Last chance to see Ian Hamilton Finlay exhibition at Victoria Miro – closes 1st June 2011
If you’re in London today/tomorrow and have the chance to head down to Victoria Miro, the Gallery is currently exhibiting a unique juxtaposition of British artist Ian Hamilton Finlay‘s sculpture and a series of text works, termed Definitions. These Definitions present Finlay’s own interpretations of the meanings of words, and in conjunction with related sculptural works, display Finlay’s adroitness in exploring the written word’s materiality. Ian Hamilton Finlay was at heart a poet, whose prose, rooted in the concrete poetry movement, finds its sublime presentation within the visual field (read a profile on him by the Guardian here). Informed by numerous sources, his work operates within a context of literature, mythology and classicism. Finlay’s ongoing endeavour throughout his lifetime of practice was to expand, liberate and challenge our understanding and perception of the written word, its limitations and its role in unspoken, communicative and aesthetic exchange. He achieved this through poetry rendered in many materials and forms. Continue reading →
This forthcoming exhibition at the Lightbox Gallery in Woking, which in part will be guest curated by Katherine Higgins, a writer, TV presenter and specialist on the BBC’s ‘Antiques Roadshow’, will bring together work by some of the UK’s leading artists from the British Pop Art era, including David Hockney, Allen Jones, Peter Blake, Richard Hamilton and Patrick Caulfield, amongst others, with memorabilia from the Sixties. It will examine how the Pop Art movement influenced popular culture during late 1950s and 1960s Britain through music, fashion and the media.See how the worlds of art and consumerism were united for the very first time in this fascinating exhibition. There will also be a lecture with Katherine Higgins entitled ‘Pop Culture in 1960s Britain’ on the 18th August 2011 – you can book tickets here.
Yale Center for British Art, New Haven, 20 May — 11 September 2011
Marking the launch of the YCBA’s online catalogue, Connections, a companion exhibition, replicates the experience of searching across the Center’s extraordinary collections. With more than two hundred paintings, sculptures, prints, drawings, rare books, and manuscripts from the early seventeenth to the early twentieth century, Connections presents familiar works as well as some surprises. Alongside popular collection highlights such as Rubens’s bravura oil sketch Peace Embracing Plenty will be rarely exhibited works, including outstanding prints and drawings by Thomas Gainsborough. The exhibition reveals the depth and breadth of material in the Center’s physical collections, which will now be accessible in a single searchable Continue reading →
On May 20, the Yale Center for British Art, which houses the largest and most comprehensive collection of British art outside of the United Kingdom, opened its extraordinary holdings with the world through a new online catalogue. For the first time, visitors to the museum’s redesigned and expanded website—britishart.yale.edu— have the ability to search across the Center’s entire collection of paintings, sculpture, prints, drawings, rare books, manuscripts, and works in the Reference Library. In addition, they are able to download high-resolution images of objects in the public domain, free of charge. This new policy should transform scholarship in the field of British art by allowing universal access to the Center’s unparalleled collection. The launch of the Center’s online catalogue dovetails with Yale University’s recently announced “Open Access” policy, which will make high-quality digital images of Yale’s vast cultural heritage collections in the public domain openly and freely available. Continue reading →
The Department of History of Design at the Royal College of Art and Science Museum are pleased to invite applications for one funded three-year PhD studentship in the history of atomic, molecular and orbital iconography in postwar British design and popular material culture. The history of X-ray crystallography’s development and subsequent impact on our understanding of the physical world is well-researched within the history of science; less well known is the role played by these new images and concepts in physically forming spaces and objects of daily life in the period.
Drawing particularly on the extensive X-ray crystallography related collections at the Science Museum and the Museum’s collection of 1950s household objects as well as archives and oral histories, the project will investigate the relationship between scientific discovery, the popular dissemination of science and design in postwar British. The project will explore the impact of scientific discovery and its popular imaging on design practice and production, and raise awareness within the history of science of the importance of particular choices for data visualisation on the course of scientific understanding and discovery. The studentship will provide the opportunity to contribute to the planned Making Modern Science Gallery at the Museum.
Landscape and the ‘arts of prospect’ in Early Modern Britain, 18 November 2011, at the Paul Mellon Centre, Yale University
Recent years have seen a major re-evaluation of British art and culture of the early modern period in British Art research. Much of this work and research has focused on the representation of the national territory, in word and image, in plays and poems, illustrated surveys and travel accounts. Historians have addressed how these cultural practices responded to dramatic and sometimes violently contested change in the national landscape, wrought by agricultural and commercial improvement as well as civil wars and religious strife, fire and plague. Yet, accounts of the specifically pictorial treatment of landscape in this period remain oddly divorced from these concerns, in large part because it is treated in isolation from other ‘arts of prospect’. This conference at the Paul Mellon Centre for British Art will explore the origins of British landscape as a pictorial genre, addressing developments in the two centuries that followed Henry VIII’s dissolution of the monasteries. It aims to re-examine landscape imagery in drawings, paintings and prints of the period, by exploring its relationship with other ‘arts of prospect’ employed to observe, record and moreover evaluate the country’s transformations.
Saints, Relics and Devotion in Medieval Europe, 23rd June – 19th October 2011
This major exhibition at the British Museum brings together for the first time some of the finest sacred treasures of the medieval age. It features over 150 objects drawn from more than 40 institutions including the Vatican, European church treasuries, museums from the USA and Europe and the British Museum’s own pre-eminent collection. There will also be a major conference held in conjunction with the exhibition. To book tickets in advance for the exhibition visit the British Museum website here.
The Vorticists: Manifesto for a Modern World, Friday 22 July 2011
13.00–14.00, Tate Britain Auditorium
Vorticism was one of the truly avant-garde movements in British Art. Named by American poet Ezra Pound and led by the painter Wyndham Lewis the group embraced the maelstrom of the modern world. This talk at Tate Britain with art critic, historian and curator Richard Cork (who has written and researched widely on British Art, and curated the Wild Things: Epstein, Gaudier-Brzeska, Gill exhibition at the Royal Academy in 2009/10) expands on the exhibition’s themes, which draw on the only two exhibitions in the lifetime of the vorticist group, the iconic journal BLAST, and the importance of Anglo-American exchange in shaping the vorticists’ concerns and output – a must for British Art Researchers interested in British Modernism. Tickets cost £5 – you can book online or call 020 7887 8888.
Conference, 14 May 2012, at the Royal Academy of Arts and Geological Society, London
The Paul Mellon Centre for Studies in British Art, the Royal Academy of Arts, London, and the Yale Center for British Art, New Haven, will be co-hosting a conference on Monday 14 May 2012 to accompany a major exhibition on the eighteenth-century Anglo-British artist Johan Zoffany (1733-1810). The exhibition, Johan Zoffany RA. Society Observed, is curated by Martin Postle (Paul Mellon Centre) with Gillian Forrester (Yale Center for British Art), and MaryAnne Stevens (Royal Academy), and will be held at the Yale Center for British Art from 27 October 2011 to 12 February 2012, and at the Royal Academy of Arts from 10 March to 10 June 2012. The deadline for paper submissions is 20th September 2011.