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Sean Scully
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ANTHONY CARO AT CLIVEDEN HB
Blain Southern and the National Trust present Anthony Caro at Cliveden (6 April - 10 November 2019), an exhibition celebrating the work of the internationally renowned British sculptor.This lavish publication accompanies the exhibition, the third in a series of outdoor displays at the beautiful National Trust property which overlooks the River Thames in Buckinghamshire.Featuring essays by curator and publisher, Amanda Renshaw charting the British sculptor's career of 'restless investigation and rule breaking'; and by National Trust curator, Oonagh Kennedy providing a reflection on Caro's work on site at Cliveden.Also included are archive photographs of Caro and his work, complemented by stunning full-colour photography of each of the sculptures in situ. Sixteen monumental works by Caro are displayed across the Grade I listed grounds at Cliveden, charting Caro's career and his distinctive approach to sculpture.Installed along the Green Drive, the ensemble of sculptures, including Scorched Flats (1974) and Slow March (1985), accompany visitors on their journey, offering them an opportunity to contemplate the works and their relationship to the surrounding landscape.
Yugen - Bosco Sodi
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Tracing Invisible Lines
TRACING INVISIBLE LINES is a critical autoethnographic text built around Gregory Ulmer’s concept of the “Mystory.” Dedicated to the enhancement of imagination and innovation in a digital-media saturated society, Ulmer’s Mystory is a creative research method that draws narratives from three domains of discourse (personal, professional, popular). Analysing these domains means generating fresh insight into the deep-seated emblems that drive the creative disposition, or “invariant principle,” of the practice-led researcher. Here, the mystoriographical approach has mobilized an exploration of the interrelations between self and society, between memory and imagination, as well as betwe...
The Centrifugal Soul
In 'The Centrifugal Soul', Mat Collishaw's forthcoming exhibition at Blain/Southern, the artist presents new sculpture, installation and paintings. Drawing on various forms of illusion, the exhibition explores ideas of superficial truth and the erosive effect of our primal urges for visual supremacy. Collishaw worked with evolutionary psychologist Geoffrey Miller - whose theory is that the origins of art stem from natural instincts of courtship and reproduction - to produce the title work and centrepiece of the exhibition. 'The Centrifugal Soul' is a sculpture in the form of a zoetrope, a pre-film animation device that produces the illusion of motion through rapid rotation and stroboscopic light. Throughout his work, Collishaw has examined the way in which we consume imagery and how our biology has conditioned us to respond. The exhibition reflects the consistent themes addressed in the artist's practice and the diversity of his chosen mediums. Moreover, it questions how much choice we have in accepting what seems to be a natural preoccupation with self-image.
"Marketing Art in the British Isles, 1700 to the Present "
A cultural history of the first truly modern art market, Marketing Art in the British Isles, 1700 to the Present furthers the burgeoning exploration of Britain's struggle to carve a niche for itself on the international art scene. Bringing together scholars from the UK, US, Europe, and Asia, this collection sheds new light on such crucial notions as the internationalization of the art market; the emergence of an increasingly complex exhibition culture; issues of national rivalry and emulation; artists' individual and collective strategies for their own promotion and survival; the persistent anti-commercialism of an elite group of art lovers and critics and accusations of philistinism levelle...
Exploring the Invisible
How science changed the way artists understand reality Exploring the Invisible shows how modern art expresses the first secular, scientific worldview in human history. Now fully revised and expanded, this richly illustrated book describes two hundred years of scientific discoveries that inspired French Impressionist painters and Art Nouveau architects, as well as Surrealists in Europe, Latin America, and Japan. Lynn Gamwell describes how the microscope and telescope expanded the artist's vision into realms unseen by the naked eye. In the nineteenth century, a strange and exciting world came into focus, one of microorganisms in a drop of water and spiral nebulas in the night sky. The world is...
Pageants, Parlors, and Pretty Women
From the South's pageant queens to the importance of beauty parlors to African American communities, it is easy to see the ways beauty is enmeshed in southern culture. But as Blain Roberts shows in this incisive work, the pursuit of beauty in the South was linked to the tumultuous racial divides of the region, where the Jim Crow-era cosmetics industry came of age selling the idea of makeup that emphasized whiteness, and where, in the 1950s and 1960s, black-owned beauty shops served as crucial sites of resistance for civil rights activists. In these times of strained relations in the South, beauty became a signifier of power and affluence while it reinforced racial strife. Roberts examines a range of beauty products, practices, and rituals--cosmetics, hairdressing, clothing, and beauty contests--in settings that range from tobacco farms of the Great Depression to 1950s and 1960s college campuses. In so doing, she uncovers the role of female beauty in the economic and cultural modernization of the South. By showing how battles over beauty came to a head during the civil rights movement, Roberts sheds new light on the tactics southerners used to resist and achieve desegregation.
Credo
Credo brings together essays from different stages in Imants Tillers’ career, from ‘Locality Fails’ to ‘Metafisica Australe’ and ‘Journey to Nowhere’, and closes with an essay written especially for the collection, ‘The Sources’, on the artists and writers he has drawn on in his art. These essays express an aesthetic credo which has larger implications for both literature and art created out of the experience of migration. His self-coined concepts like ‘the idea of incommensurability’ and ‘reversible destiny’, his ideas about appropriation and the importance of reproduction in Australian culture, the encyclopaedic range of his work, and his orientation and re-orientation towards Aboriginal art, articulate an Australian aesthetic which constantly seeks connectedness between the local and the international, and a broader understanding of the complexities of provincialism. What he calls ‘the revolt of the margins’ is evident in the provocative nature of his writing too, in its wit and irony and intelligence.
