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
Always the unusual and exciting collections beautifully curated by Stewart and Bev...
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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
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.
Garry Fabian Miller: Voyage Exhibition at Dovecot Studios
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.
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
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
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
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 1932
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.
Tate Modern’s new exhibition, Picasso 1932
The exhibition
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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
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
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.
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.
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
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
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.
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
“I work with white stoneware clays fired to 1260* C, to produce strong, resilient pieces. This is due to a desire to create something that will last, something that I can leave behind in the world. This media dictates a range of colours and finishes that are possible, so earthy tones are that are common in nature frequently occur in my work.Use of clay to build large forms also leads to solid structures which have authority within the space they occupy. They do not merely exist, they create an atmosphere of life and energy, and the space is enhanced by the attention they draw to it. The method of hand building gives more freedom in creating shapes, jugs can become sculpture. The border between the two is crossed only when the completed glazed jug is viewed by different eyes, when the details, decorations and glazes are observed as the art and the vessel as the canvas upon which they are described. By contrasts and layers I am showing pots from different perspectives. I would like to bring them to life. Show movement, transformation, emotions – life. Crystalline glazes contribute to this effect because they show the same kind of captured movement as a photograph. Because crystalline glaze is very “runny” in the top temperature it needs to be caught, cooled rapidly, then soaked to encourage the unpredictable growth of the crystals.The glazes are so new, unusual, surprising and yet unexplored that many potters working with them, apply them to straight, smooth, simple porcelain shapes to best show off the beautiful crystals of various shapes and colours. I decided to take a different route, to use crystalline glazes contrasted with conventional high-temperature glaze and with different textures. I use them to enhance my art, whereas because of their unique beauty, others view crystalline glazes as an art form in and of themselves. To me a jug is not static, it is alive. I want to challenge people’s preconceived ideas about what a jug, a pot, a vase, is. These vessels are not limited by size, shape, functionality, they are not still and inanimate, they are made from the earth and grow from it.”
Explore the virtually limitless world of ceramic sculpture. Meet the clay sculpture artist Arek Nowicki who bring clay to life in ways you may never have imagined. From the diminutive to the monumental, the figurative to the abstract, there are endless possibilities for expression in the form of ceramic sculpture.
Contemporary clay sculpture is perhaps the most diverse range of sculpture in existence, perhaps because clay has been used to make art objects longer than any other material. Browse through these archives to see images of the sometimes beautiful, sometimes unsettling works of talented contemporary ceramic sculptors and to find out more about their clay modeling techniques and their motivations. And don’t forget to download your free copy of Contemporary Clay Sculpture: A Collection of Four of Our Favorite Articles on Contemporary Ceramic Sculpture to see work by the latest and greatest new talents in the ceramic arts field.
Whether you are interested in finding out more about making ceramic wall art or you need to learn more about clay armature for figurative ceramic sculpture, you’ll find a wide variety of information on clay sculpture techniques in our vast archives.