News Archive

Private View held by Richard Andrews

Last updated : 5th February 2014


Bailey's Stardust is a major retrospective of the work of one of the world's most distinguished and distinctive photographers. David Bailey has made an outstanding contribution to the visual arts, creating consistently imaginative and thought-provoking portraits. This exhibition of almost 300 images embraces the variety of Bailey's photographs from a career that has spanned more than half a century. It also includes a new portrait of Kate Moss, exhibited for the first time, together with previously unseen images from his recent travels to the Naga Hills in India. The portraits have been personally selected and printed by Bailey from the subjects and groups that he has captured over the last five decades: actors, writers, musicians, politicians, filmmakers, models, artists and people encountered on his travels, many of them famous, some unknown, all of them engaging and memorable. The exhibition is structured thematically, with iconic images presented alongside lesser-known portraits, its title reflecting the notion that we are all made from, and return to, 'stardust'. Portraits of a wide range of sitters - from the glamorous to the impoverished, the famous to the notorious - are presented in a series of contrasting rooms, and through images of skulls and pregnancy, powerful meditations on birth and death. There are rooms devoted to Bailey's travels in Australia, Papua New Guinea and East Africa, as well as icons from the worlds of fashion and the arts, including Jean Shrimpton, Marianne Faithful, Terence Stamp, Mick Jagger, David Bowie and Susan Sarandon, Cecil Beaton and Rudolph Nureyev, Meryl Streep and Damien Hirst and people of the East End of London. National Portrait Gallery until 1st June.

Great Medical Discoveries: 800 Years Of Oxford Innovation marks the 800th anniversary of the birth of Roger Bacon, who became known as England's 'Doctor Mirabilis', and celebrates the city as a world centre of medical learning. Scientists, philosophers and physicians have made Oxford an outstanding scientific centre from the medieval period onwards. From Roger Bacon, who led the way towards the emergence of medical science as an inductive study of nature, based on and tested by experiment, to Dorothy Hodgkin's discovery of the structure of penicillin during the Second World War, and its current position at the forefront of medical research and clinical practice, Oxford has been responsible for some of the world's most important medical discoveries. This exhibition tells of the curiosity, innovation, and tenacity that have contributed to our understanding of human biology in both health and disease through a unique display of original manuscripts, prescriptions, laboratory notebooks, letters, rare books and artefacts. Highlights include the medical records of Albert Alexander, the first patient to receive penicillin; a diagram by Christopher Wren illustrating the Circle of Willis (the arterial blood supply in the brain); Robert Hooke's book Micrographia, which first put forward and illustrated the idea that the body was made up from cells; a Glucose Sensor, which monitors the amount of sugar in a tiny blood sample; the Oxford Knee, a replacement that does not require cutting of muscles; and a recent prototype for self-adjustable glasses for the use in the developing world. Bodlian Library, Oxford, until 18th May.

Hockney, Printmaker celebrates one of Britain's most prolific and versatile artist's long and fruitful career as a printmaker. The first major exhibition to concentrate on the complete trajectory of David Hockney's printwork focuses on his two main techniques - etching and lithography - in two distinct sections, exposing new insights beyond the purely formal aspects of his work, delving into his mastery of technique. Over 100 works, from his first self portrait print from 60 years ago, reveal the thought and technical expertise that underlies his extensive print oeuvre. The show includes well known works such as 'A Rake's Progress', and 'Illustrations for Six Fairy Tales from the Brothers Grimm', while complete sets include 'The Weather Series' and 'A Hollywood Collection', which are shown alongside portraits of some of his famous sitters and friends, such as Celia Birtwell, Henry Geldzahler, Peter Langan, Gregory Evans and John Kasmin. Later works include a selection of 'homemade prints', which Hockney devised in the early 1990s using photocopiers, plus examples of inkjet-printed 'computer drawings' such as 'Rain on the Studio Window', a prelude to his renowned iPad works. Dulwich Picture Gallery, Gallery Road, London SE21, until 11th May.


