“Looking at pictures” by Susan Woodford is an interesting book published by Thames & Hudson, London.
A pocket sized paperback, “Looking at pictures” can enhance visit to an exhibition for art lovers or can be a practical guide for inexpert or else an effortless reminder for professionals. Easy to read, with explanations of the main aspects of picture usage, it spans through the history of art.
There is always more than one way of looking at any picture and considering the reason for its creation. In this brilliantly presented book, Susan Woodford offers the indispensable equipment to support anyone to understand and explore pictures.
Looking at pictures can be a wonderful, stimulating or touching experience. However, some pictures require some explanation before they can be fully understood. Exploring the origins, designs and themes of over one hundred pictures from different periods and places, Susan Woodford illuminates the art of looking at – and talking about – pictures. Woodford’s enthralling prose compares different artistic approaches, questions assumptions and introduces the reader to a wide range of stimulating ideas. She shows how you can read a picture by examining the formal and stylistic devices used by an artist, and explores popular themes and subject matters, and the relationship of pictures to the societies that produced them.
“Looking at pictures” opens with the Introduction followed by a chapter on different ways to look at pictures (how to use picture; cultural context; resemblance to reality; and design and structure) which are really clear and give the necessary basic tools. It continues with settings like Land and Sea, with portraiture, passing by History and Mythology, the Christian’s contribution, and the Tradition ending with more complex Formal Analysis, Hidden Meanings and Quality.
This short and practical guide is part of the Art Essentials series recently launched by Thames & Hudson, London. Art Essentials is an affordable, accessibly written and authoritative new series from Thames & Hudson. Its books present need-to-know expertise that provides the keys to a richer understanding of art of all kinds.
Susan Woodford received her BA from Harvard University and her MA and PhD from Columbia University. She teaches art history and lectures at the British Museum. In addition to scholarly articles, she has written five other books for the general reader and was the winner of the Criticos Prize 2003.
“Looking at Pictures” by Susan Woodford has been published by Thames & Hudson, London.
London - An interesting exhibition was John Copeland at the Newport Street Gallery. American artist John Copeland (b. 1976) is for the first time in a solo exhibition in the UK. The exhibition ‘Your Heaven Looks Just Like My Hell’ features twenty-five paintings, spanning from 2009 to 2017 – all coming from Hirst’s Murderme collection.
In the middle of real depiction and abstraction, the work of Copeland is in oil and acrylic paint with a tangible, impasto surfaces. The artist is caught up with ‘any arrangement that involves interaction between the figures’, and frequently uses social settings to locates his subjects, such as around a table, playfully balanced on one another’s shoulders, or surveying a painting as a group. The figures
remain, however, very indefinite, and are placed against abstract backgrounds full of curious shapeless figures, frequently underlined by pairs or mirrored human forms. His work refers to Expressionism and Pop.
Copeland’s habitual use of recognizable art historical motifs – the nude, the table and the skull, for example – allow him to investigate the complications inherent to image-making and representation. He illustrates the content of the canvases as a ‘starting point for a conversation or a digression... like a riddle or a bit of a poem [that] raises questions that aren’t really answerable’. He works from a plethora of found sources, usually photographic; mid twentieth-century magazine cut-outs, Americana and biker imagery among others. His work is, in large part, an exploration of the ‘act of looking’. He states: ‘I’m concerned with the dynamic between surface and undercurrent, myths and realities. All of my work plays with the act of viewing and being aware of the act of viewing, in terms of our collective visual culture and the images we see with every day.’
John Copeland was born in California in 1976, and went on to attend the California College of the Arts, and in 1998 he received his BFA. Recent solo exhibitions include: ‘Wolves Wait At Your Door’, V1 Gallery, Copenhagen (2016); ‘You’ll Never Be The Same’, Galleria Marabini, Bologna, Italy (2012); and ‘Old Glory’, Nicholas Robinson Gallery, New York (2009).
