tag:blogger.com,1999:blog-76840920529739720852024-02-20T00:37:22.776+00:00art-Corpuscor·pus /'kôrpəs/
n. pl. cor·po·ra (-pr-)
1. A large collection of writings of a specific kind or on a specific subject.
2. A collection of writings or recorded remarks used for linguistic analysis.
3. The main part of a bodily structure or organ.
//Reviews of art. Art and language. Art and the body.Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.comBlogger821125tag:blogger.com,1999:blog-7684092052973972085.post-13200190083419280142021-02-06T14:59:00.001+00:002021-02-06T14:59:04.684+00:00Interview with Crystal Fischetti <div><span style="font-family: arial; font-size: x-small;">06/02/21<br /></span><span style="font-family: arial; font-size: large;"><b>Interview with Crystal Fischetti </b></span></div><div><span style="font-family: arial; font-size: large;"><b><br /></b></span><span style="font-family: arial;"><b><span style="background-color: white;">Crystal Fischetti</span><span style="background-color: white;">: Hello Again!<br /></span></b></span><span style="background-color: white;"><span style="font-family: arial;"><b>Grove Square Galleries, London<br /></b></span></span><span style="background-color: white;"><span style="font-family: arial;"><b>11 February – 9 April 2021<br /></b></span></span><span style="font-family: arial;"> <br /></span><span style="font-family: arial;">Besides being an artist, Crystal Fischetti (b1984, London, UK) is also an empath, psychic and shaman. For her forthcoming solo exhibition Hello Again!, she is bringing all aspects of herself together, creating “a beautiful marriage”. The 36 works on display – this number was chosen because it was her age when creating them, and Fischetti believes deeply in the power of numerology – are vibrant and pulsating, each one representing a visual journey, but also a return to self. The use of unprimed canvases goes back to the artists of the New York School, to whom she is often compared in style, and their elements of play, as well as of mysticism, and her use of bedsheets uncovers what it means to be at home, representing physical intimacy, rest and repose, lucid dreaming, and also a connection to the astral realm and the unconscious. <br /></span><span style="font-family: arial;"> </span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGx-JqoNXqdrNZ3dXbxYq3SeTJIhiwd1VQ7-k0-5iuczX9cSTiB6-yh2f-w_M9QKQK4BK2s92tS1o1_YE-T-QcvlvOZvA7CU1jrJXIdN9IMmuErhcglZF9VH2aA8XbCGdPa4Opo0M2lBVA/s2048/Screenshot+2021-02-06+at+14.46.23.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1070" data-original-width="2048" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGx-JqoNXqdrNZ3dXbxYq3SeTJIhiwd1VQ7-k0-5iuczX9cSTiB6-yh2f-w_M9QKQK4BK2s92tS1o1_YE-T-QcvlvOZvA7CU1jrJXIdN9IMmuErhcglZF9VH2aA8XbCGdPa4Opo0M2lBVA/w400-h209/Screenshot+2021-02-06+at+14.46.23.png" width="400" /></a></div><span style="font-family: arial;"><br /></span><span style="font-family: arial;">Fischetti, who is of mixed British, Italian and Colombian heritage, trained as a dancer before turning to visual art, and she still uses her whole body to paint – often incorporating hand- and footprints in her works – and she hopes, in the future, to create more performative, live-painting pieces. <br /></span><span style="font-family: arial;"> <br /></span><span style="font-family: arial;">I spoke to Fischetti for Studio International via Zoom about her calling by Spirit to be of service, how the pandemic has influenced her work, and the simple process of creating alchemy out of the things you have around you.</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span><span style="font-family: arial;"> </span><span style="font-family: arial;"><br /></span><span style="font-family: arial;">Watch the full interview <a href="https://www.studiointernational.com/index.php/crystal-fischetti-video-interview-i-use-my-whole-body-when-paint" target="_blank">here</a></span></div><p class="MsoNormal" style="line-height: 24px; margin: 0cm; text-align: left;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><br /></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-10292112724766399282021-02-02T17:16:00.001+00:002021-02-02T17:16:07.945+00:00Interview with Prabhakar Pachpute<div><span style="font-family: arial; font-size: x-small;">02/02/21</span></div><div><span style="font-family: arial; font-size: large;"><b>Interview with Prabhakar Pachpute</b></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">The Indian artist Prabhakar Pachpute (b1986, Sasti, Chandrapur) is known for his large-scale charcoal wall drawings and combined installations, taking his background of coal mining, the associated landscapes and characters as their subject matter. His surrealist motifs and abstracted language are continuing to develop, and, when not grounded because of Covid-19, his participation in various international biennials and summits has led to travel and research opportunities, feeding him with further characters and stories to weave into his ultimately political works. <br /><o:p> </o:p></span></div><div><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmZGB6JC6fuSXkaGhqNLcTdb9DyuGva-6FRXd8g6Y0C3pWvwGbD6OfrGorIIri8hwyYe4iPDS8DoW2_qFpdlWytQD8TiGkzQdpcbhRWwjXSsDa_8FCPWjmDYTH-7k6SZ_Sjwle53YNf7vS/s2048/Profile+Pic_Photo+By+Dani+Bapista.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1365" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmZGB6JC6fuSXkaGhqNLcTdb9DyuGva-6FRXd8g6Y0C3pWvwGbD6OfrGorIIri8hwyYe4iPDS8DoW2_qFpdlWytQD8TiGkzQdpcbhRWwjXSsDa_8FCPWjmDYTH-7k6SZ_Sjwle53YNf7vS/w426-h640/Profile+Pic_Photo+By+Dani+Bapista.jpg" width="426" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><o:p><br /></o:p>One of the six shortlisted international artists for the Artes Mundi 9 exhibition and prize, delayed from October 2020 and opening virtually on 15 March 2021, at the National Museum Cardiff, Pachpute talked me for to Studio International via Zoom from India.</span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Read the full interview <a href="https://www.studiointernational.com/index.php/prabhakar-pachpute-interview-coal-mining-india-artes-mundi-9-juxtapose-memories-and-real-life" target="_blank">here</a></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><p class="MsoNormal" style="font-family: "Times New Roman", serif; line-height: 24px; margin: 0cm;"><o:p></o:p></p><p class="MsoNormal" style="font-family: "Times New Roman", serif; line-height: 24px; margin: 0cm;"><o:p></o:p></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-33617469359198307282021-01-26T11:56:00.001+00:002021-01-26T11:56:48.614+00:00Interview with Nick Hornby<div><span style="font-family: arial; font-size: x-small;">26/01/21</span></div><div><span style="font-family: arial; font-size: large;"><b>Interview with Nick Hornby</b></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Nick Hornby (b1980, London) is known for making monochrome sculpture in marble or bronze, often combining art history with digital processes. For his first solo institutional exhibition, he has turned his gaze inward and made a new series of autobiographical sculptures. The gallery is filled with a large array of objects set on plinths, which include portrait busts, modernist abstractions and “mantelpiece dogs”. <br /> </span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg41yeWTdzEKMa5xGHKZvBBFkH0HWsbjjOHBmmt_MzF8Ou7jjK3PO8pSAXXYk_J2_2mRiX8G4Z4VNu3q_Mn3aryGw5x01Ly59erPZlnwt5HC_cdW2z3yG6aXO-6hppABXIK_ILhyphenhyphenLgWIJos/s750/Nick-Hornby-photo-courtesy-the-artist-2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="736" data-original-width="750" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg41yeWTdzEKMa5xGHKZvBBFkH0HWsbjjOHBmmt_MzF8Ou7jjK3PO8pSAXXYk_J2_2mRiX8G4Z4VNu3q_Mn3aryGw5x01Ly59erPZlnwt5HC_cdW2z3yG6aXO-6hppABXIK_ILhyphenhyphenLgWIJos/w400-h393/Nick-Hornby-photo-courtesy-the-artist-2.jpg" width="400" /></a></div><br /><span style="font-family: arial;"><br />In conversation via Zoom, Hornby explains why this combination is not as strange as it