Fashion in Motion V&A Fashion Shows – Open to the public and free of charge
Yohji Yamamoto V&A Exhibition
The work of Yohji Yamamoto, the influential and enigmatic fashion designer, was exhibited at the V&A earlier this year, here is a link. The exhibition made it possible to get up close to the exhibits, view from all anglers, examine at the detail, the variety of fabrics, the unusual pattern cutting and then compare other examples of work, a fascinating experience. We spent a happy couple of hours in the various galleries where the work located.
Then a fashion show in the Fashion in Motion series open to the public and free of charge, was put on by the Victoria and Albert Museum in July and we had the opportunity to see Yamamoto garments in motion, which is so much more interesting than static models.
Laura McClelland, our fashion editor, comments: The show revealed the typically edgy Yamamoto style – both the fashion and the models who were “ordinary” couples taken from the street but far from ordinary once having had a catwalk training session, perfectly complimenting the Yamamoto neo-goth/punk styling of his clothing.
I loved the idea of the couples who were so suited for it, whispering to each other as they came down the catwalk.
The womenswear pieces shown were a selection of beautifully de-constructed fabrics and shapes that have a fluid movement once in motion. Although Yamamoto is well known for his androgynous look I felt many of the pieces were very feminine with their effortless, subtle tailoring.
The men’s pieces were a selection of over-sized tailored styles with some intricate embroidery detailing.
The latest Fashion in Motion show was on 18 November that showed the work of London-based label, Peter Jensen.
We will let you know when the next show is to be held. The tickets are in great demand so you need to be quick to get one. If you don’t manage to get a ticket the show will be broadcast live on the day. Again we will let you know the link in due course.
Val Reynolds Brown, Editor
London Theatre – Culture in Cash-strapped Times
Autumn feels like it’s well and truly here, and for many, leisure time turns from the great outdoors and holidays to more cultural pursuits. But in an age of cutbacks and belt-tightening, the question is, are the supermarket price wars and the constant sales in the high streets mirrored in the world of the arts? The answer in the main is, I’m afraid, no.
The Palladium
True, the usual theatre discount outlets are still in place. The half-price ticket booth, tkts, in Leicester Square and also now at Brent Cross is a good source for some productions, as are the online sellers www.whatonstage.com and www.lastminute.com/theatre. But they generally only offer reductions on the top-price seats, plus a fairly hefty commission.
And as has been the case for the last few years, the West End is dominated with blockbuster musicals offering seats at eyewatering prices while providing the feel-good factor that comes with an escapist night out. But that feeling of elation is soon quashed when the credit card bill comes.
The top-price seats for mainstream drama in the West End are now also in some cases what I would call prohibitively expensive.
I was tempted to go to see Driving Miss Daisy, a two-hander starring Vanessa Redgrave and James Earl Jones, wonderfully reviewed but not, in my opinion, worth £58.50.
A Long Day’s Journey Into Night by Eugene O’Neill and starring David Suchet is scheduled to start well into 2012 with top-price seats at £68.50, and is, to my mind surprisingly, selling well already.
True, you don’t have to buy the top-price seats. But as I get older I find it difficult to hear anywhere but quite near the stage and face-on – dare I suggest others might be in the same boat. So we’re caught in a bit of a bind: is it worth paying less for a less than satisfactory night out? But it’s also true that you don’t have to go to the West End for your theatrical entertainment. As I’ve written in these pages before, the National Theatre probably offers the best value for money and the best theatrical content; with many of its plays still part of the wonderful Travelex season, you have the opportunity to see great drama for as little as £12.
Then there are the off-West End productions at theatres such as the Almeida in Islington and the Donmar in Covent Garden which offer seats at much lower prices. But here’s another grumble: both theatres are quite small and invite you to become a member at various levels, which entitles you to priority booking. The cheapest form of membership at the Almeida, for example, is £50. Suffice it to say that if you’re not a member of these theatres, by the time you’re allowed to make your booking many of the productions, especially at the Donmar, are completely sold out. You can’t win!
