- "Modern Art" is a great publication by Thames & Hudson, London.
- New ways of “Looking at pictures” by Susan Woodford published by Thames & Hudson, London.
- John Copeland solo exhibition presented at Newport Street Gallery, London.
- London Art Fair 2018 celebrated its 30th engaging edition.
- Frieze Masters 2017 was successful.
“Modern Art” is a very involving book by Amy Dempsey, published by Thames & Hudson, London.
The author, Dempsey, has singled out t host important moments in Modern Art. The book lists sixty – height styles, schools and movements, focusing on the most significant of them.
Arranged in a chronological order, “Modern Art” spans the last 150 years of art, starting from 1860s, the Impressionism and the begin of the Avant- Garde, ending at nowadays with Destination Art, passing through Modernism (1900-1918), New Order (1918- 1945) and New Disorder (1945- 1965).
Amy Dempsey wrote an introduction for art neophytes, which is a guide to the last and ongoing period of art. It brings us into the knowledge of what one society and culture are, showing the recent history of our own world, leading to self- consciousness in terms of who we are and where we come from.
As part of the significant Art Essentials series, published by Thames & Hudson, “Modern Art” is not designed to be complete. It is intended to be a quick guide to Modern Art.
The text is written for people who want to improve their knowledge about the art scene, without going too much into an unnecessary depth. The book is a starting point for those who want to explore certain art movements in further details. This book avoids the often intimidating language the sophisticated art vocabulary has developed into.
Amy Dempsey is an art historian. She studied under Rosalind Krauss at Hunter College New York and received her doctorate from the Courtauld Institute of Art in London. A Fellow of the Royal Society of Arts, Dempsey has written for various museums, including Tate, and is the author of Destination Art and Styles, Schools & Movements: The Essential Encyclopaedic Guide to Modern Art.
Art Essentials is an affordable, accessibly written and authoritative new series from Thames and Hudson on the visual arts. Its books are realized by specialists that present the keys to a richer understanding of art of all kinds. Spanning between different topics, the series is build into a set of must-have companions for every interested enquirer and gallery visitor, making it possible for everyone to enjoy the experience of the visual arts, whatever their prior knowledge of art is.
Written by Amy Dempsey, “Modern Art” is published by Thames & Hudson, London.
“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.
Revolution exhibition at the V&A Museum, the years from 1966 to 1970 changed the mankind, London. (Part two)
London – “You Say You Want a Revolution?” exhibition positively transforms the approach to the 1996 – 1970 period, at the V&A Museum.
The “Section 5: Revolution in living” focuses on the hundreds of thousands who flocked to the new experience of vast music festival, such as ‘Woodstock, An Aquarian Exposition’ on August 1969. It also considers early UK festivals, including Glastonbury and the Isle of Wight Festival of Music in 1970.
This double height gallery space focuses on festivals and revolutions in gatherings. It demonstrates how record-breaking crowds gathered to listen to music, often driven by a utopian vision of living together in harmony and in nature. Instruments, costumes and ephemera are shown against a theatrical backdrop of large screens playing festival video from Woodstock (1969), which saw more than 400,000 people joining together for four days of peace and music, and live tracks recorded at the event play throughout the space. Performers’ costumes are on display including a kaftan worn by American rock diva Grace Slick of Jefferson Airplane, a native American style suit worn by The Who’s lead singer Roger Daltry and a jacket and guitar belonging to Jimi Hendrix. Also on show is hippie-style fashion, from a Thea Porter kaftan to Levi’s® jeans styled with an Ossie Clarke shirt. The exhibition also looks at the behind-the-scenes of Woodstock, showing the organisation behind, from artists’ contracts to the canteen menu for staff.
Dedicated to the transformation of the counterculture into cyberculture, “Section 6: Revolution in Communicating” presents the changes in the USA, San Francisco and the West Coast, as the 1967 Summer of Love faded into the 1970s.