might sound, before going on to elucidate his process and talk about what makes his new work so personal. </span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;">Watch and read the full interview <a href="https://www.studiointernational.com/index.php/nick-hornby-interview-liquefied-photography-magical-mysterious-zygotes-and-confessions-mostyn-gallery-llandudno-wales" target="_blank">here</a></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div><div><span style="font-family: arial;"><br /></span></div>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-18384407810777678502021-01-22T19:12:00.004+00:002021-01-22T19:12:40.224+00:00Interview with Sara Barker<div style="text-align: left;"><span style="font-family: "Calibri Light", sans-serif;"><span style="font-size: x-small;">22/01/21</span></span></div><div style="text-align: left;"><b><span style="font-family: "Calibri Light", sans-serif;"><span style="font-size: large;">Interview with Sara Barker</span></span></b></div><div style="text-align: left;"><b><span style="font-family: "Calibri Light", sans-serif;"><br /></span></b></div><div style="text-align: left;"><b><span style="font-family: "Calibri Light", sans-serif;">Sara Barker: undo the knot<br /></span><span style="font-family: "Calibri Light", sans-serif;">CAMPLE LINE, Scotland<br /></span><span style="font-family: "Calibri Light", sans-serif;">31 October 2020 – 30 January 2021</span></b></div><div style="text-align: left;"><span style="font-family: arial;"><b><br /></b></span></div><div style="text-align: left;"><span style="font-family: arial;">Sara Barker (b1980, Manchester, UK) uses a combination of materials – initially, rougher, cheaper ones, such as cardboard, and, later, more permanent metals such as steel, aluminium and brass, alongside glass and automotive paint – to create works that blur the boundaries between figuration and abstraction; sculpture, painting and drawing; and imagined and physical spaces. The tension in her pieces is felt viscerally by the viewer, who is drawn into a dialogue, already taking place between the works themselves. Heavily influenced by literature, poetry and language, Barker calls for human interaction with her creations.</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfI1PSiWPYIg1eggdv1bX1W0-8oVuw_I6qByOyRSr8ofEUtn40E8evEr3deitO0GV_qFhes97x1AIjkQHJqAVr1FqIuCGFH6SKss-kUlN86YtClDlxZKVLXFQOT1wZZcJz8XPiPwqeyKg0/" style="margin-left: 1em; margin-right: 1em;"><img data-original-height="698" data-original-width="1258" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfI1PSiWPYIg1eggdv1bX1W0-8oVuw_I6qByOyRSr8ofEUtn40E8evEr3deitO0GV_qFhes97x1AIjkQHJqAVr1FqIuCGFH6SKss-kUlN86YtClDlxZKVLXFQOT1wZZcJz8XPiPwqeyKg0/w400-h223/Screenshot+2021-01-22+at+19.11.32.png" width="400" /></a></div></span><span style="font-family: arial;"> <br /></span><span style="font-family: arial;">Her exhibition undo the knot, on show at CAMPLE LINE, includes, for the first time, what Barker describes as “exploratory works” – her initial, rougher “sketches” – which are not yet fully resolved, leaving open questions. Part of her motivation to include these works was the change in her approach to her practice, brought about by the first lockdown, when she became incredibly aware of a sense of having too much, endless time, yet simultaneously of none of it being available. Working from home, instead of her studio, she sought to bring her full daily experience into her work – all of the mundane and profound moments of life. <br /></span><span style="font-family: arial;"> <br /></span><span style="font-family: arial;">I spoke to Barker via Zoom about how lockdown altered her practice, the role of tension and fragmentation in her work, and how the building at CAMPLE LINE became a work in the exhibition in its own right.</span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;">Watch the interview <a href="https://www.studiointernational.com/index.php/sara-barker-video-interview-undo-the-knot-cample-line-scotland" target="_blank">here</a></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span></div><div style="text-align: left;"><span style="font-family: arial;"><br /></span><span style="font-family: arial;"> </span><span style="font-family: arial;"><br /></span><span style="font-family: arial;"> </span></div>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-1974028223990554362021-01-13T13:36:00.004+00:002021-01-13T13:36:51.195+00:00Interview with the Binnie Sisters<p><span style="font-family: arial; font-size: x-small;">13/01/21</span></p><p><span style="font-family: arial; font-size: large;"><b>Interview with the Binnie Sisters</b></span></p><p><span style="font-family: arial;">Christine and Jennifer Binnie first shot to fame in 1981, along with fellow artist Wilma Johnson, as the performance-art collective the Neo Naturists, for which <span style="border: 1pt none windowtext; padding: 0cm;">they famously flashed in the British</span> <span style="border: 1pt none windowtext; padding: 0cm;">Museum, as well as in many London nightclubs. However, before the decade was out, the sisters had gone from hanging out with the likes of Grayson Perry (whom Jennifer was dating), Boy George and Marilyn, to, in Jennifer’s case, returning to live in the East Sussex countryside and becoming a mother and painter, and, in Christine’s, to working as a potter. Although never officially ceasing their Neo Naturist activities, the sisters have since focused much more on their individual practices. Coming together as the first guest curators of an exhibition drawn from the 5,000 works in the <a href="https://www.townereastbourne.org.uk/collection/" style="color: #954f72;">Towner Collection</a>, however, has been an enjoyable experience for them both, bringing them back to their roots, and asking them to reflect on their own work and how to incorporate it into the show. </span></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr51nE-RdO8h-jtQxIhcd5J3ClzmMscooDjoZT4EP6kg0AElYnDyCfRrPNP7y4ySffRbFXhNg1hhi-vnphNiGrx4snzurEY5_Ima1MUSJn3gvfMq_kgrYiFW0Z3JP46Tx1TgmY0ZMRcJD2/s2048/BinnieSisters_040920_RosiePowellFreelance_HighRes-56.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1365" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr51nE-RdO8h-jtQxIhcd5J3ClzmMscooDjoZT4EP6kg0AElYnDyCfRrPNP7y4ySffRbFXhNg1hhi-vnphNiGrx4snzurEY5_Ima1MUSJn3gvfMq_kgrYiFW0Z3JP46Tx1TgmY0ZMRcJD2/w426-h640/BinnieSisters_040920_RosiePowellFreelance_HighRes-56.jpg" width="426" /></a></span></div><span style="font-family: arial;"><br /></span><p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Christine spoke to me by phone from her flat in London, while Jennifer preferred to email her answers. </span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Read the full interview <a href="https://www.studiointernational.com/index.php/christine-and-jennifer-binnie-sisters-interview-towner-gallery-eastbourne" target="_blank">here</a></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-63871602383918225532021-01-07T14:05:00.001+00:002021-01-07T14:05:15.144+00:00Interview with Jim Dine<p><span style="font-family: arial; font-size: x-small;">07/01/21</span></p><p><span style="font-family: arial; font-size: medium;"><b>Interview with Jim Dine</b></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">At the grand age of 85, Jim Dine (b1935, Cincinnati, Ohio) has a six-decade-long career under his belt, including nearly 300 solo shows. With a practice spanning painting, sculpture and poetry, he works uninterruptedly, and with as much dedication now as ever. His exhibition, A Day Longer, at Galerie Templon, Paris, showcases works made over the past three years, many finished during the first lockdown. It includes a new body of self-portraiture, alongside bronze sculptures, and his easily recognisable paintings into which he embeds tools and incorporates symbols from his personal iconography, such as hearts, skulls, veins and the comic character Pinocchio. The title of the exhibition, taken from one of his poems, is also the title of a newly published book of his poetry.