News Archive

Private View held by Richard Andrews

Last updated : 29th August 2007


The Changing Face Of Childhood: British Children's Portraits And Their Influence In Europe looks at how the representation of children in British art changed over the centuries, and how these changes were taken up by European artists.

In the 1630s Van Dyck painted Charles I's children as innocent creatures subjected to the established style of courtly representation. 100 years later Gainsborough set new standards, with keenly observed renditions of child like behaviour, and subjects who were placed in their own environment. As painted by Joshua Reynolds, and his successor Thomas Lawrence, they were no longer stiffly posed miniature reflections of their aristocratic parents, but genuinely child like, running wild in landscapes that reflect their personalities. This new way of seeing children as independent characters became popular throughout Europe, and as a result, European artists like Angelika Kauffman travelled to England to see the works, and contributed to the wide dissemination of this 'modern' portrait type. All over Europe in the second half of the 18th century interest in children's portraits spread, not just among the nobility, but among the newly emerging bourgeoisie. Highlights include Gainsborough's 'The Painter's Daughters', Peter Lely's 'Young Man as a Shepherd', Joshua Reynolds's 'Georgina, Duchess of Devonshire and Her Daughter Lady Georgina Cavendish', Thomas Lawrence's 'The Children of Lord George Cavendish', Henry Raeburn's 'The Allen Brothers', William Beechy's 'Sir Francis Ford's Children Giving a Coin to a Beggar Boy' and Francis Cotes's 'The Young Cricketer: Portrait of Lewis Cage'. Dulwich Picture Gallery until 4th November.

The Memory Of Place is a site specific installation by Scottish glass artist Keiko Mukaide, which draws on religious ceremony from her native Japan, to create a site of ritual contemplation, using fire, water, glass, stone and light. It is Keiko's response to her sense of the sadness and emptiness of the space, the visual remains of the former church's medieval interior, with the stained glass, gravestones and carvings remaining from its past as a sacred site, and the discovery by geomancer Graham Gardner of energy ley, underground streams and blind springs beneath the building. Keiko has constructed a pool of water, which fills the nave of the church, flowing towards the transept, where a suspended column of glass rods is dramatically top lit, suggesting a spiritual path to a higher place. It was inspired in part by the Japanese religious ceremony, Shoro nagashi, in which people release lanterns on to a river in mid summer, symbolising their ancestors' spirits ascending to heaven, and reflecting the timeless bond between them and those who went before. Visitors are invited to become involved with the installation by lighting a votive candle and floating it on the pool. St Mary's Church, Castlegate, York until 28th October.

Blackpool Illuminations have extended the holiday season and entertained visitors to the seaside town since 1879, when 8 plain electric arc lamps bathed the Promenade in what was described as 'artificial sunshine'. While the basic idea remains the same, the style and scale of Blackpool's end of season electrical extravaganza have little in common with that first experiment in lighting. Traditional lamps are still used, but now alongside the newest technology such as lasers, fibre-optics, low-voltage neon and even real fire and water. The show now costs £2.4m to stage, and stretches for six miles of spectacular colour, light and movement. Among featured tableaux in this year's free show are 'Decodance' designed by Laurence Llewelyn-Bowen, and monsters from Dr Who. Visitors can become part of the display, as they travel along the Promenade aboard a tram dressed up by lights as a wild west train, ocean liner or space rocket, from 8pm to midnight most nights.

The Festival Of Light is an accompanying programme of events and contemporary light installations. These include 'Artificial Sunshine - The Story Of The Illuminations' exhibition, where visitors can get up close to working illuminations, and see original drawings and diagrams dating back to the 1930's; Andy McKeown's 'Kaleidoscopia', in which images provided by visitors are kaleidoscoped and projected on to buildings across the town; Blachere Illumination's 'Wonderland', a sparkling canopy curtain of LED lights floating as if suspended in mid air, mysteriously supporting 6 giant chandeliers; Michael Trainor's giant mirror ball installation 'They Shoot Horses Don't They?' spectacularly illuminated by Greg McLenahan; and Kate Walker's 'Rain', consisting of multiples of lamp-worked glass with water inside, suspended on fibre optic lighting, like a cloud suspended in space made up of hundreds of glass raindrops. Blackpool Promenade 31st August to 4th November.


