Private View held by Richard Andrews
Sleeping And Dreaming examines the mysterious state that we all experience, but still understand so little about, through the eyes of artists, scientists, film makers and historians. The exhibition brings together over 300 diverse objects, from Renaissance paintings to contemporary installations, to explore the biomedical and neurological processes that take place in the sleeping body, and the social and cultural areas of our lives to which sleep and dreans are linked. It is in five themes. Dead Tired, includes the experiences of DJ Peter Tripp, who broadacst continually for 8 days, and a victim of Stasi sleep deprivation interrogation. World Without Sleep looks at how artificial light, changing seasons and travel across time zones affects sleep patterns, with advice on combatting jet lag, Paul Ramierez Jonas's 'Another Day' counting down the time to sunrise in 90 international cities, and a collection of ingenious Heath Robinson alarm clocks. Elusive Sleep features Krzystof Wodiczko's 'Homeless Vehicle', a sleeping unit for homeless people, and 1930s public health posters warning of the dangers of fleas and bed bugs, insomnia and the use of sleeping pills. Dream Worlds looks at how dreaming and waking states intermingle, with Paul McCartney describing how the tune of Yesterday came to him in a dream, and an examination of Sigmund Freud's The Interpretation of Dreams. Traces Of Sleep examines the association of sleep with unconsciousness and death, via Aristotle's treatise on Sleep and Sleeplessness, a machine from the 1930s designed to 'tune' the nerves to prevent sleepwalking, and Ron Mueck's 'Swaddled Baby'. Wellcome Collection, London until 10th March.
Bauhaus 1919 - 1933 focuses on the step-change in art and design history that was brought about by the most important school of art, architecture and design of the 20th century. Bauhaus evolved a new language of art and design that was abstract and dynamic, and liberated from historicism. Its aim was to give modernity a precise physical form, embracing all branches of design, and to bridge the gap between art and industry. The exhibition comprises a selection of major exhibits by leading members of the Bauhaus movement, including the original manifesto designed by Lyonel Feininger and written by the architect Walter Gropius, examples of work by founding teachers of the Bauhaus, including Paul Klee, Wassily Kandinsky, Josef Itten, Oskar Schlemmer, Marcel Breuer, Ludwig Mies van der Rohe and Josef Albers, selected film works by Lazlo Moholy-Nagy, architectural models, design, applied art, furniture, utensils and specially commissioned wall drawings. In addition, a series of photographic works by Hans Engels show a number of well known and surprising examples of Bauhaus architecture in their present condition. Middlesbrough Institute of Modern Art until 17th February.
Winter Wonderland, set between Hyde Park Corner and the Serpentine, is the ultimate winter theme park experience. The 24,000sqm site features London's largest outdoor ice rink - created with 130,000 litres of frozen water, weighing 130 tonnes - able to accommodate up to 400 skaters at a time, with ice guides to help beginners; a toboggan slide; a traditional German Christmas Market, with over 30 separate wooden chalets, offering arts, crafts, presents and foods; numerous cafes and bars serving traditional food and mulled wine; a 50m observation wheel providing a panoramic view of London above the park; a Victorian carousel; a helter-skelter; a bungy dome; a selection of gentler amusement rides for younger children; and a bandstand with regular carol concerts and other festive entertainment; plus appearances by Father Christmas. To add to the atmosphere, the trees along Serpentine Road sparkle with thousands of Christmas lights highlighting the natural beauty of Hyde Park. Entrance to the Winter Wonderland site is free, with fees for individual attractions. Hyde Park, 10am-10pm daily (except Christmas Day) until 6th January.
