News Archive

Private View held by Richard Andrews

Last updated : 11th July 2012


Designing 007: Fifty Years Of Bond Style showcases the inside story of the design and style of the world's most influential and iconic movie brand. It is a multi-sensory experience, immersing visitors in the creation and development of Bond style over its 50 year history. The exhibition explores the craft behind the screen icons, the secret service and villains, tailoring and costumes, set and production design, automobiles, gadgets and special effects, graphic design and motion graphics, exotic locations, stunts and props, and the original scripts. It draws together the ongoing themes and recurring visual images throughout the film series, charting the making and presentation of Bond style through some 400 items. These include gadgets and weapons made for Bond and his notorious adversaries by special effects experts John Stears and Chris Corbould, along with artwork for sets and storyboards by production designers Ken Adam, Peter Lamont and Syd Cain, and costume designs by Bumble Dawson, Donfeld, Julie Harris, Lindy Hemming, Ronald Patterson, Emma Porteous, and Jany Temime, not to mention Hollywood costume designers and major fashion names including Giorgio Armani, Brioni, Roberto Cavalli, Tom Ford, Hubert de Givenchy, Gucci's Frida Giannini, Douglas Hayward, Rifat Ozbek, Jenny Packham, Miuccia Prada, Oscar de la Renta, Anthony Sinclair, Philip Treacy, Emanuel Ungaro and Donatella Versace. Among the highlights are Scaramanga's Golden Gun, Oddjob's steel-rimmed bowler hat, the proto-type of Rosa Klebb's deadly flick-knife shoes, Jaws' fearsome teeth, and Bond's 1964 Aston Martin DB5. The exhibition is spread throughout the building, and the exhibits are interspersed with clips from the films showing them in use. Barbican Centre, London, until 5th September.

Charlotte, The Forgotten Princess examines the life of the nation's first people's princess. The only daughter of George IV, Princess Charlotte of Wales, captured the hearts of the country, and was referred to as the Daughter of England. When she died in 1817 at the age of just 21, having given birth to a stillborn son, there was a national outpouring of grief. Drapers' shops ran out of black fabric, commemorative souvenirs were produced, and the public mourning was exceeded only by that which followed the death of Diana, Princess of Wales. Charlotte's death, and the death of her son, changed the course of British history, since she would have become Queen had she outlived her father and grandfather, and thus Queen Victoria is unlikely to have succeeded to the throne. It also lead to Richard Croft, Charlotte's midwife, shooting himself three months later, unable to cope with the torrent of criticism in the media backlash after her death. The exhibition looks at the life and tragic death of the Princess through a range of exhibits, including personal items such as her handwritten music book, along with paintings, prints, ceramics, jewellery and glassware. Highlights include Charlotte's Russian-style dress and a silver and white evening gown; a bust of the Princess; a baby's shift she wore as an infant; a gown made as part of a layette for the baby she was expecting; and a commemorative vase that was discovered in a shop in Mexico. Royal Pavilion, Brighton, until March.

Edvard Munch: The Modern Eye aims to show that the Norwegian painter created so much more than the work for which he is best known. Edvard Munch is often thought of primarily as a 19th century painter, a Symbolist or a pre-Expressionist, but this exhibition reveals how he engaged emphatically with 20th century concerns that were representative of the modernity of the age. It encompasses both Munch's paintings and drawings made in the first half of the 20th century and his often overlooked interest in the rise of modern media, including photography, film and the re-birth of stage production. The display features over 60 paintings and 50 photographs, alongside his lesser-known filmic work. These show Munch's interest in current affairs and how his paintings were inspired by scenes observed in the street or incidents reported in the media. Far from confining himself to the studio, he frequently worked outdoors to capture everyday life, as seen in 'The House is Burning', a view of a real life event with people fleeing the scene of a burning building. The show also examines how Munch often repeated a single motif over a long period of time in order to re-work it, with different versions of his most celebrated works, such as 'The Sick Child' from 1907 and 1925 and 'The Girls on the Bridge' from 1902 and 1907. Munch's use of prominent foregrounds and strong diagonals reference the advancing technological developments in cinema and photography. Creating the illusion of actors moving towards the spectator, as if looming out from a cinema screen, this pictorial device can be seen in many of Munch's most innovative works such as 'On the Operating Table' and 'The Yellow Log'. Tate Britain until 14th October.


