Private View held by Richard Andrews
Zaha Hadid: Architecture And Design is the first full scale retrospective in Britain of the work of Zaha Hadid - once referred to as 'the world's greatest unbuilt architect'. Though this was the fate of many of her early projects, her practice, now 20 years old, has grown to a team of 100, and a rush of projects are coming to fruition. In the last year, Hadid has opened two substantial buildings in Germany: a car factory for BMW and the Phaeno Science Centre (shortlisted for the 2006 RIBA Stirling Prize). Both have triumphantly demonstrated her ability to translate the essence of her virtuoso spatial invention in solid form. Now she is busy working on projects all over the world, ranging from masterplans in Singapore and Istanbul, to an opera house in China, a museum in Rome, and a skyscraper in Dubai. This exhibition combines renderings, models and computer images of both the earlier unrealised designs - including the infamous Cardiff Opera House project - together with her recently completed buildings, and proposals for new projects, such as a transport museum in Glasgow, and the Aquatic Centre for the 2012 Olympics in Stratford. In addition, the display also includes Hadid's interior furnishing designs, from the black crystal 'Swarm' chandelier that greets visitors, to paintings, sculptural furniture and vases. Design Museum, London until 25th November.
Henri Fantin-Latour: Painting The Summer showcases the work of the 19th century French artist, who is regarded as one of the most important Realist painters of his generation, and was a strong influence on the symbolist movement. Fantin-Latour had a particular skill for capturing the beauty of flowers. His aim was to convey - as accurately as possible - flowers at their moment of greatest beauty and freshness. Using plain vases and dark backgrounds, he worked to make the vibrant yellows and pale whites of his roses and lilies stand out from their frames. This exhibition principally comprises these flower pictures, such as 'White Roses', 'Dahlias', The Rosy Wreath, 'Pink and Yellow Roses' and 'The Rosy Wealth of June'. It also includes a portrait, 'Madame Leon Matre', and his more whimsical narrative works such as 'The Tryst', 'La Causeries' and 'Judgement of Paris'. In addition, there are paintings by some of Fantin-Latour's French contemporaries, including Maxime Maufra, and English influences, such as George Frederic Watts. To complement the exhibition, contemporary sculptor Lorna Green, who works in a variety of materials, including wood, stone, earth, planting, bricks, steel, cement, bronze, water, glass, plastics and light, has created a new piece to reflect the Fantin-Latour works on display - a giant bowl of roses. York City Art Gallery until 23rd September.
Daily Encounters: Photographs From Fleet Street celebrates the history of British press photography during the span of its Fleet Street years, from 1900 to 1982. Drawing upon the rich and relatively neglected surviving archives of newspaper photography, it focuses on two parallel stories, one of a powerful industry with an internal culture of its own, and the other of the often uneasy relationship that grew between public figures, the photographic press and the wider population of readers. The exhibition explores the pictorial depiction of Britain and Britishness, the creation of new forms of celebrity, and the scripting and constant redrafting of the rules of engagement between photographers, editors and the subjects of their insatiable gaze. Newspaper photographs of politicians, jockeys, gangsters, models and actors are interwoven with images of the industry itself - the owners and editors, newsrooms and printing presses, and photographers and journalists, as they hunted and gathered stories. The exhibition features over 75 images that evocatively recall some of the most memorable events in recent British history, from the arrest of Emmeline Pankhurst outside Buckingham Palace, through the abdication of King Edward VIII, to the scandal of the Profumo Affair. More than that, it reflects how Fleet Street helped to illuminate and redefine the public's relationship with the previously remote world of the most famous and powerful forever. National Portrait Gallery until 15th October.
