Picasso Sculpture is one of the first and very unique exhibitions of Pablo Picasso’s work in the United States in almost half a century. This time Picasso Sculpture is a collection of Pablo Picasso’s most innovative and influential work, it is obviously, a three dimension exhibition as the name sculpture suggests. The exhibition started on September 14, 2015 and will end on February 7, 2016.
Pablo Picasso is a dedicated sculpture artist and throughout the course of his career he focused and devoted himself to sculpture. He used both the traditional and unconventional methods, techniques and materials in sculpture making. This exhibition is very special because sculpture making is something that Picasso did out of passion and this is something that had brought him joy as it occupied a uniquely personal and experimental status for him. Painting was something that Picasso was trained and educated to learn, they were a source of income whereas sculpture was a source of pleasure. With sculpture Picasso was ready to break all rules, the reason he approached this medium to express him and was unique because he had the freedom of a self-taught artist. Many of the sculptures in this collection are an evidence of his fondness for sculptures.
This exhibition depicts the artist’s whole life’s work on sculptures. The main focus is particularly on techniques, process and materials. This exhibition includes over a 100 sculpture of Picasso’s collection. Along with these there are also some highly selective works on paper as well as photographs which complement his work and focuses on advancing the understanding of the knowledge and part of sculpture making and how it influenced Picasso’s life and how Picasso revolutionized the history of sculpture by his lifelong wholehearted commitment to it which led to constant reinvention of sculpturing.
The exhibition is highly organized and is in the form of chapters. Each chapter corresponds to specific eras and periods during which Picasso dedicated him to sculpture. Each chapter is a breath of fresh air as in every period Picasso explored fresh strength and modern possibilities of this ancient form of art.
The turnout and reviews of the exhibition are overwhelming. The collection includes; She Goat, Bull, Guitar, Glass of Absinthe, Head of a Woman. Woman in the Garden gained a lot of popularity amongst the curators as well as public. This was made by Picasso between 1928-1930, this sculpture is welded-metal sculpture and has never been showcased in the United States.
There are many other sculptures in the collection as well. This is one of the most popular and talked about exhibition of 2015. It is very rare and amazing, seeing such wonderful works of art from an exemplary artist under one roof is just mind blowing. The techniques and the wide range of materials like bronze and wood to metal and plywood is just amazing. This exhibition offers much more than the normal exhibitions as it includes talks and drawing sessions, analysis of Pablo’s techniques and Materials, guided tours as well as assemblage workshops in which you can put together your own artwork.
This is a must visit this year and The Museum of Modern Art provides you this opportunity.
Damien Hirst is one of the most prominent artists in the contemporary world. He was born in 1965 in Bristol. He completed his education from the Goldsmith College in London. Damien is also the member of Young British Artist (YBA) who led the UK art scene in the 1990s. His unique and impressive work has not only made him internationally recognized artist but made him UK’s richest living artist with his wealth valued at £215m in 2010 as mentioned in Sunday Times Rich List.
He got famous after his first art exhibition known as “Freeze” held at Goldsmith. Death has been the central theme in his works. Among his famous works is The Physical Impossibility of Death in the Mind of Someone Living (1991), a 14 ft tiger shark is immersed in formaldehyde and displayed in a clear display case. This artwork as whole is said to contain Hirst most important and widely recognized works.
Hirst’s work takes a very direct approach towards the ideas of existence. All his pieces convince its audience to question their knowledge about the boundaries of life and death, fear and desire, reason and faith and love and hate. Hirst uses the concepts and iconography of science and religion in his sculptures and paintings. “There [are] four important things in life: religion, love, art and science,” the artist has said. “At their best, they’re all just tools to help you find a path through the darkness. None of them really work that well, but they help. Of them all, science seems to be the one right now. Like religion, it provides the glimmer of hope that maybe it will be all right in the end…”
His diamond skull in “For the Love of God” (2007) is also highly appreciated in the art world.. About his famous skull, the art historian Rudi Fuchs has said, “The skull is out of this world, celestial almost. At the same time it represents death as something infinitely more relentless. Compared to the tearful sadness of a vanitas scene, the diamond skull is glory itself.” Hirst has also created “spin paintings” which are made on a spinning circular surface. Then there is a whole collection of butterflies that Hirst has created.
