ArtSlant - Recently added en-us 40 Tal R - Victoria Miro Gallery - April 23rd - May 30th <p style="text-align: justify;">Victoria Miro is delighted to present&nbsp;<em>Chimney school of sculpture</em>, an exhibition of new work by the Copenhagen-based artist Tal R.</p> <p style="text-align: justify;"><br />Tal R has often used the word 'kolbojnik', meaning leftovers in Hebrew, to describe his practice of sourcing and collecting a wide range of imagery, figurative and abstract, from high and low culture. Installed collectively, Tal R&rsquo;s works can give the impression of a group show, as adherence to a single aesthetic style is eschewed in favour of a non-hierarchical exploration of material and form. This will be explored in the exhibition, which stages sculptures alongside furniture works and a series of paintings and works on paper.</p> <p style="text-align: justify;">The lower gallery will be populated by a disparate collection of ceramic, creature-like sculptures. Tal R has employed a process of Raku firing, an ancient technique which originated in sixteenth-century Japan. The process produces notoriously unpredictable results &ndash; the clay&rsquo;s surface is blackened or whitened according to the intensity of its exposure to the smoke and is liable to crack or even explode, a volatility that has drawn the artist to the material.<strong>&nbsp;</strong></p> <p style="text-align: justify;">Alongside the Raku sculptures will be a number of minimalist sculptures of fabric-covered wood. These larger-than-life flumes, with candy-cane stripes and built-in air vents, call to mind to the industrial chimney. However, these works are divorced from any functioning system. Instead they suggest a joyfulness that rebukes a factory logic of inputs and outputs, and embody a stranger and less quantifiable process.<strong>&nbsp;</strong></p> <p style="text-align: justify;">Tal R is also known for producing unique, hand-made sofas, or &lsquo;opiumbeds&rsquo;, which are made from old and new rugs sourced throughout Scandinavia and treated with paint and dye in the studio. A&nbsp;</p> <p style="text-align: justify;">number of these patchworked pieces of furniture will provide another perspective from which to view &ndash; or from which to be viewed by &ndash; the sculptures. Exploring the domestic quality of furniture as an artistic medium, Tal R plays with the boundary between art and life. Neither the practical purpose of these works nor their aesthetic qualities take categorical precedence. The idea of the opium bed suggests a hazy, latent space of unfettered thinking, the functional object delineating a non-functional space of thought.&nbsp;<strong>&nbsp;</strong></p> <p style="text-align: justify;">The upstairs floor of the gallery space will be taken up with a self-contained corridor structure stretched&nbsp;over with canvas material. Within it are paintings and works on paper, all depicting a closed blind. Repeated across the walls of an enclosed space, this representation of shuttered vision conveys a visceral sense of interiority and positions the viewer in an ambiguous space that is neither inside nor outside.</p> Thu, 26 Mar 2015 15:55:59 +0000 Fiona Rae - Timothy Taylor Gallery - April 22nd - May 30th <p style="text-align: justify;">Timothy Taylor Gallery is delighted to announce its fourth solo exhibition by British artist Fiona Rae.</p> <p style="text-align: justify;">This new series of greyscale paintings from 2014&ndash;2015 marks an exciting and significant development in Rae&rsquo;s practice. Each painting&rsquo;s composition predicates a notional figure, whose existence is simultaneously manifested and denied in a theatre of direct performative mark-making. These are abstract compositions teetering on the edge of figuration, expressively rendered in black, white and tones of grey. Within this rigorous and strategic system of hue reduction and subtle balancing of tonal relationships, Rae has nevertheless created an intensely colourful and dynamic suite of paintings that embody both the tropes of high modernist idealism and the distanced manipulations of a Photoshop-inflected present.