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"> </span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3lrohBZfKyWnR4HPMbqKwcFdKp7L5nV2OEv6Ery2BMsbCOWWawQITRrq3l9SJB-q65zgp1CQzJc4TzTq58oEdJmBi76rXSJH0wzeK_b0wi72PuRbQH3PIsoy4GZtSRjaNP_HVhQQqMQ_z/s4592/JIM+DINE+PORTRAIT+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3448" data-original-width="4592" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3lrohBZfKyWnR4HPMbqKwcFdKp7L5nV2OEv6Ery2BMsbCOWWawQITRrq3l9SJB-q65zgp1CQzJc4TzTq58oEdJmBi76rXSJH0wzeK_b0wi72PuRbQH3PIsoy4GZtSRjaNP_HVhQQqMQ_z/w400-h300/JIM+DINE+PORTRAIT+2.jpg" width="400" /></a></div><br /><span style="font-family: arial;"><br /></span><p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Read the full interview <a href="https://www.studiointernational.com/index.php/jim-dine-interview-i-never-stop-looking-examing-inventing-a-day-longer-galerie-templon-paris" target="_blank">here</a><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="font-family: Cambria, serif; line-height: 24px; margin: 0cm;"><span style="font-family: Calibri, sans-serif;"><br /></span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-12733684552599073542020-12-27T12:34:00.004+00:002020-12-27T12:34:36.960+00:00Toby Deveson: embracing the most sacred depths of souls<p><b style="font-family: Calibri, sans-serif;"><span style="font-size: x-small;">27/12/20</span></b></p><p><b style="font-family: Calibri, sans-serif;"><span style="font-size: large;">Toby Deveson: embracing the most sacred depths of souls</span></b><i style="font-family: Calibri, sans-serif;"> </i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><i>Dance as the narration of a magical story; that recites on lips, illuminates imaginations and embraces the most sacred depths of souls.</i> [Shah Asad Rizvi]<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">Before becoming a photographer, Toby Deveson wrote music. ‘Avant garde, atonal and arrhythmic’ is how he describes it. ‘Jarring and jolting.’ Even his use of alliterative adjectives – whether intentional or not – has a sense of the lyrical, and, born and largely brought up in Italy, he is certainly a passionate Romantic, in the true sense of the word (originating from a Romance country). Although his photographic journey began as one of documentary, his preferred genre these days is landscape: always black-and-white, always analogue, always full-frame negative. Deveson, in part, still approaches these images as if they were documentary, however: he seeks to capture not a story, per se – that, he says, would be too simple – rather the emotions of the place and the moment, that <i>je ne sais quoi</i> which will provoke a reaction and, he hopes, move the viewer to tears.<o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2olZFpyvmVoil5LZwBCOx9-u3PhMJp06qIQ3MWZXsS8LNXpT-0-dfjMWo-gvrEudL0Pd08hnAW9I_PA5L9b6Y0kgdGlxMWDM2EZVyqU5SPVBGq4j_ewWvSXJzIJBZJhk5pbfyvsuK79Be/s640/F22-50A.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="448" data-original-width="640" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2olZFpyvmVoil5LZwBCOx9-u3PhMJp06qIQ3MWZXsS8LNXpT-0-dfjMWo-gvrEudL0Pd08hnAW9I_PA5L9b6Y0kgdGlxMWDM2EZVyqU5SPVBGq4j_ewWvSXJzIJBZJhk5pbfyvsuK79Be/w400-h280/F22-50A.jpeg" width="400" /></a></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">Deveson’s photographic compositions are infused with his talent for musical composition, and his approach, too, is similar. He speaks of finding the geometric pattern in the viewfinder, abstracted to the point where you almost don’t see what it is; you don’t see the textures or the shape, you just see the overall jigsaw. As <span style="background-color: white;">Henri Cartier-Bresson said: ‘Thinking should be done before and after, not during photographing,’ and Deveson, likewise, describes </span>building a foundation – a solid and stable structure with science, knowledge and experience – on which to then let his instinct loose to do something ‘nebulous and creative’, to <i>d</i><i>ance as the narration of a magical story. <o:p></o:p></i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">Musician Brian Eno<i> </i>uses the metaphor of gardening for his compositional process: ‘The gardener takes his seeds and scatters them, knowing what he is planting but not quite what will grow where and when’. Deveson, similarly, admits to not necessarily knowing why he pours a certain chemical where and when he does, why the result is as it is, or why it looks good (or not!) – he simply learned what he needed to know through time and habit – he is largely self-taught – and follows his intuition.<o:p></o:p></p><p style="background-color: white; font-family: "Times New Roman", serif; margin-left: 0cm; margin-right: 0cm;"><span style="font-family: Calibri, sans-serif;">But his compositional process is not a solo dance, it is a <i>pas de deux</i> with a quite extraordinary and demanding partner – Mother Nature. Nevertheless, Deveson takes the leading role – after all, as Ansel Adams made clear, ‘you don’t <i>take</i> a photograph, you <i>make</i> it’. ‘</span><span style="font-family: Calibri, sans-serif;">You’re having to let what’s in front of you into the camera, but also put yourself into the camera from behind,’ says Deveson, who sees the process as a two-way conversation – indeed, a dance, or the intimate – and often intricate – choreography of a relationship. ‘It’s exhilarating,’ he adds. ‘A relationship infused with wonder and awe, passion and fear. A relationship with an undercurrent of playfulness and power and a constant sense of potential danger.’ As in any union, it’s a case of holding one’s own shape, while respecting that of the other – meeting midway, caressing, moulding a little to each other’s form, becoming a ‘we’, but ultimately remaining two ‘I’s. Deveson speaks of the immense challenge of placing his style and emotions on to something as vast and imposing as Mother Nature: ‘To not be engulfed by her, and to not rely on her to provide you with a stunning image, but to work with her and create something unique from something so universal’. </span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;">To this end, Deveson travels widely, frequently driving for hours at a time, a vague plan half hatched, his route being steered, nevertheless, by his wayward dance partner. He seeks to experience as much of her as he can, to celebrate her gifts, to rise to her challenges, to capture that elusive moment in their relationship when everything changes, when something is learned and can never again be unknown. As with most significant realisations, these often only come later, when he returns to his darkroom and exposes the fragments of a partially recollected dream, reliving them all the more vividly for their bright monochrome. The dream as a whole, however, can never be fully resuscitated, leaving Deveson – and, in turn, his viewer – with<i> </i><i>the narration of a magical story</i>, weaving in the unique stance of the present, and that of the individual’s past. Cartier-Bresson coined his famous term ‘the decisive moment’ to describe the fact that ‘photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organisation of forms which give that event its proper expression’. Just as no two performances of a given dance will ever be identical, the event itself is necessarily ephemeral, but the image Deveson makes represents the essence thereof, <i>recites on lips, illuminates imaginations and embraces the most sacred depths of souls. <o:p></o:p></i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><i> </i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><i><br /></i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><i><br /></i></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: x-small;">© Anna McNay, 2020<o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: x-small;">Image © Toby Deveson, 2020</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: x-small;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-size: x-small;">See also Spanish and Italian translations on the <a href="http://www.carlatofano.com/essay-anna-mcnay/" target="_blank">Metralla Rosa site</a></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><br /></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-76449841885041870892020-12-21T10:31:00.001+00:002020-12-21T10:31:02.834+00:00Interview with Katharina Grosse<p><span style="font-family: arial; font-size: x-small;">21/12/20</span></p><p><span style="font-family: arial; font-size: large;"><b>Interview with Katharina Grosse</b></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Katharina Grosse (b1961, Freiburg im Breisgau, Germany) is known for her large-scale, often site-specific and in-situ paintings, which draw the viewer in, disrupting and redefining hierarchies and boundaries, and shifting perspectives. For Grosse, there is no distinction between painting, sculpture and architecture. As well as her smaller studio canvases, she paints on found materials, cast-metal sculptures and lengths of draped fabric, creating fully immersive installations.