Wellcome Collection is a new £30m cultural venue from the Wellcome Trust that combines three galleries: Medicine Man - featuring historical artefacts, Medicine Now - examining contemporary heath and medicine, and a special exhibitions space, with the world famous Wellcome Library, a public events 'forum', a cafe, bookshop and a club, to provide visitors with insights into the human condition. At its heart is the collection of medical artefacts assembled by Henry Wellcome, the 19th century pharmaceutical entrepreneur, whose fortune founded the Wellcome Trust. A compulsive collector, by the time of his death he and his team had amassed over one and a half million objects. These encompassed Florence Nightingale's moccasins, shrunken heads from South America, Charles Darwin's walking stick, amputation saws used by Victorian doctors, a lock of George III's hair, and the 'Claxon earcap', a cloth harness to be worn by children at night to correct protruding ears. From this eclectic collection, some 1,500 exhibits have been selected for display, including works by Picasso, Mark Quinn, John Isaacs, Christine Borland and Martin Parr, and ancient artefacts such as 19th century sex aids, a blade from a French Revolution guillotine, a Chinese torture chair, a 14th century Peruvian mummy, Nelson's razor and a DNA sequencing robot. The special exhibition space is devoted to The Heart, with a video of an actual transplant operation, anatomical drawings by Leonardo da Vinci, Aztec sacrificial knives for cutting out victims' hearts, an Andy Warhol painting of the heart, an Egyptian book of the dead, and a five foot long sperm whale's heart. Wellcome Collection, 183 Euston Road London, continuing.
Anthony Caro And Sheila Girling celebrates the lifelong partnership of Anthony Caro and Sheila Girling, although this is the first time they have exhibited together for ten years. Twelve of Anthony Caro's 'Flats', a series of monumental bent, welded and bolted steel sculptures, many of which have never been seen in Britain before, are sited in various locations across the grounds. The shapes, with their curving edges, evoke in steel sensations analogous to the diaphanous 'veil' paintings of Morris Louis. They create narrowed, trapped spaces, contained between monolithic vertical and gently reclining upright elements, for the most part in brown textures of the rusted steel. Sheila Girling's work, on display in the gallery, is a series of large abstract paintings that use the qualities of pumice gel medium and acrylic paint to explore the rich colour and textures revealed by the weathering of architectural surfaces, such as walls and doors, in a variety of climates. She incorporates elements of collage, and her landscapes consist of thick layers of acrylic paint on the canvas. While the sensuality of colour is always paramount in Girling's work, the constructive process that occurs with collage is more akin to the three dimensional dynamic of sculpture than conventional painting. New Art Centre Sculpture Park & Gallery Salisbury until 16th September.
Panic Attack! Art In The Punk Years marks the 30th anniversary of the release of the Sex Pistols' God Save The Queen album, with its infamous cover by Jamie Reid. The exhibition explores art produced from the mid 1970s to the mid 1980s in Britain and the United States, at a time when both countries were a breeding ground for subcultures of punk and post-punk. Although the punk movement is largely known for its music, fashion and graphics, this show exposes the equally vibrant art that emerged during these years, most notably in London, New York and Los Angeles. It includes the work of some 30 artists, and examines art that shares many of the concerns and attitudes associated with punk. Some of the artists have direct links with the punk scene, including Nan Goldin, Derek Jarman and Raymond Pettibon, others have less well known, but significant connections with punk in their early careers, such as Tony Cragg, Jenny Holzer and Barbara Kruger. The inner city as a place of fantasy, protest and decay, the body as a political battleground and the dynamic crossover between the worlds of art and music are major themes of the exhibition. David Wojnarowicz in New York and Stephen Willats in London turned to urban dereliction as a symbol of personal and social crisis, as did New York artists such as Jean-Michel Basquiat, who were closely associated with the emergence of graffiti art. The exhibition also explores the inter-disciplinary nature of the punk movement and the many collaborations that formed between artists and musicians during this period. Barbican Art Gallery until 9th September.
