Friday 24 June 2011

Joe Tilson - part 1

This is the first part of a two-part post on English pop artist Joe Tilson. Tilson was born in London in 1928. From 1944 to 1946 he worked as a carpenter and cabinet-maker before serving in the R.A.F between 1946 and 1949. After leaving military service, he studied at St. Martin's School of Art (1949 to 1952) and then at the Royal College of Art, London (1952 to 1955) where his contemporaries included Peter Blake and Bridget Riley. He received the Rome Prize, taking him to live in Italy in 1955. He returned to London in 1957, and from 1958 to 1963 he taught at St Martin's School of Art, and subsequently at the Slade School of Fine Art, University College London and The School of Visual Arts, New York.

Tilson’s first one-man show was at the Marlborough Gallery in 1962, followed by an exhibition at the Walker Art Gallery, Liverpool in 1963. He represented Britain at the Venice Biennale in 1964, and has had retrospectives at the Tate Gallery in 1978, the Art Museum, Ljubljana, in 1987, and in the Sackler Galleries, Royal Academy (Joe Tilson: Pop to Present), in 2002. He was awarded the Gulbenkian Foundation Prize in 1960, the Gold Medal at the San Marino Biennale in 1963, and the Grand Prix d’Honneur, Biennale de la Gravure, Ljubljana, in 1985. Tilson became a Royal Academician in 1991.

One of the founding figures of British Pop art in the early 1960's, Tilson was an enthusiastic proponent of the hedonism, optimism and political activism that were such striking characteristics of that decade. His work embraced advances in technology, reflected the ever-increasing power of mass media and exposed changing attitudes towards sexual liberation. In the 1970's he moved to Italy and the subject matter of his work radically changed to reflect this new shift, with a new emphasis on the five elements and Greek and Roman mythology.

Tilson has been a lifelong dedicated printmaker and has gained a reputation as one of Britain's foremost artists producing prints, multiples, constructions, paintings and reliefs. His work is held in collections internationally including the Tate Gallery London, MoMA New York, and the Stedelijk Amsterdam.

In this first part I'm looking at one of Tilson's recurring themes in his work - Transparencies:

1967 Transparency Clip-o-Matic Lips

1967 Transparency, Empire State Building 

1967-68 Transparency Clip-o-Matic Lips 

1968 Astronaut Seat E 

1968 Made in Italy 

1968 The Software Chart 
mixed media

1968 Transparency I, Yuri Gagarin 12 April 1961

1968 Transparency, Che Guevara D 
mixed media

1969 Transparecy, Clip-o-Matic Eye 

1969 Transparency Clip-o-Matic Eye 

1969 Transparency, Vellegrande Bolivia, October 10th 

1969 Transparency. the Five Senses, Taste 
screenprint on perspex

1971 Snapshot 

1971 Transparency, Clip-o-Matic Breast

Thursday 23 June 2011

James Brooks - part 2

This is part two of a two-part post on the works of American abstract expressionist James Brooks. For biographical information and works created up to 1962, see part one below. Part two shows Brooks' works from 1962 onwards:

1962 Maruga

1963 Ealand II

1965-68 Irridon

1968 Merrygandering

1968-69 Jire

1969 Untitled

1971 Avery

1972 Runge

1973 Obbie

1974 Cillburn

1974 Fonteel

1974 Leen

1975 Apthorp

1975 Concord

1977 Path

1979 Devon

1980 Euclo

1980 Lahr

1981 Aamo

1981 Barnegat

1981 Mantra

1982 Nallard

1983 Geomundo

Tuesday 21 June 2011

James Brooks - part 1

Back after a working break, and taking a two-part look at the work of American abstract expressionist James Brooks (1906 – 1992). Part one features Brook's works made between 1940 and 1962. Part two from 1962 onwards.

Brooks was also a muralist, and winner of the Logan Medal of the Arts. Between 1923 and 1925 Brooks studied at the Southern Methodist Univesity in Dallas, Texas. In 1926 he moved to New York and between 1927 and 1930 he attended the Arts Student League. Brooks became a friend of Jackson Pollock and Lee Krasner on Eastern Long Island. In 1947 he married artist Charlotte Park.

Considered a first generation abstract expressionist painter, Brooks was amongst the first abstract expressionists to use staining as an important technique. According to Carter Ratcliff: "His concern has always been to create painterly accidents of the kind that allow buried personal meanings to take on visibility."

In his paintings from the late 1940s Brooks began to dilute his oil paint in order to stain the mostly raw canvas. These works often combined calligraphy and abstract shapes. Brooks had his first one-man exhibition of his abstract expressionist paintings in 1949 at the Peridot Gallery in New York. He died in 1992 in East Hampton, New York.

Among the public collections holding work by James Brooks are: The Courtauld Institute of Art (London), the Dallas Museum of Art, the Harvard University Art Museums, the Honolulu Academy of Arts, the Indianapolis Museum of Art, the Sheldon Art Gallery (Lincoln, Nebraska), the Smithsonian American Art Museum (Washington D.C.), the Tate Gallery (London) and the Walker Art Center (Minneapolis, Minnesota).

1940 Bad Intentions

1942 '6'

1946 Composition

1947 Sailor's Horn Pipe

1948 Figure

1948 Maine Caper

1950 #10

1950 #23

1950 Untitled

1952 F

1952 K

1953 F

1953 H

1953 L

1953 U

1954 Santini

1954 Z

1955 Quatic

1956 #3

1956 Karrig

1957 Boon

1957 Teetole

1960 Flintro

1962 Dwar