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-4IX5ynYHvjiAbS937O2bFiEPSca8kZ7byiH164pS3mwjdGaF8xoqKI8-rrpruHOw6BuUf3of_iA85COMLlRv8QjFxRPsRFotbqXQN5ARrcgh59qOU3lMrtZob_RwaNwDmDLBIn_WStZK/s470/image_article.php.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="265" data-original-width="470" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-4IX5ynYHvjiAbS937O2bFiEPSca8kZ7byiH164pS3mwjdGaF8xoqKI8-rrpruHOw6BuUf3of_iA85COMLlRv8QjFxRPsRFotbqXQN5ARrcgh59qOU3lMrtZob_RwaNwDmDLBIn_WStZK/w400-h225/image_article.php.jpeg" width="400" /></a></div><span style="font-family: arial;"><br /></span><p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Currently showing as part of the <span style="background-color: white;">all-women group exhibition Push the Limits, at the Fondazione Merz in Turin, Italy, Grosse talks to Studio International by email about her views on time, energy and meaning.</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="background-color: white;"><span style="font-family: arial;"><br /></span></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="background-color: white;"><span style="font-family: arial;">Read the full interview <a href="https://www.studiointernational.com/index.php/katharina-grosse-interview-my-eyes-my-most-important-tools-push-the-limits-fondazione-merz-turin" target="_blank">here</a></span></span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-42450980165324128512020-12-15T13:09:00.003+00:002020-12-15T13:09:54.861+00:00Interview with Trulee Hall at the Zabludowicz Collection<p><b><span style="font-family: arial; font-size: x-small;">15/12/20</span></b></p><p><b><span style="font-family: arial; font-size: large;">Interview with Trulee Hall </span></b></p><p style="line-height: 24px; margin-left: 0cm; margin-right: 0cm;"><span style="font-family: arial;">Following her sold-out opera commission just before lockdown in March, the Los Angeles-based artist Trulee Hall (b1976, Atlanta) has returned to the Zabludowicz Collection in London to create her first solo institutional European show. Comprising works from the collection (acquired from her major LA show last year), elements from and a video of the opera, and a number of new pieces, the exhibition is fully immersive and promises to transport visitors to an alternate reality – “Trulee’s world” – where dichotomies are set up, only to be broken back down and questioned, and layers of meaning are offered, to be peeled back and explored at the viewer’s whim. </span></p><p style="line-height: 24px; margin-left: 0cm; margin-right: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVB3ZuoTtZ0zXvLbpvakWEMYtGNP6DcLjuLvng3tnBOg2ke-Zr081TAUNbhFoTJrxvMxFv7YJUWYsFcxEFIxFahQdoRPJNEj3S_OselDBpJzu5KotplOjrzau-v1GnZWaN6MpQdDNwtdYu/s750/Trulee-Hall-Tongues-Duel-the-Corn-Whores.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="750" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVB3ZuoTtZ0zXvLbpvakWEMYtGNP6DcLjuLvng3tnBOg2ke-Zr081TAUNbhFoTJrxvMxFv7YJUWYsFcxEFIxFahQdoRPJNEj3S_OselDBpJzu5KotplOjrzau-v1GnZWaN6MpQdDNwtdYu/w400-h266/Trulee-Hall-Tongues-Duel-the-Corn-Whores.jpg" width="400" /></a></div><p></p><p style="line-height: 24px; margin-left: 0cm; margin-right: 0cm;"><span style="font-family: arial;">Hall spoke to Studio International via Zoom, offering insight into her musical background, her use of symbols – and the meanings associated with her golden corn-on-the-cobs – and what she thinks of her work being described as “erotic grotesque”, and following in the psychosexual artistic legacy of such artists as Paul McCarthy and Mike Kelley.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><br /></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Read the full interview <a href="https://www.studiointernational.com/index.php/trulee-hall-interview-zabludowicz-collection-when-i-say-whore-i-wouldnt-say-its-a-bad-word" target="_blank">here</a></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><b><br /></b></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><b><br /></b></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><b><br /></b></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><b><br /></b></span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-41020160915282653922020-12-07T12:05:00.003+00:002020-12-07T12:05:11.428+00:00Interview with Susie MacMurray at Pangolin London<p><span style="font-family: arial; font-size: x-small;">07/12/20</span></p><p><span style="font-family: arial; font-size: large;"><b>Interview with Susie MacMurray </b></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Former classical musician Susie MacMurray (b1959) retrained as an artist during the era of the YBAs, but she is as far removed from their style of “one-liner” work as could be, focusing very much on the materiality and poetry of a piece, combining unconventional materials – such as red velvet, feathers, wax and barbed wire – to create seductive yet misleading installations, which lure the viewers in, but then cause them to step away in surprise and ask questions. Vulnerability and resilience, danger and attraction, mystery and wonder, life and death – these are all present in MacMurray’s work, which, like a fairytale, centres on alchemy and transformation. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmwYUuZkN_S9KULuvac53BAGHs2dOAuP8GNRynYnBLSCalGaRFYDH3vqLZI-4NI2uR-8w6kOUhsD02y0OkBSFo0KAKcZHNrAJp6rR05NVHRbuYPg6ELMBIrSgnWmCdkUH8JTDKOngdbLsc/s470/image_article.php.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="265" data-original-width="470" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmwYUuZkN_S9KULuvac53BAGHs2dOAuP8GNRynYnBLSCalGaRFYDH3vqLZI-4NI2uR-8w6kOUhsD02y0OkBSFo0KAKcZHNrAJp6rR05NVHRbuYPg6ELMBIrSgnWmCdkUH8JTDKOngdbLsc/w400-h225/image_article.php.jpeg" width="400" /></a></div><span style="font-family: arial;"><br /></span><p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">With an exhibition at Pangolin London, including a site-specific installation – or “drawing in space” – and some new bronze works (MacMurray’s first time working with this material), made in the Pangolin foundry, the artist spoke to Studio International about her collaborative and repetitive way of working, her love of dualities, and her self-discovery as an artist later in life.</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Read the full interview <a href="https://www.studiointernational.com/index.php/susie-macmurray-interview-a-feather-is-never-just-feather-fishook-murmur-pangolin-london" target="_blank">here</a></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-81971162348022377402020-12-02T10:22:00.001+00:002020-12-02T10:22:24.155+00:00Q: Tracey Emin<span style="font-family: arial; font-size: x-small;">02/12/20</span><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJJU1gFU8AEfr0HZgSDH2puktKx-YUq7DE4xZ8rh85tvU_wEKj-dN842Cqgl1LsQ-RkOoigXUw6sF_7_eaLlFZq2KoaiKqTvrGO88ZQyloc_QxjhAJAiA1ZAxqxW7yMIkQR4yRyy8UUZS1/s1170/Q.