Damien Hirst is also involved in charity work. He is the supporter of the indigenous right organization “Survival International”. In 2008, Hirst donated his work “Beautiful Inside My Head Forever” and “Beautiful Love Survival” to raise money for the organization. Moreover he also donated his writing of the book “We Are One: A Celebration of Tribal Peoples” to the Survival.
Hirst has been awarded many awards and recognitions for his work. His has organized successful solo exhibitions of his work such as at Museo Archeologico Nazionale, Naples (2004), Astrup Fearnley Museet fur Moderne Kunst, Oslo (2005), Rijksmuseum, Amsterdam (2008), Galerie Rudolfinum, Prague (2009), The Wallace Collection, London (2009–10), the Oceanographic Museum, Monaco (2010), the Museo di Palazzo Vecchio, Florence (2010) and Tate Modern, London (2012).
Manifesta started out as a nomadic modern art event in Europe in the early 90s by a Dutch project and later on was transformed into International Foundation Manifesta (IFM) which was basically a not-for-profit and an independent foundation. The foundation hoped to provide a moving platform that could help grow a strong network of visual arts professionals throughout the region. For this cause, the foundation announced that it would not only organize art exhibitions but will also help the new artists to enhance their skills by organizing for them different workshops which will help them in their research and experimentation. This would ultimately help in strengthening the network as artists from all around the continent were encouraged to be a part of this project. Since then Manifesta is working to increase the influence of contemporary art in the world. The organization has been quite active in stimulating brand new methodologies for artistic displays and production. Manifesta is working to initiate international collaborative projects which make it an adaptive and mobile structure and is continuously looking for ways to re-invent itself in unique ways.
Its various programs offer artists and curators the opportunity and freedom to work with different innovative methods and display their art works to a variety of audiences. The most applauded aspect about Manifesta is that it works with those artists who have limited access to the usual discourse in the contemporary art. It believes that by pursuing artists in such complicated scenarios will greatly help Manifesta in its evolution and also the world art scene as a whole.
The roving biennial changes its location every two years to keep its aesthetics alive. It stays away from the main art centre of the location and looks for places where there is undiscovered budding art scene. Each location provides Manifesta with new challenges and also opportunities for each individual Manifesta edition. It aims to utilize each location in a unique way not only for the on-site biennial art projects but also to integrate the site into an artistic project which will help in providing a number of opportunities for the all the participants in their research and experimentation.
Manifesta desires to discover all the psychological and geographical territory of Europe both as developing topography and concept. Their process aims to strengthen the connection between the specific cultural and artistic situations and also the international art concept and theory in today’s rapidly changing society.
Manifesta has a pan-European vocation and has been quite successful in representing young artists from as many as thirty to forty different countries. Also Manifesta is looking forward to creating links with other regions such as Asia, the East Mediterranean and North Africa all of which have neighboring ties with Europe.
Manifesta thus looks forward to further enhancing the contemporary art scene of not only Europe but also beyond. It aims to build new partnerships with young artists, curators, art professionals and organizations which it hope will help in its mission to create a connected map of contemporary art scene of the world.
Tracey Emin is a renowned English artist who is known for her confessional artworks. She was born on 3rd July 1963 in Croydon UK. Emin completed her education in fashion from Medway College of Design (now known as University of Creative Arts). Emin also studied printing in 1984 from Maidstone Art College and she describes this duration of time as one of the best experiences of her life. Moreover in 1987, Emin moved to the Royal College of Arts from where she attained MA in painting. She is also part of the group known as Young British Artists (YBA).