</p> <p style="text-align: justify;">Alongside these paintings, a series of small-scale charcoal drawings will be shown &ndash; a new expressive medium for the artist &ndash; and one upon which her wit and restless invention are brought dramatically to bear. Inspired by a variety of sources from Chen Rong&rsquo;s thirteenth-century&nbsp;<em>Nine Dragons</em>&nbsp;to Robert Rauschenberg&rsquo;s&nbsp;<em>Erased de Kooning Drawing</em>&nbsp;(1953), Rae challenged herself to find a way of representing the figure that synthesised its historical traditions with the contemporary existential experience of self:</p> <p style="text-align: justify;"><em>I wanted to be de Kooning making a Woman drawing or painting, and at the same time I wanted to be Rauschenberg erasing it. That seemed to me to be the perfect answer to the problem of allowing oneself to make a drawing of a figure without disappearing into the past. Doing it and undoing it until some kind of image just about arrives. With the paintings, I had the same notion of erasure, while at the same time both longing to make a figure appear and wishing to remain in the field of abstraction.</em></p> <p style="text-align: justify;">(Fiona Rae in conversation with Martin Herbert, 2015)</p> <p style="text-align: justify;">Fiona Rae graduated from Goldsmiths College, London in 1987; took part in the ground-breaking exhibition<em>Freeze</em>&nbsp;in London&rsquo;s Docklands in 1988 and was shortlisted for the Turner Prize in 1991. Over the last 25 years, Rae&rsquo;s work has been included in numerous exhibitions in museums, public institutions and galleries worldwide. Group exhibitions include&nbsp;<em>Hybrids</em>, Tate Liverpool, UK (2001);&nbsp;<em>Painting Pictures</em>, Kunstmuseum Wolfsburg, Germany (2003);&nbsp;<em>Fiction@Love</em>, Shanghai Museum of Contemporary Art, China and Singapore Art Museum (2006);&nbsp;<em>Pictograms</em>, Kunstmuseum Stuttgart, Germany (2006);&nbsp;<em>Classified</em>, Tate Britain, London, UK (2009). Solo exhibitions include Carr&eacute; d&rsquo;Art, Muse&eacute; d&rsquo;Art Contemporain de N&icirc;mes, France (2002&ndash;2003); Leeds Art Gallery, UK; The New Art Gallery Walsall, UK; Towner, Eastbourne, UK (2012&ndash;2013); and&nbsp;<em>Painter, Painter: Dan Perfect, Fiona Rae</em>, Nottingham Castle Museum &amp; Art Gallery, UK and Southampton City Art Gallery, UK (2014).</p> <p style="text-align: justify;">Fiona Rae&rsquo;s work is represented in public and private collections internationally, including Fonds National d&rsquo;Art Contemporain, Paris, France; Fundaci&oacute; &ldquo;la Caixa&rdquo;, Barcelona, Spain; Hamburger Bahnhof, Berlin, Germany; Hirshhorn Museum and Sculpture Garden, The Smithsonian Institution, Washington, D.C.,&nbsp;USA; Mudam Luxembourg; Mus&eacute;e National d&rsquo;Art Moderne, Centre Pompidou, Paris, France; Tate Collection, UK.</p> <p style="text-align: justify;">Rae was elected to the Royal Academy of Arts, London (2002); served as a Tate Artist Trustee (2005&ndash; 2009); and was appointed Professor of Painting at the Royal Academy Schools, London (2011).</p> <p style="text-align: justify;">The exhibition is accompanied by a fully illustrated catalogue featuring a conversation between Martin Herbert and Fiona Rae.</p> Thu, 26 Mar 2015 15:52:29 +0000 Robert Therrien - Gagosian Gallery - Davies Street - April 14th - May 30th <p style="text-align: justify;">Gagosian London is pleased to present an exhibition of three sculptures by Robert Therrien.<br /><br />Therrien's work has clear links to the generation of Pop and Conceptual artists that preceded him, while attesting to his affinities for folk culture, cartoons, and American design. Working in two and three dimensions with great attention to the effects of scale, he transforms elements from the culture of everyday life into artworks that evoke classical archetypes. Given its evident concern with childhood narratives, his art invites psychological interpretation while remaining firmly objective due to its uncanny proximity to the real, and its relationship with the minimal.