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1170" data-original-width="918" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJJU1gFU8AEfr0HZgSDH2puktKx-YUq7DE4xZ8rh85tvU_wEKj-dN842Cqgl1LsQ-RkOoigXUw6sF_7_eaLlFZq2KoaiKqTvrGO88ZQyloc_QxjhAJAiA1ZAxqxW7yMIkQR4yRyy8UUZS1/w502-h640/Q.png" width="502" /></a></div><br /><div><br /></div><div><br /></div><div><span style="font-family: arial;">Published in the winter 2020 issue of </span><a href="https://www.artfund.org/about-us/art-quarterly" style="font-family: arial;" target="_blank">Art Quarterly</a></div><div><br /></div><div><br /></div>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-87174501691098570402020-12-02T10:20:00.005+00:002020-12-02T10:20:41.453+00:00Shaping Futures: A Perfect Partnership<p><span style="font-family: arial; font-size: x-small;"> 02/12/20</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7H2Iy9vmG7V0l4FCE_-XZGygrDGZVfe2JBB58-JEEiyGpV2CYj49dViz2egbSxFRpkUF7acO1COfyDYagmfpCQCV1TStnTT1ZbTv8VMAJWUCRRS5pCvBFx2G8s35oNi2xqOm7tEZ9bKDc/s2048/19.+Art+Quarterly+Winter+2020+%2528Shaping+futures%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1310" data-original-width="2048" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7H2Iy9vmG7V0l4FCE_-XZGygrDGZVfe2JBB58-JEEiyGpV2CYj49dViz2egbSxFRpkUF7acO1COfyDYagmfpCQCV1TStnTT1ZbTv8VMAJWUCRRS5pCvBFx2G8s35oNi2xqOm7tEZ9bKDc/w400-h256/19.+Art+Quarterly+Winter+2020+%2528Shaping+futures%2529.jpg" width="400" /></a></div><p><br /></p><p><span style="font-family: arial;">Published in the winter 2020 issue of </span><a href="https://www.artfund.org/about-us/art-quarterly" style="font-family: arial;" target="_blank">Art Quarterly</a></p><p><br /></p><p><br /></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-8573926348745118652020-12-02T10:16:00.006+00:002020-12-02T10:16:46.439+00:00Meet the Collectors: Gwendoline and Margaret Davies<p><span style="font-family: arial; font-size: x-small;">02/12/20</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIXEzkVxUKrmsqKU0Rq6EE7EaZ-a2Mf3HImEuuS5Od8MbsuIr0ZHC8rws5JRhdDnpa4-YpvMtrJYPMr-CnmAmdupM25H6qchSTjmiflWSqFb4xRkxPE-MASqXKCzXXAfxJ5JT6ngKqV6kJ/s2048/11.+Art+Quarterly+Winter+2020+%2528Collectors%252C+Davies+Sisters%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1310" data-original-width="2048" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIXEzkVxUKrmsqKU0Rq6EE7EaZ-a2Mf3HImEuuS5Od8MbsuIr0ZHC8rws5JRhdDnpa4-YpvMtrJYPMr-CnmAmdupM25H6qchSTjmiflWSqFb4xRkxPE-MASqXKCzXXAfxJ5JT6ngKqV6kJ/w400-h256/11.+Art+Quarterly+Winter+2020+%2528Collectors%252C+Davies+Sisters%2529.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvRXswxwnGmqtPf2cywwwPHwDEV8SIlGt_ZaqcpQ0sqX-b-vOGUhUzq4gSuq538M4Bc5e1oLXogWrmwGsxIAnDLDqVIaSh7FEaAcOrgeF-PF8TLsta25J3GscPeJB-OOG7kYg6mkKH7UKD/s2048/11.+Art+Quarterly+Winter+2020+%2528Collectors%252C+Davies+Sisters%2529p2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1310" data-original-width="2048" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvRXswxwnGmqtPf2cywwwPHwDEV8SIlGt_ZaqcpQ0sqX-b-vOGUhUzq4gSuq538M4Bc5e1oLXogWrmwGsxIAnDLDqVIaSh7FEaAcOrgeF-PF8TLsta25J3GscPeJB-OOG7kYg6mkKH7UKD/w400-h256/11.+Art+Quarterly+Winter+2020+%2528Collectors%252C+Davies+Sisters%2529p2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgESinrctnu01ZXHyd1fBVBZ7es17UjKtLscO_G10O7m6P4Rs_NxEkS8ClVh5xMxT2FGL4LbtXo-e4330SukFetqD2SjhNGWgblRXRjisTLVHwVSECt5CNE6AKDjQQgwWSvL_mhLWMDZ2cQ/s2048/11.+Art+Quarterly+Winter+2020+%2528Collectors%252C+Davies+Sisters%2529p3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1310" data-original-width="2048" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgESinrctnu01ZXHyd1fBVBZ7es17UjKtLscO_G10O7m6P4Rs_NxEkS8ClVh5xMxT2FGL4LbtXo-e4330SukFetqD2SjhNGWgblRXRjisTLVHwVSECt5CNE6AKDjQQgwWSvL_mhLWMDZ2cQ/w400-h256/11.+Art+Quarterly+Winter+2020+%2528Collectors%252C+Davies+Sisters%2529p3.jpg" width="400" /></a></div><br /><span style="font-family: arial; font-size: x-small;"><br /></span><p></p><p><span style="font-family: arial; font-size: x-small;"><br /></span></p><p><span style="font-family: arial;">Published in the winter 2020 issue of <a href="https://www.artfund.org/about-us/art-quarterly" target="_blank">Art Quarterly</a></span></p><p><br /></p><p><br /></p><p><br /></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-91676740168748013262020-12-01T16:30:00.001+00:002020-12-01T16:30:11.068+00:00Interview with Emily Jacir<p><span style="font-family: arial; font-size: x-small;"> 01/12/20</span></p><p><span style="font-family: arial; font-size: large;"><b>Interview with Emily Jacir</b></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Emily Jacir (1972, Bethlehem, Palestine) creates works of art across many mediums, exploring histories of colonisation, exchange, translation, transformation, resistance and movement. Books, libraries, etymology and the act of translation are also fundamental to many of her works, which are frequently diaristic in form, and impacted by direct experience, community interaction, and intense research.<span style="font-size: 10pt; line-height: 20px;"></span><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4YwLmitYZ0EBTRfu-dD2uAARYrGmb-YAi824vmrpARH9aDmhe986H8qBqB-BMfvNGsQ3m1aT-kkB6edN0c4qYPqVyopbR9CqDvfiapEAjDvboWdCVMNLIng1huYVgZ8-xJ9AuZdBLe_pw/s2048/EmilyJacir+portrait+photo+by+JohnMcRae.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4YwLmitYZ0EBTRfu-dD2uAARYrGmb-YAi824vmrpARH9aDmhe986H8qBqB-BMfvNGsQ3m1aT-kkB6edN0c4qYPqVyopbR9CqDvfiapEAjDvboWdCVMNLIng1huYVgZ8-xJ9AuZdBLe_pw/w400-h266/EmilyJacir+portrait+photo+by+JohnMcRae.jpg" width="400" /></a></div><span style="font-family: arial;"><br /></span><p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Currently showing a large stone medallion as part of the <span style="background-color: white;">all-women group exhibition Push the Limits, at the Fondazione Merz in Turin, Italy, Jacir talks to Studio International by email about the origins and meanings of this work, as well as some of her other key projects.</span><span style="background-color: white; background-position: initial initial; background-repeat: initial initial;"><o:p></o:p></span></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><o:p><span style="font-family: arial;"> </span></o:p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><o:p><span style="font-family: arial;">Read the full interview <a href="https://www.studiointernational.com/index.php/emily-jacir-pietrapertosa-gardentopia-project-matera-2019-fondazione-merz-turin-i-wanted-locals-to-show-me-what-was-important-for-them" target="_blank">here</a></span></o:p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><o:p><span style="font-family: arial;"><br /></span></o:p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><o:p><span style="font-family: arial;"><br /></span></o:p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><o:p><span style="font-family: arial;"><br /></span></o:p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><o:p><span style="font-family: arial;"><br /></span></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><o:p><br /></o:p></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-3163099575221784972020-11-18T13:46:00.001+00:002020-11-18T13:46:05.916+00:00Review of Toulouse-Lautrec and the Masters of Montmartre online at Victoria Art Gallery, Bath<p><span style="font-family: arial; font-size: x-small;">18/11/20</span></p><p><b><span style="font-family: arial; font-size: large;">Toulouse-Lautrec and the Masters of Montmartre </span></b></p><p><b><span style="font-family: arial;">Victoria Art Gallery, Bath</span></b></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><b>Available <a href="https://www.victoriagal.org.uk/galleries/toulouse-lautrec-and-masters-montmartre" style="color: #954f72;">online</a></b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"> </span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">“They don’t pretend to be precious stuff; they’ll be torn down in a little while and others will be put up, and so on: they don’t give a damn! That’s great! – and that’s art, by God, and the best kind, mixed in with life, art without any bluffing or boasting and within the easy reach of ordinary guys,” said the anarchist art critic and aesthete Félix Fénéon.