Private View held by Richard Andrews
Henry Moore At Dulwich Picture Gallery looks beyond the monumental bronzes for which Moore is now best known, created in the last two decades of his life, and focuses his earlier career. A major display of 97 works charts the artistic journey made by Moore, from his first recorded pieces, to those of about 1960. They show the development of his most familiar themes, such as mother and child, the family group, the reclining figure, and other more abstract forms. The works include drawings in various media, maquettes, ironstone pebble carvings and table sculptures, which are featured not only in the exhibition rooms, but throughout the gallery, and also for the first time in the gardens, where the inevitable outdoor bronzes are shown to great effect. Among the striking, but now lesser known works, are a series of drawings Moore produced during the Second World War, including scenes of Londoners taking shelter, sleeping on the platforms of Underground stations. Dulwich Picture Gallery until 12th September.
A Secret History Of Clay: From Gauguin To Gormley unearths a little known history of the use of clay in modern and contemporary art. From the individual ceramic vessel to installation and performance art, clay has been widely used by some of the most innovative artists of the twentieth century. The most basic material available to mankind, employed throughout history for both practical and artistic purposes, is currently highly fashionable again thanks to the work of Turner Prize winner Grayson Perry. This exhibition traces a narrative that begins with Paul Gauguin's Tahitian double vase, and progressively moves away from the private object to art in the public domain, ending in the gallery sized installation 'Field' by Antony Gormley, comprised of 35,000 miniature figures. In between, there are (amongst others) sensual pots by George Ohr - The Mad Potter of Biloxi; painted plates by Henri Matisse and Maurice de Vlaminck; Sergei V Chekhonin's Russian Revolutionary propaganda ceramics; Italian Futurism with Ivos Pacetti's gilded terracotta 'Gas Mask' and Renato Giuseppe Bertelli's 'Continuous Profile - Head of Mussolini'; Japanese totems by Isamu Noguchi; thrown pots transformed into figures and animals by Pablo Picasso; Joan Miro's primitive head sculptures and plate decorations; Roy Lichtenstein's hotel chinaware transformed with comic strip shading; a Madame de Pompadour porcelain tea service by Cindy Sherman; and Jeff Koons's kitsch Puppy Vase. Tate Liverpool until 30th August.
Censored At The Seaside: The Censored Postcards Of Donald McGill examines a bizarre event in the life and work of a man now regarded as a national treasure. For more than fifty years Donald McGill was the pre-eminent exponent of the British saucy seaside postcard. Yet in the 1950s, his postcards became the subject of complaints and fell foul of the antiquated 1857 Obscene Publications Act. In May 1954, fifty years after he had produced his first postcard, McGill was brought to trial in Lincoln, and fined £50 plus costs. This exhibition looks at the story behind the prosecution, showing for the first time documents from the public prosecutors office relating to many of the censored cards, as well as the postcards themselves. It also presents a less than flattering picture of the Britain of the time that such a prosecution could have been brought. In addition to the condemned designs, the exhibition includes rare 'roughs' of ideas, and over 30 original works by McGill from all periods of his career. A prolific worker, McGill created new designs each year. Also featured are examples of tributes to McGill by cartoonists Larry, Steve Bell and Biff amongst others. Cartoon Art Trust Museum until 31st July.
Edward Hopper is considered by many to be the pre-eminent painter of modern America, and his works have become iconic images of the twentieth century. By staging scenes from everyday life, illuminated by strong sunlight or artificial light, Hopper captured and defined the American experience, in a similar fashion to the Hollywood film noir. Indeed his works often have a sense of frozen action like a frame from a film, and a generations of film makers, writers and artists including Alfred Hitchcock, Francis Ford Coppola, William Boyd, Norman Mailer and John Updike have acknowledged his inspiration. This exhibition comprises over seventy works covering Hopper's entire career, from watercolours, drawings and etchings of Parisian subjects from the first decade of the twentieth century, to the stark portraits of American life created more than sixty years later. The early works indicate some of the key elements of Hopper's style, including dramatic use of light and shade, and solitary pensive figures in interiors. By the late 1920s, paintings such as 'From Williamsburg Bridge' and 'Automat' demonstrate his predominant themes: the use of American vernacular architecture as foreground or cropped backdrop to evoke psychological tension and alienation, enhanced by the formal geometries of light and darkness within. Major paintings from the 1940s onwards including 'Nighthawks' and 'Office At Night' show the different ways in which these themes were developed, while paintings from the last two decades of Hopper's life such as 'Intermission', reveal how his compositions became increasingly minimal. Tate Britain until 5th September.