&nbsp;<em>No title (Table leg)</em>&nbsp;(1993) was a significant breakthrough, marking a shift from less representational works. This was followed by&nbsp;<em>Under the Table</em>(1994), an enormous wooden kitchen table and chair set, which further defined this pivotal moment in his development. By recreating everyday objects with veracity but on a giant scale, he dramatically altered the relationship of viewer to artwork.<br /><br />In sculptures, paintings, and drawings, Therrien continuously recycles and recasts his canon of common objects and images to create new enigmas. Here, variations on three of these persistent motifs&mdash;stacked pots and pans, double-hung &ldquo;Dutch&rdquo; doors, and oval serving trays&mdash;comprise a puzzling domestic scenario. In&nbsp;<em>No title (Pots and pans II)</em>&nbsp;(2008), twenty-five dramatically enlarged pots, pans, and lids are stacked into a teetering tower almost three meters high. Although the extraordinary scale of each element is immediately obvious, the perfect replication of their handles and metallic sheen prolongs the illusion. No title (Black Dutch door) (1993&ndash;2013), a monochromatic abstraction of a farmhouse staple, evokes Minimalist tropes in its binary division of space, while also memorializing a defining feature of Therrien's childhood home.&nbsp;<em>No title (Black oval)</em>&nbsp;(1980&ndash;2012) is a serving platter whose interior is filled with black enamel: an intermediate void&mdash;at once useless tableware, dark mirror, and non-representational painting. By reimagining the possibilities of the readymade, Therrien continues to render the familiar uncanny.<br /><br /><strong>Robert Therrien</strong>&nbsp;was born in Chicago in 1947, and lives and works in Los Angeles. Selected solo museum exhibitions include Museum of Contemporary Art, Los Angeles (1984); Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid (1991&ndash;92); Contemporary Arts Center, Cincinnati (1997); Los Angeles County Museum of Art (2000, SITE Santa Fe, New Mexico; Contemporary Art Museum, Houston; and Museo de Arte Contempor&aacute;neo de Monterrey, Mexico, through 2001); Museum of Contemporary Art, San Diego (2007); Kunstmuseum Basel Kupferstichkabinett (2008); Scottish National Gallery of Modern Art, Edinburgh (2010); De Pont Museum, Tilburg, The Netherlands (2011); Tate Liverpool (2011); The Broad Contemporary Art Museum at Los Angeles County Museum of Art (2011); and Albright-Knox Art Gallery, Buffalo, NY (2013). Public collections include MoMA and Whitney Museum of American Art, New York; Albright-Knox Art Gallery, Buffalo, NY; MCA, Chicago; LACMA, MoCA, and Getty Museum, Los Angeles; Walker Art Center, Minneapolis; Tate Gallery, London; and Centre Pompidou, Paris. Since 2009, Therrien's work has toured with the &ldquo;ARTIST ROOMS&rdquo; collection of international contemporary art.<br /><br />&ldquo;<a href="" target="_blank">Robert Therrien</a>,&rdquo; an exhibition of three new installations in the form of freestanding rooms, will be on view at The Contemporary Austin, Texas, from May 9&ndash;August 30, 2015.</p> Thu, 26 Mar 2015 15:44:42 +0000 Tom Lovelace - Flowers | Kingsland Road - April 17th - May 16th <div class="WordSection1"> <p style="text-align: justify;">Flowers Gallery is pleased to present a solo exhibition of recent work by Tom Lovelace. <em>This Way Up </em>is the artist&rsquo;s most comprehensive exhibition to date, featuring work from 2012-2015.</p> </div> <p style="text-align: justify;">Working at the juncture between photography, sculpture and performance, Tom Lovelace&rsquo;s interdisciplinary practice explores the fundamentals of photography by extending beyond traditional notions or boundaries of the medium. The architecture of time and light, along with an exploration of function and form are examined through unexpected manipulations of everyday materials and objects.