News Archive

Private View held by Richard Andrews

Last updated : 9th February 2011

Commencing

Once Upon A Wartime: Classic War Stories For Children delves into the pages of well loved books, bringing stories of war to life. This family friendly exhibition takes a look at five of the best loved books written for children about conflict - War Horse by Michael Morpurgo, Carrie's War by Nina Bawden, The Silver Sword by Ian Serraillier, The Machine Gunners by Robert Westall and Little Soldier by Bernard Ashley. Through life size sets, scale models and interactive exhibits, visitors can enter the imaginary worlds of these classic war stories, a journey through conflicts from the First World War to the present day. The exhibition encompasses the bleak landscape of no man's land in War Horse; the farm kitchen from Carrie's War; the cellar school, hidden under the destroyed streets of Warsaw in The Silver Sword; the schoolboys' secret fortress from The Machine Gunners; and the imposing tower blocks of London's gang warfare in Little Soldier. As well as these central books, there are other favourites, including Goodnight Mister Tom, Refugee Boy and When Hitler Stole Pink Rabbit. The exhibition explores the themes of loyalty, separation, excitement, survival and identity throughout the books, and then goes behind the scenes of each story, explaining the authors' inspiration through interesting and sometimes unseen items, including manuscripts, early sketches, interviews and photographs. It also offers historical context through expert interpretation and examples of relevant objects, including evacuee labels and letters, aircraft recognition cards and a tail fin from a German incendiary bomb. Imperial War Museum, London, until 30th October.

Old Master Drawings: Guercino, Rubens And Tintoretto explores why artists have drawn over the centuries, from copying other works to making life studies, and the role of sketching in the creation of artworks. Works by some of the great Italian Renaissance and Northern European artists between 1500 and 1800 are used to examine the reasons for producing drawings. Some artists use drawing to loosen their wrists before starting painting or sculpting (like limbering up before taking part in sport), some see drawings as a key part of the creative process, where ideas are expressed then retained or discarded, and some are simply doodling or amusing themselves and others. Among the highlights are: 'Monster animal and peasant', drawn by Giovanni Francesco Barbieri known as Guercino, who liked to show off his inventive imagination by drawing bizarre or fantastical creatures, to amuse himself and his friends, depicting an odd animal, part chicken, part human foot with dog's ears, watched by a terrified peasant; Peter Paul Rubens's 'God creating Adam', more naturalistic and animated than Michelangelo's version, and 'Study for the circumcision', which differs in details from the huge finished painting now on the High Altar of Genoa's Church of the Gesu; and 'Study of the head of Giuliano de Medici by Michelangelo' made from the statue by Jacopo Tintoretto, who admired Michelangelo's Florentine Medici tomb statues so much that he kept a full size copy of one in his Venetian studio. Other artists in the exhibition include Luca Signorelli, Giorgio Vasari, Guido Reni, Claude Lorraine and Francois Boucher. Lady Lever Gallery, Liverpool, until 2nd May.

Shining Lights: The Story Of Scotland's Lighthouses tells of the people who designed, built and operated the country's lighthouses, lighting a safe passage for mariners. Encompassing more than 6,200 miles in length and in excess of 760 islands, the jagged Scottish coastline is one of the most dangerous in the world. This exhibition traces the development of lighthouse technology, shows what life was like for the lighthouse keepers, who kept the lights shining for passing mariners, and reflects on the continuing importance of lighthouses today. It features many objects unseen for decades, including spectacular giant optics, lighthouse models, beacons, photographs, paintings, engravings, films, books, and charts dating from as far back as the 17th century. A series of interactive exhibits explain the development of lighthouse technology up to the present day. The exhibition also has a section marking the 200th anniversary of the lighting of the Bell Rock, near Arbroath, the world's oldest surviving rock lighthouse. Designed by Robert Stevenson, the building of the lighthouse was an astonishing feat of engineering that marked the coming of age of the Stevenson family's connection with Scottish lighthouses. Almost all of Scotland's 208 lighthouses were developed, designed and built by a member of this engineering dynasty, whose talents contributed significantly to scientific and technological development across the world. National Museum of Scotland, Edinburgh, until 3rd April.