Journey Through Japan, is an exhibition of 33 hand painted Victorian lantern slides collected by museum founder Frederick Horniman. These were produced by Japanese photographers for western tourists to take home as a memento of their trip. The images depicted, and the colour palette used by the artists, helped to establish both cultural and visual stereotypes of Japan still prevalent in the west today. The exhibition also includes other lantern slides that depict an alternative and more authentic view, illustrating typical street scenes. The images are accompanied by excerpts from the recently discovered diary of 11 year old Marjorie Bell, who travelled to Japan with her mother and aunt in 1903, visiting many of the places represented in the lantern slides, and recording keen observations of the people she met and the landscapes she saw.

Wrapping Japan explores the culture of wrapping within Japanese society, from fukusa and furoshiki (cloths used in the presentation of gifts) through to examples of traditional wedding and other costumes. The wedding section includes a headdress worn by the bride, tsunokakushi, which translates as 'horn-hider', interpreted as being intended to hide the wife's faults from her husband to be during the wedding ceremony. The costume worn by women at weddings in Japan is based on that of ladies of the court during the Heian period, and the scarlet colour of the bride's under kimono, nagajuban, is said to represent her passion, concealed from view except for the slightest glimpse at the edges. The exhibition also explores kimonos and obi - the sashes worn over a kimono - and the symbolic meaning expressed in the way that they are tied.

Horniman Museum Forest Hill, London SE23, Journey Through Japan until 11th November - Wrapping Japan until 10th February.

Out Of This World: The Art Of Josh Kirby is the first major retrospective of the artist whose speciality was other-worldly characters, creatures, fantasy cities and landscapes. It spans Kirby's career from his early days as a freelance artist, to his cover illustrations for Terry Pratchett and Eric/Faust fantasy books. The exhibition displays his best known work, such as film posters for Star Wars: Return Of The Jedi and Monty Python's Life Of Brian, and the Discworld series of books, alongside the less familiar, including illustrations for Corgi and Panther publishers in the 1950s and 1960s. It provides a unique opportunity to view Kirby's often highly complex paintings un-cropped and in their original format. His heroes and heroines are archetypal fantasy figures, but his scenes are infused with ribald humour. Fantasy art is often associated with airbrushing, but Kirby's works were meticulously hand painted, usually in gouaches or oils, over a period of four to eight weeks.

Unnatural Selection: Jewellery, Objects And Sculpture By Peter Chang is the first time Chang's early and contemporary drawings, prints and sculptures have been presented alongside his jewellery, objects and current sculpture, providing a comprehensive overview of his work. Peter Chang exploits the intrinsic qualities of plastic - its malleability and colour - to make shapes in all sizes, from jewellery to outdoor sculpture. Inspired by many things, from the natural world to the urban environment, Chang uses self devised techniques to combine throw-away everyday acrylic, polyester resin and PVC, with precious metals and other materials, into objects that have a sci-fi feel.

Walker Gallery Liverpool, both exhibitions until 30th September.

Work, Rest & Play explores how artists have responded to changing patterns of work and leisure over the last 400 years. The exhibition features paintings, sculpture and photographs by 25 artists, including Canaletto, Gainsborough, Gauguin, Monet, Maggi Hambling and Renee Green. Giovanni Battista Moroni's 'The Tailor', one of the earliest portraits to show an individual at work, contrasts with L S Lowry's 'Coming from the Mill' where the individual seems lost in the mass labour force of a 20th century industrial city. The development of technology and the changing roles of women are reflected by Joseph Wright of Derby's 'An Iron Forge', painted at the start of the Industrial Revolution, showing the impact of rapid progress, and Laura Knight's 'Ruby Loftus screwing a Breech Ring' recording the contribution of women who took on traditionally male roles during the Second World War, while Ford Madox Brown's 'Work', centred around navvies laying a water pipe in Heath Street, Hampstead, fully captures the vigour of Victorian city life. Contemporary global office culture is depicted in photographs by Lars Tunbjork, which include a Tokyo stockbroker asleep at his desk, and a New York lawyer's office with staff kneeling under the desk - the only spare space in the paper-strewn room. The exhibition suggests that even leisure can be hard work, with Duane Hanson's 'Traveller', an extraordinarily lifelike sculpture of a sunburnt holidaymaker slumped over his luggage as he waits for a flight home, and Manet's 'Corner of a Cafe Concert', which demonstrates how one person's entertainment can depend upon another's work: a man relaxes with his pipe at the bar, where a dancer entertains him and a waitress serves him beer. National Gallery until 14th October.