Sensing Spaces: Architecture Reimagined is a series of site-specific installations exploring the essential elements of architecture. Instead of representations of buildings in the form of models, plans or photographs, as in a traditional architectural exhibition, this immerses visitors in a multi-sensory experience. Seven architectural practices from diverse geographical and cultural backgrounds consider architecture from the angle of the human encounter: how vision, touch, sound and memory play a role in our perceptions of space, proportion, materials and light. Collaborating across the globe on this project are: Grafton Architects (Ireland); Diebedo Francis Kere (Germany/Burkina Faso); Kengo Kuma (Japan); Li Xiaodong (China); Pezo von Ellrichshausen (Chile); Eduardo Souto de Moura and Alvaro Siza (Portugal). They all create work that is particularly responsive to people and place, and they share an understanding of the sensorial capacity of architecture and its materiality. . A monumental structure by Pezo von Ellrichshausen challenges our sense of perspective; inspired by a Ko-Do, the Japanese smell ceremony, Kuma highlights the importance of scent; Kere's tunnel invites visitors to physically interact with the structure's fabric; a labyrinth by Li Xiaodong creates a sense of containment and compression in contrast to Grafton's exploration of light; and Siza and Souto de Moura's installations encourage visitors to consider the architectural history of the building. A specially made film offers an opportunity to 'meet' the architects, presenting a range of their previous building projects, from a house on the rugged Chilean coast to a school in Burkina Faso in Africa, while interviews provide further insights about their work and inspirations. Royal Academy of Arts until 6th April.

Joseph Wright Of Derby: Bath And Beyond examines a brief and little known episode in the painter's life that marked a crossroads in his career. Joseph Wright of Derby lived and worked in Bath between November 1775 and June 1777, but this period has never been explored in detail. This exhibition places Wright in the context of the many artists, musicians, writers, business people and scientists living and working in the Georgian spa, and for the first time presents a comprehensive view of his life and work during those eighteen months. It also examines the effect of Wright's time in Bath and travels in Italy on his later work. Wright came to Bath to paint portraits, hoping to build on the success of Thomas Gainsborough who had recently left for London. The exhibition features the three remaining portraits that he made in Bath, and includes his paintings 'The Rev Thomas Wilson and His Adopted Daughter Miss Catharine Macaulay', 'Agnes Witts, ne Travell' and 'Roman Wright', his daughter. Whilst in Bath Wright worked up landscape studies he had made in Italy, producing spectacular depictions of fire, smoke and lava in views of Vesuvius in Eruption and the firework displays of Rome, which he charged visitors a fee to view in his studio in Brock Street. It was whilst in Bath that he first began to explore subjects from sentimental contemporary literature, which in turn had a strong impact on his portrait composition, and the display includes some of his most beautiful depictions of figures alone in the landscape. Holburne Museum, Bath, until 5th May.

Artist Textiles Picasso To Warhol presents a survey of textiles as a popular art form in 20th century Britain and America. The exhibition traces the history of 20th century art in textiles with rare examples from leading art movements: Fauvism, Cubism, Constructivism, Abstraction, Surrealism and Pop Art. Major artists featured include Pablo Picasso, Henri Matisse, Sonia Delaunay, Fernand Leger, Barbara Hepworth, Ben Nicholson, Andy Warhol and Alexander Calder. The exhibition begins in the 1910s with designs by the Vorticist painter Wyndham Lewis and the artists of Bloomsbury's Omega Workshops - Vanessa Bell, Duncan Grant and Roger Fry - who wanted to change 'the erroneous distinction between fine and applied art'. The Fauvist painter Raoul Dufy was the first 20th century artist to become seriously and successfully involved in producing textile designs. His work influenced and encouraged many other artists and textile companies in Britain, on the Continent and in America. After the war the movement to create 'a masterpiece in every home' flowered with the involvement of leading contemporary artists: John Piper, Joan Miro, Salvador Dalí, Ben Nicholson and Saul Steinberg. Eventually, these art textiles were turned into commercial clothing, such as a Joan Miro dress and a Salvador Dalí tie. By the 1960s, Picasso was allowing his pictures to be printed on almost any fabric, save upholstery, as he said 'Picassos may be leaned against, not sat on.' The exhibition includes approximately 200 textile designs, many of which have never been on public display before. The Fashion and Textile Museum, 83 Bermondsey Street, London SE1, 31st January to 17th May.

