Tate Liverpool
Albert Dock
Liverpool
Fourth floor galleries
Peter Blake: A Retrospective
June 29-September 23, 2008
A highly influential and original artist, Peter Blake is often described as the godfather of British Pop art. The Tate Liverpool exhibition will survey his rich and diverse oeuvre, presenting familiar works alongside other rarely-seen ones.
The show will include major iconic works such as On the Balcony (1955-57), Self-Portrait with Badges (1961), The Toy Shop (1962), The Beatles (1963-68) and ‘The Meeting’ or ‘Have a Nice Day, Mr Hockney’ (1981-83). It will conclude with recent works, such as the Marcel Duchamp World Tour, a project which has occupied the artist for the last decade.
At the core of Blake’s work has been his fascination with popular culture, including music, film and sports. A prolific artist, he has worked in a variety of media including painting, drawing, printmaking, illustration, collage and sculpture. During the late 1950s and early 1960s Blake became one of the best-known British Pop artists. He defined a specifically British pop aesthetic and, has on several occasions, seamlessly blended his work with popular culture itself, the best known examples being his cover for the Beatles album Sergeant Pepper’s Lonely Hearts Club Band and the recent cover design for Stop the Clocks by Oasis.
Read on and view more work here.
via Art Tattler | Tate Collection
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Over the past few years the nationally regarded private collection of abstract art, including paintings, sculpture, and works on paper owned by Natalie and Irving Forman of Santa Fe, New Mexico has been gifted to the Albright-Knox Art Gallery. In 2005 the Gallery exhibited many of the paintings and sculptures. This year’s exhibition will present an intimate look at more than 130 works on paper by 40 artists including Stuart Arends, John Beech, Erika Blumenfeld, Rudolf de Crignis, Marcia Hafif, Winston Roeth, and Mark di Suvero.
via Art Daily - Have you ever felt drawn to a particular painting, sculpture, or handmade thing but you weren't quite sure why? It could be that the item was made by an artist who infused his or her chi into the work. The spirit energy per say of the artist; focused emotional energy implanted in the piece while it was being made. The artist puts an impression of his spirit and mental energy into the work. Even with all the best technique in the world, a painting that lacks chi also lacks a certain vitality, that kind of ephemeral underlying energy that draws me to some work. via Modern Art Quotes
- David Hockney has donated his largest work ever to the Tate. The breathtaking portrait, of a typical Yorkshire landscape, was first exhibited last year at the Royal Academy. It will be displayed at Tate Britain in 2009.
Hockney's big paintings of woodlands in the changing seasons have a bounce that's totally different from anything else in the entire history of British landscape art.
"The painting is massive. It is made of 50 small canvases, adding up to an area measuring 40-foot wide by 15-foot high. The subject is what you might call the ordinary English countryside: a small copse of trees, with another in the background, and one large sycamore in front, spreading its network of branches above your head. To the right is a house, to the left a road curves away. In the foreground, a few daffodils bloom. The work is the solution to a problem that perplexed and defeated many of the great painters of the nineteenth century: how do you paint a mighty canvas outside, en plein air? To make the work, Hockney has employed the most up-todate digital technology, in addition to the most old-fashioned – the human hand, arm and eye." via BBC | Royal Academy of Arts - [caption id="attachment_313" align="aligncenter" width="500" caption="Cy Twombly, Untitled (from Blooming. A Scattering of Blossoms & Other Things), 2007"]
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BILBAO - Coinciding with Cy Twombly’s eightieth birthday, the Guggenheim Museum Bilbao will present the most important monographic exhibition that any Spanish institution has ever dedicated to this artist—one of the most influential of the latter half of the 20th century and the dawn of the 21st—from October 28, 2008, to February 15, 2009, organized in collaboration with the Tate Modern in London. A selection of nearly 100 works, including paintings, sculptures and drawings, will occupy the second floor and one gallery on the first floor, with particular emphasis on the most important thematic series created by the artist over the course of his career. Saving a few exceptions, the works are arranged in chronological order. [caption id="attachment_315" align="aligncenter" width="500" caption="Cy Twombly, Cold Stream, 1966."]
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This exhibition also emphasizes the museum’s special relationship and commitment to this artist in recent years with the 2007 acquisition of his series Nine Discourses on Commodus (1963), the first unitarily conceived series that Cy Twombly has ever designed and around which the exhibit revolves. The curator of the exhibition is Carmen Giménez, a great expert on the artist’s work who was also responsible for organizing Cy Twombly in spring 1987, the first major retrospective of this artist in Spain. The show was curated by Harald Szeemann and presented in the Palacio de Velázquez and the Palacio de Cristal in Madrid while she was director of the National Exhibitions Centre. Previously, in 1986, Cy Twombly was among the artist included in the inaugural exhibition of the Centro de Arte Reina Sofía entitled Referencias: un encuentro artístico en el tiempo (References: An Artistic Encounter in Time), also curated by Carmen Giménez. Later on, in autumn 1987, the exhibition of La Colección Sonnabend (The Sonnabend Collection), curated by Jean Louis Froment at the same museum also included a significant representation of the artist’s work. The presentation of the works that comprise this unique monographic show establishes an interesting dialogue with the unmistakable architecture of Frank Gehry’s building, whose curving galleries and great fanlights bring out the strength of Twombly’s work and the rich tonalities and textures of his paintings and sculptures.
via Artdaily.org
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Adaptable (lemon/turquoise) - 2006 - a flat structure can transform into a 3D sculpture.
Artist: Gemma Smith. You can find more of her work at the Sarah Cottier Gallery.
hat tip Today and Tomorrow

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