Continuing

John Stezaker is the first major exhibition of works by the contemporary British collagist of popular culture, mass media and mechanical reproduction. John Stezaker is fascinated by the lure of images, and taking classic movie stills, vintage postcards and book illustrations, he makes collages to give old images a new meaning. By means of minimal intervention, such as cropping, excision, rotation or occlusion, Stezaker removes these found images from their original context, and explores their subversive force. All this predates today's digital manipulation - Stezaker is a traditional artisan, using real materials: paper, scalpel and glue. His 'Mask' series fuses the profiles of glamorous sitters with caves, hamlets, or waterfalls, making for images of eerie beauty; his 'Dark Star' series turns publicity portraits into cut-out silhouettes, creating an ambiguous presence in the place of the absent celebrity; his 'Marriage' series joins male and female portraits to create bizarre hybrid faces; and in his 'Third Person Archive' the delicate, haunting figures from the margins of obsolete travel illustrations are presented as images on their own, taking centre stage. The exhibition comprises over 90 works from the 1970s to the present, revealing the subversive force of images, and reflecting on how visual language can create new meaning. Working in isolation from dominant movements in British art over this time, Stezaker has created a body of work which is genuinely unique. The show is organised in themed groups, reflecting the discrete strands Stezaker has developed, often over several years. Whitechapel Gallery, London E1 until 18th March

There is an accompanying display of John Stezaker's work at the Louis Vuitton Maison, 17-18 New Bond Street, London, until 19th March.

Capturing Colour: Film, Invention And Wonder explores and celebrates the quest for colour on film. When film arrived around the world in 1896, it was recognised that it had one great deficiency - it was in black and white. For the next 50 years inventors in England and America tried to solve this problem, often finding fascinating yet largely unworkable solutions until the discovery of 'true' colour film. The search for a way to capture the world in colour is a story of ingenious inventions, personal obsession, magic and illusion, scientific discovery, glamour, hard work and determination. This exhibition focuses on the moving image in Britain from the origins in magic lanterns, early colour photography and Kromskops, to applied colour films, Kinemacolor, Technicolor, Kodachrome and Eastmancolor. Over 25 film extracts are shown ranging from Georges Melies' fantastical Le Voyage a l'Impossible and Pathe's Aladdin and His Magical Lamp, through new previously unseen digital reconstructions of Kinemacolor films to The Red Shoes, home movies and travelogues in glorious kodachrome, and scenes from series that launched colour television in Britain. The exhibition also includes a wide range of colour projectors and cameras from the Kromskop, Tri-colour projector and Kinemacolor camera and projector, to a Technicolor camera, Cine-Kodak camera and early home video systems. Personal letters, booklets, film posters, photographs and promotional material for the 'new wonders' are also included. Brighton Museum & Art Gallery, Royal Pavilion Gardens, Brighton, until 20th March.

Masterworks: Architecture At The Royal Academy highlights the work of many of the illustrious architect members at the Royal Academy of Arts since its foundation in 1768. The exhibition showcases the masterwork architectural drawings and models from the collection with over 50 Diploma works. Spectacular examples of Georgian and Victorian perspectives of famous projects by celebrated architects includes John Soane's watercolours for his design for a new House of Lords; George Gilbert Scott's design for government offices on Whitehall; Alfred Waterhouse's Manchester Town Hall; Edwin Lutyen's work in New Delhi; and buildings by Charles Barry. These are exhibited alongside works by many post war and current RA architects, including Hugh Casson's Elephant House at London Zoo; Denys Lasdun's National Theatre on the South Bank; James Stirling's competition entry for the Channel 4 Headquarters; Nicholas Grimshaw's scheme for Waterloo International Terminal; Zaha Hadid's 'silver painting' of her winning 2010 RIBA Stirling Prize scheme for MAXXI Museum in Rome, and projects by Norman Foster, Richard Rogers, David Chipperfield. Until the late 20th century architectural drawings were the preferred medium of Diploma Works provided by architect RA's, however, other methods, including painting, models and computer renders have become popular in recent years. Royal Academy of Arts, London, until 13th March.