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><o:p><span style="font-family: arial;"> </span></o:p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioZ0CjTK7RNreEratKLaH5CZ3dzBotDKiLHqptbDJCSRSriKScUqqujKXibIdfn7eQK_7b96eR8YUeHosuPLAuMvEKOv6jynex1UJCETXFhYX2b9eqtsMMkOC2AOg8FdR51EWR4iol1STj/s1103/Lautrec-Jane-Avril-1899.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: arial;"><img border="0" data-original-height="1103" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioZ0CjTK7RNreEratKLaH5CZ3dzBotDKiLHqptbDJCSRSriKScUqqujKXibIdfn7eQK_7b96eR8YUeHosuPLAuMvEKOv6jynex1UJCETXFhYX2b9eqtsMMkOC2AOg8FdR51EWR4iol1STj/w436-h640/Lautrec-Jane-Avril-1899.jpg" width="436" /></span></a></div><o:p><span style="font-family: arial;"><br /></span></o:p><p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">This exhibition, comprising 80 colour “street art” posters by Henri de Toulouse-Lautrec and his contemporaries, including Pierre Bonnard, Jules Chéret, Alphonse Mucha and Théophile Steinlen, was long in the planning at Victoria Art Gallery in Bath. Sadly, it was open for less than two months before closing because of the Covid pandemic. The gallery, however, which intends to remain closed until next spring, has responded by moving nearly 50 works from the exhibition online: and not just the images, but also audio accompaniments for 16 of them, giving information about the artists, the bohemian celebrities of turn-of-the-century Montmartre, and background music to bring the atmosphere of the café-concert to life. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Read the full review <a href="https://www.studiointernational.com/index.php/toulouse-lautrec-and-the-masters-of-montmartre-online-exhibition-review-victoria-art-gallery-bath" target="_blank">here</a></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><o:p><span style="font-family: arial;"> </span></o:p></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-41950895719295160502020-11-17T10:46:00.001+00:002020-11-17T10:46:04.423+00:00Interview with Paloma Varga Weisz<p><span style="font-family: arial; font-size: x-small;">17/11/20</span></p><p><b style="font-family: arial;"><span style="font-size: large;">Interview with Paloma Varga Weisz</span></b></p><p><span style="font-family: arial;">Born into an artistic family and classically trained in the traditional techniques of woodcarving, Paloma Varga Weisz, who lives and works in Düsseldorf, Germany,<b> </b>uses the mediums of sculpture, watercolour and drawing to explore a world of masquerades and disguises, revealing histories and creating narratives. Entering the art world in the heyday of the early 2000s, her career took off quickly, and she has exhibited widely internationally and received numerous stipends and awards. </span></p><p><span style="font-family: arial;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgis4kx3kjfvkfx2hgsnPdqyVL0MoSyv5N-5mwKTtd1U5uOmvcf4ivhRUM2MDebFaKx-tytbsBSJK7j75ib_6ZNxJMUaVFAq6qtuV3g9as07MThrumyQpalIzSujKnnCXBg9hnPsBAU_O5V/s2048/2-PVW-Bumped-Body-scaled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1366" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgis4kx3kjfvkfx2hgsnPdqyVL0MoSyv5N-5mwKTtd1U5uOmvcf4ivhRUM2MDebFaKx-tytbsBSJK7j75ib_6ZNxJMUaVFAq6qtuV3g9as07MThrumyQpalIzSujKnnCXBg9hnPsBAU_O5V/w426-h640/2-PVW-Bumped-Body-scaled.jpg" width="426" /></a></div><span style="font-family: arial;"><br /></span><p></p><p class="MsoListParagraphCxSpMiddle" style="margin: 0cm;"><span style="font-family: arial;">Her most recent exhibition, “Bumped Body”, was shown at the Bonnefanten Museum in Maastricht, the Netherlands, before traveling to the Henry Moore Institute in Leeds, UK, where it was reinstalled in a completely new iteration, opened with a private view, and then closed due to the Covid-19 lockdown. One work, <i>Bumpman</i>, however, stood outside the gallery throughout like an omen or watchman. <o:p></o:p></span></p><p class="MsoListParagraphCxSpMiddle" style="margin: 0cm;"><o:p><span style="font-family: arial;"> </span></o:p></p><p class="MsoListParagraphCxSpLast" style="margin: 0cm;"><span style="font-family: arial;">Varga Weisz is also preparing to install an eight-metre-tall female figure, <i>Foreign Body</i>, in the Joshua Tree National Park, in the Mojave Desert, as part of “High Desert Test Sites 2020”, curated by Iwona Blazwick—again, something which has had to be postponed for the time being.</span><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></p><p class="MsoListParagraphCxSpLast" style="margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoListParagraphCxSpLast" style="margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoListParagraphCxSpLast" style="margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoListParagraphCxSpLast" style="margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoListParagraphCxSpLast" style="margin: 0cm;"><span style="font-family: arial;">Read my interview for Sculpture Magazine <a href="https://sculpturemagazine.art/just-a-small-piece-of-wood-and-a-knife-a-conversation-with-paloma-varga-weisz/" target="_blank">here</a></span></p><p class="MsoListParagraphCxSpLast" style="margin: 0cm;"><span style="font-family: arial;"><br /></span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-68937008747074297802020-11-16T17:32:00.002+00:002020-11-16T17:32:29.394+00:00Interview with Sarah Muirhead<span style="font-family: arial; font-size: x-small;">16/11/20</span><div><span style="font-family: arial; font-size: x-small;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqvQTxQES_xpVUpbaA-JKGVPzhd0m6rblW4iuhwbddekVGop5tLKY9HBysKhYjVceNRU4F2_NjRMQCBj_MUAn9bVXlD9LPZTDRz7IoreO5JLaDNOB6di4IBgE-LfF2GkoP_oAZaOjMv7dy/s1682/Screenshot+2020-11-16+at+17.16.22.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1190" data-original-width="1682" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqvQTxQES_xpVUpbaA-JKGVPzhd0m6rblW4iuhwbddekVGop5tLKY9HBysKhYjVceNRU4F2_NjRMQCBj_MUAn9bVXlD9LPZTDRz7IoreO5JLaDNOB6di4IBgE-LfF2GkoP_oAZaOjMv7dy/w400-h283/Screenshot+2020-11-16+at+17.16.22.png" width="400" /></a></div><br /><span style="font-family: arial; font-size: x-small;"><br /></span><div><span style="font-family: arial; font-size: x-small;"><br /></span></div><div><span style="font-family: arial; font-size: x-small;">Edition 3 of <a href="https://www.thefluxreview.com" target="_blank">The Flux Review</a></span></div></div>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-47165502969727185362020-11-16T17:30:00.003+00:002020-11-16T17:30:26.445+00:00Interview with Anita Glesta<span style="font-family: arial; font-size: x-small;">16/11/20</span><div><span style="font-family: arial; font-size: x-small;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgyUysXOD-nNsvSGIw3pcuiqw_vvpT5Q_H-S1AfzV28oQ0q4FNEyuJZFbK1UnbuQZfzZsOna86iWSLIC8H9PcE0Syw1jE8g317MY29ABJeEnM4y_DJC4CPDeyIHibH-KkIIwYmjPoT7O6/s1678/Screenshot+2020-11-16+at+17.15.37.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1206" data-original-width="1678" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAgyUysXOD-nNsvSGIw3pcuiqw_vvpT5Q_H-S1AfzV28oQ0q4FNEyuJZFbK1UnbuQZfzZsOna86iWSLIC8H9PcE0Syw1jE8g317MY29ABJeEnM4y_DJC4CPDeyIHibH-KkIIwYmjPoT7O6/w400-h288/Screenshot+2020-11-16+at+17.15.37.png" width="400" /></a></div><br /><span style="font-family: arial; font-size: x-small;"><br /></span></div><div><span style="font-family: arial; font-size: x-small;"><br /></span></div><div><span style="font-family: arial; font-size: x-small;">Edition 3 of <a href="https://www.thefluxreview.com" target="_blank">The Flux Review</a></span></div>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-33049397584861471552020-11-16T17:27:00.001+00:002020-11-16T17:27:02.603+00:00Interview with Leonor Antunes<p><span style="font-family: arial; font-size: x-small;">16/11/20</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQatQkA5k53A8vd7MCNOAvw7syBNAAzb3-MATEVpZ6hTcrdduG7eSiRrwh32M3LORxL57vUYKJLvdF17fw7CMVyt9a3fBShXtmhrIZjUAl7-SnkFufgBmPsY22vBNh8qh83Y6b6aY7HNN/s1682/Screenshot+2020-11-16+at+17.16.08.