Private View held by Richard Andrews
Your Eyes Only: Ian Fleming And James Bond is an exhibition celebrating the life and work of the man who created the world's most famous secret agent, James Bond, on the centenary of Ian Fleming's birth. It looks at the author and his fictional character in their historical context, and examines how much of the Bond novels were imaginary, and how far they were based on real people and events. The exhibition explores the early life of Fleming, his wartime career and work as a journalist and travel writer, and how as an author, he drew upon these experiences to create the iconic character of James Bond. Among the rare materials on display are Fleming's desk and chair from his Jamaican home Goldeneye, where he wrote all of the Bond novels; a map of the Mercury News Network established by Fleming in the 1950s, showing where all Sunday Times foreign correspondents were based; the jacket worn by Fleming on the Dieppe Raid of 1942; a selection of annotated Bond manuscripts; the Colt Python .357 Magnum revolver presented to Fleming by the Colt company in 1964; a working model of an Aston Martin DB5 complete with gadgets from the films Thunderball and Goldfinger; prototypes of Rosa Klebb's flick knife shoes from From Russia With Love; and Daniel Craig's blood-splattered shirt from Casino Royale. The exhibition examines to what extent the books and films reflect the reality of the Cold War and life in post war Britain, and how far they were a product of Fleming's imagination. Imperial War Museum until 1st March.
From Sickert To Gertler: Modern British Artists From Boxted House celebrates the lives of Bobby and Natalie Bevan, and the works that hung on the walls of their home, which became a gathering place for a wide range of creative people after the Second World War. Bobby was the son of the artists Robert Bevan and Stanislawa de Karlowska, and the painter and ceramicist Natalie Denny modelled for many artists, most famously Mark Gertler. As patrons of the visual arts, they played an important role in the post war cultural renaissance, and Boxted House became the heart of a social milieu not just of artists, but also of writers, politicians, gardeners and other creative individuals. Paintings by Bobby's parents and their friends, including Walter Sickert, Harold Gilman and Charles Ginner, hung beside works by Bobby and Natalie's friends, such as Christopher Nevinson, John Armstrong and Frederick Gore. Virtually every work in the exhibition has a personal link to Bobby and Natalie, with highlights including Robert Bevan's 'Showing at Tattersall's'; Charles Ginner's 'La Vieille Balayeuse, Dieppe', which he exchanged for a work by Robert Bevan; Harold Gilman's portrait of Bobby's mother; John Armstrong's 'Still Life with Leeks' painted whilst staying at Boxted House; Mark Gertler's 'Supper', a portrait of Natalie aged 19; John Nash's 'Ice and Snow', a snowscape of his garden not far from Boxted House; Cedric Morris's 'Paysage du Jardin No 2'; and works on paper by artists Francisco de Goya, Henri de Toulouse-Lautrec and Paul Cezanne. Scottish National Gallery Of Modern Art, Edinburgh, until 22nd June.
Richard Rogers + Architects - From The House To The City reviews the work of one of the most influential architects of our time, from his first family house in Cornwall, to the recently opened Heathrow Terminal 5. Covering a period of 45 years, it is a detailed survey of Rogers's collaborations, from early work with Norman and Wendy Foster, and Su Brumwell at Team 4; through the Pompidou Centre with Renzo Piano, which changed the shape of contemporary architecture; and the establishment of the Richard Rogers Partnership, which produced the Lloyd's of London building and the Millennium Dome; to the present as Rogers Stirk Harbour + Partners, and the National Assembly for Wales. It also features a number of less well known buildings in Britain and around the world, together with proposals and competition entries for projects that were never built, and a number of current works in progress. The projects are explored in depth, through new and archive architectural models, photographs, initial sketches, renderings, plans, drawings, films and computer animations. They are arranged in colour coded sections, with each block examining an architectural theme: Transparent, Legible, Green, Lightweight, Public, Urban and Systems. Design Museum, London until 25th August.
Blood On Paper: The Art Of The Book reveals the inventiveness with which the book has been treated by some of the most influential and respected artists of our time. Many notable artists of the 20th and 21st centuries have produced books, or works that refer to books. The exhibition displays 60 works by 38 artists, from Braque, Matisse, Miro and Picasso to Louise Bourgeois, David Hockney, Richard Long and Robert Rauschenberg. Some are iconic works that established the genre of the livre d'artiste after the Second World War, while others are surprises from artists who are best known for their work with other sorts of material. The pieces range from beautifully bound volumes, to sculptural works and installations, and include a major new work by Anselm Kiefer, 'The Secret Life of Plants', created in lead and cardboard, standing almost 2m tall; Anish Kapoor's 'Wound', which includes a book with a wound laser cut through hundreds of sheets of paper; and 2 cabinets from Damien Hirst's 'New Religion', holding sculptures and bound volumes of prints. In addition there are commercially produced publications, including Edward Ruscha's 'Twenty six gasoline stations', originally sold for $1 in supermarkets; Jeff Koons's 'The Jeff Koons Handbook', billed as "an indispensible paper-back guide to his art and ideas"; and Anthony Caro's 'Open Secret', which used advanced technology in metal fabrication to create books in stainless steel and bronze. Victoria & Albert Museum until 29th June.