Paolozzi At 80 displays the richness and diversity of the career of Eduardo Paolozzi, one of the most prolific, inventive and influential figures in post war British art. Paolozzi spent a formative period in Paris in the late 1940s, where his interest in Surrealism stimulated a series of collages, combining elements from cartoons, magazine advertisements and machine illustrations. This fascination with popular culture made him the central figure in the emergence of Pop Art in Britain in the 1960s. Paolozzi worked in a wide range of media, from printmaking to monumental sculpture, and found inspiration in almost every aspect of modern life: man's relationship to machinery, science, technology, robotics, warfare, science fiction, children's toys, music, cinema, philosophy and art. Dean Gallery, Edinburgh until 31st October.
2D>3D: Contemporary Design For Performance, is a showcase for the work of British theatre designers, featuring productions staged between 1999 and 2002. The exhibition aims to demonstrate the process by which the initial two dimensional sketch comes to life in three dimensional reality, with costumes, scale models, photographs, design drawings, story boards, puppets, masks and props. It also features interactive digital displays of lighting designs, so that visitors can run their own scenic and lighting changes. The exhibition includes work created by 25 set, costume and lighting designers for 30 productions, across the full range of drama, dance, musicals and opera. These range in scale from the bigger budgets of national companies, through mid scale regional theatres, to the more modest achievements in community and educational theatre. The exhibition, organised by the Society of British Theatre Designers, won the international award at the 2003 Prague Quadrennial. In addition, Gold Medals were awarded to Richard Hudson's set design for Handel's opera Tamerlano at Teatro alla Pergola in Florence, and Nicky Gillibrand's costume designs for A Midsummer Night's Dream for the Royal Shakespeare Company in Stratford upon Avon. The Theatre Museum continuing.
Fabulous Beasts reveals a world where the ordinary becomes extraordinary, the microscopic becomes gigantic, and the mundane becomes amazing - but if you don't like creepy crawlies look away now. This exhibition features paintings by Mark Fairnington and photographs by Giles Revell of insects on a huge scale, alongside the actual specimens that inspired them. Both artists employ high-definition electron microscopes, of the kind used by scientists, to capture minute details of entomological specimens photographically. From these Fairnington creates photo-real paintings of bizarre and exotic detail, interpreting and reinventing the subjects in paint on huge canvasses. The results are a series of large scale images, acutely observed, yet subtly manipulated and rather unsettling. Revell explores the natural engineering of insects and their sculptural form. He takes creatures that are familiar and apparently mundane, such as the ladybird and the grasshopper, and scans them up to 500 times to produce image sections that capture the wing, head or armour-plated shell of the insect. These sections are then merged to form immensely detailed, high-definition monochrome photographs, anything up to eight feet in height. Despite the synergy between their work, this is the first time Fairnington and Revell have been exhibited together, and the first time their work has been shown alongside their subjects. This exhibition shows the processes that scientists and artists share when examining a natural object. Be afraid - be very afraid. Natural History Museum until 12th September.
Portrait Miniatures brings together the National Galleries of Scotland collection of portrait miniatures with a series of fifty new works by Moyna Flannigan, one of Scotland's leading figurative painters. The collection of portrait miniatures date from the early sixteenth century to the present day, and include famous portraits of Robert Burns, James VI and I painted by artists such as John Bogle, David Paton, Henry Raeburn and Archibald Skirving. Painted in oil or enamel on copper, watercolour on ivory, or gouache on vellum parchment, the miniatures were presented to keep alive the memory of dead or absent friends, family or lovers. Moyna Flannigan has adopted the methods and materials of the portrait miniature, an art form that was largely superseded by the invention of photography, but used it in a new way. Painted in the traditional style of watercolour on vellum, Flannigan's works are like minute twenty first century Hogarths, depicting farcical and stereotypical fictional characters, who are based on her wry and penetrating observations of the follies of contemporary society. Scottish National Portrait Gallery, Edinburgh until 5th September.