Warhol: A Celebration Of Life… And Death presents a broad sweep of Andy Warhol's work from the early 1950s to 1986 in a wide range of media - painting, sculpture, drawing, collage, film, photography and installation. It is the most comprehensive retrospective of Warhol's work being staged in Britain to commorate the 20th anniversary of his death. The show includes examples of all of his most iconic works, such as 'Campbell's Soup Can', 'Brillo Box', 'Heinz Box', 'Marilyn', 'Elvis', 'Baseball', 'Coca-Cola', 'Do-It-Yourself' and 'Dance Diagram', but it also spotlights aspects of Warhol's art that are not so well known. Special displays are dedicated to 'Marilyn, Liz, Jackie and Elvis', 'Portraits of the 1970s and 1980s', 'Consumer Products', 'Death and Disaster', 'Skulls', 'Stitched Photographs', and 'War, Death and Religion'. Among the highlights are 'Silver Clouds', a room of floating silver-coloured helium balloons; the 'Skull' series of screenprints made in the same way as his earlier celebrity portraits; a number of Time Capsules; the slowed down 'Screen Tests', in which visitors to the Facory simply had a camera turned on them; and 'White Burning Car III' from the 'Death and Disaster' series, one of which set a new record for Warhol at auction when it was sold for $71.7m at Christies in New York earlier this year. National Gallery Complex, Edinburgh until 7th October.

Picasso On Paper focuses on Picasso's work as a graphic artist, with over 120 drawings, etchings, lithographs, linocuts and woodcuts made over a period of more than seventy years, some well known, but also some never before seen in Britain. The works chart Picasso's constant experimentation and reinvention as an artist, ranging from etchings done in the early 1900s, during Picasso's so-called 'Rose Period', to the Cubist works of the pre-war years, the Surrealist works of the 1920s and 1930s, the colour linocuts of the 1950s and the sexually charged work of his late years. Among the highlights are 'The Frugal Meal', 'Nude', 'Group of Female Nudes', 'Minotauromachie', 'Weeping Woman I', 'Portrait of Dora Maar', 'The Bull', 'Woman in an Armchair No 1 (from the red)', 'Portrait of a Young Girl, after Cranach the Younger II' and 'Still life with a Glass under Lamplight'. A unique opportunity to trace the development of Picasso's extraordinary career in its entirety. Dean Gallery, Edinburgh until 24th September.

Picasso: Fired With Passion concentrates on Picasso's work in ceramics, metalwork, jewellery and photography. It draws upon Picasso's output from 1947 to 1955, during a significant period of his life when he was working at Vallauris in southern France. Over 100 objects reveal the diversity of his work across different media. In addition, personal photographs and mementos, give a sense of both work and life, and his friendships with contemporaries, such as the artists Jean Cocteau and Georges Braque photographer Lee Miller and surrealist painter, poet, and historian Roland Penrose. Highlights include brightly coloured plates decorated with fish and birds, a jug with a stylised female figure, a vase entitled 'Aux Danseuses', a ceramic vase 'Chouette' and a silver platter. National Museum of Scotland, Edinburgh until 28th October.

Richard Long: Walking And Marking is a retrospective of the man who has made walking into a form of art, expessing man's relationship with the landscape. For 40 years Long has recorded his perambulations around the world in photographs, maps, drawings and sculptures. Mud, a material that he has used in a number of ways for much of his career, is a major theme of the exhibition. Long has remade three of his large scale mud wall drawings in situ, and the display also features mud dipped works on paper and mud splash drawings. Much of Long's work consists of laying rocks or sticks in lines, circles and spirals in remote locations, such as the Himalayas, the Sahara, Patagonia and Alaska, photographs of which are included in the exhibition, along with maps and texts to convey the idea of his walks. Long has also made work using his own finger and hand prints on tree sections, driftwood, and other materials that he has collected, a number of which are on display for the first time. Long has also made a new large cross-shaped sculpture in Cornish slate in the gardens at the rear of the Gallery. Scottish National Gallery until 21st October.