In 1997, her work “Eveyone I Ever Slept With” got her massive media attention. In this piece, Emin has displayed a tent appliquéd with names. This artwork was first exhibited at Charles Saatchi’s “Sensation” exhibition in the Royal Academy, London. In year 1999, Emin got a chance to display her first ever solo exhibition in the US at Lehmann Maupin Gallery. Her exhibition was entitled “Every Part of Me’s Bleeding”. This earned her immense recognition and later that year she was named a Turner Prize nominee.
One of her installation known as “My Bed” earned her considerable praise in which she featured her unmade bed surrounded by her very personal things such as empty liquor bottles, condoms, dirty underwear and cigarette butts.
Emin displays her work in various mediums such as needle work, photography, filming, neon, sculpture, embroidery, painting, drawing and installations. Tracy Emin has also the distinction of being one of the two female professors of drawing appointed by the Royal Academy of Arts in 2011 since the foundation of the institution in 1708. In 2013, Emin was appointed Commander of the Order of the British Empire for her contribution towards the arts. Emin was also considered among the 100 most powerful women of United Kingdom in 2013 by BBC Radio 4.
The work of Tracey Emin is said to be very personal which reveals rather very intimate details about her life reflecting the stark reality of life mixed with some poetic humor. Her ability to incorporate her personal life in her works makes her more connected with the viewer of her pieces. She speaks about her narcissistic nature which is depicted in her artworks. “It is very difficult for me to share my things, even though I think I am sharing all the time”. Thus this contradictory approach that goes from audacious to self deprecatory to confessional is what makes Emin stand out in the crowd. She likes to engage her audience with the exploration of universal emotions through her installations and artworks.
Furthermore Emin is also an exceptional speaker and panelist. She has delivered lectures in many prestigious institutions such as Victoria and Albert Museum London, European graduate School Switzerland, the Royal Academy of Arts London and the Tate Britain London. Her lectures mostly revolved around the themes of subjectivity and personal histories in the construction of art.
Thomas Chatterton (aka Thomas Rowley) was born on 20th November 1752. His father passed away three months before his son’s birth. Thomas was raised by his mother, grandmother, and his older sister, Mary, in a house located on Redcliffe Hill. He was expelled from secondary school and learned at home.
Chatterton had much interest of medieval writings, as well also studied a wide range of subjects, including divinity, heraldry, archaeology, history, philosophy, and literature. At age seven he attended Colston’s Hospital for Boys, a charity bluecoat school founded by the seventeenth-century Bristol merchant Edward Colston to provide students with a basic education and a means to local apprenticeships. Although Colston’s Program was considered difficult by today’s standards, the Colston’s Hospital for Boys was considerably more liberal than similar education institutions, and allowed Thomas time to continue his independent reading, and to start composing his own poetry at the age of eleven.
At age fourteen he left Colston’s to join the office of a Bristol attorney, John Lambert, as an indentured scrivener, copying legal texts by hand. Although Chatterton’s job was arduous , it was a job that allowed him to write his poetry, and at age fifteen Thomas had a piece published in Felix Farley’s Bristol Journal, a local newspaper. Over the next two years, between the summers of 1768 and 1770, he grew as a writer of poems, elegies, odes, eclogues, epistles, political letters, satires, and social sketches under his own name and other pen names, as well as a major collection of poetry under another pen-name of ‘Thomas Rowley’. Chatterton developed the Rowley persona as a 15th-century monk who wrote poetry and prose. Thomas claimed to have found the writings in a chest in a room above the north porch of St Mary Redcliffe Church. He composed this work in quasi-medieval language and spelling, and emulating some pieces onto antique parchments to duplicate actual medieval antiquities. It was stated that at one point he threatened his employer with suicide and wrote a fake-parody ‘will’. Thomas was subsequently fired from his employer, eventually leaving Bristol to find better opportunities in London.