Highgate Cemetery has been transformed over the years from being a typical neatly laid out burial ground, into a natural woodland park. It has the finest collection of Victorian funerary architecture in the country, with over 60 buildings listed Grade II and above. Of particular interest are the Lebanon Circle Vaults, the Egyptian Avenue, the Terrace Catacombs, the Julius Beer Mausoleum, and the much visited bust of Karl Marx. At least 850 notable people are buried there, amongst whom are 18 Royal Academicians, 6 Lord Mayors of London, 48 Fellows of the Royal Society, the founders of London businesses including Maples, Foyles, Negretti-Zambra, John Lobb, P&O, and Quaritch, and familiar names such as Michael Faraday, George Eliot, Radclyffe Hall, Carl Rosa and Ralph Richardson. Over the years there has been copious planting, including over 100 different species of wildflowers, and countless trees, including hornbeam, limes, oak, hazel, sweet chestnut, tulip and field maple. Among the live residents, some 50 species of birds and 18 species of butterflies have been sighted, plus a colony of foxes, and among the many spiders, there are 3 species rarely seen in the UK. Conducted tours take place each weekday afternoon at 2pm from March to November, and every hour on the hour from 11am to 4pm on Saturdays and Sundays. Further information can be found on the Highgate Cemetery web site via the link from the Heritage section of ExhibitionsNet. Highgate Cemetery, London N6 continuing.
Pain: Passion‚ Compassion‚ Sensibility explores the changing cultural place of pain, and the role of science in shaping our beliefs‚ with visual and verbal representations‚ medical attempts to deal with pain‚ examinations of modern and contemporary theories about the nature of pain, and a look into our reactions to the pain of others. Using a mixture of historical and contemporary exhibits, the meanings and experiences of pain are explored, including amputation, childbirth, circumcision, torture, masochism and sadism. Over 170 film clips, objects and artworks - many rare and unseen from the original collections of Sir Henry Wellcome - include: the tooth of an Egyptian ghoul said to cure neck pain; a Victorian head perforator; Lord Lister's apparatus for application per rectum; 18th century German dental forceps; a carved wooden decapitated head; torture equipment, including a Chinese torture seat and a 16th century thumb screw; a 17th century German execution mask; the blood stained costume of the matador Manuel Granero, worn on the day of his death; etchings from Goya's Disasters of War series; and a human size devotional sculpture of Christ used in Easter processions in Spain. The Science Museum until 20th June.
Ben Nicholson And The St Ives School is an exhibition of the work of a unique artistic community. Ben Nicholson first came to prominence in the 1930s as a pioneer of abstract art, although he retained a life long interest in the depiction of landscape and still life. In 1939, Nicholson and his wife, the sculptor Barbara Hepworth, moved to St Ives in Cornwall, where they lived for the next 20 years. During this period Nicholson and Hepworth became prominent members of a celebrated artists' colony, which included Naum Gabo, Terry Frost, Patrick Heron and Wilhelmina Barns-Graham. The work of the group, in landscape and abstract paintings, and sculpture, illustrates a response to, and enthusiasm for, their Cornish surroundings. This exhibition comprises paintings from throughout Nicholson's long and prolific career, from his Cumbrian landscape 'Walton Wood Cottage No.1', to his abstract 'White Relief ' and the later 'Green Goblet and Blue Square'. These are accompanied by works from other members of the group, including Hepworth's celebrated 'Wave', and Frost's 'Black and White Movement in Blue & Green II'. Scottish National Gallery of Modern Art, Edinburgh until 13th June.
George III And Queen Charlotte: Patronage, Collecting And Court Taste reflects the major contribution to the Royal Collection made by George III and his consort. The 500 objects in this exhibition, including sculpture, furniture, paintings, drawings, books, ceramics, silver, gold, jewellery and clocks, constitute one of the largest and finest groups of Georgian material ever assembled. When George III purchased Buckingham House in 1762, the decorative arts commissioned to furnish it included furniture by William Vile, silver by Thomas Heming, porcelain from the Chelsea, Derby, Wedgwood and Worcester factories, and ornamental metalwork by Matthew Boulton. George III also commissioned some of the most sophisticated clocks, barometers and watches ever created, and the case for Christopher Pinchbeck's four-dialled astronomical clock, and decoration for the mantel clock by Thomas Wright featured here, were partly designed by the King. An important purchase was the collection formed by the British consul in Venice, with works by Raphael, Zuccarelli and Annibale Carracci, and the finest group of Canalettos in existence, plus ancient and Renaissance gems, intaglios, medals and books. There are portraits of George III and Queen Charlotte by leading British artists, including Allan Ramsay and Thomas Gainsborough. Reflecting the Royal couple's domestic life, there are gifts they exchanged, with tableware, writing sets, gaming pieces and musical instruments, including case of a claviorgan, a harpsichord, and the King's flute. The Queen's Gallery, London until 9th June.