Above: Iavor Lubomirov
Amongst the artists whose work is off to Athens are; Bob Bicknell-Knight, Francis Macdonald, Harry Pye, Suzanne Spiro, Chris Tosic, and Loretta Wall. More news soon.
Cable Depot in AthensAbove: Iavor Lubomirov
Amongst the artists whose work is off to Athens are; Bob Bicknell-Knight, Francis Macdonald, Harry Pye, Suzanne Spiro, Chris Tosic, and Loretta Wall. More news soon.
Cable Depot in AthensJeremy Deller who won the Turner Prize in 2004 and represented Britain in the Venice Biennale in 2013 has made an artwork that will be sold in aid of The National Brain Appeal who help people suffering with dementia, Strokes, MS, and Parkinson's. All of the ink jet prints are signed by the artist on the back. They are made on a lovely silver metalic paper and are 42cm by 60cm so would fit in a standard A2 sized frame.
The print was very recently launched at the opening party for an exhibition curated by Harry Pye at London's Fitzrovia Gallery. The Always On My Mind show closes today (Sunday 3rd of Sept) at 6pm.
If you can't get to Fitzrovia Gallery (139 Whitfield St, London W1T 5EN today between 12 and 6pm and buy one in person (if you live in the U.K you can buy a print from the charitie's web shop for £125 including postage). Visit the site:
The phone number of the National Brain Appeal online shop is: 020 3448 4724 and email is: info@nationalbrainappeal.org They are unable to post the prints overseas.
It was
great to travel to Barnes today and catch up with Bruce McLean who I first met about
3 decades ago when I did an “artist’s placement” when I was a student at
Winchester School of Art. Bruce selected a few things for a charity show I’m
organising called Always On My Mind
which takes place at Fitzrovia Gallery.
Bruce
McLean studied at Glasgow School of Art from 1961 to 1963. From 1963 – 66 he
attended St Martin’s School of Art, London, where he famously reacted against
the formalist academic teaching of teachers such as Anthony Caro. In 1966 he
abandoned conventional studio practice for impermanent sculptures made using
materials such as water, along with performances of a generally satirical and
subversive nature. In ‘Pose Work for Plinths I’ (1971; London, Tate), photographs
record a performance in which McLean appeared in a variety of different
positions on plinths to parody the poses of Henry Moore’s celebrated reclining
figures. When in 1972 he was offered an exhibition at the Tate Gallery, he
opted, with mocking intent, for a retrospective lasting only one day. He has
continued to use humour to confront the pretensions of the art world and wider
social issues such as the nature of bureaucracy and institutional politics.
From the mid 1970s, while continuing to mount occasional performances, McLean
turned increasingly to painting and most recently to ceramics. McLean has
participated in many major international exhibitions since the 1960s,
highlights include: When Attitudes Become Form, Kunsthalle, Bern (1969);
Information, Museum of Modern Art, New York (1970); The British Avant Garde,
New York Cultural Centre (1971); Documenta 6, Kassel (1977); Art in the
Seventies, Venice Biennale (1980); A New Spirit in Painting, Royal Academy,
London; Zeitgeist, Martin-Gropius-Bau, Berlin (1982); Documenta 7, Museum
Fredericianum, Kassel (1982); Thought and Action, Laforet Museum, Tokyo (1983);
The Critical Eye, Yale Centre for British Art, New Haven (1984); Out of
Actions; Between Performance and the Object, 1949-79, 1985 he was awarded the
John Moores Painting Prize. Museum of Contemporary Art, Los Angeles (1997);
Bruce McLean and William Alsop, Two Chairs, Milton Keynes Gallery (2002) and
Body and Void: Echoes of Moore in Contemporary Art, The Henry Moore Foundation,
Hertfordshire (2014). First Site, Colchester (2014) and ‘A Hot Sunset and Shade
Paintings’ Bernard Jacobson (2016). McLean’s work is in private and public
collections around the world. In September 2023 Bruce is having a major show at
The Cut (a rural arts centre in Halesworth, Suffolk)
Above: "The Clash" painted by Harry Pye with Rowland Smith, For most of their recording career, The Clash consisted of lead vocalist and rhythm guitarist Joe Strummer (first on the left in the photo below), lead guitarist and vocalist Mick Jones (standing with fag in mouth), bassist Paul Simonon, and drummer Nicky "Topper" Headon (wearing a beret).
Photo above by Chester Simpson (1979)
Read The Guardian's opinion on The Clash's 40 Greatest songs: Here