Food Glorious Food is a family friendly exhibition that tells the stories that lie behind what we choose to eat. With childhood foodie memories from field to fork, the exhibition examines food's place in British culture: how it is grown, how it is prepared and how it is eaten. What we eat, when, and who we share it with reflects who we are and forms a large part of our daily lives. Drawing on the British Library's oral history archive, and interviews with people from across the regions, the show looks at what's gone from our farms into our shopping trolleys and onto our plates over the last 50 years - and how it has changed in that time. From the influence of rationing, through the post-war expansion of world flavours, to the present crusade against fast food and focus on nutrition, this interactive exhibition shows how the nation's changing relationship with food reflects the concerns of the age. Budding cooks of all ages can enjoy the eclectic displays of labour saving gadgets, historic culinary devices and unusual recipes, before delving into the larder, stocked with interesting food stories and nostalgic packaging of brands gone by. Star objects on display include the Nuremberg Kitchen from 1800, and a toy milk float made by Tri-ang in the 1960s. Little green fingers can work in the vegetable patch play area, while the Food Forum showcases footage from the British Pathe archive, and allows visitors to share their own food likes, dislikes, recipes and memories. Museum of Childhood, Bethnal Green, London, until 25th April.

Mischief: Sculptures And Drawings By Lucia Nogueira is the first British exhibition to survey the 10 year career of the Brazilian born, London based artist. Lucia Nogueira was one of the most individual voices in sculpture in this country, combining and adapting pieces of discarded furniture and other detritus, into works that engage with the space in which they are set. This exhibition includes little known pieces as well as some more familiar works, and reveals some recurring themes and motifs. Many of her pieces explore sensations of tension - weight and vulnerability, arrested motion, visibility and obscurity - through combinations of materials such as fur and metal or the juxtaposition of objects like the empty industrial-size cable wheel held still by a steel post in 'Full Stop'. In 'Mischief', the work that gives the exhibition its title, a wooden chair has lost its seat and one leg traps a white bridal train that turns out to be an unrolled strip of plastic carrier bags, while 'No Time for Commas' has a tied-up bag scurrying endlessly around inside an upturned table top, not revealing what's in the bag, nor in cupboards turned to the wall, nor why a cable disappears into a plan-chest. Bullets, petrol, gas pipes and broken glass feature in many of her pieces, which share a knack of revealing the link between surface calm and unexpected turbulence beneath. Wit, mischief and enigma also pervade her drawings, striking a similar balance between the delicate, the funny and the menacing, as row upon row of buttons become a crowd of spectators, and watercolour blotches take on the character of objects that cannot quite be identified - except when one becomes an elephant on wheels. Kettle's Yard, Cambridge, until 13th March.

Extinct comprises specimens and images of extinct and endangered animals. This wide ranging exhibition displays the remains of prehistoric giants, such as the woolly mammoth, the megalodon shark, a megatherium sloth and a mastodon, together with a leg from an Irish elk and the obligatory dodo skeleton, alongside creatures lost only a few decades ago, including the Tasmanian tiger and the quagga, a subspecies of zebra, which is only partly striped. A forewarning of extinctions yet to come is given by a display on today's critically endangered species, including the polar bear, panda and gorilla, raising questions about human interaction with the natural world. While mankind is not extinct, the 7ft 7in tall 'Irish Giant' Charles Byrne certainly is, and his 230 year old remains can also be viewed.

Ivory: Treasures From The Odontological Collection comprises a selection of ivory specimens from terrestrial and marine mammals that have teeth or tusks large enough to be classed as 'ivory', ranging from the prehistoric to the elusive narwhal. Also included are a selection of historical medical instruments and dentures fashioned from ivory. These items are normally used only as a teaching resource.

Hunterian Museum, 35 - 43 Lincoln's Inn Fields, London, until 23rd July.