</p> <p style="text-align: justify;">Marking a progression from his most recent series, the <em>In Preparation </em>photographs, in which Lovelace documented his attempts to tame and extend a collection of makeshift plinths, <em>This Way Up </em>presents a collection of work which manifests through a cross-referencing of image, object and the artist&rsquo;s intervention.</p> <p style="text-align: justify;"><em>&ldquo;Lovelace trained as a fine art photographer, but has always been drawn to its intersection with other media, and is well aware of the resulting paradoxes and polemics. Most people experience R. Mutt&rsquo;s Fountain (1917) via the photograph of Alfred Stieglitz, for example; and it is only via photographs that one can get an inkling of The Lovers (1988), a 90-day performance in which Marina Abramovic&acute; and Ulay approached each other from opposite ends of The Great Wall of China. Many continue to argue that the photograph is the mere skeleton after the feast and can be no substitute for direct viewing of a three-dimensional object, or a time-based performance. Lovelace&rsquo;s solution is subtler and more elegant, involving finely crafted photographs-as-sculptures, or photographs-as-performances.&rdquo; David Evans </em></p> <p style="text-align: justify;">The raw, often found, materials that Lovelace draws our attention to are practical apparatus found in both the home and on the construction site. In <em>This Way Up</em>, these are reconsidered and reconfigured as photographic objects, creating conditions which disrupt both their original identity and application. <em>Untitled Red (</em>date unknown - 2014<em>) </em>is a naturally occurring photogram created using sections of felt, which were once hung on the exterior walls of a theatre in Umbria, Italy. The fabric had absorbed and soaked the sun&rsquo;s rays over time, tracing the placards and signs placed upon them. Lovelace removed and reframed the panels, &lsquo;fixing&rsquo; the image under ultra-violet protected glass. The initial period of exposure is unknown, rendering the work simultaneously bound by time and timeless.</p> <p style="text-align: justify;">Taking common support structures, such as the picture frame or the stool, Lovelace re-organizes and subverts their functional hierarchies. Works such as <em>Stargazing on Black, </em>2015 and <em>Monteluco Sole, </em>2013 collapse the notion of the object&rsquo;s usefulness altogether - their formal reduction showcases what Lovelace has called a further &lsquo;controlled slippage&rsquo; into a minimal, abstract image plane.</p> <p style="text-align: justify;">The title of the exhibition references an instruction found on cardboard packaging. This is usually accompanied by two bold arrows pointing upwards, yet the works in this exhibition have no such accompanying signs. In <em>This Way Up</em>, Lovelace creates highly-orchestrated encounters between the fixed and the ephemeral, in which order, orientation and purpose are engaged in a continual state of push and pull.</p> <p style="text-align: justify;">ABOUT TOM LOVELACE</p> <p style="text-align: justify;">Tom Lovelace lives and works in London. He studied Photography at the Arts University Bournemouth, receiving First Class Honours; and Art History at Goldsmiths College, London. Recent exhibitions include <em>Against Nature, </em>(Photo50, London Art Fair, 2015); <em>PROJECT 05 </em>(Contemporary Art Society, London 2014), <em>The Opinion Makers </em>(Londonewcastle Project Space, London 2014), <em>Blog Reblog </em>(Austin Center for Photography, Texas 2014) <em>Totem and Taboo </em>(Unseen Amsterdam 2013), <em>Uncommon Ground </em>(Flowers Gallery, London 2012), <em>Work Starts Here </em>(Son Gallery, London 2012), <em>Ristruttura </em>(Project B Gallery, Milan 2012) and <em>Gouge </em>(Centre for Photography, Aarhus, Denmark 2011). Lovelace has previously exhibited at the Royal West of England Academy, ICA London, Oriel Davies Gallery and Karst.