The London Period
Thomas came to London in April of 1770 and stayed with relatives in Shoreditch until June of that same year. He then moved to lodge with a Mrs Angell at 39 Brooke Street Holborn, in order to have a room of his own rather than sharing a room and a bed. He lived in a garret room where he produced much of his works that he is known for. He began publishing his contemporary work in London journals, but only one of his ‘Rowley’ poems was published in his lifetime: ‘Elinoure and Juga’ appeared in the Town and Country Magazine in May 1769 when he was sixteen.
Thomas Chatterton passed away in his room at Brooke Street on the night of 24th August 1770. Although the inquest ruled that he had committed suicide, this verdict has since been questioned and recent research has revealed that it is unlikely that Chatterton deliberately took his own life. It is a more likely explanation that he inadvertently overdosed on medicinal drugs.
His death attracted little notice at the time; for the few who then entertained any appreciative estimate of the Rowley poems regarded him as their mere transcriber. He was interred in a burying-ground attached to the Shoe Lane Workhouse, in the parish of St Andrew, Holborn, later the site of Farringdon Market. There is a discredited story that the body of the poet was recovered, and secretly buried by his uncle, Richard Phillips, in Redcliffe Churchyard. There a monument has since been erected to his memory, with the appropriate inscription, borrowed from his “Will,” and so supplied by the poet’s own pen. “To the memory of Thomas Chatterton. Reader! judge not. If thou art a Christian, believe that he shall be judged by a Superior Power. To that Power only is he now answerable.”
It was after Chatterton’s death that the controversy over his work began. Poems supposed to have been written at Bristol by Thomas Rowley and others, in the Fifteenth Century (1777) was edited by Thomas Tyrwhitt, a Chaucerian scholar who believed them genuine medieval works. However, the appendix to the following year’s edition recognises that they were probably Chatterton’s own work. Thomas Warton, in his History of English Poetry (1778) included Rowley among 15th-century poets, but apparently did not believe in the antiquity of the poems. In 1782 a new edition of Rowley’s poems appeared, with a “Commentary, in which the antiquity of them is considered and defended,” by Jeremiah Milles, Dean of Exeter.
The debate which raged round the Rowley poems is discussed in Andrew Kippis, Biographia Britannica (vol. iv., 1789), where there is a detailed account by G Gregory of Chatterton’s life (pp. 573–619). This was reprinted in the edition (1803) of Chatterton’s Works by Robert Southey and J Cottle, published for the benefit of the poet’s sister. The neglected condition of the study of earlier English in the 18th century alone accounts for the temporary success of Chatterton’s mystification. It has long been agreed that Chatterton was solely responsible for the Rowley Poems, but the language and style were analysed in confirmation of this view by W. W. Skeat in an introductory essay prefaced to vol. ii. of The Poetical Works of Thomas Chatterton (1871) in the “Aldine Edition of the British Poets.” The Chatterton manuscripts originally in the possession of William Barrett of Bristol were left by his heir to the British Museum in 1800. Others are preserved in the Bristol library.
There is a collection of “Chattertoniana” in the British Museum, consisting of works by Chatterton, newspaper cuttings, articles dealing with the Rowley controversy and other subjects, with manuscript notes by Joseph Haslewood, and several autograph letters. E. H. W. Meyerstein, who worked for many years in the manuscript room of the British Museum wrote a definitive work—”A Life of Thomas Chatterton”—in 1930. Peter Ackroyd’s 1987 novel Chatterton was an acclaimed literary re-telling of the poet’s story, giving emphasis to the philosophical and spiritual implications of forgery.
In 1886, architect Herbert Horne and Oscar Wilde attempted in vain to have a plaque erected at Colston’s School, Bristol. Wilde, who lectured on Chatterton at this time, suggested the inscription: “To The Memory of Thomas Chatterton, One of England’s Greatest Poets, and Sometime pupil at this school.”
In 1928 a plaque in memory of Chatterton was mounted on 39, Brooke Street, Holborn, bearing the inscription below. The plaque has subsequently been transferred to a modern office building on the same site.
In a House on this Site
24 August 1770.
Thomas Chatterton is among the first of the English Romantic poets, and on which his literary legacy primarily rests today.