News Archive

Private View held by Richard Andrews

Last updated : 22nd September 2004

Commencing

Jimi Hendrix At The Marquee Club features the largest collection of Jimi Hendrix memorabilia in existence, on public view for the first time, to launch the second resurrection of the legendary 1960s rock venue in recent years. The fruits of labour by a single devoted fan, the collection is staggering, with 300 hours of unseen footage, 15 hours of unreleased recordings, promotional material, paperwork, clothing, rare and unpublished photographs, and signed and handwritten items - including lyrics, poetry and drawings - plus ephemera from ticket stubs to hotel keys. In addition, there is the most extensive collection of Hendrix related vinyl known to exist, and rare period and contemporary posters documenting Hendrix's influence on music and pop culture. The exhibition attempts to recreate the ambience of a sixties Psychedelic Club, with 'trippy' interiors to showcase the artefacts, and regular 'live' shows, where footage of Hendrix's performances can be viewed. Among the highlights are three original guitars, including Hendrix's only left handed model, a self-doodled microphone box, various stage clothes, and a one page typewritten newsletter circulated during the Woodstock festival. The collection is so extensive that the material on display will rotate on a monthly basis. The Marquee Club, 1 Leicester Square, London WC2, 0870 444 6277833 until February.

59 Rodney Street, Liverpool is a Georgian terraced house that belonged to the photographer Edward Chambre Hardman from 1948 to 1988, which has just opened to the public for the first time. It contains a selection of Hardman's extensive collection of photographs - over 142,000 images, made between the 1920s and the 1980s - the studio where many were taken, the darkroom where they were developed and printed, the business records, and the rooms where Hardman and his wife Margaret (an active partner in the business) lived, complete with all their contents and ephemera of daily life. The photographs, portraits of the people of Liverpool, and landscapes of both the city and the surrounding countryside, provide a unique record of a time when it was the gateway to the British Empire and the world. Hardman's is the only known photographic practice of the 20th century where the entire output and premises have been preserved intact. It appears that he and his wife never threw anything away. Wedding presents lay unopened decades after the event, tins of food stored away during the Second World War remain, and a collection of antique children's toys reveal how Hardman kept his younger subjects amused. A complex filing system recorded the hair and eye colour of Hardman's sitters, with samples of real hair so that the re-touchers knew exactly how to tint the prints before despatch. There is a rolling programme of displays of Hardman's photographs. The Edward Chambre Hardman Studio, House & Photographic Collection, Liverpool, 0151 709 6261 continuing.

Ancient Art To Post Impressionism: Masterpieces From The Ny Carlsberg Glyptotek is the first opportunity in the UK to see some 200 treasures from Copenhagen's museum, while it is closed for refurbishment. The collection was built up in the late 19th and early 20th centuries by a father and son, Carl and Helge Jacobsen, descendents of the founder of the Carlsberg brewing company, and reflects their different tastes. Over a period of 30 years, Carl built up one of the largest private art collections of its time, with particular emphasis on Antiquities, including examples of Greek, Roman and Etruscan sculpture. He also acquired contemporary works by Danish Golden Age painters, and sculptors such as Kbke, Lundbye, Eckersberg and Bissen, and by French artists including Millet, Meunier, Rodin and Carpeaux. After his death in 1914, Helge made acquisitions of Impressionists and Post-Impressionists, including Manet, Monet, Sisley, Degas and Cezanne. He assembled one of the most comprehensive collections of works by Gauguin in existence, including both paintings and 3D pieces, of which 10 are featured in the exhibition. The museum is one of only four in the world to possess a complete set of Degas bronzes - totalling 72 works - with 13 on show here. Other highlights include 'A Smoking Party' by William Bendz, 'Women Bathing' by Cezanne, and a sketch by Manet of 'The Execution of Maximilian'. Royal Academy of Arts until 10th December.

Continuing

Space Of Encounter: The Architecture Of Daniel Libeskind is the first exhibition in the UK of the work of the architect who has produced some of the most controversial buildings of our time. With their expressive forms and highly developed symbolism, Libeskind's designs consistently stir debate among both critics and the public. This exhibition explores Libeskind's architectural vision through a display of 16 key projects, including his master plan for the rebuilding of the World Trade Center site in New York, shown with specially commissioned 2 metre high illuminated model; Denver Art Museum, which is a series of geometric shards; Imperial War Museum North in Manchester, an image of the world shattered into fragments; the Jewish Museum in Berlin, the building that established his reputation; and the proposed Spiral extension to the Victoria and Albert Museum in London. Previously unseen architectural models, drawings, plans and elevations are combined with film and slide projections in a display conceived in close collaboration with Studio Libeskind. Completed and unrealised projects are shown side by side with those undergoing construction, underscoring the consistency of Libeskind's architectural philosophy. Also included in the exhibition are Chamberworks and Micromegas, a series of intricate drawings, and costume and set designs for the Deutsche Oper Berlin production of Saint Francis Of Assisi. Barbican Art Gallery until 23rd January.