</p> <p style="text-align: justify;">Lovelace was the recipient of the Surface Gallery prize in 2008, and a Rhubarb Bursary with related exhibitions at Rhubarb East, Birmingham and Flowers Gallery, London in 2009. In 2012 Lovelace was awarded an Anna Mahler Residency in Spoleto, Italy, where he continues to research the history of the photogram and the concept of the readymade. Most recently he took residence in Aarhus, Denmark as part of the forthcoming European Capital of Culture Programme with a related exhibition and book forthcoming in 2017. Following <em>This Way Up</em>, Lovelace will embark on a residency at Lendi Projects, Switzerland, followed by group exhibitions at the New Art Centre, Salisbury and Golden Thread Gallery, Belfast. His book <em>Work Starts Here </em>is currently held in the Tate Artists&rsquo; Books Collection.</p> Thu, 26 Mar 2015 15:40:59 +0000 Shezad Dawood - fig-2 - March 30th - April 5th <p>For his week at fig-2, Shezad Dawood uses the text of his forthcoming novella as a conceptual starting point, weaving diverse strands of visual and literary references into an immersive virtual tapestry. &lsquo;The Room&rsquo; is a digital animation that questions how we read and experience both the physical and the intangible. Mirroring the space of the ICA Studio, the animation takes the viewer on an epoch-spanning satirical journey into occult conspiracy and the true powers that govern the world. Alongside the interior/exterior space of the animation, Dawood is showing a new painting and accompanying woodcuts that chart an analogue, and analogous development of the project in more traditional media, as a fluid continuum of critical gestures and craft.</p> Thu, 26 Mar 2015 15:47:09 +0000 Peter Howson - Flowers | Kingsland Road - April 17th - May 16th Thu, 26 Mar 2015 15:34:20 +0000 Lana Locke, Hannah Campion, Lady Lucy, Andrew Mania, Vanessa MITTER, Eleanor Moreton - APT Gallery - March 27th 6:30 PM - 8:30 PM <p style="text-align: justify;">Curator Emily Purser will be joined by artists from our current exhibition Strange Attraction to discuss the work and concerns from the show.</p> Thu, 26 Mar 2015 15:31:57 +0000 Doris A. Day - The Agency gallery - March 21st - April 17th Thu, 26 Mar 2015 15:24:47 +0000 Agnes Martin - Tate Modern - June 3rd - October 11th <p style="text-align: justify;">This will be the first retrospective of the seminal American painter&nbsp;<a href="" target="_blank">Agnes Martin</a>&nbsp;since her death&nbsp;in&nbsp;2004.</p> <p style="text-align: justify;">Martin was renowned for her subtle, evocative canvases marked out in pencil grids and pale colour washes. Her apparently&nbsp;<a href="" target="_blank">minimal</a>&nbsp;approach belied a deep conviction in the emotive and expressive power&nbsp;of&nbsp;art.</p> <p style="text-align: justify;">This major exhibition will cover the full breadth of Martin&rsquo;s practice, reasserting her position as a key figure in the traditionally male-dominated fields of 1950s and 1960s&nbsp;<a href="" target="_blank">abstraction</a>.</p> <p style="text-align: justify;">The show will trace her career from early experiments to late work, as well as demonstrate her profound influence on subsequent generations&nbsp;of&nbsp;artists.</p> <div class="field field-name-field-sponsor-info field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;"><em>Exhibition organised by Tate Modern in collaboration with Kunstsammlung Nordrhein-Westfalen, D&uuml;sseldorf, Los Angeles County Museum of Art and Solomon R Guggenheim Museum, New&nbsp;York</em></p> </div> </div> </div> Sun, 22 Mar 2015 17:37:45 +0000 Barbara Hepworth - Tate Britain - June 24th - October 25th <p style="text-align: justify;">Tate Britain will open the first major&nbsp;<a href="">Barbara Hepworth</a>&nbsp;exhibition in London for almost fifty years. Barbara Hepworth (1903&ndash;75) is most commonly associated with St Ives, Cornwall, where she lived from 1939 until her death in&nbsp;1975.</p> <p style="text-align: justify;">This major retrospective will emphasise Hepworth&rsquo;s often overlooked prominence in the international art world, of which she was a leading figure in the 1930s, and one of the most successful artists in the world during the 1950s and 1960s. The exhibition charts Hepworth&rsquo;s progress from small carvings made as a young woman to the magnificent bronzes that became part of the great sculpture collections of the world. It will present many of her surviving pre-war carvings, and some of her most significant sculptures in wood, stone and bronze. The exhibition will also encompass rarely seen works, including textiles, drawings,&nbsp;<a href="">collages</a>&nbsp;and&nbsp;<a href="">photograms</a>.