Brewster. The Arts University Bournemouth exhibited with Martyn when TheGallery first opened its doors in 1998, and has since held a selection of his work as part of the AUB collection.
For the last thirty years, Martyn has lived near the cliffs, open skies and beaches of Southbourne, Dorset. Inspired by natural landscape, the sea and the light, his images are based on abstract or landscape themes.
Whilst always being involved with painting and the use of strong rich colours, his most recent work introduces a more restrained palette into his evocative abstract paintings. Martyn’s vigorous poetic response to his natural surroundings is expressed in the vitality of the work, and the quieter approach heralds paintings of a fresh contemplative power and strength.
MEET THE ARTIST: MARTYN BREWSTER
Martyn Brewster is a painter and printmaker, born in Oxford, 1952. He creates paintings, drawings and prints based on abstract or landscape themes. Martyn studied Painting at Brighton University followed by an MA in Printmaking instead.
He has had regular solo exhibitions in museums and galleries in London and across the UK, as well as in USA, Canada and Europe. His work can be found in private, public and corporate collections worldwide including the V&A, the British Museum, Russell-Cotes Art gallery, and recently Pallant House and the Hepworth Wakefield. Martyn has won numerous awards and has had retrospective exhibitions at Russell-Cotes Art Gallery and Museum (1977), and the Royal West of England Academy (2001), amongst others. Martyn Brewster has also taught in the Fine Art Department at AUB for 16 years (1988 – 2004), and was involved in developing the original BA (Hons) Fine Art degree course at the University.
A study of Martyn’s life and work was published by Professor Simon Olding and Mel Gooding in 1997. A study of his printmaking, Martyn Brewster: Prints 1975 – 2007 by Vivienne Light and Professor Simon Olding was also published in 2008. Martyn is represented by Waterhouse & Dodd, London and New York.

13
March
2018

TATE MODERN – PICASSO 1932

Tate Modern’s new exhibition, Picasso 1932, is a breathtaking display of one artist’s relentless and restless creativity. Running until September, it is already destined to be one of Britain’s cultural events of the year. Yet it embodies an unresolved paradox about the way that modern societies think about art. Picasso 1932 is exactly what the title suggests it is – a chronological survey of Pablo Picasso’s work during a single year, when the artist was 50 years old.
The exhibition at Tate Modern is laid out month by month, starting in January 1932 with several ebullient portraits of women and proceeding in stages to the darker work of November and December in the last room. In between, Picasso’soutput ranges prodigiously wide, from primitive sculptures and line drawings, through a set of pictures inspired by the octopus to another triggered by Matthias Grünewald’s early 16th-century Crucifixion.
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Chronology is the essence of the show. It focuses close-up on Picasso’s evolution in those 12 months. Yet here’s the paradox. Picasso himself disdained chronology. He thought of himself as someone who made new art. He was certainly interested in other art, like Grünewald’s, for example. He was always experimenting with subjects, line, colour and composition. But he wasn’t particularly interested in his own evolution or in his objectification as a significant historical figure. This disjunction is highlighted in the exhibition.
Back in 1932, Picasso curated in Paris one of the first retrospectives of his own work. Impatient with chronology, he deliberately mixed up his work from different periods – a device that is repeated in the June 1932 room of the Tate Modern show. To Picasso, his art needed no explanation. It existed as art, and not as part of a story. To the exhibition visitor, however, the chronology and the art are harder to separate.
Picasso is not the only artist who fought against attempts to impose chronology and meaning upon his work. His contemporary Igor Stravinsky was exactly the same about his music. Many others, before and since, have wrestled with attempts to categorise, judge or impose hierarchies on their work. Yet this is a struggle that can have no end. The artist always prefers to do new things in their own terms. But the viewer is always making connections and drawing conclusions that the artist rejects.
This is particularly important with Picasso. He expressed the visible in dazzlingly different ways. The late John Berger once called him “the master of the unfinished”. He didn’t mean that Picasso never finished his pictures. He meant that Picasso’s work is quintessentially the work of a particular moment, when the visible is always on the threshold of becoming the differently visible or the possibly visible. The brilliance of the Picasso 1932 exhibition is that it manages to be bring the two approaches together. It combines the actual – Picasso’s output of art – with the day-by-day possibility of paths not chosen. Picasso’s pictures and sculptures are objects now. But at Tate Modern they are objects of a creative moment. In this exhibition, creativity and chronology don’t repel; they reinforce.