Luckily, the fringe usually offers wonderful value for money and generally a more unusual night out. Check out the fringe theatres near you, don’t forget the upstairs rooms of local pubs. And of course, there’s always the cinema. Many have now been refurbished and the quality of the image and sound has been greatly enhanced. But, and I’m sure you can guess at what’s coming next, the prices at some cinemas are really quite exhorbitant.
Please allow me just one more rant! My local cinema, the Swiss Cottage Odeon, was shut for a number of months for refurbishment and reopened in September with great fanfare as the new north London Imax venue. It still shows a good variety of films and I must say I was pleasantly surprised on going there during the first week to find that the ticket prices had only risen marginally. That, I’m afraid, didn’t last long – I checked online the other day and they have now nearly doubled less than a month later! They won’t be seeing me there much again. However, the Curzon cinema chain (including the Renoir, the Mayfair, the Soho and the Richmond Curzon) show the best films in London at a very reasonable price in a popcorn free environment. That’s for me!
Jeannette Nelson, Arts Critic
A bit of a culture vulture, Jeannette enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.
Like this:
Miró the Surrealist – Major Retrospective 2011
Approach to Miró the Surrealist - Major Retrospective Tate Modern 2011
The major retrospective of Joan Miró the Surrealist at Tate Modern 2011 comes to an end on Sunday, 11 September.
Renowned as one of the greatest Surrealist painters, working in luxuriant colour, Miró worked in a rich variety of styles. This is a rare opportunity to enjoy more than 150 paintings, drawings, sculptures and prints created across six decades of an extraordinary career.
Give yourself at least two hours to take in this exhibition, I went round twice, using the audio commentary. I came out rather over ‘Miróed’ but completely in awe of his range of artistic styles. Overall I looked at The Farm for the longest. It has such a story to tell, I could have looked at it for hours and even then found something new to see.
This really was intended as a must-see exhibition by Tate Modern and for once I agree. If you can squeeze in a visit this weekend I think you won’t regret it.
The last exhibition tour on Saturday is at 12.15 for just 15 visitors. This costs £5 plus of ticket £15.50, concessions £13.50. The exhibition closes on Sunday. You can Book online or call 020 7887 8888.
Christiane Kubrick Wife of the late Stanley Kubrick Exclusive Interview + Book Giveaway
Christiane Kubrick at her easel
Last century, there were a few film directors who rewrote cinema. Apart from London-born Alfred Hitchcock, geographically the closest to South East film buffs was Stanley Kubrick, New York born but happily settled in Childwickbury, just north of St Albans, for many years before his death.
Known as an obsessive who valued his own privacy and space above all else – his classic A Clockwork Orange was withdrawn from circulation for many years in the UK because he didn’t want to engage in discussion about its potential for social harm – it’s hardly surprising that this silent iceberg of a talent had the potential to overshadow his talented wife, German-born Christiane.
Life is always hard for the lesser-known partner in a well-known relationship. Whatever their achievement, they always face the danger of being just a footnote to a more famous life. However, Christiane Kubrick has always done her own thing and has gained an international reputation as an artist to boot.
Descended from a melange of theatre directors, actors, writers and musicians, Christiane’s parents were opera singers and encouraged her into a career in the theatre, although her impulse was always to paint. However, she found early success as a dancer and actress – this included leading roles in theatre, radio, TV and film productions, when she was seen by Stanley who cast her in the only female part in the film Paths of Glory.
But the desire to paint never left her. Despite family commitments, she continued painting, studying at UCLA, the Art Students League in New York and at St Martin’s School of Art in London.
Then, following a family move to the UK in the 1960s, she began to exhibit – the Cork Street Galleries the Grosvenor Gallery, the Drian Gallery and the Mercury Gallery. Later, Christiane was elected Chair of the Women’s International Art Club, founded with a legacy from suffragette and artist Sylvia Pankhurst to defy a law that prohibited women from exhibiting their paintings. And she was also chosen four times for the Royal Academy Summer Exhibition.
