Private View held by Richard Andrews
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.
Hannah Hoch is the first major British exhibition of work by the influential German artist. Hannah Hoch was an important member of the Berlin Dada movement and a pioneer in collage. Splicing together images taken from popular magazines, illustrated journals and fashion publications, she created a humorous and moving commentary on society during a time of tremendous social change. Acerbic, astute and funny, Hoch established collage as a key medium for satire whilst being a master of its poetic beauty. Bringing together over 100 works, the exhibition includes collages, photomontages, watercolours and woodcuts, spanning the 1910s to the 1970s, including major works such as 'Staatshäupter (Heads of State)' and 'Flucht (Flight)'. The show charts Hoch's career beginning with early works influenced by her time working in the fashion industry to key photomontages from her Dada period, such as 'Hochfinanz (High Finance)', which sees notable figures collaged together with emblems of industry in a critique of the relationship between financiers and the military at the height of an economic crisis in Europe. Hoch explored the concept of the 'New Woman' in Weimar Germany, presenting complex discussions around gender and identity in a series of both biting and poignant collages. The exhibition includes a number of works from the series 'From an Ethnographic Museum', in which Hoch combines images of female bodies with traditional masks and objects and layers of block colours, capturing the style of the 1920s avant-garde theatre and fashion. Hoch entered a period of lyrical abstraction that explored the materials and possibilities of a newly developing consumer culture in her later works, such as 'Raumfahrt (Space Travel)' and 'Um Einen Roten Mund (Around a Red Mouth)', which makes use of cut-outs from colour-print and popular culture, incorporating red lips, petticoats and crystals. Whitechapel Gallery, London, until 23rd March.
The People's Business: 150 Years Of The Co-operative celebrates the history of the business that grew to first manufacture and then to sell products, and continues to support the families and communities of Great Britain and the world 'from the cradle to the grave'. This people's business began its humble origins as the Co-operative Wholesale Society in Greater Manchester in 1863 and grew to become Britain's largest mutually owned business. The exhibition both explores the story and values behind the 'caring sharing co-op' and offers a unique insight into the ways in which we shop and live have changed radically over the last century and a half. Themes that the exhibition covers include: The Business - origins and history, values, principles, ownership; Services And Commodities - products, manufacturing, ethical consumerism; Innovation - dividend, supply chain, own brand; Solidarity - protecting the environment, consumer rights, fairtrade; and Working And Living Together - The Co-operative Party, societies, campaigns. The exhibition features items from the National Co-operative Archive including original advertisements, pamphlets, food packaging, merchandise, artifacts, photographs and film, alongside a mock 1920s shop. People's History Museum, Manchester, until 11th May.
Uproar!: The First 50 Years Of The London Group 1913-1963 examines and celebrates the first half century in a turbulent history. The London Group exploded onto the British art scene in 1913 as a radical alternative to the art establishment, and in the wake of two modernist exhibiting platforms, Frank Rutter's liberal Allied Artists' Association and The Camden Town Group, headed by Walter Sickert, whose members the new group absorbed. The first minuted meeting took place on 25 October 1913, and Jacob Epstein is credited with coining the Group's name the following month. The London Group's controversial early years reflect the upheavals associated with the introduction of early British modernism and the experimental work of many of its members. The 'uproar' which followed Mark Gertler's exhibition of The Creation of Eve at The London Group's third show in 1915 lends its name to this display, which showcases 50 works by 50 artists. It features artists and works that highlight each decade covering the full range of its history: The London Group's inception; its Camden Town Group roots; the controversy of the early First World War years; Bloomsbury domination in the 1920s; emigre artists during the 1930s-1940s; avant-garde sculptors; and the contribution of artists' groups, ranging from the Vorticists to the Surrealists, the Abstract-Creationists and the Euston Road School. Featured artists include early modernists such as Walter Sickert, Henri Gaudier-Brzeska, Jacob Epstein, Robert Bevan and Paul Nash, and more recently, Barbara Hepworth, Henry Moore, Jon Bratby and Kenneth Armitage, as well as less-known but equally controversial figures such as Eileen Agar, Rodrigo Moynihan and Jessica Dismorr. Ben Uri Gallery, London, until 2nd March.
Mind Maps: Stories From Psychology explores how mental health conditions have been diagnosed and treated over the past 250 years. Divided into four episodes, this exhibition looks at key breakthroughs in scientists' understanding of the mind, and the tools and methods of treatment that have been developed, from Mesmerism to Electroconvulsive Therapy and Cognitive Behaviour Therapy to the latest cutting edge research and its applications. Bringing together psychology, other related sciences, medicine and human stories, the exhibition is illustrated through historical and contemporary objects, artworks and archive images. Highlights include: the first deep-brain EEG (electroencephalograph) recording of brain waves ever made, using electrodes inserted deep inside the brain (rather than as usual on the scalp) to measure simultaneously the electrical activity of many thousands of nerve cells; a Cavallo-style electrical generator, made by George Adams in late 18th century, including the 'medical bottle' that regulated the shocks it administered to patients; a Hipp chronoscope for measuring the speed of thought in 1880s psychological laboratories, an extremely precise stop-clock that allowed scientists to measure events such as reaction time, attention and perception on the timescale of nerve impulses; 'Nervone' nerve nutrient, launched in the 1920s, available to the public over the counter or prescribed by doctors for a range of conditions such as fatigue, anxiety, headache and depression; a contemporary EEG sensor net used for studying sleep, which, together with the sophisticated computers, have made EEG much easier to use; and 40 versions of the same PET scan colour-coded in different ways by a scanner's computers in order to show how 'hot spots' of activity can be make to appear and disappear. Science Museum until 12th August.