The Royal Academy Summer Exhibition is with us again, as it has been every year since 1769 - the usual collection of the good, the bad and the ugly - from amateurs to RA's, proving that popular taste and critical approval find no meeting point. Around 1,000 works covering paintings, prints, drawings, photographs, sculpture, architectural designs and models have been selected from over 9,000 submissions, for inclusion in the largest contemporary art exhibition in the world. Over £70,000 is given out to artists included in the exhibition through 10 prizes. This year, the show has been masterminded by Bill Woodrow, Ian Ritchie and Paul Huxley, who have chosen the theme of Light to inspire new work from artists responding across all the various media on display. There is also a gallery featuring the work of invited artists curated by the sculptor Tony Cragg. A highlight is David Hockney's massive 'First', a fifty part composition of trees in the Yorkshire lamndscape. Other artists featured in this year's show include Anthony Caro, Jake and Dinos Chapman, Michael Craig-Martin, Anthony Green, Jasper Johns, Anselm Kiefer, Harland Miller, Mimmo Paladino, Tom Phillips, Robert Rauschenberg, Ed Ruscha, Michael Sandle, Antoni Tapies, Jane and Louise Wilson and Bill Viola. There are also two memorial galleries dedicated to showing the works of the landscape and portrait painter Kyffin Williams and the abstract painter and collage maker Sandra Blow, both of whom died last year. The Royal Academy of Arts until 19th August.
Royal Weddings: 1840 - 1947 tells the stories of five royal weddings through photographs, documents from the Royal Archives, rare memorabilia, diaries, letters and personal gifts exchanged by members of the Royal Family. The marriages are Queen Victoria and Prince Albert, Edward Prince of Wales and Princess Alexandra of Denmark in 1863, Princess Victoria Mary of Teck and Prince George of Wales in 1893, Duke of York and Lady Elizabeth Bowes Lyon in 1923, and Princess Elizabeth and Lieutenant Philip Mountbatten. Over the period, royal weddings evolved from strictly private occasions to events of national celebration and public participation, with the medium of photography and the advent of film allowing increasing numbers to witness the festivities. Among the personal items on display are Queen Victoria's engagement brooch designed by Prince Albert, and two pieces of wedding cake (the whole cake measured three yards in circumference and weighed over 300lbs); an enamelled gold bracelet presented to Princess Alexandra by her train bearers, each section containing one of the girls' portraits beneath a hinged flap bearing their initials in diamonds; a feather trimmed satin sachet embroidered with trefoils and the bride's initials, and the velvet bound ceremonial handkerchief used by Princess Mary of Teck; the Duke of York's own personal record of his wedding and honeymoon - an album of photographs, annotated in his hand; and a poem by John Masefield inscribed on vellum to Princess Elizabeth, and one of the silver-coated cake decorations, in the form of a tiny shoe. Drawings Gallery, Windsor Castle until 11th May.
How We Are: Photographing Britain is the first major exhibition to present a photographic portrait of Britain from the invention of the medium to the present day. It includes over 500 images by 100 photographers, with works by celebrated figures such as Julia Margaret Cameron, Roger Fenton, Madame Yevonde, Cecil Beaton, Bill Brandt, David Bailey, Norman Parkinson, Jane Bown, Martin Parr, Elaine Constantine and Tom Hunter, alongside images by less familiar photographers, who have observed and documented the country's street life and landscape, as well as their own lives and obsessions. Portraiture and images of social documentary reveal both the public and private side of British life. Key themes include celebrity portraiture and national heroes, heritage and a longing for the past, Britain's relationship with the land and wildlife, customs and traditions, and the idea of the home. Highlights include portraits by Julia Margaret Cameron of illustrious Britons such as Alfred Lord Tennyson; photographs of Nelson's column under construction by Henry Fox Talbot; Homer Sykes's images of traditional English festivals and eccentric customs; Alfred George Buckham's aerial view of Edinburgh in 1920; the Sassoon family's private album; Percy Hennell's pioneering colour photographs 'British Women Go to War'; Stephen Dalton's dramatic images of suburban garden wildlife; Zed Nelson's portraits of contemporary beauty contests; studio portraits taken by Grace Lau; and Paul Graham's photographs of life on the A1, including service cafes, people, architecture and landscape. Tate Britain until 2nd September.
