News Archive

Private View held by Richard Andrews

Last updated : 26th January 2005

Commencing

Turks: A Journey Of A Thousand Years 600-1600 AD is a wide ranging exhibition devoted to the artistic and cultural riches of the Turkic-speaking people. It comprises a wealth of materials whose origins stretch from the eastern borders of modern China to the Balkans, examining the artistic achievement of regions controlled by Turkic peoples over a thousand year period. Around three hundred and fifty objects, drawn principally from the collections of the Topkapi Palace Museum and the Museum of Turkish and Islamic Art of Istanbul, include paintings, textiles, carpets, sculptures, book illustrations, calligraphy, woodwork, metalwork, and ceramics, many of which have never before been exhibited outside of Turkey. Each of the eight galleries explores a particular time and place, emphasising specific themes and issues through a selection of works of art. Highlights among the riches include: a diamond and ruby studded casket made to contain a single hair of the prophet Mohamed; the Holbein Carpet (named after its resemblance to the painted version in Holbein's Ambassadors); a pair of 16th century walnut harem doors; a 7th century Chinese wall painting resembling a hybrid of Japanese ink sketch and Indian watercolour; pottery bowls and jugs encrusted with gold, rubies and emeralds; a 16th century Ceremonial helmet of iron, steel, gold, turquoise and ruby; and the animated grotesque figures in the scenes of daily life portrayed in the brilliantly coloured drawings of Mohamed of the Black Pen. The Royal Academy of Arts until 15th April.

Jannis Kounellis, in his first one person exhibition in the UK in over ten years, presents a unique installation of new and earlier works, dating from the 1960s to the present, specially conceived for these gallery spaces. Jannis Kounellis, the Rome based Greek artist, has been a major figure in contemporary art for over forty years. He played a central role in the Arte Povera (literally poor art) movement of the 1960s, redefining sculptural practice with his radical and highly original sculptures, performances and installations. Poetic and deeply stirring, his carefully staged installations evoke shared experiences of people, places and history. Sacks of coal, sheet steel, Victorian gas lamps and unspun cotton are among his materials, together with elements from the natural world such as fire, earth and organic matter - even live parrots and horses. Kounellis's interventions in historic spaces, such as his installation throughout the working monastery of San Lazzaro in Venice in 2003, or that which he created for the bombed interior of the National Library in Sarajevo in 2004, reveal his ability to respond with great sensitivity to a given site. Modern Art Oxford until 20th March.

Beatrix Potter's Garden brings to life the classic children's tales, through this insight into the life and works of author and illustrator Beatrix Potter, focussing on her Victorian childhood, the characters she created, and her life in the Lake District. The exhibition celebrates the centenary of the publication of The Tale of Mrs Tiggy-winkle, who was recently voted the second most popular Beatrix Potter character. It features original watercolour paintings of both book illustrations and Potter's house Hill Top, first editions of Peter Rabbit and The Pie And The Patty-Pan, and the original dummy manuscript of Mrs Tiggy-winkle, together with other books and memorabilia featuring the best loved Potter characters, including Peter Rabbit and Jeremy Fisher. Alongside are large scale exhibits, such as the costumes created for the film of Frederick Ashton's Royal Ballet production of The Tales Of Beatrix Potter. There is also a virtual tour of the Lake District, looking at what inspired and motivated Potter, who was fascinated by the wild life around her in the garden of her home. There are also special events, including an interactive Peter Rabbit story trail, creating a miniature paper garden, and a Peter Rabbit board game. Museum of Childhood at Bethnal Green until 8th May.

Continuing

Robert Mapplethorpe Curated By David Hockney is one artist's view of another: a personal selection of portraits, still lifes, flowers and nudes by the photographer whose work and life captured the spirit of his generation. The pair first met in 1970, when Hockney visited Mapplethorpe while he was living and working with the poet and rock musician Patti Smith at the Chelsea Hotel in New York. They became friends, and Mapplethorpe photographed Hockney on several occasions, including the 1976 portrait on New York's Fire Island. The exhibition comprises around sixty of Mapplethorpe's dramatic black and white photographs, taken in the years 1975 to 1988. They highlight Mapplethorpe's aesthetic sensibility, the controlled balance between light and shadow, balance and symmetry, beauty and obscenity. There are portraits of leading creative figures in contact with both Mapplethorpe and Hockney, including artists Keith Haring, Andy Warhol, Roy Lichtenstein, Ed Ruscha, and Louise Bourgeois, writers William Burroughs and Bruce Chatwin, and Patti Smith. Hockney has also selected portraits of famous acquaintances, including Richard Gere, Lord Snowdon, Yoko Ono, Arnold Schwarzenegger, Marianne Faithful and Iggy Pop. Many of the images are Mapplethorpe's lesser known works, and some have never previously been exhibited in London. Alison Jacques Gallery, Clifford Street London, 020 7287 7675 until 12th March.