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1682" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQatQkA5k53A8vd7MCNOAvw7syBNAAzb3-MATEVpZ6hTcrdduG7eSiRrwh32M3LORxL57vUYKJLvdF17fw7CMVyt9a3fBShXtmhrIZjUAl7-SnkFufgBmPsY22vBNh8qh83Y6b6aY7HNN/w400-h285/Screenshot+2020-11-16+at+17.16.08.png" width="400" /></a></div><p></p><p><span style="font-family: arial; font-size: x-small;"><br /></span></p><p><span style="font-family: arial; font-size: x-small;">Edition 3 of <a href="https://www.thefluxreview.com" target="_blank">The Flux Review</a></span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-57912035430126618772020-11-16T17:24:00.002+00:002020-11-16T17:24:16.587+00:00Artist Colonies: Northern Germany<p><span style="font-family: arial; font-size: x-small;">16/11/20</span></p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvLO8g9LN9Rn3SUTtcP1TQQU-r_IiilL9Tn3Cs_sQW1xiEe1WobvtZ6LcYQ6qCCAll7EPbA5ZJ9ncP4-tQdyZr8X0jUHGdroOMhPisRnMzBzPn5sPa25WAjHQAF9EWvmKIULm5Jqk9EFB1/s1682/Screenshot+2020-11-16+at+17.15.54.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1202" data-original-width="1682" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvLO8g9LN9Rn3SUTtcP1TQQU-r_IiilL9Tn3Cs_sQW1xiEe1WobvtZ6LcYQ6qCCAll7EPbA5ZJ9ncP4-tQdyZr8X0jUHGdroOMhPisRnMzBzPn5sPa25WAjHQAF9EWvmKIULm5Jqk9EFB1/w400-h286/Screenshot+2020-11-16+at+17.15.54.png" width="400" /></a></div><br /><p></p><p><br /></p><p><span style="font-family: arial; font-size: x-small;">Edition 3 of <a href="https://www.thefluxreview.com" target="_blank">The Flux Review</a> </span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-41225685231044201532020-11-13T17:56:00.004+00:002020-11-13T17:56:50.035+00:00Interview with Arik Levy and Zoé Ouvrier<p><span style="font-family: arial; font-size: x-small;">13/11/20</span></p><p><span style="font-family: arial; font-size: medium;"><b>Interview: Arik Levy and Zoé Ouvrier </b></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Arik Levy (b1963, Tel Aviv) and Zoé Ouvrier (b1975, Montpellier, France) create works inspired by nature, but they do not simply attempt to interpret what they see; rather, they go beyond this, exploring, in Levy’s case, psychological and material polarities, and, in Ouvrier’s, feelings, emotions and narratives. Beyond Nature, then, is an appropriate title for this first exhibition bringing together the married couple’s works, and they are as excited as anyone to see what new conversations will arise as a result. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"> </span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">I spoke to Levy and Ouvrier via Zoom from their new home and studio in Saint-Paul-de-Vence, France. </span><span style="font-family: Calibri Light, sans-serif;"><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7pBpdrmNKD24CMmynx8oUe44eUIVMxDhwe0QLwxfXEUIYG65ibrMALjGZvkHdrKSZ45-elX19ENIs6QI8LYv9Pp3Ss5c9E5DVUA-U6iJ6P2hfcyjY-Fx4kce__QKtjooCex9xRBW7J9rZ/s1600/Zoe%25CC%2581+Ouvrier+and+Arik+Levy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7pBpdrmNKD24CMmynx8oUe44eUIVMxDhwe0QLwxfXEUIYG65ibrMALjGZvkHdrKSZ45-elX19ENIs6QI8LYv9Pp3Ss5c9E5DVUA-U6iJ6P2hfcyjY-Fx4kce__QKtjooCex9xRBW7J9rZ/w400-h266/Zoe%25CC%2581+Ouvrier+and+Arik+Levy.jpg" width="400" /></a></div><span style="font-family: arial;"><br /></span><p></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;">Read the full interview <a href="https://www.studiointernational.com/index.php/arik-levy-and-zoe-ouvrier-interview-beyond-nature-method-concept" target="_blank">here</a></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><br /></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><br /></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><br /></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p><p class="MsoNormal" style="line-height: 24px; margin: 0cm;"><span style="font-family: arial;"><br /></span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-40671090887968968002020-11-02T12:49:00.003+00:002020-11-11T19:10:12.683+00:00Review of Artemisia at the National Gallery, London<p><span face="Calibri, sans-serif"><span style="font-family: arial; font-size: x-small;">02/11/20</span></span></p><p><span face="Calibri, sans-serif"><b><span style="font-family: arial; font-size: large;">Artemisia</span></b></span></p><p><span face="Calibri, sans-serif" style="font-family: arial;"><b>National Gallery, London</b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><b>3 October 2020 – 24 January 2021</b></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><o:p> </o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;">The Italian Baroque painter Artemisia Gentileschi (1593-c1656) is well on her way to becoming as widely recognised an artistic icon as Frida Kahlo. Certainly in the era of #MeToo, her autobiography of being raped by a fellow artist, a friend of her father, at the age of 17, and enduring a seven-month-long trial, which included torture, to test the veracity of her testament, goes before her and makes her name – for better or worse – more well-known than her artwork. Of the latter, those paintings depicting biblical heroines as strong – and often vengefully violent – real women are the most beloved, and, in fact, generally the only ones known. I confess to having been oblivious to many of her more tender subjects until this long-overdue – and latterly delayed due to Covid-19 closures – exhibition at the National Gallery, London, finally opened its doors.<o:p></o:p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgennXJ2SivBaK9nLhfrzZsyrIF3xcGU-CJUN8w_SeNt5lfsB0Pcpoe0DQucbfVZUZTyTQEmHQUGHLfZR63W58leHLWwUz_Ir91IrXb6k-xvNtqBm7k8IViRNqFPOni1KvUL2pOmRE-D_E-/s949/X10473-A5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="949" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgennXJ2SivBaK9nLhfrzZsyrIF3xcGU-CJUN8w_SeNt5lfsB0Pcpoe0DQucbfVZUZTyTQEmHQUGHLfZR63W58leHLWwUz_Ir91IrXb6k-xvNtqBm7k8IViRNqFPOni1KvUL2pOmRE-D_E-/w506-h640/X10473-A5.jpg" width="506" /></a></div><br /><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;">Read the full article <a href="https://www.studiointernational.com/index.php/artemisia-gentileschi-review-national-gallery-london" target="_blank">here</a></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 24px; margin: 0cm;"><br /></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-1769526178218859862020-09-24T13:53:00.001+01:002020-09-24T13:53:11.847+01:00NA Meets: Øystein Ustvedt, Munch expert<p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: x-small;">24/09/20</span></p><p class="MsoNormal" style="margin: 0cm;"><span style="font-family: arial; font-size: large;"><b>NA Meets: Øystein Ustvedt, Munch expert</b></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;">There is a small library of books on Edvard Munch, including several already written by the art critic, curator, and expert on the artist, Øystein Ustvedt. But his new publication, </span><span style="border: 1pt none windowtext; font-family: Arial, sans-serif; padding: 0cm;">Edvard Munch: An Inner Life</span><span style="font-family: Arial, sans-serif;">, is intended to offer a wide-reaching, all-encompassing introduction for the lay reader.</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuDzZplmbWmTfrpKXU3Wj1ay8DmYaO5rw_i16K0NKj6m9FfxzkElFOa9tvYUad8b6JFbLj4ujyXW6ZkzxsBhYqaIVGbhYMLKSQ0wLnawUgnWWZexOT38wij6yMUv-G7Rv_OFgCX-IxDl_7/s1200/9780500295762.