Peter Blake Illustrates Under Milk Wood By Dylan Thomas is a celebration and an exploration of the Welsh poet's most enduring work, on display for the first time. Peter Blake's illustrations of Dylan Thomas's 1953 'play for voices' is the culmination of a 28 year project. A longtime admirer of Thomas, Blake has always been fascinated by the radio play and remembers first hearing Under Milk Wood while at the Royal College. He claims to listen to it twice a week and read it once a month as he continues to work on the characters, dreams, scenes and locations. Blake aims to take the text literally and illustrate the Thomas's descriptions, but they are his personal interpretations. The exhibition of some 200 works features portraits drawn in black and white pencil on tinted paper, watercolours illustrating the dream sequences, 'narratives and locations' in a mix of media including collage, and photographs that Blake took himself on a visit to Laugharne in the 1970s. All the portraits are both imaginary and real because Blake believes that a face cannot be invented so he borrows from images he finds. Among the faces he has borrowed are Richard Burton and Elizabeth Taylor, racing driver Tommy Sopwith, Beryl Bainbridge, Billie Piper and Terry Wogan, whose familiar features have been used in a portrait of a woman. National Museum, Cardiff, until 16th March.
Henry Moore: Reclining Figures explores a lifelong fascination and 'absolute obsession' with the reclining figure. This display follows Henry Moore's career across 5 decades, with large sculptures shown alongside small-scale maquettes, drawings and prints, illustrating his interest in the reclining figure as a vehicle for artistic experimentation. The maquettes show some of the different approaches Moore took with the reclining figure, illustrating his interest in classical and primitive sculpture, landscape and nature.
Barbara Hepworth: Two Forms traces a shift in work from figurative to abstract sculpture. The starting point is Barbara Hepworth's series of 'Mother and Child' sculptures, a subject she repeatedly returned to between 1927 and 1934, during which time she gave birth to her children. Carved in stone or wood, the subject held significance as the sign of a newfound intimacy in art, and as an expression of vitality in the wake of the First World War and the approach of the Second World War. After this, the subject of a mother and child disappeared from her work, and in its place came pure and simple abstract forms that are not merely experiments but express what she called 'a spiritual vitality or inner life'.
The Hepworth Wakefied, Henry Moore: Reclining Figures until 1st April ~ Barbara Hepworth: Two Forms until 4th May.
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.
Pop Art Design is the first comprehensive exhibition to explore the exchange of ideas between artists and designers in the Pop Art age after the Second World War. Brash, colourful and playful, Pop Art was a movement that signalled a radical change of direction in America and Britain. From the late 1950s to the early 1970s Pop was characterised by an intense dialogue between the fields of design and art. It shaped a new sense of cultural identity, with a focus on celebrity, mass production and the expanding industries of advertising, television, radio and print media. Radically departing from all that had gone before, artists delighted in adopting the design language of advertising, television and commerce to create work that was playful but often also intentionally irreverent and provocative, and in turn, designers routinely looked to Pop Art as a constant source of inspiration. Bringing together more than 200 works by over 70 artists and designers, the exhibition includes iconic and lesser known works by such artists as Peter Blake, Pauline Boty, Roy Lichtenstein, Claes Oldenburg and Andy Warhol, shown alongside objects by Achille Castiglioni, Charles and Ray Eames, Peter Murdoch, George Nelson and Ettore Sottsass. Highlights include Robert Rauschenberg's proto-pop painting 'Tideline'; Studio 65's 'Leonardo' sofa; James Rosenquist's 'I Love You with My Ford'; Judy Chicago's spray-painted 'Car Hood'; the monumental floor lamp 'Moloch' by Gaetano Pesce; Joe Tilson's 'Page 1, Penelope'; Gunnar Aagaard Andersen's 'Portrait of my Mother's Chesterfield Chair'; 'The Bishop of Kuban' by Eduardo Paolozzi; and Richard Hamilton's 'The Gold Guggenheim'. The show also presents a wealth of graphic material from posters and magazines to album sleeves, as well as film, photography and documentation of Pop interiors and architecture. Barbican Art Gallery, London, until 9th February.
Kabuki: Japanese Theatre Prints reveals the spectacular artwork and larger-than-life characters from a 19th century Japanese cultural phenomenon shown in woodblock prints. Striking designs present vivid depictions of Kabuki, the popular form of traditional, all male, Japanese theatre, which combines drama, music, dance and acrobatics in convoluted plots concerning dramatic, emotional conflicts and feats of derring-do. The woodblock prints were a cheap and colourful medium of entertainment, much like magazines and posters today. Their visual style is akin to those of Manga comics and Japanese cinema. Publishing houses commissioned designs from the greatest artists of the era, but the prints were affordable to the average person on the street. In the 19th century, both men and women clamoured to acquire pictures of their favourite actor in the latest play. Such prints often sold in the thousands, creating an almost endless demand for new compositions from artists. The obsession with Kabuki actors led artists to take backstage scenes or life offstage as subject matter and so, in a loose parallel with modern candid publicity pictures in celebrity magazines, some prints portray actors out for a walk, dressed as ordinary people, or attending festivals. There are also representations of their cultural activities, participating in salons for poetry composition and calligraphy. The time span of the exhibition, 1830s to 1870s, encompasses a period of significant unrest in Japan, culminating in the collapse of the feudal system in 1868, followed by a period of modernisation and social reform. The later prints reflect these changes, in the style and themes and also in the introduction of new technology and dyes, which expanded the possibilities for artists and publishers. National Museum of Scotland, Edinburgh, until 2nd February.