Toulouse-Lautrec And The Art Of The French Poster recreates an exhibition held in London in 1894 highlighting the fashion for poster art in Paris in the late nineteenth century. Much of the material passed into the hands of the Victoria and Albert Museum, and this is the first chance to assess its importance since 1894. Remarkably, the selection by the original organisers is more or less the same as would be made today, with Henri deToulouse-Lautrec, Jules Cheret, Grasset, Steinlen, Bonnard and Vallotton featuring strongly, plus a mixture of more commercial images to provide an overall background. The poster had come of age as an art form from the late 1880s onwards, facilitated by the advent of modern colour lithography - the printing of large coloured images from stones pulled on a lithographic press. This led to an explosion of imaginative 'high class' imagery, whereby every day products were sold through coloured images created by some of the greatest artists alive. The key figure is now recognised to be Toulouse-Lautrec, though contemporaries favoured Cheret, and would not have realised the long term artistic significance of artists such as Bonnard and Vallotton. The exhibition stresses the role of Toulouse-Lautrec by including his work as a general printmaker, as well as examples of the work of Mucha and other non-French artists, to show the wider field in Paris at the time. The Bowes Museum, Barnard Castle until 13th March.

Sudan: Ancient Treasures focuses on recent archaeological discoveries that highlight the rich and diverse cultures that flourished in the forgotten civilisation of the Nile, long eclipsed by its better known neighbour, Egypt. The exhibition features some of the finest Sudanese objects produced during all phases of human settlement from the Palaeolithic through to the Islamic period, roughly 200,000 years ago to AD 1885. The Kushite sites at Jebel Barkal, Meroe and Naqa, dating from the 8th century BC into the 4th century AD, feature impressive monuments, temples, palaces and even pyramids - there are more pyramids in Sudan than there are in Egypt. Key objects on display include large stone sculptures - massive lions devouring bound prisoners, and statues of Egyptian gods - gold statues of Kushite kings, pottery, musical instruments, gold jewellery, wall paintings, and inscriptions in Egyptian, Meroitic, Greek and Arabic. Maps, plans and photographs help to set the objects in their archaeological and environmental context. The display reveals the many different aspects of Sudanese history, from the worldly power of the Kerma kings - accompanied to their death by 400 human sacrifices - to the humble graves of Christian rulers, and from the grandiose temples built by the Egyptian Pharaohs to the churches and mosques of later periods. The exhibition ends with a look at the current major threat to Sudan's archaeology by the construction of a new dam that will flood 170 kilometres of the Nile Valley. British Museum until 9th January.

Christopher Dresser: Design Revolution is a retrospective marking the centenary of the death of the man who was Britain's first professional, independent, industrial designer. Far ahead of his time, Dresser pioneered a new modern style, creating objects for the emerging consumer culture, many of which have become design classics. Dresser worked across a broad range of industries, and the exhibition displays over 200 objects in metalwork, furniture, ceramics, textiles, wallpaper and cast iron, together with other watercolour designs. Among the highlights are a group of geometric teapots designed for James Dixon and Sons, an 'Egyptian' chair of ebonized wood, and a jardiniere made of riveted bands of different metals. From the 1850s to the 1870s, Dresser was unique in Europe, embracing the potential of the machine age to produce beautiful designs efficiently. He created designs for more than 50 manufacturers, including, ceramics for Wedgwood and Minton, metalwork for Coalbrookdale and carpets for Brintons. Dresser made an extended visit to Japan promoting British manufactures in 1876, where he visited artists, metal works and potteries. On his return to England, greatly influenced by the simplicity of what he had seen, Dresser's style was transformed, and he designed minimal, sleek ceramic and metalwork pieces, which are among his most important creations. From then onwards, most of his designs bore his signature, establishing his name as a brand and assuring consumers they were buying 'good taste' - the Terence Conran of his age. Victoria & Albert Museum until 5th December..

Mirror - Christoph Girardet And Matthias Muller is a group of collaborative and solo works by the artists who specialise in creating montages of Hollywood clips and found television footage to suggest what might be going on behind the scenes. 'Mirror' is a new CinemaScope film presented as a double screen projection, inspired by the work of director Michelangelo Antonioni, which creates an atmosphere of 'the in-between' of belonging and isolation: a woman and a man are guests at an evening party - a love affair evaporates, the images shift, objects and people disappear and recompose. 'Beacon' similarly evokes 'the in-between', through the romantic connotations of the sea, as container of history, exotic underworld, and means of escape and travel, by combining travelogue footage and feature film scene settings into a single, imaginary locale. 'Play' is a montage of audiences, in which the onscreen action can only be seen reflected in their facial expressions and gestures, individual behaviour condenses into collective behaviour, and the event is transferred from the stage to the auditorium, so audience members become the actors in an unpredictable drama. In addition, two individual works, Girardet's 'Half Second Hand' and Muller's 'Promises', can be seen at night on the gallery's projection window. Site Gallery, Sheffield until 16th October.