Warhol, Burroughs And Lynch features the lesser-known photographic work of three renowned American artists.

Andy Warhol: Photographs 1976 - 1987 offers the product of Andy Warhol's later career, when he focused on photography. Using 35mm black and white film, Warhol carried a camera with him most of the time, capturing everyday details, people, street scenes, celebrity parties, interiors, cityscapes and signage, reflecting his characteristic indifference to hierarchy. Warhol's interest in serial and repeated imagery, seen throughout his work, is brought to play through his series of 'stitched' photographs, with identical images arranged in grid form, stitched together with a sewing machine.

Taking Shots: The Photography Of William S Burroughs is the first exhibition in the world to focus on William S Burroughs's vast photographic oeuvre, and offers new and important insights into his artistic and creative processes. Burroughs's photographs, striking in their self-containment, lack any reference to other practitioners or genres. While they can be gathered into categories of street scenes, still lifes, collage, radio towers, people, his dynamic approach to image making sits outside of any canonical structure.

David Lynch: The Factory Photographs reveals David Lynch's enthusiasm for the industrial and the man made. Featuring black and white interiors and exteriors of industrial structures, the exhibition exudes Lynch's unique cinematic style through dark and brooding images. Shot in various locations including Germany, Poland, New York, New Jersey and England, the works depict the labyrinthine passages, detritus and decay of these man-made structures - haunting cathedrals of a bygone industrial era slowly being taken over by nature. The exhibition is accompanied by one of Lynch's sound installations.

The Photographers' Gallery, 16 - 18 Ramillies Street, London W1, until 30th March.

Kevin Coates: A Bestiary Of Jewels showcases new work by the London based artist - a jeweller, and sculptor in diverse materials. The virtuoso works of art that Kevin Coates creates from gold, precious stones, shell and other exotica, are both exquisite and fantastical. Coates's ambitious new project features sculptural jewels in a poetic elaboration of the bizarre medieval encyclopaedias known as Bestiaries, which assemble lore and myth about animals, and feature fantastical hybrid creatures such as serpents with feet or birds with hooves. Crucially, Coates has paired a series of individual creatures with their significant human, where the jewel is mounted in a modelled and hand painted Bestiary 'page'. These include 'A Parrot for Flaubert', 'A Starling for Mozart', 'A Rhinoceros for Kaendler' and 'A Dodo for Mr. Dodgson'. This unlikely combination has produced a series of dazzling and unique works. Ashmolean Museum, Oxford, until 30th March.

In The Making captures 25 objects mid-manufacture, putting the aesthetic of the unfinished centre stage, as chosen by the founders of design studio BarberOsgerby. The secret life of cricket bats, felt hats, shoes, boots, marbles, light bulbs, whistles, pencils, coins, horns, lenses and the Olympic torch are revealed, as they are exhibited in an incomplete state, celebrating the intriguing beauty of the production process. The show gives a glimpse of the designers Edward Barber and Jay Osgerby's ongoing dialogue with manufacturing. This perspective is distinctive to their practice: throughout their careers, they have had a technical curiosity and fascination with the making process. The way in which things are created has had a profound influence on Barber and Osgerby, and continually inspires their work. The exhibition provides a platform to capture and reveal a frozen moment in the manufacturing process and unveils an everyday object in its unfinished state. Often the object is as beautiful, if not more so, than the finished product. These partially made objects give an insight into the multidisciplinary approach that challenges the boundaries of industrial design, architecture and art, which has driven Barber and Osgerby to success, including designing the London 2012 Olympic Torch. Design Museum, Shad Thames, London SE1, until 4th May.