Ansel Adams: Photographs is the first public display in Britain of the 'museum set' of quintessential images by one of the most celebrated and influential landscape photographers of 20th century. Spanning a period of 50 years, from the 1920s to the 1970s, it comprises 75 photographs, hand printed and selected by the American photographer and environmentalist Ansel Adams, as those that best represented his achievement as a photographer. Each image is a masterclass in scale and light, and they reveal the place of Adams's work in a tradition of American photographers of the sublime natural landscape They include the images for which he is most celebrated, such as the soaring monoliths of Yosemite National Park; Snake river meandering through Grand Teton National Park in Wyoming; a grove of thin aspens glowing ghostly pale in the Colorado dawn; the moon rising silently over Hernandez, an eerie hamlet in New Mexico; and the lakes and mountains of Alaska. Exquisite in their formal and tonal beauty, Adams's awe-inspiring images express the grandeur of untouched nature, as few others have been able to capture. Modern Art Gallery, Oxford, until 1st June.
Beguiling Time is an exhibition of innovative handmade lace, inspired by music and poetry, celebrating the 10th anniversary of the 98 Lace Group. This is a fellowship of lacemakers with varied textile backgrounds, united by a common goal of giving modern lace a livelier public profile. The exhibition contains over 40 pieces of lace, showing the amazing versatility that can be produced using the medium. Far from being plain white cloth, the pieces embrace bright colours, and a variety different forms, ranging from wall hangings to bags and vessels, using plastic, paper and raffia, metal, linen thread and wire. They marry the traditional skills of handmade lace with new ideas and materials to give a contemporary twist to the form, so the design and ideas demonstrate that this 15th century craft has a relevance to the art and design of the 21st century. Items range widely, from funky sculptural pieces such as 'Apple Blossom' by Lily Wills, inspired by the hymn 'All things bright and beautiful', and 'Limbo Rainbow' by Ann Bramnmer, to refined and beautiful works such as 'Images Unwound' by Ann Allison, 'Haiku Streamer' by Sue Mclaggan and 'Polka' by Jane Atkinson. However, each piece has in common the quality of craftmanship and skill that each lace weaver provides. The De Morgan Centre, 38 West Hill, London SW18, until 31st May.
The American Scene: Prints From Hopper To Pollock features spectacular images of American society and culture made during a period of great social and political change from the early 1900s to 1960. Featuring 147 works by 74 artists, the exhibition includes the work of John Sloan, George Bellows, Benton Spruance, Josef Albers, Louise Bourgeois, Franz Kline, Willem de Kooning and Jackson Pollock. The exhibition encompasses the arrival of modernism following the landmark Armory Show of 1913, the rise of the skyscrapers as the symbol of modern progress and prosperity, the Jazz Age, the Depression, and the effect of the rise of Fascism in Europe on artists' political consciousness and engagement and America's entry into the Second World War. There were many striking images produced during this period, some of them have become iconic within America, but are still relatively unknown outside. Highlights include evocative scenes of New York at night by Edward Hopper, Martin Lewis and other etchers working between the wars; a contrasting romanticised vision of the American Midwest in the work of Thomas Hart Benton, John Steuart Curry, Grant Wood and Doris Lee; and socially conscious prints by Robert Gwathmey, Blanche Grambs and Dox Thrash made during the Depression, through the Federal Art Project, which provided relief to unemployed artists. British Museum until 7th September.
Colin St John Wilson: Collector And Architect celebrates the legacy of Wilson through both his architectural achievements, and as the owner of one of the most important private collections of 20th century British art. The collection, amassed over a lifetime, was given to the gallery for which he designed the recently opened new wing, which houses it. The exhibition brings together for the first time many of Wilson's drawings, models and writings from some of his greatest architectural projects, from the British Library, possibly the last great public building of such scale that we shall ever see (and the building of which he used to refer to as his "30 years' war") to the simple Pallant House Gallery itself. It coincides with a major rehang of the Wilson Gift, with works by Wilson's contemporaries Michael Andrews, Peter Blake, Patrick Caulfield, R B Kitaj, Eduardo Paolozzi and Richard Hamilton, as well as major figures including David Bomberg, William Coldstream and Walter Sickert. Photographs and ephemera documenting the studios designed by Wilson's wife and partner M J Long for several of the artists represented are also on display. The exhibition focuses on three key aspects of Wilson's career: The Early Years, and his participation in the 1956 exhibition This Is Tomorrow at the ICA, widely recognised as a watershed moment in post war British art; The Cambridge Years, when he lectured at Cambridge and became increasing influenced by Le Corbusier and Alvar Aalto; and The London Years, resulting in his own personal legacy, the British Library. Pallant House Gallery, Chichester, until 8th June.