</p> <p style="text-align: justify;">The exhibition will tour to Kr&ouml;ller-M&uuml;ller Museum, Otterlo (November 2015 &ndash; April 2016)&nbsp;and Arp Museum, Rolandseck (May &ndash; August&nbsp;2016).</p> Sun, 22 Mar 2015 17:34:18 +0000 Wukun Wanambi - The British Museum - March 12th - May 25th <p class="pullOut" style="text-align: justify;">This contemporary art installation by Aboriginal Australian artist Wukun Wanambi addresses a series of important ideas about ancestral power, the significance of land and the search for meaning.</p> <p style="text-align: justify;">Aboriginal Australian memorial poles &ndash; known as <em>larrakitj</em> &ndash; are hollow coffins created to hold the bones of the dead in secondary burial. Placed in groups on significant sites and painted with clan symbols, they are left to deteriorate with wind and weather. Contemporary artist Wukun Wanambi (b. 1962) belongs to the Yolngu people of northern Arnhem Land and has worked innovatively with this longstanding art form for over a decade. Art is used by the Yolngu people in ceremonial performances, but also as legal documents and as a way to map the landscape and the relationships between people.</p> <p style="text-align: justify;">Wukun&rsquo;s work is an exploration into traditional forms with deep connections to clan, territory and ancestral stories. However, he rejects the polished Yolngu model of a perfectly cylindrical, blemish-free memorial pole, instead allowing the tree&rsquo;s natural form and flaws to remain visible, with painted fish swimming around and over the surface variations.</p> <p style="text-align: justify;">The display in Room 3 is a large sculptural work featuring three finished poles alongside three poles revealing the tree beneath. Starting from a raw, unpainted log, this visual progression unveils the sculptural elements beneath the painted clan designs, and references complex religious and philosophical ideas at the core of Wukun&rsquo;s work.</p> <p style="text-align: justify;">The work relates to the Museum&rsquo;s Reading Room, which Wukun viewed as a memorial pole planted in the centre of the Great Court, with people surging around it like swimming fish. It is one part of the research project related to the BP exhibition <em><a href="" target="_blank">Indigenous Australia: enduring civilisation</a></em> which saw a group of Indigenous artists invited to London in order to make artworks in response to objects in the Museum&rsquo;s collection.</p> Sun, 22 Mar 2015 17:28:16 +0000 - The British Museum - March 11th - July 8th <p class="pullOut" style="text-align: justify;">This small display presents works on paper and objects exploring depictions and attributes of Sufi dervishes from the 16th to the 19th centuries.</p> <p style="text-align: justify;">The relationship between a ruler and his spiritual adviser in the Islamic world has historically been an important one. In the Persian-speaking contexts of Iran and India, a holy man known as a <em>pir</em> or shaykh often provided spiritual guidance. After the 12th century, many of these practised Sufism, a form of Islamic mysticism, whose devotees believe that the best way to know God is through the wisdom of one&rsquo;s heart. Sufis are known for their renunciation of material things. However, they did not necessarily withdraw from the world, and many were connected to social and political institutions. The negotiation of power and authority between princes and Sufis could sometimes become tense or hostile, but it could also lead to mutually beneficial interactions.</p> <p style="text-align: justify;">This display presents diverse images of Sufis, from begging, wandering dervishes to legitimisers of princes&rsquo; reigns. Works produced in Iran and India between the 16th and 19th centuries range from album and manuscript pages to objects used in daily life.