At the same time, her work appeared in her husband’s films – in a curious mirror image of wardrobe designer Shirley Russell’s contribution to her husband Ken – as well as in works by Steven Spielberg, on a CD cover design for cellist Alexander Baillie and the cover for a novel by Gabriel García Márquez. Her paintings have been widely collected in the USA and Europe, with both prints and posters published, first by Athena Fine Art Posters and latterly by the Bentley Publishing Group. Many are reproduced in a series of fine art books in Japan and in 1990 a selection was published by Warner Books in a book Christiane Kubrick Paintings* selected as Art Book of the Year on American television.
Enough? No, there’s more! In keeping with the theatrical tradition in her family, she designed the sets for the Palace Opera’s successful production of Hansel and Gretel which was chosen by the Queen Elizabeth Hall in London to be its Christmas Show for two consecutive years.
That experience of theatre design led her to use an Apple Macintosh computer and the computer program ‘Painter’. She now uses these as a complement to her painting and also as a tool in her multimedia projects. Her recent activities include exhibitions for Art in Action at Waterperry (Oxon) and Open Studios (Herts).
She teaches regularly at workshops in Hertfordshire and Shropshire, as well as exhibiting and selling her work over the web.
Remembering Stanley
So, that’s Christiane Kubrick – artist, creator, woman, mother. Ask her about Stanley and you get the stock response: “As and when the time comes that I feel I must say more, I will.” But that’s no problem – she’s a fascinating force in her own right. And she demands, in the nicest possible way, her own identity as an artist. “I don’t know whether Stanley wrote anything about my painting,” she says. “He might have mentioned it when he used my work in his films, but I’m afraid that’d be too long a search!”
Let us then take Christiane Kubrick as her own person, an artist of substance – ironic, humorous, whimsical but full of substance.
Here she is in conversation with In Balance magazine in 2007
IB: Have you always painted?
CK: I have painted all my life, I have painted professionally, from the age of 25 – before that I needed to learn how to draw. I come from an extremely theatrical family, so that’s all I ever really knew, opera and stuff. And I had a puppet theatre from day one it seems to me and I repainted the puppets and I learnt how to sew, I really learned painting, sculpture and sewing and all that in my wish to build the theatre and I made sets – sadly I don’t have them any more because the early ones must have been very funny.
IB: That was important to you?
CK: I know I gave it everything I had and I started to play with electric lights and water – nearly killed myself!
When I think hard, because the children have asked me about these things, I think it was when I had all the childhood diseases. When I had scarlet fever I remember just doing the theatre for weeks – that’s why I think I was better in class at drawing than the other children, just simply by doing it all the time.
Later I studied at St Martin’s School of Art and wherever I could in between babies and stuff!
IB: You’re German. What’s your background?
CK: I was born in 1932 in Braunschweig, a town in North Germany. I then lived in many different places as my parents were opera singers. Later, I was evacuated and I lived in my Nan’s relatives house in a brickworks, in the countryside. Then I lived with lots of other people after the war and went to boarding school.
I was 23 when I met Stanley and we got married a year or so later. I had been married before – criminally young – and had my eldest daughter, Katherine, in Germany before I went to the US. Stanley and I had Vivien who lives in California and Anya**.
IB: Moving to your paintings, the colours you use are very vivid, strong. Are they what you see or what you’d prefer them to be?
CK: I tend to see the world in bright colours, but now I’m longing to use more muted versions. I hope it comes not from growing older but from being more sensitive.
IB: So your style changes …
CK: Yes, it goes in phases. It’s a bit like handwriting – one day you write and it looks okay and another day you think how beautiful and neat it looks. Seems to be true of painting too.
IB: Do you sell most of your work?
CK: Well, it goes in waves, I sold very well at first on the Internet but that was because I was riding on Stanley’s coat tails and when he died lots more people looked me up, otherwise I think I wouldn’t be looked up that much. So that was good for sad reasons. It seems to have evened out. I sell at ‘Art in Action’, I sell to people who collect my work – overall I have sold a little over half my work. Of course, when I was young I sold them very cheap and I sold lots!