Timeframes: Lodge Jeapes McGhie - TV Title Pioneers salutes the work of three BBC designers, who played a crucial role in transforming titles of television programmes, from little more than silent film captions, into a creative art. In the 1960s, Bernard Lodge, Alan Jeapes and Charles McGhie were the first to realise the potential of moving graphic sequences combined with sound. In 30 seconds they were able to capture the mood of the programme and engage the viewers. The exhibition is a combination of stills, screenprints, storyboards, lightbox slides and moving images of work by Lodge: 'Dr Who', 'The Late Show', 'Tea Party' and 'Telltale'; Jeapes: 'Thorndyke', 'Famous Gossips' and 'Softly Softly'; and McGhie: 'Late Night Horror', 'Out Of The Unknown' and '13 Against Fate'. When they joined the BBC there were no rules to break, as the department consisted of signwriters who created basic handwritten captions. Lodge, Jeapes and McGhie were art college trained, and used design, animation and experimental visuals to create kinetic solutions. The results were original and creative, and their seminal work has influenced television design ever since. What Saul Bass was to film titles, these three designers were to television - they invented the genre of the title sequence. Kemistry, London EC2, 020 7729 3636, until 30th October.

Concluding

Saul Bass: On Film celebrates the work of one of the greatest graphic designers of the 20th century, and the undisputed master of film title design. The elegance of the titles he created for Alfred Hitchcock, Otto Preminger, Billy Wilder and Stanley Kubrick in the 1950s and 1960s and, later in the 1990s, for Martin Scorsese, transformed a banal medium into an art form. Before Bass, titles were simple lists of the cast and crew projected on to cinema curtains that were only drawn when the film began. As this exhibition shows, Saul Bass turned the film title into a visual spectacle. When he devised a simple paper cut out of a heroin addict's arm for Preminger's The Man With The Golden Arm, it caused a sensation. Title sequences became independently shot short films or animations that set the tone for the film itself. Bass went on to create some of the most enduring images in design and cinema history, from the spiralling circles of Hitchcock's Vertigo, through the journey based animation of Michael Todd's Around The World In Eighty Days, and the emerging skyline of Manhattan in Jerome Robbins's West Side Story, to the frenzied neons of Scorsese's Casino. Underlying Bass's work were the principles of the Bauhaus movement, and a search for simplicity. Bass's greatest skill was to create a single symbolic motif or image to encapsulate and represent the film, and so his work also revolutionised the film poster, replacing the previous star portraits with an image that conveyed the film's essence. Design Museum until 10th October.

The Anderson Collection Of Art Nouveau provides an opportunity to see a unique collection of objects in a complementary setting. Sir Colin and Lady Morna Anderson were passionate collectors of Art Nouveau furniture, jewellery, glassware, textiles, metalwork and ceramics in the 1960s, and amassed one of the finest private collections of its kind, which they later donated for public display. The items demonstrate the quality of craftsmanship produced on the Continent and in Great Britain around the turn of the 19th century. The collection, shown in its entirety, includes glass by Lalique and Tiffany, posters by Alphonse Mucha, ceramics by Minton and Royal Doulton and furniture by Louis Majorelle and Emile Galle. The continental Art Nouveau style developed very much in parallel with the Arts and Crafts Movement in Great Britain, and the exhibition illustrates the cross-currents between the two styles. The house in which it is shown, designed by M H Baillie Scott in 1900, is one of best surviving examples of the Arts and Crafts Movement, though the interiors clearly show the influence of Art Nouveau, from the stained glass windows that incorporate flowers and birds, to the flowing carved wooden frieze of mountain ash in the main hall. A perfect partnership. Blackwell, Bowness-on-Windermere until 3rd October.

Mediterranean: Between Reality And Utopia reveals how international photographers, both contemporary and historical, have used many different styles as they endeavoured to capture the essences of this diverse region. Stretching from Alexandria to Athens, Barcelona to Beirut, and Tangier to Tel Aviv, the Mediterranean unites the three continents of Europe, Africa and Asia. The sea acts as both a bridge and a divider between nations, across which culture, ideas, trade, religions, people, power and economics have moved throughout history. Since the beginning of photography the Mediterranean has been a location travelled to, and depicted by, countless photographers. Those whose work is on display include: Edouard-Denis Baldus, Gabriele Basilico, Bleda and Rosa, Christophe Bourguedieu, Martin Cole, Dimitris Constatin, Louis De Clerq, Ad van Denderen, Eric Fischl, Gunther Forg, Julie Ganzin, Jacques Henri Lartigue, Rosell Meseguer, Vesna Pavlovic, Mark Rader, Guy Raz, Xavier Ribas, Youssef Safieddine, August Sander, Sebah and Joallier, Efrat Shvily, Joel Sternfeld, Enrico Verzaschi, and Secil Yersel. The Photographer's Gallery, London until 3rd October.