</p> Sun, 22 Mar 2015 17:26:49 +0000 - National Portrait Gallery - June 18th - September 20th <p class="Pa0" style="text-align: justify;"><em>&lsquo;The </em>BP Portrait Award<em> at the National Portrait Gallery is the portraiture Oscars&rsquo;</em><br />Mail on Sunday, June 2013</p> <p class="Pa0" style="text-align: justify;">The <em>Portrait Award</em>, now in its thirty-sixth year at the National Portrait Gallery and twenty-sixth year of sponsorship by BP, is the most prestigious portrait painting competition in the world. With a first prize of &pound;30,000, and a total prize fund of &pound;61,000, the <em>Award</em> is aimed at encouraging artists to focus upon and develop portraiture in their work. The competition is open to everyone aged 18 and over.</p> <p style="text-align: justify;">For the <em>BP Portrait Award 2015</em> there is a new entry procedure and a new judging process. Artists should upload a digital image of their work via the website for a first round of judging. All images will be viewed by a panel of judges and the entrants who are successful in this round will be invited to deliver their work to a venue in London for the second round of judging and final exhibition selection.</p> <p style="text-align: justify;">Find out more <a href="" target="_blank">here</a></p> <p style="text-align: justify;">The <em>BP Portrait Award 2015</em> exhibition will run at the National Portrait Gallery, London, from Thursday 18 June to Sunday 20 September 2015</p> Sun, 22 Mar 2015 17:19:03 +0000 Jack Smith - National Portrait Gallery - March 18th - August 31st <p style="text-align: justify;">This display brings together four abstract portraits by the distinguished British painter Jack Smith (1928-2011).&nbsp; Three of these paintings were made in the 1980s: two representing the composers Harrison Birtwistle and Colin Matthews, and the third the choreographer Ashley Page. The fourth is a self-portrait dated 1997.&nbsp; None of these works functions as a portrait in a conventional way.&nbsp; Rather than representing the sitter&rsquo;s appearance, these works use colour, line and abstract shape suggestively and symbolically. These purely pictorial, dynamic elements were associated by Smith with the composers&rsquo; music and also the dancer&rsquo;s movements.&nbsp; They convey a sense of identity without recourse to physical description.</p> <p style="text-align: justify;">Smith first attained recognition as one of the founders of the so-called &lsquo;Kitchen Sink&rsquo; school in the 1950s.&nbsp; His early work took the form of a deliberately down-to-earth social realism.&nbsp; Subsequently influenced by American abstract painting, Smith&rsquo;s work changed course during the 1960s and became completely non-figurative. The earlier portraits shown here coincided with commissions for Smith to design sets and costumes for two ballets: Ballet Rambert&rsquo;s production of <em>Carmen Arcadiae Mechanicae Perpetuum</em> with music by Birtwistle in 1986, and the Royal Ballet&rsquo;s <em>Pursuit</em> with music by Matthews in 1987. Both ballets were choreographed by Page.</p> <p style="text-align: justify;"><em>Jack Smith &ndash; Abstract Portraits</em> is the latest display in the Balcony series of <em>Interventions</em>.&nbsp; Started in 2006, this programme of special loan displays focuses on unconventional approaches to portraiture by important, internationally recognised artists in the twentieth century.&nbsp; To date, the series has included Francis Bacon, Anthony Caro and Andy Warhol, among others.&nbsp;&nbsp; Each of these artists explored various means of representing a sitter&rsquo;s face and body.&nbsp; This display of Jack Smith&rsquo;s abstract portraits goes further in dispensing with human appearance entirely. Being entirely abstract, these intriguing portraits pose&nbsp; fundamental questions.&nbsp; Portraiture is conventionally thought to be inseparable from the depiction of a sitter&rsquo;s appearance.&nbsp; The human face forms the basis of recognition and its expressions convey emotion.