IB: Away from art, what makes you angry?
CK: The war in Iraq, but it’s not something I want to speak publicly about …
IB: What don’t you want to talk about when you’re asked for interviews?
CK: Some journalists are very clever and they surprise you. I hate that perplexed moment when you gush out the first thing that comes to your mind, or you are dumbfounded and you say nothing. Either way you look a fool.
IB: What sort of things?
CK: There were a lot questions about whether Stanley minded my being German – that kind of thing. People just assume that you’re a kiss and tell person – that’s insulting. I didn’t want to appear to be an idiot – it was that very thing that Stanley was afraid of with the press. He said that you do your very best, you work very hard and you only show the stuff you think is really good and then in an interview it’s undermined by nervous babble. He only wanted to talk about things he had considered carefully. He didn’t think he was quick witted enough to cope with intense interviews.
IB: Of course, you were married to Stanley and supported him. But what did you personally think of his films?
CK: I liked all his films, each one in its own way as they were very different from each other. As a painter I liked very much Barry Lyndon and 2001 – I liked the last one very much. Perhaps I felt the least connection with Full Metal Jacket where the topic was more alien, but I thought that was a good film as well.
So much time was spent on each one they represent whole periods of my life and I don’t have a favourite film. It depends on my mood at the time.
IB: He worked at home, though? So you were involved?
CK: He worked at home and prepared the film at home. It usually started when he read a story he really liked and he would talk about that particular story and how he could make it. Then, if it was really something he thought would work, he would make a budget and work out the casting. It took a long time to do it carefully and he enjoyed the preparation enormously. The driving force was a longing to see the story on screen.
IB: So you knew everything that was going on with his films while he was making them?
CK: Yes, because it happened at home.
IB: What did you learn from him?
CK: I learned from Stanley that you had to be thorough and patient, not self indulgent. He was good at putting different hats on. He was producer, business man, director. One instance I can remember was where he really liked a particularly long scene. He said “I think it’s particularly wonderful but it’s too long. It doesn’t help the whole enough for me to put it in.” And he whittled away at it. Often it was very painful to let go of something he thought was really good and he’d put it in, take it out, suffer in other words, but he also expected to do that. Paintings are slightly more protected because they will be there no matter what. The worst thing that could happen is I don’t sell but there are no other people pulled in, no one else suffers and the whole thing doesn’t collapse because I do a lousy painting. Film is different, it is so big and expensive. It needs ability and endurance to succeed, only a few people can do it, and Stanley did.
Val Reynolds Brown & Dave Reeder
1. Christiane Kubrick at her easel © Pintail Media
2. Remembering Stanley © Christiane Kubrick
** Died 2009
August 2011:
I met Christiane recently when she generously offered a copy of her book to give away to an In Balance reader
If you would like to enter the prize draw send an email to editorinbalance@me.com with Christiane Kubrick Paintings in the subject box and your full contact details in the text box.
Last day of entry 10 November 2011. One entry per household.
Like this:
Blockbuster Art Exhibitions – London UK
Absinthe, Toulouse Lautrec
When it comes to art exhibitions, the term ‘blockbuster’ is somewhat overused these days, but it surely must apply to Tate Britain’s offerings
The Degas, Sickert and Toulouse-Lautrec exhibition ran until 15 January 2006 and was filled with accessible, beautifully executed paintings. It drew on works from the eponymous painters as well as gems from lesser known or even scarcely known artists such as Bonnard, Vuillard and Warrener.
Arranged more or less in chronological order, from the 1880s to the 1900s, the works on display marked the beginning of modern art, particularly in form and composition. Some are extremely well-known, such as several of the ballet scenes by Degas, but the visitor was encouraged to see the very modernist concepts that were introduced by the artist, such as the cutting off a figure at the edge of the canvas or the horse’s head divided by a pole in the foreground of his Jockeys before the Start. These innovations give an almost photographic feel and were much tut-tutted over at the time.