Amazing Butterflies explores the life cycle of some of the world's most beautiful creatures in a giant maze, tropical butterfly house, and butterfly garden. The interactive maze takes visitors on a journey from egg to caterpillar, and chrysalis to butterfly, shrinking them to the size of a caterpillar, so that they can experience what it is like to have to navigate past the perils of predatory spiders and sticky plant traps. Those that survive emerge from a chrysalis, and take flight on a zip slide aerial runway. In the butterfly house there is a hatchery, where butterflies constantly emerge from their pupa, and join the hundreds of butterflies and moths from North and South America, Africa and Southeast Asia fluttering freely among the exotic plants. Around 40 species with wildly different colourings and markings are on view, including the Glasswing butterfly, which has transparent wings, and the Madagascan moon moth, which has the longest tail of any moth. Finally, outside, there is a garden planted with the flowers that are best for attracting butterflies that are native to Britain, together with seasonal butterfly visitors. Meanwhile, inside the museum itself, there over 8 million preserved butterflies and moths, including representatives from about 90,000 species, with specimens dating back as far as 1680. Natural History Museum until 17th August.
Pompeo Batoni 1708 - 1787 provides an opportunity to rediscover the work of the artist who, in his day, was the most celebrated painter in Rome. For nearly half a century, Batoni recorded international travellers' visits to Italy on the Grand Tour, in portraits that remain among the most memorable artistic accomplishments of the period. Equally gifted as a history painter, his religious and mythological works were acquired by patrons and collectors in Britain and Europe. This exhibition, which marks the tercentenary of Batoni's birth, is the first comprehensive presentation of his paintings in forty years. It provides an appreciation of the artistic achievement of 'Italy's Last Old Master,' through 62 of the finest examples available in the public and private collections. Batoni's status as Rome's most sought after painter of both portraits and history paintings, is demonstrated by works never previously publicly exhibited, as well as newly discovered and recently restored works. Highlights include portraits of 'Colonel the Hon William Gordon', 'Sir Gregory Page-Turner, 3rd Bt', 'Sir Humphry Morice', 'Sarah, Lady Fetherstonhaugh', 'Sir Matthew Fetherstonhaugh', 'Sir Watkin Williams-Wynn, 4th Bt, Thomas Apperley, and Captain Edward Hamilton'; the religious paintings 'The Ecstasy of St Catherine' and 'Bernardo Tolomei Attending a Victim of the Black Death'; and the mythological works 'The Death of Meleager' and 'Truth and Mercy'. National Gallery until 18th May.
Hugh Stoneman Master Printer is a retrospective of a career of over 30 years, during which Stoneman was renowned for his unique collaborations with other artists. Working in dialogue with painters, photographers and sculptors, Stoneman ensured that, through the intrinsic artistic qualities of print media, their work found new relationships between image and material. What made Stoneman unique was the breadth of his experience. An expert in etching, photogravure, woodcut, linocut, letterpress, and lithography, he put the complex knowledge and arcane equipment of the old time master printer - the copper plates, ink, scrim, wool blankets, dampened paper, presses - at the disposal of the most experimental contemporary artists. These ranged from Terry Frost, Patrick Heron, Sandra Blow and Ian McKeever to Eve Arnold, Gary Hume, George Shaw and Grayson Perry, as well as some significant European and Middle-Eastern figures such as Arturo Di Stefano, Cesar Galicia and the Estate of Iraqi politician, Kamil Chadirji. The exhibition revisits some of Stoneman's key collaborations, and showcases his ability to work in an extraordinary range of expressive styles. Stoneman was mainly concerned with portfolios of prints containing sequences of linked images that gather their own inner momentum, likened to 'small but complete, portable exhibitions'. Tate St Ives until 11th May.
The Agony And The Ecstasy: Guido Reni's Saint Sebastians provides a once in a lifetime opportunity to see all together six of the seven St Sebastians painted by Guido Reni in the 17th century. The paintings from Madrid, Genoa, Rome, Ponce in Puerto Rico and Auckland in New Zealand can be seen in one room, alongside one of the best known works in the permanent collection (the seventh is in the Louvre and is too fragile to travel). Reni's paintings of the saint are remarkable as they respond to a religious subject by means of a sexually charged image. He painted several versions of St Sebastian following two main prototypes (or poses), and scholars have long debated the exact relationships between these canvasses. As well as providing the chance to compare and contrast the different versions, the exhibition sets out to establish the provenance of the works, and reveals the results of recent technical analysis, dispelling myths about copies, and also describes significant advances in what is known of early 17th century Italian patronage, painting, and cultural reputations. Dulwich Picture Gallery until 7th May.