Concluding

The Rime Of The Ancient Mariner explores one of the best known English poems, written by Samuel Taylor Coleridge. First published in 1798 The Rime of the Ancient Mariner tells the tale of a mariner's nightmarish journey to the ends of the Earth. The poem deals with the universal themes of sin, guilt, remorse and redemption and its insight into the human condition has provided inspiration for writers, artists and musicians for over 200 years. This exhibition, through manuscripts, printed books and sound recordings, examines the poem within the wider context of Coleridge's life, and explores his crucial role, along with that of his friend William Wordsworth, co-author of the Lyrical Ballads, (in which The Rime of the Ancient Mariner first appeared) as a founding member of the Romantic Movement in England. A man of remarkable intellect with an inquiring spirit, Samuel Taylor Coleridge was a literary critic, philosopher, writer, journalist and public lecturer. Deeply learned and widely read, Coleridge took an exalted view of his art, asserting that 'The Poet is the man made to solve the riddle of the Universe', who 'brings the whole soul of man into activity'. The display also looks at modern interpretations of the poem, and highlights the work of illustrators and writers who have been inspired by its vivid imagery. Highlights include the 1798 first edition of the Lyrical Ballads; and two of Coleridge's notebooks, one containing re-workings of the poem (lines 201-212, dated 1806), and the other with details of a walking tour of Cumbria in 1802, providing a fascinating record of his random thoughts and observations. The British Library, until 27th February.

High Society explores the role of mind-altering drugs in history and culture, challenging the perception that drugs are a disease of modern life. Mind-altering drugs have a rich history and have been used variously as medicines, sacraments, trade goods, and routes to the divine or creative muses. The exhibition examines the subject in 5 areas: A Universal Impulse records the common drive to incorporate psychoactive substances into everyday lives; From Apothecary To Laboratory traces the path from the earliest folk remedies through the laboratories of the early 19th century to the garden shed where MDMA (ecstasy) was synthesized; Self Experimentation follows both scientists' and artists' experience of drugs as they looked for different kinds of enlightenment; Collective Intoxication explores communal drug rites from tribal ritual to mass protests; The Drugs Trade focuses on the often violent global passage of drugs; and A Sin, A Crime, A Vice Or A Disease? surveys the temperance and prohibition movements that created the framework for the current drug laws. Over 200 exhibits on display include Samuel Taylor Coleridge's handwritten 'Kubla Khan' manuscript, allegedly written following an opium dream; NASA experiments with intoxicated spiders; a 17th century account by Captain Thomas Bowrey describing his crew's experiments with bhang, a cannabis drink; an 11th century manuscript with poppy remedies written by monks in Suffolk; and a hallucinogenic snuff set collected in the Amazon by the Victorian explorer Richard Spruce. The exhibition also features contemporary art pieces exploring drug use and culture, including Tracy Moffat's 'Laudanum' portrait series; a recreation of the 'Joshua Light Show' by Joshua White, who created psychedelic backdrops for Jimi Hendrix and Janis Joplin; and an installation work by Huang Yong Ping. Wellcome Collection, London, until 27th February.

Shadow Catchers: Camera-less Photography features works by contemporary artists who use the principles of photography but work without a camera. The essence of photography lies in its seemingly magical ability to fix shadows on light-sensitive surfaces, but these artists create images on photographic paper by casting shadows and manipulating light, or by chemically treating the surface of the paper. They are always 'an original' because they are not made from a negative. Floris Neususs has dedicated his career to extending the practice of the photogram process, and his works deal in opposites: black and white, shadow and light, movement and stillness, presence and absence, and in the translation of three dimensions into two. Pierre Cordier uses the chemigram process, applying photographic developer to the paper to create dark areas and fixer for lighter tones, further changing the patterns and effects by adding products such as varnish, wax, glue, oil, egg and syrup. Garry Fabian Miller makes abstract images in the darkroom, using only glass vessels filled with liquids, or cut-paper forms to cast shadows and filter light, with many of his works exploring the cycle of time over a day, month or year, through experiments with varying durations of light exposure. Susan Derges makes photograms of water, using the landscape at night as her darkroom, submerging large sheets of photographic paper in rivers and using the moon and flashlight to create the exposure. Adam Fuss's work concerns the discovery of the unseen, dealing with time and energy rather than material form, and as well as mastering numerous historic and modern photographic techniques, he has developed an array of symbolic or emblematic motifs. Victoria & Albert Museum until 20th February.