Surreal Things: Surrealism And Design is the first exhibition to explore the influence of Surrealism on the world of design - theatre, interiors, fashion, film, architecture and advertising. Alongside paintings by Magritte, Ernsta and Dali are some of the most extraordinary objects of the 20th century, from Dali's 'Mae West lips' sofa and 'Lobster Telephone', to Elsa Schiaparelli's 'Tear' and 'Skeleton' dresses, and Meret Oppenheims's 'Table with Bird's Legs'. With nearly 300 exhibits, the show looks at how artists engaged with design, and designers were inspired by Surrealism. Among the highlights are Giorgio de Chirico's set and costume designs for Diaghilev's Le Bal; Dali's 'Venus de Milo aux tiroirs' and 'Arm' chair; Oscar Dominguez's satin lined 'Wheelbarrow' arm chair and 'Fur' bracelet; Marcel Jean's tromp l'oeil 'Armoire Surrealiste' and 'Le Spectre du Gardenia'; Alberto Giacometti's 'Disagreeable object'; Isamu Noguchi's 'Cloud' sofa; a model of Frederick Kiesler's Surrealist room from Peggy Guggenheim's The Art of This Century Gallery in New York; examples of how Surrealist imagery was adopted and popularised in advertising by companies such as Shell and Ford, and in magazines such as Vogue and Harper's Bazaar; film clips, including the dream sequence from Alfred Hitchcock's 'Spellbound'; and a study of Monkton, the purple painted Sussex home of the Surrealist patron Edward James. Victoria & Albert Museum until 22nd July.
Artists' Self-Portraits From The Uffizi: Masterpieces From Velazquez To Chagall presents a selection of 49 artists' self-portraits from the collection of the Uffizi Gallery in Florence. These remarkable works are usually housed in the Vasari Corridor, a kilometre of corridor linking the Palazzo Vecchio to the Palazzo Pitti, which is not generally open to the public, and historically, the collection has not been allowed to travel. This is therefore an opportunity to experience a slice - never before seen in this country - of one of the most remarkable sights in the art world. The entire collection comprises some 1,600 artists' self-portraits in all, covering six centuries of Western art. This exhibition offers visitors the opportunity to come face to face with Velazquez, Filippino Lippi, Andrea Pozzo, Gian Lorenzo Bernini, Guido Reni, Rembrandt, Angelika Kauffman, Giovanni Boldini, Frans van Mieris the Elder, Carlo Dolci, Tintoretto, Johan Zoffany Joshua Reynolds, Anders Zorn, Carlo Carra, Pietro Annigoni, Michelangelo Pistoletto, Giacomo Balla and Marc Chagall as they saw themselves - or possibly as they wished themselves to be seen. For while all portraits are investigations of people, looking at yourself is different from looking at someone else, and for artists, self-portraits were also a method of self publicity. Dulwich Picture Gallery until 15th July.
Mapping is an exhibition that is not (necessarily) about instructions for how to arrive at a physical destination. It investigates the whole process of 'mapping', and shows how contemporary artists have abstracted and expanded it into art. The show allows the visitor to explore not just maps of geographical territory, but also 'maps' that are essentially schematisations of thought processes, embracing many other disciplines, such as history and philosophy. The exhibition highlights how artists have used and interpreted maps, and explored the many different systems of mapping. It includes a great variety of forms, from conventional cartographic maps - both historic and contemporary created using GPS - to mind maps and other diagrammatic systems. As examples, Simon Patterson has reworked the London Underground map as a chart of cultural icons; Richard Long offers maps of his country rambles; Cornelia Parker contributes maps of meteorite landings, burned by the meteorites themselves; and Stomi Matoba provides a relief map of Utopia. Sarah Brown, Ian Hamilton Finlay, David Johnson, Emma Kay, Langlands & Bell, Nalasha Wakefield and Emma Williams are also among the 60 artists whose works are on show. Bury Art Gallery until 14th July.