High Spirits: The Comic Art Of Thomas Rowlandson examines life at the turn of the 19th century through the work of one of the leading caricaturists of Georgian England. The absurdities of fashion, the perils of love, political machinations and royal intrigue were the daily subject matter of Thomas Rowlandson. Satirical prints, the precursor of the newspaper cartoon, were a key part of life in Georgian England, and Rowlandson was working at a time when English satirical prints were prized by collectors across Europe. A number of the works in the exhibition were purchased by George, Prince of Wales, later Prince Regent and King George IV. Ironically the Prince was often the butt of caricaturists' jokes and sometimes tried to prevent the publication of images that he felt were particularly offensive. The exhibition features over 90 of Rowlandson's drawings and prints, offering a new perspective on an era perhaps best known through the novels of Jane Austen. Collected by fashionable society, they were also enjoyed by the crowds that gathered in front of the latest productions in print shop windows to gossip about and laugh at the scandals of the day. Favourite themes were drunken gatherings, runaway coaches, rowdy theatregoers, impoverished artists and 'loose' women. Caricatures were passed around at dinner parties and in coffee houses, pasted into albums and used to decorate walls in homes and coffee houses. They were even applied to decorative screens, which could easily be folded away so not to offend female guests with the often bawdy imagery. An example, decorated with hundreds of figures and scenes painstakingly cut from Rowlandson's satirical prints, is on public display for the first time in this exhibition. The Queen's Gallery, Palace of Holyroodhouse, Edinburgh, until 2nd March.

Louise Bourgeois: I Give Everything Away celebrates the work of one of the most influential artists of the second half of the 20th century. In a career spanning seven decades, from the 1940s until her death in 2010, she produced some of contemporary art's most enduring images, making sculptures, installations, writings and drawings which, in mining her own psyche, have entered the collective unconscious. Bourgeois's work is personal yet universal, rooted in the details of her own life, but reaching out to touch the lives of others. This exhibition of work on paper presents some of her most intimate work, both drawing and writing. It begins with a labyrinthine presentation of 'Insomnia Drawings', a suite of 220 drawings and writings made between November 1994 and June 1995 specifically to combat the insomnia which she once described as regulating her life. Created in the suspended state between sleeping and waking, they contain all the major themes of Bourgeois's work and reveal the close link between drawing and writing that is such a key part of her practice. Other highlights include two suites of large-scale works 'When Did This Happen?' and 'I Give Everything Away,' both a mix of writing, drawing and printmaking that are haunted and haunting. Fruitmarket Gallery, Edinburgh, until 23rd February.

Foreign Bodies, Common Ground offers a unique exploration of global health, bringing together painting, photography, sculpture, film and performance. The works were made during residencies at medical research centres in Kenya, Malawi, South Africa, Thailand, Vietnam and Britain. The contributing artists were given a simple and wide-ranging brief: to find out about research being undertaken and produce work responding to their investigations. The result is a series of moving, challenging and humorous works, richly varied in form and tone, recording journeys taken within the complex realm that lies between scientific processes and local communities, often on the frontlines of communicable diseases. Lena Bui's drawings, photography, video and installation explore zoonosis, the transfer of disease from animals to humans, tracing the relationship between the consumption of animals and the conditions of their breeding, killing and packaging in Vietnam. Katie Paterson's interest in animals takes a longer view, with 'Fossil Necklace', a biological history of the planet, as each of the work's 170 beads is carved from a fossil representing a major event in the evolution of life. Elson Kambalu's residency explored the different understandings of medicine and research in Malawi, with 'Kafukufuku Man' and 'Kafukufuku Women' addressing cultural fears of drawing blood, refering to local fables used as a means of translating medical terms and techniques. B-Floor Theatre, Thailand's vanguard physical theatre company, are featured in footage and a photographic montage of their performance, whilst a vertical shadow puppet installation carries the company's wryly comic vision of the battle between humans and ever-mutating diseases, driven by the survival instincts of both. Wellcome Collection, 183 Euston Road, London NW1, until 9th February.