Launchpad, the 'hands on' gallery has had a £4m makeover, relocating it to an area of 1,200sqm, one third larger than the existing space. Over 50 sophisticated interactive exhibits and devices built specifically for the gallery, aim to excite, inspire and engage children in the fundamental principles of science and technology. They are a combination of updated 'classics' from the previous gallery, world firsts created by designers and technicians from the Science Museum and around the world, and new installations inspired by existing pieces previously unseen in Britain. The gallery is particularly aimed at 8-14 year olds, although provision has also been made for younger children as well. It introduces young visitors to the principles of electricity and magnetism, forces and motion, energy transfer, light, sound and materials. New exhibits include 'Water Rocket', which launches a plastic bottle 30m across the gallery using air pressure; 'Big Machine', a 4m high reinvention of the 'Grain Pit' exhibit, where visitors combine forces by pulling levers and pulleys to demonstrate mechanical advantage; 'Sound Bite', which invites visitors to turn their own head into a sound box by biting vibrating posts to hear 'unheard' messages; 'Icy Bodies', where spinning dry ice pellets turn into jets of gas making patterns in water; and 'Social Light', allowing visitors to manipulate their own shadow to reflect laser beams or create rainbows, which can then be captured as a unique artwork and emailed to friends. Science Museum, London, continuing.
Millscapes: Art Of The Industrial Landscape looks at the industrial architecture of the North West, from the beginnings of the Industrial Revolution, when mills, and the canal systems, aqueducts, warehouses and streets of terraced housing built with them, completely transformed the landscape, through the decline after the Second World War, to today's changing skylines. Paintings of early water powered mills in rural settings contrast with images of those built on the edge of urban developments, and dark, smoggy industrial landscapes, seen in French Impressionist Pierre Adolphe Valette's 'Bailey Bridge, Manchester', and James Purdy's view of 'Millbottom,' Oldham', together with works by unknown artists, including 'Lowerhouse Printworks, Burnley' and 'Frenches Mill, Saddleworth'. Paintings from the 1930s and 1940s include 'Our Town' and 'Street Scene' by LS Lowry, the rigid lines and smoking chimneys providing a stark contrast to Harry Rutherford's cheerful and informal 'Mill Girls, Ashton'. By the 1980s, over half of the mills and cloth-finishing works in Greater Manchester had been demolished or were derelict, and the subsequent regeneration is captured in Liam Spencer's 'Rooftops' and 'The End of the Mancunian Way', Peter Stanaway's 'Now the Mill Has Gone', Walter Kershaw's 'Mutual Mills Reflections', Alan Rankle's 'Saddleworth Study: Uppermill' and David Gledhill's 'Old Mill Street'. Gallery Oldham until 2nd February.
The Age Of Enchantment: Beardsley, Dulac And Their Contemporaries 1890-1930 marks the dramatic change in the world of the illustrated book that occurred following the death of Aubrey Beardsley. The 'degenerate' images of scandal and deviance disappeared, as the age of decadence was softened to delight rather than to shock. Whimsy and a pastel toned world of childish delights and an innocent exoticism unfolded in the pages of familiar fables and children's stories, such as The Arabian Nights and Hans Andersen's tales, published with lavish colour plates. A new generation of illustrators emerged, led by the masters of this new art form, artists Edmund Dulac, Kay Nielson and Arthur Rackham, followed by Jessie King, Annie French, the Detmold Brothers, Sidney Sime, Laurence Houseman, Charles Ricketts and Harry Clarke. The exhibition comprises over 100 works arranged by theme: the Exotic, the Arabian World, the Chinese World, Greeks and Romans, Fairies and Monsters. Among the many highlights are Beardsley's 'Salome', 'Le Morte d'Arthur' and 'The Rape of the Lock'; Dulac's 'Circe' and 'The Ice Maiden'; Rackham's 'Lizzie, Lizzie, Have You Tasted for My Sake the Fruit Forbidden'; Clarke's 'The Pit and the Pendulum; and plates from 'the Detmold's 'The Jungle Book' and Sime's 'Zoology'. Dulwich Picture Gallery, London until 2nd February.