Ballgowns: British Glamour Since 1950 featuring beautiful ballgowns, red carpet evening gowns and catwalk showstoppers is the first exhibition in the newly renovated Fashion Galleries. There is a strong British design tradition of creating sumptuous ballgowns, which has been upheld even in the late 20th and 21st centuries. In the post-war period, as Europe struggled toward recovery, extravagant, exclusive balls provided glittering backdrops for splendid couture gowns, so helping to stimulate sartorial consumption and aspiration in Britain. The emergence of the charity ball in the 1980s provided a new platform for a wider society to dress to impress. Couture influenced the high street and dressing up for events was no longer the prerogative of the wealthy. More recently it is the red carpet that acts as the most important site of fashionable splendour. The exhibition features over 60 gowns specially made for social events such as private parties, royal state occasions, debutante balls, opening nights and red carpet events. Tour de force eveningwear by designers such as Hardy Amies, Ossie Clark, Bill Gibb, Bruce Oldfield, Victor Stiebel, Zandra Rhodes, Jonathan Saunders and Hussein Chalayan are on show, as well as dresses from the catwalk shows of Alexander McQueen, Giles, Erdem, Roksanda Illincic, Mark Fast and Jenny Packham. Royal gowns, with their luxurious fabrics and exquisite embellishments, such as a Norman Hartnell gown designed for Elizabeth the Queen Mother, and Princess Diana's 'Elvis Dress' designed by Catherine Walker, as well as gowns worn by today's young royals, are seen alongside dresses worn by actresses and celebrities, including Sandra Bullock, Daphne Guinness, Elizabeth Hurley and Bianca Jagger. The display includes film and contextual images, as well as accessories such as elegant evening bags, gloves and shoes. Victoria & Albert Museum until 6th January.

Presence: The Art Of Portrait Sculpture brings together striking sculpted portraits from the ancient world to the modern day to explore their often troubling power. The exhibition considers the ways in which sculptors have exploited this potency to make the absent present or the dead seem alive, from the mummy masks of ancient Egypt to the extraordinary death mask of the painter Thomas Lawrence, cast with the sheet and pillow of his death bed. The display embraces heads from Ancient Greece and Rome, 18th century masterpieces, such as Joseph Wilton's bust of the Earl of Chesterfield, works by some of the 20th century's greatest sculptors, including Degas, Giacometti and Brancusi, the waxwork of Henry Moore once at Madame Tussauds, and sculptures by major contemporary artists such as Don Brown, Daphne Wright and Marc Quinn. It explores questions of scale and colour through miniature portraits in wax and ivory and Ron Mueck's monumental Self Portrait Mask II. Above all, it explores the sense of presence behind the portrait sculpture which gives it its power to arrest and disturb. Perhaps the most moving of all the works in the show is the ceramic portrait of the small dead girl, Lydia Dwight, cast by her father in the white glazed stoneware technique that he had invented. Striking pairings include Brancusi's abstracted and eyeless Danaide alongside a late Giacometti bust of his brother Diego, in which his staring head seems to exemplify Giacometti's concentration on the sitter's gaze. At the heart of these pairings are two exceptional antique heads, a rare Greek bronze head, probably of a charioteer, from about 300BC, and the head of a North African carved in green siltstone in the 1st century BC. Holburne Museum, Bath, until 2nd September.

Titian's First Masterpiece features the first major commission of the 16th century Venetian painter, and examines the creation of this extraordinarily ambitious work, painted when he was just a teenager. This is the first time 'The Flight Into Egypt' has been seen outside Russia since 1768 when Empress Catherine the Great purchased the picture. The exhibition explores Titian's originality in creating one of the first large scale landscape narratives, and demonstrates how he adapted ideas from the work of other artists in order to create his sophisticated composition. The painting is exhibited alongside more than 20 works by Titian's Venetian contemporaries, including Bellini, Giorgione, and Sebastiano del Piombo, together with artists such as Albrecht Durer, who were in Venice at the time Titian began this work. 'The Flight into Egypt' is believed to be one of Titian's earliest paintings. Produced on an impressive sized canvas (206 x 336 cm), the landscape occupies most of the composition, drawing the viewer's eye to the green of the foliage, and the blues of the sky, mountains and stream. This unprecedented sensitivity to colour is a characteristic of Titian. He spontaneously displayed a naive approach to nature, especially in the depiction of animals. The choice of this particular subject allowed the young painter to display his precocious skill in landscape painting and reveals the bold brushwork and exhilarating use of colour that would become signatures of his artistic style. National Gallery until 19th August.