Recent group exhibitions include: ‘Nude’, V1 Gallery, Copenhagen (2017); ‘The Brask Collection meets Willumsen’, J.F. Willumsens Museum, Frederikssund, Denmark (2017); ‘Salon Djurhuus’, Munkeruphus, Denmark (2016); ‘Bad Painting’, John Copeland & Katherine Bernhardt, V1 Gallery at Spinnerei, Leipzig, Germany (2013); ‘Summer Reading’, The Hole, New York (2013); ‘Hell Raisers’, Galerie Lange + Pult, Zurich, Switzerland (2012); ‘Wonder Works, Master Works from Private Danish Collections’, The Museum Of Modern Art Aalborg, Denmark (2012).
The artist lives and works in New York City, apparently he is not an eminent figure in his home country. Also it is not known if he is represented by a gallery in the US. Copeland is born in California. He is represented by a gallery in Denmark, but not, apparently, by one in his own country.
At the top floor of the Newport Street Gallery, John Copeland exhibition “Your Heaven Looks Just Like My Hell” is running from 21st February until 28th May 2018.
London Art Fair 2018 closed reporting robust trading and won great approval for its curated spaces.
The 2018 edition of London Art Fair celebrated the 30th anniversary. The Fair was firstly held in 1989 as an initiative of the Business Design Centre, Islington, where it has been organised ever since. Initially known as Art ‘89, over the last three decades London Art Fair has constantly grown up and is now known to be one of the leading platforms for modern and contemporary art.
London Art Fair 2018 saw the participation of 131 exhibitors representing 18 different countries, offering a significant panorama of the British and international art.
Sarah Monk, Fair Director, said: "Over the last thirty years London Art Fair has continued to evolve in order to stay relevant and continue attracting, and exciting, collectors and visitors. Whilst we still provide a home for outstanding Modern British art, we have embraced an increasingly international and contemporary outlook, with new galleries from around the world expanding our offer and reach. What unites our galleries is an emphasis on excellence, whether it originates in the 20th or 21st century. Our 30th anniversary edition has proved that London continues to be open for business, whilst our curated spaces Dialogues and Photo50 have demonstrated that international collaboration is still very much alive and well in the art world."
Confirming there is still a high confidence in the contemporary art market, London Art Fair 2018 participating galleries reported strong sales across all mediums including painting, photography, prints and applied arts.
London Art Fair 2018 supported collecting at all levels, with works by internationally renowned artists. This year, famous sales included a Grayson Perry embroidery sold by Castlegate House Gallery for £45,000; a Picasso drawing sold by Gormleys Fine Art for £52,000; and an Eduardo Paolozzi bronze sold by Piano Nobile for £165,000.
This year edition of the Fair confirmed again the attendance of a number of notable curators and representatives from public and private institutions from all over the world.
For the 2018 edition, London Art Fair affirmed again its international attitude with over 25% exhibitors coming from outside the UK. However, endorsing the ongoing success of the Fair, galleries continue to return, for example, John Mackechnie of Glasgow Print Studio, who has exhibited at all thirty editions of London Art Fair, comments: “We were delighted once again to be able to bring art from Scotland to our regular collectors and to introduce our work to a new audience. We are leaving behind over forty works that are going to new homes.”
London Art Fair 2018 once again provided deep look into the evolution of the art market through its curated spaces Photo50 and Art Projects.
Launched in 2007, Photo50 provides a critical forum to examine and debate some of the most innovative and distinctive elements of contemporary photographic and lens-based practice. This year’s Photo50 exhibition, entitled Resolution is not the point, was curated by Hemera, the first collective to take on this role.
Established in 2005 to support emerging galleries and encourage innovative presentations at the Fair, Art Projects included 33 exhibitors presenting solo and group shows.
A major feature of Art Projects was Dialogues, which invited pairs of galleries to create a shared presentation, encouraging inventive collaborations and new relationships. This year Dialogues was curated by Misal Adnan Yildiz, former Director of Artspace NZ and Artistic Director of Künstlerhaus Stuttgart. It featured five partnerships between local and international galleries, each focusing on the representation and recontextualisation of the female through live performances.