The subject matter too marked a move to the modern era. The centrepiece of the exhibition is undoubtedly Degas’ L’Absinthe. Incredibly this familiar work was exhibited in London for the first time since 1893 when it caused a tremendous stir, with its two main figures drawn from Parisian lowlife looking drab, despondent and decadent. A whole room was devoted to this and just one other painting, with facsimiles for the visitor to read which draw on the ‘shock-horror’ responses of the nineteenth century critics.
The exhibition also highlighted the cross-fertilization between England and France during this period, and although it seems mainly the English that have benefited from the ideas of French artists, the influence of the somewhat underrated Walter Sickert across the Channel is well illustrated. He is often criticized for his use of dark colours, but there is a wide variety of styles in evidence here and this exhibition surely enhanced his reputation.
You may well recall another ‘trio’ of painters at Tate Britain in 2005, Turner, Whistler and Monet. It seems an exhibition of more than one great master is not a pre-requisite of gallery exhibitions (there was an exhibition devoted entirely to Constable in 2007) but they have all shown successfully the influences across borders and between styles in exhibitions that are both informative and enlightening.
This exhibition really was a feast for the eyes.
Degas, Sickert and Toulouse-Lautrec, London and Paris 1870 – 1910 ran at Tate Britain and sponsored by British Land Company PLC
Review of Toulouse Lautrec and Avril: Beyond the Moulin Rouge at the Courtauld, London UK 2011
Jeannette Nelson, Art Critic
Toulouse-Lautrec and Jane Avril at the Courtauld Gallery
Henri de Toulouse-Lautrec, Jane Avril, 1899, colour lithograph, 56x38 cm
For me, small is most definitely beautiful when it comes to art exhibitions. That’s not to say that I give the blockbusters of the National Gallery or the Tates a wide berth; on the contrary, the current exhibition of the art of Joan Miro at Tate Modern is one of the best days out in a gallery I’ve had for a long time. But perhaps that’s the point; it really needs a day out to do it justice, and it’s not helped by the fact that once you’ve bought your ticket you’re not allowed to leave for a breather and come back again. There really ought to be more thought given to this as the art would be appreciated all the more if it didn’t have to be swallowed in one gulp.
But back to the Courtauld, set in a wing of Somerset House. The temporary exhibitions are hung on the top floor and occupy a mere two rooms. Consequently, the number of artworks is limited but as befits such a prestigious institution, they are most judiciously chosen.
Original sketch for the Jardin de Paris poster next image
A few months ago I was bewitched by various depictions of Cezanne’s Card Players, and now it’s the turn of Toulouse-Lautrec to capture my imagination and the spirit of the Belle Epoque with his compositions of his friend Jane Avril.
Jean Avril at the Jardin de Paris 1893, colour lithograph
I, like so many of my student friend in the sixties, had various posters of Jane Avril and other dancers from Paris’s Moulin Rouge adorning my walls. So I was expecting the work to be familiar and indeed it was. Some of you may also remember the Athena representations of Jane Avril and also of Mlle Eglantine’s troupe.
But the exhibition is more than just an evocation of the familiar. It shows up the strong bond between artist and subject, a fact borne out by the accompanying notes which tell of their friendship and also hint at the closeness which developed because they both had to endure a physical disability. The painter had dysfunctional legs, a condition that his family took a long time to come to terms with. Jane Avril, it is believed, suffered from St Vitus’ Dance, as it was called then, which caused involuntary movements of the limbs; she found that dancing could keep this under control and so took up the profession.
At the Moulin Rouge 1892-3, oil on canvas
The real fascination of the exhibition lies in those works that are not of her as a professional but instead show her, in sketches and in fully painted works, as a rather solemn, gaunt young woman away from the stage. And the viewer is also struck by the striking modernity of Toulouse-Lautrec’s fin-de-siecle oeuvre, particularly in the effect achieved by simple lines and brush-strokes.