Codebreaker - Alan Turing's Life And Legacy celebrates the life and work of the pioneering British computer scientist. The exhibition examines the achievements of Alan Turing, whose influence on computer science is still felt today, and whose wartime codebreaking helped to take years off the length of the Second World War. It explores Turing's work on artificial intelligence and his morphogenesis work. The display comprises the most extensive collection of Turing artefacts ever assembled under one roof, including machines he devised and devices that influenced him and his colleagues, offering an indisputable argument for Turing's enduring global legacy. At the heart of the exhibition is the Pilot ACE computer, which embodies Turing's ideas for a universal programmable computer. It was the fastest computer in the world at the time and is a forerunner of today's machines. Featured alongside is a simulator of the Pilot ACE, made in 1950 to present the computer's capabilities to the public. Another key exhibit is a piece of Comet jet fuselage wreckage analysed with the aid of Pilot ACE in 1954 following a series of crashes, which eventually helped to reveal the source of the problem, leading to changes in aeroplane design. Other highlights include German military Enigma machines; remaining parts of the huge, revolutionary electromechanical 'bombe' machines devised by Turing during the Second World War to crack codes; and a working aid used to break Enigma, which has never been displayed outside of GCHQ. Science Museum until June 2013.

Turner Monet Twombly: Later Paintings brings together works by 3 artists considered radical in their time, who met with criticism for pushing the boundaries of the conventions of painting. The exhibition examines not only the art historical links and affinities between JMW Turner, Claude Monet and Cy Twombly, but suggests common characteristics and motivations underlying the style in their later works. Between them these artists form a 3 generational strand that runs through nearly 250 years of western art. The exhibition explores their fascination with light, landscape, mythology, mortality, romanticism and the sublime - which they shared despite living in different eras - in addition to the rich painterly qualities of their work. While their respective approaches are strikingly different, all 3 artists dealt with the eternal human preoccupations of time and loss, memory and desire. Comprising over 60 works, the exhibition treats each artist in considerable depth, with rooms juxtaposing the paintings of 2, or all 3. It allows Turner and Monet to be seen within a contemporary context, while demonstrating the strong lure of classicism in the painting and sculpture of Twombly. Although the interest Monet held in the work of Turner is well documented, the passion that Twombly has for both these artists has never been fully examined before. Among the highlights are Turner's 'The Parting of Hero and Leander' seen for the first time alongside 2 works by Twombly of the same title; Turner and Monet paintings of Waterloo Bridge side by side; and 5 of Monet's greatest water lily paintings, including 'The Water-Lily Pond' and 'Water Lilies', which have never been seen in Britain before. Tate Liverpool until 28th October.

The Phoenicians: The Greatest Ancient Sailors offers both an opportunity to experience life on board an authentic replica Phoenician ship from 600BC and learn more about the mysterious Phoenicians. The 20m long Phoenicia was designed in collaboration with leading marine archaeologists and was built in 2008 in Arwad Island, an ancient Phoenician city state just off the Syrian coast, by shipwright Khalid Hammoud and colleagues using traditional construction methods and materials. The aim was to replicate an ancient Phoenician trading vessel that successfully achieved the first circumnavigation of Africa in 600BC, and the reconstructed ship completed the same 20,000 mile voyage in 2010. It now houses an exhibition that includes information and exhibits from the 2008-2010 expedition, and historic artefacts from the ancient Mediterranean civilisation, including gold and silver Phoenician coins, alongside interactive exhibits and media clips. St Katharine Docks, 50 St Katherine's Way E1, until 30th September.