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="797" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuDzZplmbWmTfrpKXU3Wj1ay8DmYaO5rw_i16K0NKj6m9FfxzkElFOa9tvYUad8b6JFbLj4ujyXW6ZkzxsBhYqaIVGbhYMLKSQ0wLnawUgnWWZexOT38wij6yMUv-G7Rv_OFgCX-IxDl_7/w426-h640/9780500295762.jpg" width="426" /></a></div><span style="font-family: Arial, sans-serif;"><br /></span><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;"> </span><span style="font-family: -webkit-standard, serif;"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;">Ustvedt couldn’t be better qualified for the task. He is head of the Stenersen Museum, a curator at the National Museum in Oslo and has curated several exhibitions of Munch’s work. Ahead of the book’s publication, Norwegian Arts talked with Ustvedt about what this volume will offer that others do not, his personal views on the artist he has spent so much time researching, and how he would like to expand his horizons in the future.</span><span style="font-family: -webkit-standard, serif;"><o:p></o:p></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;">Read the full interview <a href="https://norwegianarts.org.uk/analysing-munch-na-meets-oystein-ustvedt-art-historian/" target="_blank">here</a></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;"><br /></span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0cm;"><span style="font-family: Arial, sans-serif;"><br /></span></p><br class="Apple-interchange-newline" />Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-20693806648685257972020-09-05T21:00:00.000+01:002020-09-05T21:00:01.189+01:00Interview with Alberta Whittle<p><span style="font-family: arial; font-size: x-small;">05/09/20</span></p><p><span style="font-family: arial; font-size: large;"><b>Interview with Alberta Whittle</b></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-family: arial;"><span style="font-size: 12pt; line-height: 24px;">Alberta Whittle</span><span style="font-size: 12pt; line-height: 24px;"> (b1980, Barbados) has had a phenomenal couple of years. The Glasgow-based artist, who works in film, sculpture, performance, collage and choreographed installation, was the </span><span style="font-size: 12pt; line-height: 24px;">recipient of the 2018-19 Margaret Tait Award and, this year, was one of the 10 artists to receive a Turner bursary award from Tate Britain, in place of the annual Turner Prize. She is about to show work in the Photoworks Festival in Brighton and in a group show at Copperfield in south-east London. <o:p></o:p></span></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-size: 12pt; line-height: 24px;"><span style="font-family: arial;"> </span></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-size: 12pt; line-height: 24px;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVwSeO01_E6mt4fj3WO-94UkRCj9FZZlFC0Hk2p4pMctaqq68Vvcj76i8mMZDuZWQPv-5AJo50azz3D2M5ZnOsG6MYU8RWU6WV7S4av-slat0W8XffLdyecVPHnxyCRGVS2PQ4C4JNVw7D/s750/12-Holding-the-line-still.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="469" data-original-width="750" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVwSeO01_E6mt4fj3WO-94UkRCj9FZZlFC0Hk2p4pMctaqq68Vvcj76i8mMZDuZWQPv-5AJo50azz3D2M5ZnOsG6MYU8RWU6WV7S4av-slat0W8XffLdyecVPHnxyCRGVS2PQ4C4JNVw7D/w400-h250/12-Holding-the-line-still.jpg" width="400" /></a></div><span style="font-family: arial;"><br /></span><p></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-family: arial;"><span style="font-size: 12pt; line-height: 24px;">The Liverpool Biennial and Art Night have been postponed due to the Covid-19 pandemic, giving Whittle a little longer to finesse her works for these events, but equally raising new challenges as to how to adapt to the restrictions and changes in the way she can interact with her audience – something which, for Whittle, is key, since she seeks to pose questions and unsettle people from their positions of privilege and passivity. Key themes in her work include anti-blackness, legacies of slavery and apartheid, the erasure of black people and people of colour in everyday society, and also environmental issues.</span><span style="font-size: 12pt; line-height: 24px;"><o:p></o:p></span></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-size: 12pt; line-height: 24px;"><span style="font-family: arial;"> </span></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-size: 12pt; line-height: 24px;"><span style="font-family: arial;">Whittle spoke to Studio International about her practice and motivations, the effect of the pandemic, and the role of viscerality in her work.<o:p></o:p></span></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-size: 12pt; line-height: 24px;"><span style="font-family: arial;"><br /></span></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-size: 12pt; line-height: 24px;"><span style="font-family: arial;"><br /></span></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-size: 12pt; line-height: 24px;"><span style="font-family: arial;">Read the full interview <a href="https://www.studiointernational.com/index.php/alberta-whittle-interview-no-one-can-find-barbados-on-the-map-that-level-of-inattention-galvanises-so-much-of-my-work" target="_blank">here</a></span></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-size: 12pt; line-height: 24px;"><span style="font-family: arial;"><br /></span></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-size: 12pt; line-height: 24px;"><span style="font-family: arial;"><br /></span></span></p><p class="Normal1" style="font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-size: 12pt; line-height: 24px;"><span style="font-family: arial;"><br /></span></span></p><p class="Normal1" style="font-family: Arial, sans-serif; font-size: 11pt; line-height: 22px; margin: 0cm;"><span style="font-family: Calibri, sans-serif; font-size: 12pt; line-height: 24px;"><br /></span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0tag:blogger.com,1999:blog-7684092052973972085.post-57355908760783718722020-09-04T16:08:00.000+01:002020-09-04T16:08:02.267+01:00Meet the Collectors: Kathleen Garman and Sally Ryan<p> <span style="font-family: arial; font-size: small;">04/09/20</span></p><p><b><span style="font-family: arial; font-size: large;">Meet the Collectors: Kathleen Garman and Sally Ryan</span></b></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguq101z33JTHbegDPunQ7Ve0urbjLd4L2FeWMFisuQJ2uvi5GJ3rw2RxFVScjGwS6gZQbUgoOdSyx3OEbe-RrculGBFuRMhGVAW5sXizczsJX2SaPOVwX_ilnht6N5xjDhWi29c0VNIbSI/s2048/9_AQ.Autumn20.FEATURE.Collectors.GarmanRyan.LR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1310" data-original-width="2048" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguq101z33JTHbegDPunQ7Ve0urbjLd4L2FeWMFisuQJ2uvi5GJ3rw2RxFVScjGwS6gZQbUgoOdSyx3OEbe-RrculGBFuRMhGVAW5sXizczsJX2SaPOVwX_ilnht6N5xjDhWi29c0VNIbSI/w400-h256/9_AQ.Autumn20.FEATURE.Collectors.GarmanRyan.LR.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOFQe11eYlrqhAIBcdhIlDP6NCZ_FRbCQzTktqzr3VUhBE6SUlm0rkj3yTxvida5UimnNtOTyIq6pxdVGk6h62gQp1GCG3zKW9RJWV04DUCV9tjagxLiCOO1IsFRKtKPejJn17mu3v5SqK/s2048/29_AQ.Autumn20.FEATURE.Collectors.GarmanRyan.LR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1310" data-original-width="2048" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOFQe11eYlrqhAIBcdhIlDP6NCZ_FRbCQzTktqzr3VUhBE6SUlm0rkj3yTxvida5UimnNtOTyIq6pxdVGk6h62gQp1GCG3zKW9RJWV04DUCV9tjagxLiCOO1IsFRKtKPejJn17mu3v5SqK/w400-h256/29_AQ.Autumn20.FEATURE.Collectors.GarmanRyan.LR.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggqKqBtZb59qjhDLHZg9S6_Qgw6AnWRV6NoNOXEdd5gfVcRK8uJXrow4VFLUMPHKkrwNL6ST4V1noZ1M7GmgcSOj-ZgzI0SXGMDRBAHbxfEWHXirg9n8PPhIv-02OBxw1sR1hlJp0FYY17/s2048/39_AQ.Autumn20.FEATURE.Collectors.GarmanRyan.LR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1310" data-original-width="2048" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggqKqBtZb59qjhDLHZg9S6_Qgw6AnWRV6NoNOXEdd5gfVcRK8uJXrow4VFLUMPHKkrwNL6ST4V1noZ1M7GmgcSOj-ZgzI0SXGMDRBAHbxfEWHXirg9n8PPhIv-02OBxw1sR1hlJp0FYY17/w400-h256/39_AQ.Autumn20.FEATURE.Collectors.GarmanRyan.LR.jpg" width="400" /></a></div><br /><span style="font-family: arial;"><br /></span><p></p><p><span style="font-family: arial;"><br /></span></p><p><span style="font-family: arial;">Published in the Autumn 2020 issue of <a href="https://www.artfund.org/about-us/art-quarterly" target="_blank">Art Quarterly</a></span></p>Anna McNayhttp://www.blogger.com/profile/14936633192134442291noreply@blogger.com0