Showing results by publisher "Cv Publications" in All Categories

Cv/VAR no.100 publishes an interview with the American artist Jim Dine, recorded by cell phone from Wales to the artists Paris studio on May 11th, 2010. In this, he discusses his beginnings as an artist, his work with Claes Oldenburg and the Happenings, the Pinocchio series, 52 Books at Pace Gallery, New York, and the relationship of drawing to his graphic work.

An interview with the author J. P. Donleavy, recorded in 1989 on the occasion of his exhibition at Anna-Mei Chadwick Gallery, Chelsea. He describes his formative experience of Dublin, with exhibitions there in 1948, '50, and '51, the catalogue manifestos, for these were his first published writings, leading to work on his first renowned novel, The Ginger Man.

The word avant-garde, so much used in connection with the various manifestations of contemporary art, is starting to have a strange, ironic ring to it. One might even claim that it is starting to signify what is behind the times, rather than in front of them. Like all such terms, it is in fact a metaphor, rather than a direct description. Borrowed from old-fashioned military terminology, it seeks to describe a situation where social norms are being perpetually challenged by artists. In the military sphere, where it originated, it is long out of use.

Explores the structure and development of the Pre-Raphaelite movement in the mid-19th century and works that figure among the most enduring and generally popular in British art. Renowned writer and art critic Edward Lucie-Smith contributes a study of the brotherhood of seven artists and their interconnection and intricate links with the social establishment of the time. James Cahill has a special interest in the movement, having studied Dante Gabriel Rossetti and Holman Hunt. He reviews a major exhibition of 150 works at Tate Britain launched in September 2012.

An essay by Edward Lucie-Smith explores aspects of the mysterious and private character of the renowned American society artist John Singer Sargent.

A review of the Mary Quant exhibition at the Victoria and Albert Museum London. The audiobook looks at the beginnings of the designer's practice, launched with the Kings Road boutique Bazaar in the 1950s; progressing to Quant's mini skirts and trouser suits in the 1960s, and development of a cosmetic range in the 1970s. Includes quotations from associates and biographical data.

The exhibition attempts a revaluation of the pre-Raphaelite movement of the mid 19th century, as Dr Marsh indicates it is not about gender competition. Rather, it's about rebalancing the contribution of partners, models, and studio managers. It is also about creative discourse and the other significant roles undertaken by women associated with individual artists.

Renoir’s reputation has long been in decline with intellectuals. He is seen as sugary and self-indulgent, to the point where his work gives the whole of the Impressionist Movement a bad name. The thing that has contributed to this fall from grace is, of course, the late work, with its bloated nudes and curiously hot colors. Yet even the work of Renoirís best period tends to seem uneven, despite the continuing popularity of undoubted masterpiece such as La Loge [1874].

A review of Anselm Kiefer exhibition at White Cube Bermonday tours room by room, with analytic descriptions of the large scale works on view.

The photographers discussed in depth in this essay have all engaged with the everyday or the quotidian, yet they are a small sampling of the numerous photographers who have engaged with this subject.

A collection of reviews and studies of photographers published since 2001. Includes David Bailey, Horst, Cecil Beaton, Don McCullin, Lee Miller, Francesca Woofman, E.O.Hoppe, and others.

A study of Giacometti portraits at the National Portrait Gallery London and Frank Auerbach at Tate Britain.

This essay considers the major Cézanne exhibition at the Tate Gallery London, staged from 8th February until 28th April 1995. Rather than focusing exclusively on the artist's work, the piece attempts to place the exhibition in context, exploring the institutional arena of presentation and the social and economic strata to which the retrospective is mainly addressed.

In a 1968 photograph a US Marine pauses for thought, inadvertently echoing those renaissance paintings of meditating scholars, holding his helmet rather than a book - but this is a quiet moment in the battle for Hue. It is McCullin's photographs which helped to define the savage war in Vietnam for Britain, and beyond. Some is unbearably sad: a young North Vietnamese soldier, a casualty of Hue, stares sightlessly at the photographer, his hands outstretched to the detritus of his pockets, scattered on the earth beside the body.

Going to the Frida Kahlo exhibition current at Tate Modern in London is like entering the shrine of a secular saint. The rooms are thronged. People peer closely at the paintings, many of them very small. They seem afraid to talk much above a whisper. There are a number of reasons for this reaction. One is Hayden Herrera’s highly readable biography of the artist, first published in 1983, and now established as a classic feminist text. Another is the feminist movement’s general need for heroines, which has had a similar effect on the posthumous reputation of Georgia O’Keeffe. A third, probably the most powerful, reason is Kahlo’s own personality, which combined self-assertion, defiance and masochism in almost equal proportions. In this respect Kahlo can be compared with a slightly later generation of English-language poets, male and female. Prominent among them are Robert Lowell, John Berryman, Sylvia Plath and Anne Sexton.

Born in Port Arthur, Texas in 1925, Robert Rauschenberg attended Academie Julien and Black Mountain College, where he studied under Josef Albers. He was associated with Jasper Johns and John Cage in the early 1950s, when he made the famous combines, assemblages of found objects, and created the white and the black paintings - presaging movements of Pop, Minimalist and Conceptual art of the following decades.

With its eccentric shape, tacked on like a long medieval shoe to Southern England, Cornwall is not the easiest shape of an area to research. I began by driving north to Kilkhampton and Morwenstow, then south via Bude to Bodmin and Padstow. From there I moved east to Launceston, visiting Antony and St Germans near the Tamar Valley, and down to Looe and St Austell.

A review of the retrospective exhibition of sculptor Sir Antony Gormley OBE held at the Royal Academy London. Encounters varied works from studies and notebooks to gigantic installations.

This guide explores the county of Cumbria. The journey starts in Kendal, and moves to Windermere, Bowness and Ambleside. From there: Keswick and Derwentwater, Ullswater and Braithwaite to Buttermere, via the Whinlatter Forest. The beautiful environment of tarns and fells opens many varied experiences for the traveler. The guide includes information and histories from local sources.

A study of a later period album of drawings on the theme of old women and nightmares by Francisco Goya exhibited at the Courtauld Gallery London, with reference to his supernatural "Black Paintings".