Invisible: Art About The Unseen 1957 - 2012 is the first British exhibition of artworks that explore ideas related to the invisible, the hidden and the unknown. From an invisible labyrinth and canvases primed with invisible ink, animals' mental energy and snow water, to an empty plinth that presents space cursed by a witch and a 'haunted' black tunnel, the exhibition features works by some of the most important artists from the past half century including Andy Warhol, Yves Klein, Robert Barry, Chris Burden, Yoko Ono, Tom Friedman, Bethan Huws, Bruno Jakob, Claes Oldenburg, Maurizio Cattelan and Carsten Holler. The artworks in the exhibition challenge assumptions about what art is, directing attention away from the cultural bias that works of art are inherently visual. Instead it emphasises the ideas behind artworks, the role of the viewer's imagination in responding to art, the process of creating art, and the importance of context and labelling in shaping our understanding of what we see. Among the pieces are: Jeppe Heine's 'Invisible Labyrinth', a maze that only materialises as visitors move around it, equipped with digital headphones operated by infrared rays that cause them to vibrate every time they bump into one of the maze's virtual walls; Teresa Margolles's 'Aire / Air', an installation consisting of two cooling systems that create a superfine mist by drawing on a container filled with 20 litres of water that was previously used to wash the bodies of murder victims in Mexico City prior to autopsy; and Robert Barry's 'Energy Field', a battery-powered transmitter encased in a nondescript wooden box sending out waves of energy, filling the gallery space with an invisible, immeasurable, but nonetheless real force. The exhibition also includes a room dedicated to the tradition of invisible public monuments. Hayward Gallery until 5th August.

H M Bateman - The Man Who Went Mad On Paper features the first modern master of 20th century British cartooning. The dramatic and expressive drawings of H M Bateman often sizzle with intensity as he had the ability to 'draw funnily'. Best remembered as the creator of 'The Man Who . . .' drawings of social faux pas, and a master of the story without words, Bateman was also an acute observer of British society from the Edwardian era through to the 1930s. When the 15 year old Bateman began his career, most cartoons were illustrated jokes, with a lengthy caption providing the comic accompaniment to a rather straight drawing, but he had a flash of inspiration, and in his own words 'went mad on paper'. Bateman's innovative approach was to draw out the humour of the situation through his dynamic and dramatic drawings. He drew people as they felt, rather than as they appeared: eyes pop, mouths gape, limbs twist and squirm. During the 1920s and 1930s, decades of huge social change in Britain, his 'Man Who . . .' cartoons showed the terrible consequences of 'doing the wrong thing' and making a social blunder. The exhibition comprises over 120 original cartoons, including Bateman's witty observations of suburban, sporting, working and theatrical 'types'. Among the highlights are the landmark sequence 'The Boy Who Breathed on the Glass in the British Museum' created during the First World War; and his tour de force 'The One-Note Man', which inspired a scene in Alfred Hitchcock's 1934 film The Man Who Knew Too Much. The Cartoon Museum, 35 Little Russell Street, London WC1, until 22nd July.

Taking Time: Chardin's Boy Building A House Of Cards And Other Paintings is a concise and concentrated selection of genre scenes and servant paintings by the 18th century French master of the still life, seen together for the first time. Rejecting the florid excesses and mythological subjects which typified the art of his time, Jean-Simeon Chardin instead captured moments of quiet concentration and absorption in simple, everyday activities. His works have a static, reflective quality which gained him the nickname 'the painter of silence'. This exhibition brings together 11 paintings and the same number of works on paper. At the core of the works on show are 4 paintings of young bourgeois boys playing with packs of cards. This was a favourite subject of Chardin's, and one that he returned to time and time again, perpetually finding new variations on the same theme. The works demonstrate the shifting meanings that arise when individual paintings are paired with different companions. Accompanying these are other images of servants engaged in their work, which distill the modesty and dignity of the people they depict. All the works in the exhibition were painted within a few years of each other, between around 1735 and 1738, during a brief period when Chardin interrupted his still life painting to explore the possibilities of figure subjects. Waddesdon Manor, near Aylesbury, Buckinghamshire, until 15th July.