London Transport Museum is reopening after a two year, £22m refurbishment, redesign and extension project, introducing a new upper level. This has seen hundreds of objects from cap badges to a steam locomotive removed to storage, while the building was conserved and redeveloped, and then returned, along with 1,000 additional objects. The new galleries tell the story of the development of London, its transport systems, and the people who travelled and worked on them, over the last 200 years. All modes of transport are now covered - walking, cycling, taxis and river transport as well as buses, trams and the underground. The displays also feature original artworks and advertising posters, and explore the extraordinary design heritage of London's transport system, as well as London transport at war, and the expansion of the capital during the 20th century through the development of the underground. In addition to exploring the past, the new displays also look at future transport developments and how transport has shaped five other world cities: Delhi, New York, Paris, Shanghai and Tokyo.
Museum Sketchbook: The Watercolours And Sketches Of Bruce Rowling documents the refurbishment process through the eyes of artist Bruce Rowling, with his sketchbooks and watercolours describing in detail the week to week activities, as the museum was dismantled, rebuilt and then reassembled, supplemented by finds from archaeological investigations, photographs and video.
London Transport Museum, Covent Garden, continuing.
Hand, Heart and Soul: The Arts And Craft Movement In Scotland looks at developments in art, architecture and design across Scotland between 1880 and 1939. It examines how Arts and Crafts artist-designers changed perceptions about the place of art in Scottish society. Hand, Heart and Soul refers to the three characteristics of the movement. The Hand is that of the designer of maker in an age of increasing mechanisation. The Heart is a reference to the commitment the practitioners showed to their art and to the wider needs of society. The Soul is a reference to the commonly held sense of Celtic identity and tradition. Through the furnishing of public buildings, exhibitions, church craft and home design, it aimed to restore beauty to everyday experience. This found expression in such diverse fields as furniture, textiles, jewellery and metalwork, glass, ceramics, sculpture, paintings, mural decoration and architectural design and crafts. Exhibits include Charles Rennie Mackintosh's stained glass window design for the Glasgow School of Art, depicting a scene from the story of Tristan and Isolde; Phoebe Anna Traquair's embroidered triptych 'The Savoir of Mankind'; a gold and enamel cup set with amethysts by Helena Mary Ibbotson; Francis Henry Newbery's painting 'Daydreams', which unusually depicts a contemporary female figure; a richly decorated plate and dish by Elizabeth Amour Watson's Bough Studio; and videos and photographs of buildings, such as Skirling House, designed by Ramsey Traquair, and Mackintosh's Hill House in Helensburgh. Millennium Galleries, Sheffield until 20th January.
Walter Sickert: The Camden Town Nudes features paintings of the female nude produced by Walter Sickert in and around Camden Town between 1905 and 1912, which are among his most significant contributions to 20th century British art. The exhibition brings together over 25 of the artist's finest canvases and related drawings, to provide the first major account of his reinvention of the nude as a subject for modern painting. It explores the ways in which Sickert developed an uncompromisingly realist approach to the nude, in order to address major social and artistic concerns of the early 20th century. Rather than the familiar treatment of the unclothed figure as an abstracted ideal of beauty, Sickert's nudes appeared to be naked women in real contemporary settings. His four famously enigmatic Camden Town Murder paintings are brought together for the first time, as the most powerful expression of his fascination with the darker aspects of urban life in Edwardian London. They are accompanied by a selection of working drawings for these paintings that reveal Sickert's remarkable practice of exploring different narrative possibilities before arriving at the final image. Other highlights include 'La Hollandaise', 'The Iron Bedstead', 'Mornington Crescent Nude' and 'The Studio: The Painting of a Nude' in which his studio is the subject of the work itself, with his own arm shown cutting across the foreground of the composition, caught in the act of painting. The Courtauld Gallery, London until 20th January.