SuperCity: Will Alsop's Vision For The Future Of The North, inspired by the way the built environment of the North has been regenerated in recent years, ponders on possible changes to come. Architect Will Alsop imagines what cities of the future could look like, how they might work, and how they could change the lives of those who live in them. He considers a situation in which the M62 corridor is a singular entity, a huge coast to coast SuperCity, 80 miles long and 15 miles wide, where city limits are blurred, and its inhabitants live in Liverpool, shop in Leeds and go clubbing in Manchester. Using the latest forms of advanced transportation, the SuperCity residents could wake up by the Mersey and commute to an office overlooking the Humber, while air travel from a central hub puts the world on their doorstep. The exhibition is a visual and mental journey in which architectural visions are tested against the needs and realities of the region, examining what impact it would have on the traditional definition of a city and the people who work, rest and play in such a radical new landscape. Featuring large scale sculptural forms created by Alsop, it surveys the complete spectrum of city life, from housing and working to transport, food chains and leisure spaces. Among these are Stack, a vertiginous tower that proposes a new way of housing 5,000 people with provision to learn, work and play; and Pier, a vast structure and multi-sensory experience with every shop, transport link and service expected of a modern city. Urbis, Manchester until 15th May.

Living Paint: J D Fergusson traces the Scottish Colourist's connection with France, and the influence of the Post Impressionists and the Fauves, that profoundly changed his style at the turn of the twentieth century. It also looks at the importance that John Duncan Fergusson placed on his Highland Celtic ancestry, and the key role he played in encouraging other artists in Scotland, and promoting Scottish art. The exhibition of around fifty portraits, nudes, landscapes and still lifes, in the distinctive Colourist style that marries bright colours with everyday subjects, is a broad selection of Fergusson's work, demonstrating his experimental and varied output. Of all the Colourist group, Fergusson in particular benefited from contact with avant-garde artists in Paris, and his response to this artistic revolution was ahead of any of his British contemporaries. The exhibition includes some of his most famous works, including 'The White Dress: Portrait of Jean', 'At My Studio Window', 'Danu, Mother Of The Gods and 'Jean Maconochie'. The Fleming Collection, London until 24th March.

Futurist Skies: Italian Aeropainting offers a rare and exhilarating birds-eye view of the world through the eyes of Italian Futurist artists. The movement that was always fascinated with technology, speed and the machine, found its ultimate subject in aeropainting - striving to capture the visual and metaphysical sensations of flight in dramatic and often intensely poetic imagery - which came to dominate Futurist art throughout the 1930s. Aeropainting was stylistically diverse, ranging from conventional views of the earth depicted from above, as in the work of Tato (Guglielmo Sansoni) and Alfredo Ambrosi, to the abstract, 'biomorphic' imagery of Enrico Prampolini and the dizzying, cinematic perspectives characteristic of Tullio Crali, as in 'Nosediving on the City'. However, whether representational or experimental, the work of the aeropainters consistently adheres to the Manifesto dell'aeropittura that "the changing perspectives of flight constitute an absolutely new reality, one that has nothing in common with the reality traditionally constituted by earthbound perspectives". Eventually, aeropainting was transformed into a propaganda machine for the Fascist regime, celebrating its military aspirations and adventures. In the process, it lost something of the spirit of enquiry and sense of wonder that pervades this exhibition of over sixty works, which include paintings, sculptures and ceramics by artists such as Domenico Belli, Mario Molinari, Giovanni Korompay, Fillia (Luigi Colombo), Nicolay Diulgheroff, Bruno Munari and Giacomo Balla. Estorick Collection, London until 20th February.