In the smaller of the two rooms are works by contemporary artists and more information about the professional and private life of Jane Avril. This complements Toulouse-Lautrec’s work well and helps make the whole exhibition easier to appreciate and enjoy. It runs until 18 September 2011 and the entrance ticket also includes the permanent works in the gallery, which include some stunning impressionist greats. It all makes for a delectable treat.
Opening hours: Daily 10am to 6 pm, last admission 5.30 pm
Admission Adult £6, concessions £4.50, free admission Mondays 10 am to 2 pm except public holidays, at all times for under 18s, full time UK students and unwaged. Information on Gallery Talks and Study Day see www.courtauld.ac.uk
See our review of blockbuster exhibition in 2006 Degas, Sickert and Toulouse-Lautrec
Jeannette Nelson, Arts Critic A bit of a culture vulture, Jeannette enjoys art exhibitions, cinema and classical music, but her main interest is the theatre. For several years she ran theatre discussion groups for which her MA in Modern Drama together with teaching skills stood her in good stead. She prefers to concentrate on the many off West End and fringe productions as well as that real treasure of the London theatre scene, the National.
Photography Pintail Media
Section of At the Moulin Rouge 1892-3, oil on canvasDetail of At the Moulin Rouge 1892-3, oil on canvas
Detail of At the Moulin Rouge 1892-3, oil on canvas
Bourdelle, Porcelain mask cast from bronze of Jane Avril 1861-1929
Art in Clay Outdoor Exhibition 2011 – Hatfield House
Ostinelli & Priest
This has to be one of the most interesting and fun outdoor art exhibitions we have visited. There is always a really friendly atmosphere – all the potters and ceramicists are very approachable and interested to talk to visitors.
The range and diversity of the work of British potters is well known and this show always has lots to admire and be attracted to. Some work is just so out of the box it’s a joy to behold!
Children are of course very welcome, there is plenty of space for them to run around and enjoy themselves and the opportunity to make clay pots.
- A young boy tries his hand at making a pot on the wheel
We put together a slideshow of the 2008 show – if you would like to have a look click here.
The Japanese Earthquake had a disastrous effect on the world famous pottery town in Japan called Mashiko. The town had over 400 pottery workshops many of which have collapsed together with kilns, houses and the town’s museums. Bernard Leach met Shoji Hamada when he was studying pottery in Japan and became lifelong friends. They helped each other with the development of their potteries.
Catherine Thom, daughter of a Northern Ireland potter whose work was strongly influenced by Bernard Leach and Japanese pottery, is an international classical guitarist, and has recorded a cd to raise funds for the Japanese Disaster Fund. Catherine will be giving three concerts on each of the three days of the Art in Clay exhibition – which will be non-ticket donation events.
The cd – Cherry Blossom – will be on sale at the Art in Clay event
Art in Clay is a great event for pottery lovers and the organisers are offering In Balance readers a special Two for the Price of One entry fee on all three days – 5th, 6th and 7th August 2011.
Just print the form below and take it with you on the day of your visit. See you there – it’s one of our favourites!
Running concurrently is the Moore at Hatfield Outdoor Exhibition which you might consider visiting on the same day.
Val Reynolds Brown, Editor
…………………………………………………………………………………………………………………..
The 17th Art in Clay Hatfield 5th 6th 7th August 2011
Hatfield House Hertfordshire AL9 5NQ
Show open: Fri & Sat 10.30 – 5.30, Sun 10 – 5
PLEASE ACCEPT THIS FORM TO ADMIT
TWO IN BALANCE READERS FOR THE PRICE OF ONE
TO THE 17th ART IN CLAY EXHIBITION 2011
Authorised by Andy McInnes, Exhibition Organiser
Henry Moore Exhibition 2011
Moore's signature on sculpture plinth
Henry Moore at Hatfield and at Home
Could Moore be compared to Marmite? His work is so huge, so enigmatic, so smooth, so in your face, that many find it too much. Others love just those features. It seems you either love it or hate it. That was the concensus when I did a quick verbal survey before a visit to the Moore at Hatfield open air exhibition that has attracted thousands of visitors this summer.