This year’s De Longhi Art Projects Artist Award winner Nilbar Güreş (Galerie Tanja Wagner) was drawn from the Fair’s Dialogues section.
London Art Fair 2018 has been at Business Design Centre, Islington, London, from 17th until 21st January 2018.
Again extraordinary, the 2017 edition of Frieze Masters brought to London more than 130 top galleries from all over the world.
Additionally, the 2017 programme was enriched with curated sections for discovery and Frieze Masters Talks featuring top personalities.
At its sixth edition, Frieze Masters London 2017 presented significant settings and projects. It has been a full-bodied journey through the history of art, ranging from ancient books to contemporary art, passing through classical statues and great modern artists.
Frieze Masters once again coincides with Frieze London and Frieze Sculpture, together catalyzing the most significant week in London’s cultural calendar.
With contributions by eminent curators and world-class institutions on curated sections, programmes and vetting, Frieze Masters was dedicated to discovery and quality. The 2017 programme included the returning Spotlight section for rare solo presentations of 20th-century pioneers, as well as the Collections section, featuring specialist galleries with extraordinary art and objects. The celebrated Frieze Masters Talks programme also returned to the fair, curated this year by Tim Marlow and featuring artists Lynda Benglis and Marina Abramović alongside curators Eike Schmidt (Uffizi Gallery, Florence) and Luke Syson (The Met, New York), among others.
Victoria Siddall, Director of Frieze Fairs said: ‘It is the extraordinary range and quality of work that defines Frieze Masters and we are thrilled to welcome back the world’s leading galleries, from Old Masters to antiquities, tribal and 20thcentury art. The fair has always been a place full of unexpected juxtapositions and new encounters and this year is no exception. The contributions of curators Toby Kamps, Tim Marlow and Sir Norman Rosenthal bring unique perspectives and insights into art history and how it continues to influence artists working today.’
The 2017 edition has seen the return of some of the world’s most significant galleries, together with new additions to the main section, and Andean textiles specialists in Collections.
Curated by Sir Norman Rosenthal, the celebrated Collections section continues to bring new types of work to the fair and showcase extraordinary artworks and objects spanning thousands of years.
Spotlight section was curated by Toby Kamps (Blaffer Art Museum, University of Houston). It returned with 21 solo presentations by 20th-century artists from Asia, Europe, and North and South America. Toby Kamps said, ‘Spotlight continues to reveal extraordinary, under-recognized figures and, in the process, to question traditional canons and shed new light on recent art history.
Curated by Tim Marlow (Artistic Director, Royal Academy of Arts, London), Frieze Masters Talks provides a platform for leading artists, museum curators, writers and critics to discuss the history of art and its continuing significance in contemporary practice.
This year’s programme features a series of conversations between artists and curators, as well as panel discussions exploring the aesthetics of display – juxtaposing contemporary and historical art.
Directors, curators, and patron groups from a record 230 international museums and other arts organisations attended. Highlights from across the world include trustees and patrons groups from Crystal Bridges Museum of American Art, Louvre, Mauritshuis, Moderna Museet, Pinakothek der Moderne and Fine Arts Museums of San Francisco.
Dr. Eike Schmidt, Director, Gallerie degli Uffizi, commented: ‘Coming back to Frieze is a great opportunity to meet with colleagues and friends from the museum world, as well as gallerists, collectors and artists; and of course to see great art. Just the remarkable breadth of works at Frieze Masters and the combination between the stands makes it worthwhile coming each year.’
In addition to global lead partner Deutsche Bank, Frieze Masters 2017 partnered with BMW, Art Fund, the Financial Times, The Royal Parks, Official Champagne Ruinart and new partners, luxury property developers Lodha, Official Coffee Lavazza, and The Maybourne Hotel Group.
Frieze Masters took place in Regent’s Park, London, from 4th to 8th October 2017.
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