Panic Attack! Art In The Punk Years marks the 30th anniversary of the release of the Sex Pistols' God Save The Queen album, with its infamous cover by Jamie Reid. The exhibition explores art produced from the mid 1970s to the mid 1980s in Britain and the United States, at a time when both countries were a breeding ground for subcultures of punk and post-punk. Although the punk movement is largely known for its music, fashion and graphics, this show exposes the equally vibrant art that emerged during these years, most notably in London, New York and Los Angeles. It includes the work of some 30 artists, and examines art that shares many of the concerns and attitudes associated with punk. Some of the artists have direct links with the punk scene, including Nan Goldin, Derek Jarman and Raymond Pettibon, others have less well known, but significant connections with punk in their early careers, such as Tony Cragg, Jenny Holzer and Barbara Kruger. The inner city as a place of fantasy, protest and decay, the body as a political battleground and the dynamic crossover between the worlds of art and music are major themes of the exhibition. David Wojnarowicz in New York and Stephen Willats in London turned to urban dereliction as a symbol of personal and social crisis, as did New York artists such as Jean-Michel Basquiat, who were closely associated with the emergence of graffiti art. The exhibition also explores the inter-disciplinary nature of the punk movement and the many collaborations that formed between artists and musicians during this period. Barbican Art Gallery until 9th September.

Georges De La Tour: Master Of Candlelight offers the first opportunity in Britain to view paintings by the recently 'rediscovered' early 17th century French painter Georges de La Tour, focusing on his late period, during which he concentrated on the effect of light on the human figure. For 300 years La Tour's paintings were incorrectly attributed to a number of artists, and it was not until 1972 that all his surviving works were brought together in a major retrospective exhibition. La Tour's mature paintings are characterised by a dramatic simplification of the human form, lit only by the glare of candles, often with the light source unseen. His religious works in particular have a monumental simplicity and mystery. Paintings on show include 'St. Jerome Reading', 'St Sebastian Attended by Irene', 'The Choir Boy (A Young Singer)' and 'The Dice Players'. A revelation.

The Shadow is an accompanying exhibition of contemporary works, focusing on the psychological and symbolic meanings attached to the shadow. The theme is explored through installation, video and photography by artists including: Doug Aitken, Laurie Anderson, Carlo Benvenuto, Christian Boltanski, Fabrizio Corneli, Ceal Floyer, Mona Hatoum, Gary Hill, Nino Longobardi, Urs Luthi, Ottonella Mocellin and Nicola Pellegrini, Tracey Moffatt, Margherita Morgantin, Marvin E Newman, Annie Ratti, Rosanna Rossi, Anri Sala, Susanne Simonson, Fiona Tan, Andy Warhol, William Wegman and Francesca Woodman.

Compton Verney, Warwickshire, until 9th September.

Dali & Film is the first exhibition to focus on the relationship between the paintings and films of Salvador Dali, who, through his collaborations with Luis Bunuel, Alfred Hitchcock, the Marx Brothers and Walt Disney, created some of the most memorable and influential scenes in avant-garde cinema. Arranged chronologically, it brings together more than 100 works, including over 60 paintings, seen alongside Dali's major film projects such as 'Un Chien andalou, L'Age d'or', 'Spellbound' and Destino, as well as associated photographs, designs, drawings and manuscripts. The first two films that he co-wrote with Luis Bunuel are marked by Dali's vivid imagination and his engagement with the Freudian theories that energised Surrealism, especially the study of dreams and the unconscious. These films include haunting images such as the slicing of an eyeball with a razor and a hand infected with ants, and as this exhibition reveals, Dali had already explored these images in major paintings, such as 'Apparatus and Hand' and 'Inaugural Goose Flesh'. It also shows how in subsequent paintings Dali employed a new cinematic atmosphere, such as in 'Morning Ossification of the Cypress'. Dali imagined films throughout his life, producing poetic texts and sketches, scenarios and paintings. The dream sequence for Hitchcock's thriller 'Spellbound' brought to a grand scale the imagery of contemporary paintings such as 'Melancholy, Atomic, Uranic Idyll'. Walt Disney's 'Destino' is being shown along with related drawings by Dali for the first time in the Britain. Tate Modern until 9th September.