The Painting Of Modern Life is the first major survey exploring the use and translation of photographic imagery, one of the most influential developments in the last 50 years of contemporary painting. The exhibition comprises some 100 paintings by 22 artists, displayed chronologically. Beginning in the 1960s, when artists such as Andy Warhol, Gerhard Richter and Richard Artschweger began making paintings that translated photographic images taken from newspapers, advertisements and snapshots, it shows how photography has influenced not just the content, but also the technique of painting. The widespread use of monochrome by painters such as Vija Celmins and Luc Tuymans, Richter's use of a wet brush to 'blur' paintings and his meticulous reproduction of a flashbulb light, and snapshot like white boarders framing the works of Richard Hamilton and Malcolm Morley, all deliberately alluded to photography, while David Hockney and Franz Gertsch drew on their own photographs. Highlights include: Andy Warhol's 'Race Riot' and Big Electric Chair'; Gerhard Richter's grieving Jackie Kennedy in 'Woman with Umbrella'; David Hockney's portrait of Ossie Clarke and Peter Schlesinger, 'Le Park des Sources, Vichy'; Richard Hamilton's 'Swingeing London', with Mick Jagger under arrest for drugs possession; Elizabeth Peyton's 'new royalty' in 'Mendips' and 'Arsenal, (Prince Harry)'; and Peter Doig's 'Lapeyrouse Wall' painted from a camera phone image. Hayward Gallery until 30th December.
Through The Whole Island: Excursions In Great Britain illustrates how the people of this country, together with visitors from overseas, have explored England, Scotland and Wales, and described, explained, praised and criticized what they found. Over many centuries, printed accounts of journeys undertaken for scientific, scholarly or political enquiry, or simply for pleasure, were instrumental in building public perceptions of the landscapes, commerce and social character of this island. Among the highlights are a first edition of Daniel Defoe's travel book 'A Tour Thro' the Whole Island of Great Britain', from which the exhibition takes its title; a set of field notes from Charles Darwin's geological tour through North Wales, illustrating the importance of travel in the development of his scientific thought; an exquisite manuscript road book drawn by George Taylor in Scotland in 1785; a 17th century engraved map of Wales, with a triangular distance table showing the mileage between major towns; an early railway map of the west of England; an illustrated Wolseley motor car catalogue from 1910; and accounts of artistic tours around Britain by J M W Turner, and pioneer of the one man show, the songwriter Charles Dibdin; together with fictional and poetic accounts of travel, such as William Combe's character Dr Syntax setting out on a tour in search of a wife, with coloured illustrations by Thomas Rowlandson, a copy of William Cowper's poem 'John Gilpin', and William Wordsworth's 'Lines written a few miles above Tintern Abbey' from the Lyrical Ballads. Cambridge University Library until 22nd December.
Objects Of Instruction: Treasures Of The School Of Oriental And African Studies launches a new gallery featuring the School's rich but little known artistic and archival collections, bringing together a broad range of interesting and beautiful objects from across Asia and Africa. The show is divided into five geographical areas: East and South East Asia, South Asia, the Himalayas, the Middle East and Africa, together with a section on 'European views of Asia and Africa', reflecting the 'Orientalist' perspectives of early explorers and traders. Among this wealth of material are illustrated Islamic manuscripts, from Persia, Armenia, Crimea, Turkey and India, with gold leaf and lapis lazuli dye, including a luxurious Mughal copy of the Anvar-i Suhayli, a book of animal fables; Chinese and Japanese paintings and prints; many lavishly illustrated books, including one with oriental drawings of animals, and a Sumatran 'book of magic'; varied ceramic objects from the Middle East and East Asia, including from Ming dynasty China; decorative Buddhist manuscripts and sculptures from South-East Asia, including a Khmer stone lion sculpture from Cambodia, and a 200 year old alabaster sculpture of seated Buddha, once the property of King Thibaw of Burma; newly restored 18th century Tibetan silk hangings donated by the 14th Dalai Lama; contemporary African paintings and textiles; and important archaeological collections from East Asia, South Asia and the Middle East. Brunei Gallery, School of Oriental and African Studies, Thornhaugh Street, Russell Square, London until 15th December.