Jane Austen: Film And Fashion is a celebration of costume design in film and television - but with a difference. This unusual exhibition offers an opportunity to compare fact with fiction, by featuring both costumes created for recent television and film adaptations of Jane Austen's novels, alongside thirty original pieces of fashionable dress and accessories dating back to the Regency period from the resident collection. Jane Austen lived in Bath periodically, and scenes from two novels, Northanger Abbey and Persuasion, are set in the city, with key scenes taking place in the Assembly Rooms, which houses the exhibition. In the novels there is very little information about what the characters actually wore, making it a difficult task for costume designers to dress the actors authentically. The exhibition explains how each designer went about the process, providing an insight into their methods of working. It includes costumes from productions such as the BBC's Pride and Prejudice, starring Colin Firth, and the film versions of Sense and Sensibility, with Kate Winslet, Emma Thompson and Hugh Grant, and Emma, featuring Gwyneth Paltrow. Free audio guides that accompany the exhibition include first hand narratives from actors such as Greg Wise and Amanda Root, as well as the costume designers themselves. The Museum Of Costume, Bath until November.

Andy Goldsworthy: Passage is an exploration of the possibilities of a relatively new Norman Foster designed private gallery, whose proportions and 11,000 sq ft floor space, give Tate Modern's Turbine Hall competition. Goldsworthy has produced numerous site specific works all over the world, and specialises in bringing the outdoors indoors. In the 24 ft high Gallery 1, he has deposited an 18ft high stone tower, formed of granite pieces transported from a beach in Scotland (the largest weighing one and a half tonnes) that rely on purely their density and a system of sanded cavities for their balance. Timber enclosures surround the granite, but allow the bold visitor into its core for a more intimate inspection of the natural joints. Survivors can move on to Gallery 2, a 150ft long low ceilinged space, housing a 40ft long winding clay piece, created by applying mixture of hay and human hair soaked with slip to bind clay around tree branches. The walls are lined with photographic images of icicles, stalks, branches, leaf sculptures and a 3km long moonlit chalk path. Finally, in the more intimate Gallery 3, Goldsworthy has created a series of 6ft long wooden boxes at floor level, for visitors to examine snaking and rounded forms of sweet chestnut leaves, held together by thorns. All good 'what I did in my autumn half term holiday' stuff. Further information can be found on the Albion web site, via the link from the Galleries section of ExhibitionsNet. Albion, London until 31st March.

Concluding

Wigan Casino: The Heart Of Soul is an exhibition featuring artwork, memorabilia, photographs and videos intimately connected with what was voted 'Best Disco in the World' by American music magazine 'Billboard' in 1978. It boasts original objects and previously unseen photographs courtesy of the DJ Russ Winstanley, who founded the Casino's legendary 'all-nighters', and even the sounds of those 'all-nighters' - complete with hand clapping - recorded live in the Casino in 1975. Complementing this is Granada television's controversial 1977 documentary, 'This England', directed by Tony Palmer. Soul fans themselves have contributed memories and memorabilia, including original badges, which were a great feature of the time, and clothing. In addition, new works by local artist David Barrow aim to give visitors a taste of what it was like to be inside Wigan Casino in its halcyon days. The exhibition also explores the wider history of the former Empress Hall, which opened in 1916, and quickly became a popular dancing venue. It attracted many famous acts during the 1950s and '60s, including American rock 'n' roll legends. In 1965 it was re-launched as the Casino Club and went on to host to such acts as the Rolling Stones, Tom Jones and David Bowie, before becoming THE Northern Soul venue from 1973 until its closure in 1981. The building was demolished in 1983 to make way for a civic centre, which was never built. History Shop, Wigan until 26th February.

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.

The Vaughan Bequest Of Turner Watercolours, comprising thirty eight works from throughout J M W Turner's career, makes its annual appearance. When London art collector Henry Vaughan made the bequest in 1900, it was with the stipulation that the watercolours not be subjected to permanent display, since continual exposure to light would result in their fading. Further, he ruled that the collection could only be shown in January, when daylight is at its weakest and least destructive level. The Vaughan Bequest includes works from Turner's early topographical wash drawings of the 1790s, through to the colourful and atmospheric watercolour sketches of Continental Europe, executed in the 1830s and '40s. Despite the fact that modern technology now enables the light levels to be monitored and controlled at all times, the annual January exhibition has become a tradition, where Turner's radiance brightens the greyest Edinburgh day. National Gallery of Scotland, Edinburgh until 31st January.