Some of the questions I asked:
Are you familiar with Moore’s work – About 70% had seen at least one sculpture, many abroad
How would you describe his work – Chunky, smooth, fun, weird, creepy, ugly
Do you know how he made some of the work – Most didn’t but were interested to hear about Perry Green where you can join in free workshops for children, young people, adults and families.
Hill Arches, 1973 Bronze Length 550 cm
When I visited the exhibition I asked several visitors Is there any one piece you like best of all? My favourite answer was the child who said she loved Hill Arches because it was smooth and she liked lying on it, not something encouraged by the exhibition organisers, but inevitable I guess!
A reclining Toltec-Maya figure was the original influence on Moore’s sculpture - Chac Mool stone statue at Chichen Itza site, Yucatan Peninsula, Mexico which you can see in his very early work.
Draped Reclining Figure 1952-3 Bronze Height 157.5 cm
The Hatfield setting is big enough to take fifteen massive pieces. Every piece has at least one seat to sit and contemplate the work, just as Moore always wanted.
Large Reclining Figure, 1984 Fibreglass Length 900 cm
The huge historic buildings at Hatfield are certainly big enough to contain the work rather than be overwhelmed.
He was especially pleased with the siting of the Two-Piece Knife Edge next to the House of Lords, placed right next to a path and seats.
He was once asked by his niece why his works had such simple titles and he replied: All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don’t really, you know.
There is an excellent Wiki page about Moore that includes many well known pieces. One photograph shows the panorama created in the Ontario Museum.
Locking Piece, 1963-4 Bronze Height 290 cm
A visiting teacher from Vancouver said it was not possible to take photographs or touch the exhibits in Ontario and was delighted to be able to have the opportunity to get a real feel for Moore’s work at Hatfield and excited about visiting the Perry Green permanent exhibition.
Although interest in Moore has diminished since his death, Perry Green, his home in Hertfordshire, has a popular outdoor exhibition with 25 outdoor works on display. When I visited everyone seemed to be loving the whole experience, I certainly smiled at some of the pieces. The children especially liked some hollow copper pieces that made satisfying noises and big enough to play hide and seek in.
This hugely successful sculptor – he was paying million in tax in 1970s – left a legacy that continues to delight and intrigue.
One suggestion I have is to make available for sale small reproductions – to scale - I would love a collection of miniatures to handle, admire and contemplate.
Moore at Hatfield is open until 30 September – ideal for picnics and lots of room for children to run and play in!
Hatfield House is just 20 miles from central London and only 16 miles from Moore’s former home at Perry Green, Herts – The Henry Moore Foundation.
Moore at Perry Green visitor season runs from 1 April 2011 – 30 October 2011. It has a newly-refurbished pub dining room, The Hoops Inn, and a new exhibition in its gallery, Henry Moore Plasters. There are 70 acres of outdoor sculpture as well as the artist’s house and studios, carefully restored.
Val Reynolds Brown, Editor
Fashion in Motion – Fantastic Free Catwalk Event – Yohji Yamamoto – Book Your Seat!
Jean Paul Gaultier at Fashion in Motion Show
What a fantastic FREE
High Fashion Catwalk Event! & anyone can attend! The Yohji Yamamoto Show is on 1 July 2011 at the V&A but booking is essential – details below
Me? Go to a fashion show with impossibly proportioned models wearing impractical clothes? Never! And yet … I was there! At the V&A, watching the amazingly outrageous designs of Jean Paul Gaultier. It was one of five shows of the day put on as part of the Fashion in Motion series of free catwalk shows. This was the first time Jean Paul’s work, from his early collections to his most recent, had been shown in the UK.
All the Gaultier iconic items were there, from underwear worn as outwear, the corset dresses, the Aran pullover dress, the patchworked mermaid dress, the silver anatomic dress.