This section examines the alternative communities living on the USA’s West Coast during the period as the birthplace of a revolution in communications. Alternative communities in California and elsewhere lived in parallel with those of the modern computing pioneers. The firsts were involved in psychedelic rock, sexual liberation, refusal of institutions and a ‘back to the land’ philosophy. Both shared a belief that partaking human knowledge more equitably was the basis of a better world. This emphasis is epitomised by the Whole Earth Catalog, the American counterculture magazine published by Stewart Brand and later referred to by Steve Jobs as ‘Google in paperback form’. A soundtrack reminding the force of communal living includes California Dreamin by The Mamas & The Papas and The 5th Dimension’s Aquarius / Let the Sunshine In. On display is a replica of the first ever computer mouse designed by Douglas Engelbart and a rare Apple 1 computer. The exhibition also looks at the emphasis on environmentalism beginning in the late 1960s, with a poster for the first Earth Day designed by Robert Rauschenberg presented alongside a psychedelic Save Earth Now poster.
The last one is “Section 7: an ongoing Revolution”. It looks back at the 1960s, which still generates heated debate. The roots of many of today’s crucial worrying can be identified with this period. This section closes by tracing the idealism of the late 1960s to its heirs, from civil rights to multiculturalism, environmentalism, consumerism, computing, communality and neoliberal politics. It reminds to visitors how the ideals of the 1960s have shaped today. It supports unearthing an imaginative optimism to improve our tomorrow. Here a unique vitrine closes this back in time trip, showing memorabilia from the iconic song ‘Image’ by John Lennon, which ends a path of handwritten lyrics from The Beatles or their single members running through the entire exhibition.
The title of the V&A Museum exhibition, in fact, comes from a song which handwritten lyrics are on display too: “You say you want a revolution / Well, you know / We all want to change the world” (The Beatles, Revolution, 1968).
In the 1960s, Vidal Sassoon revolutionised the hairdressing creating geometric haircuts that defined the decade style. Therefore, within the exhibition “You Say You Want a Revolution? Records and Rebels 1966 – 1970” a hair salon was opened. At the ‘Sassoon Sunday Salon’, a proper and live haircutting, every weekend visitors can see competitor winners receive a signature style.
Martin Roth, the now resigning Director of the V&A, said: “This ambitious framing of late 1960s counterculture shows the incredible importance of that revolutionary period to our lives today. This seminal exhibition will shed new light on the wide-reaching social, cultural and intellectual changes of the late 1960s which followed the austerity of the post-war years, not just in the UK but throughout the Western world. Our collections at the V&A, unrivalled in their scope and diversity, make us uniquely placed to present this exhibition.”
Objects are drawn from the extensive V&A’s varied collections, alongside important loans to highlight connections between people, places, music and movements across the UK, Europe and the USA.
The collection of the cult radio presenter and musical tastemaker John Peel provide a musical odyssey through some of the greatest music and performance of the 20th century from Sam Cooke’s A Change is Gonna Come to The Who’s My Generation to Jimi Hendrix live at Woodstock.
Music is played through Sennheiser headsets using innovative audio guide technology which adapts the sound to the visitor’s position in the gallery. Sound is integrated with video and moving image, including interviews with key figures from the period including Yoko Ono, Stewart Brand and Twiggy, psychedelic light shows and seminal films including Easy Rider and 2001: A Space Odyssey to create a fully immersive and dramatic audiovisual experience.
The exhibition is curated by Geoffrey Marsh, Director of the V&A’s Department of Theatre and Performance and Victoria Broackes, a curator in the Department of Theatre and Performance and Head of Performance Exhibitions.
2D graphic design and 3D exhibition design by Nissen Richards Studio Ltd. AV software design and production by FRAY Studio. Sound design by Carolyn Downing. Lighting design by Studio ZNA.
The exhibition is in partnership with the Levi’s brand; Sound experience by Sennheiser With additional support from the Grow Annenberg Foundation, Fenwick and Sassoon.
“You Say You Want a Revolution? Records and Rebels 1966 – 1970” exhibition was at the V & A Museum, London, from 10th September 2016 until 26th February 2017.
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.
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