26
February
2018

MARTYN BREWSTER : THE NOCTUNES, AUB 1 March – 12 April 2018

Martyn Brewster: The Nocturnes
Upcoming Exhibition Exhibition in Northwest Gallery / Exhibition in TheGallery
Curated by Professor Simon Olding
1 March – 12 April 2018 Northwest Gallery, AUB
Brought to you in partnership with TheGallery, AUB and Waterhouse & Dodd, London. Martyn Brewster: The Nocturnes, a text + work exhibition at TheGallery, Arts University Bournemouth.
The exhibition Martyn Brewster: The Nocturnes at TheGallery, AUB is a selection of recent works including paintings and drawings by the long-time associate Martyn Brewster. The Arts University Bournemouth exhibited with Martyn when TheGallery first opened its doors in 1998, and has since held a selection of his work as part of the AUB collection.
For the last thirty years, Martyn has lived near the cliffs, open skies and beaches of Southbourne, Dorset. Inspired by natural landscape, the sea and the light, his images are based on abstract or landscape themes.
Whilst always being involved with painting and the use of strong rich colours, his most recent work introduces a more restrained palette into his evocative abstract paintings. Martyn’s vigorous poetic response to his natural surroundings is expressed in the vitality of the work, and the quieter approach heralds paintings of a fresh contemplative power and strength.

22
February
2018

LEEDS ART GALLERY

Leeds Art Gallery
West Yorkshire, LS1 3AA
This historic Victorian building reopened its doors in October 2017 after a major renovation revealing a stunning glass ceiling and new gallery spaces. [https://www.artfund.org/thumbnail/331/assets/what-to-see/museums-and-galleries/k-m/leeds-art-gallery/lothar-gotz-leeds.jpg]
Staircase with Lothar Götz wall painting, Leeds Art Gallery
Housing internationally significant work, Leeds’ city gallery is also now home to a vibrant wall-painting by Lothar Götz, funded through Art Happens, our crowdfunding platform. Titled Xanadu, the painting transforms the gallery’s entrance staircase, drawing visitors’ attention up towards light-filled galleries which were revealed during the renovation process and are now visible for the first time in a generation.
New collection displays feature new acquisitions including the film installation Movie by Halifax-born artist Hilary Lloyd, acquired with Art Fund support, while the gallery’s continued partnership with the adjacentHenry Moore Institute means it holds one of the most exciting and extensive collections of British sculpture in the world.
Leeds Art Gallery also houses the beautiful Tiled Hall, originally the main library reading room and then a sculpture court. The original fabric of the room was revealed in 2007 after an extensive renovation, and features ornate tiles and a barrel-vaulted mosaic ceiling.

16
February
2018

The 18th Open Exhibition – St Barbe

The 18th Open Exhibition
Starts: February 23 – 10:00am Ends: April 15 – 4:00pm
The Open Exhibition returns for its 18th year, bigger and better than ever! With more than £1,000 cash prizes up for grabs, a new online entry process, and a new category for three-dimensional works, there will be a fresh look to the exhibition to match the new gallery spaces at St Barbe. Over the years the Open has become a popular highlight in the region’s arts calendar drawing entries from artists across Hampshire and Dorset and further afield. A panel of professional judges select the exhibition is selected, with the bar being set increasingly high to match the quality of the work submitted. A range of prizes are offered by through the generous support of local business partners, including The Coastal Gallery Award for best contemporary artwork (£300).
This year prizes include: • The New Milton Advertiser and Lymington Times People’s Choice Award (£300) • The Coastal Gallery Award for best contemporary abstract work (£300) • The Mary and John Symons Award for Best Print (£250) • The Blake Morgan Award for Best Painting (£250) • Ted Marsh Award, 18-21 years old (£100) • The Beaulieu Fine Arts Award for best work by a non-professional artist (£50 of framing) This is a selling exhibition