&nbsp; But can portraiture evoke a human presence in other ways? Also, is a human being only a face, or are there other characteristics and areas of human experience that portraiture can address?</p> Sun, 22 Mar 2015 17:16:57 +0000 - National Gallery - April 1st - September 13th <div class="amax-module-body"> <div class="amax-contenttype amax-conevent amax-conevent-7341"> <div class="amax-module-body"> <div class="section"> <div class="bodyText"> <p class="intro" style="text-align: justify;">Often overlooked and seldom the focus of an exhibition, it is <a class="amax-link-ConGlossary-153" href="">frames</a> not paintings that take centre stage in this exploration of one of the most inventive and exuberant types of picture frame.</p> <p style="text-align: justify;">So enduring was the reputation of architect and sculptor Jacopo Sansovino that in the late 19th century the term &lsquo;Sansovino&rsquo; was coined to describe frames created in an elaborate, early-<a class="amax-link-ConGlossary-41" href="" target="_blank">baroque</a> style &ndash; more than three centuries after his death.</p> <p style="text-align: justify;">'Frames in Focus: Sansovino Frames' marks the first in a series of exhibitions at the National Gallery which will explore specific frame types; bringing together 30 exquisite examples of this distinctive style of frame associated with Venice and the Veneto.</p> <p style="text-align: justify;">With only two of the exhibits framing paintings, the exhibition demonstrates how frames &ndash; designed as removable items to enhance a painting only since the early 1500s &ndash; can be considered works of art in their own right, and can transform the way we look at paintings.</p> <p style="text-align: justify;">With outstanding examples of frames dating from 1550 to 1600 on loan from the V&amp;A and private international collections, this exhibition reveals the story behind <a class="amax-link-ConGlossary-603 amax-site-1" href="" target="_blank">Sansovino frames</a> and invites us to look again at paintings and the frames that surround them.</p> <p style="font-size: 80%; text-align: justify;">Generously supported by Madeleine and Timothy Plaut</p> </div> </div> </div> </div> </div> Sun, 22 Mar 2015 17:11:39 +0000 El Greco - National Gallery - February 26th - August 2nd <p style="text-align: justify;">This temporary display marks the exceptional loan of <a class="amax-link-ConConstituent-232" href="" target="_blank">El Greco&rsquo;s</a> altarpiece, <a class="amax-link-ConObject-3115" href="" target="_blank">The Crucifixion with Two Donors</a>, from the Mus&eacute;e du Louvre, Paris, alongside which the National Gallery&rsquo;s holdings of El Greco&rsquo;s works have been brought together. An additional painting, <a class="amax-link-ConObject-3116" href="" target="_blank">The Agony in the Garden</a>, related to the Gallery&rsquo;s own <a class="amax-link-ConObject-275" href="" target="_blank">studio variant</a> shown nearby, is on loan from a private collection and exhibited publicly here for the first time in 25 years.</p> <p style="text-align: justify;">Through the six paintings on display, we can follow El Greco&rsquo;s stylistic evolution and appreciate the full range of works he produced; from small-scale paintings aimed at a learned public (<a class="amax-link-ConObject-130" href="" target="_blank">The Adoration of the Name of Jesus</a>) to works intended for private devotion (<a class="amax-link-ConObject-249" href="" target="_blank">Christ Driving the Traders from the Temple</a> and <a class="amax-link-ConObject-275" href="" target="_blank">The Agony in the Garden of Gethsemane</a>) or the great altarpieces destined for religious settings ('The Crucifixion with Two Donors').</p> <p style="text-align: justify;">The Louvre's magnificent&nbsp;altarpiece displays the extraordinary drama associated with some of El Greco&rsquo;s greatest works, such as 'The Burial of the Count of Orgaz' (1586&ndash;8) in Santo Tom&eacute;, Toledo, with which it is almost contemporary.</p> Sun, 22 Mar 2015 17:09:56 +0000