Jean Paul Gaultier iconic corset design
My favourites were the most outrageous, the Divine Jacqueline, the ballet costumer for Regine Chopiot, Sacre Coeur and the black lace capelin dress.
An inspirational experience – it was half an hour of sheer entertainment with a very excited and appreciative audience: young, old, male and female, fashionistas, the wealthy, students, admirers. All wildly applauding Jean Paul when he appeared at the end of each show. And what a friendly chap! He mingled happily with the crowd, willingly signing anything offered to him. He took a real interest in the questions from fashion students and young people – where did he find inspiration (everywhere), what he was most proud of (the most popular designs!)
Jean Paul Gaultier iconic design
Two young women who work in the accessories trade were ecstatic at having the chance to attend the show, very well aware they would never normally have access to a couturier fashion show such as this. Others were knocked out by the clothes, the models, the atmosphere and energised by the sheer excitement of the event. That clothes such as these are inspirational is clear and elements do filter down to high street fashion.
Jean Paul Gaultier iconic design
Attending the show made me appreciate how successful the V&A is at working to make art forms accessible to the general public. Their aim is to show fashion as it is meant to be seen – in movement. Previous designers featured in the series include Ozwald Boateng, Giles Deacon, Roksanda Ilincic, Christian Lacroix, Stella McCartney, Alexander McQueen, Gareth Pugh, Vivienne Westwood and Erdem. Absolutely everyone I spoke to agreed it was an absolutely fantastic event and couldn’t wait for the next one! Must say I felt the same way myself!
Yohji Yamamoto retrospective exhibition at V&A 2011
If you would like to go to the next show on 1 July 2011, featuring the work of Yohji Yamamoto admission is free but booking is essential.
Tickets will be available to book from 20 June on 020 7942 2820.
If there is absolutely no chance of you being able to attend you might like to know Fashion in Motion: Yohji Yamamoto will be broadcast live from the V&A website www.vam.ac.uk/channel/live
Val Reynolds Brown, Editor
Rare Picasso Lithographs in London
Lithograph making fascinated Picasso and you can see a few of the prints, some of which were never intended for sale, at a London Gallery for the next few weeks.Paper 74.3 x 54.9 cm / Plate 63.0 x 47.0 cm to 64.5 x 48.6 cm
Third and final state
Unique impression on grey Arches wove paper aside from the edition of 50 and six proofs reserved for the artist and printer
Mourlot catalogue reference 307
Bloch catalogue reference 847La Femme au Fauteuil No. 1 (d’après le rouge) 2e état, 13 December 1948
The Woman in the Armchair No. 1 (from the red) 2nd State
Lithograph using sandpaper, needle, pen, crayon and brush on zinc on the red plate of Woman in the Armchair, Mourlot catalogue reference 133, on Arches wove paper
Paper 76.2 x 56.0 / Plate 69.8 x 54.5 cm
One of six proofs reserved for the artist and printer
Initialled by Fernand Mourlot, inscribed 2e état (2nd state) and numbered 6/6 verso
There was no edition of this state
Mourlot catalogue reference 134
Bloch catalogue reference 586
La Femme au Fauteuil No. 1 (d’après le rouge) 9 e état, Le Manteau Polonais, 30 December 1948
The Woman in the Armchair No. 1 (from the red) 9th State, The Polish Coat
Lithograph printed in black and blue-grey from the red plate of Woman in the Armchair, Mourlot catalogue reference 133, on Arches wove paper
Paper 76.0 x 56.2 cm / Plate 69.5 x 54.5 cm
One of six proofs reserved for the artist and printer
Initialled by Fernand Mourlot, inscribed avec un gris (with a grey) and numbered 6/6 verso
Aside from the edition of 50, which did not include the background colour
Blue-grey is one of two colour versions, the other being grey-green
Mourlot catalogue reference 134 (grey-green version illustrated)
Bloch catalogue reference 587
