Search results for ""Author Jon Wood""

Nigel Hall: Sculpture & Drawings is an ambitious monograph which looks at his work in relation to sculptural developments in Britain, Europe and North America. It presents the two main strands of Hall's practice - sculpture and drawing - as distinct but also interrelated. Line and space are central to Hall's work, with the artist creating highly refined two- and three-dimensional works that deploy a range of geometrical forms. The works he makes are always meticulous and measured, whilst offering intuitive visual conundrums that encourage looking and thinking. Unpicking the complexities of Hall's work and its display both indoors and outdoors, Wood provides the definitive narrative of one of Britain's most accomplished sculptors working today.

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Exploring Emily Young's carved works from the 1980s to the present, Jon Wood's thoughtful survey places her sculpture within its resonant contexts, both art historical and more broadly cultural. In doing so, it draws attention to the richness of her sculptural imagination and the issues that charge it, from ecology and environmentalism to poetry and philosophy. The inclusion of Young's early paintings also draws out her long-standing preoccupation with narrative. Probing the relationship between the artist's sculpture and the material life of things, Young's original way of thinking, seeing and feeling is skilfully presented, so enriching our understanding of this important contemporary figure.

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Paul de Monchaux (born 1934) has been an influential presence in Britain over the last fifty years, inspiring generations with his beautifully made and measured sculptures. De Monchaux began his career as a student at the Slade School of Art in 1955; ten years later he was teaching at Camberwell School of Art, where he worked for over twenty years as Head of Sculpture and Head of Fine Art. Early portraits and 'Head' and 'Handworks' from the 1960s and 1970s reveal an artist who combined thinking and making in subtle and unusual ways, privileging form over material and blending geometry with intuitive shaping. The stunning carved stone sculptures for which he has become well known reward careful and prolonged attention and reveal a subtly contemplative sculptural imagination, not unlike that of Constantin Brancusi, who was been a huge inspiration to de Monchaux over the years. His public projects, begun in the 1980s, have also been critically acclaimed, and later works such as Song (2005), Silence (2007) and Breath (2011), all illustrated in this book, show a mature artist with a rare and highly poetic sculptural sensibility.

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William Turnbull (1922-2012) stands as one of Britain's foremost artists in the second half of the twentieth century. Both a sculptor and a painter, he explored the changing contemporary world and its ancient past, actively engaging with the shifting concerns of British, European and American artists.Presenting interpretations of Turnbull's work from an impressive roll-call of over sixty art historians, curators, critics and artists, a picture emerges of an innovative artist who determinedly followed his own path, drawing on influences as diverse as ancient cultures and contemporary music. Expansive in its breadth, William Turnbull: International Modern Artist will stand as the authoritative book on this fascinating artist.With contributions by Oliva Bax, Paul Becker, Andrew Bick, Antonia Boström, Mel Brimfield, Bianca Chu, Matthew Collings, Ann Compton, Sam Cornish, Keith Coventry, Elena Crippa, Amanda A. Davidson, Michael Dean, John Dee, Richard Demarco, Edith Devaney, Norman Dilworth, Patrick Elliott, Ann Elliott, Garth Evans, Pat Fisher, Neil Gall, Margaret Garlake, Antony Gormley, Kirstie Gregory, Kelly Grovier, Nigel Hall, Bill Hare, Daniel F. Herrmann, Peter Hide, Ben Highmore, Nick Hornby, Tess Jaray, Julia Kelly, Phillip King, Liliane Lijn, Clare Lilley, Jeff Lowe, Tim Martin, Ian McKeever, Henry Meyric Hughes, Catherine Moriarty, Richard Morphet, Jed Morse, Peter Murray, Matt Price, Peter Randall-Page, Guggi Rowen, Natalie Rudd, Michael Sandle, Dawna Schuld, Sean Scully, Jyrki Siukonen, Chris Stephens, Peter Suchin, Marin R. Sullivan, Mike Tooby, William Tucker, Johnny Turnbull, Alex Turnbull, Michael Uva, Brian Wall, Nigel Walsh, Calvin Winner, Jon Wood, Bill Woodrow, Greville Worthington, Emily Young

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In 1972, artist Garth Evans welcomed the opportunity to create a public sculpture in Cardiff, Wales, as part of the Peter Stuyvesant Foundation's City Sculpture Project. Concerned that the increasing demand for his work served only to reinforce the political, social, and economic status quos, Evans hoped to unsettle this dynamic by making a sculpture that would connect with an audience outside of the art world. The morning after the installation of his sculpture, Evans recorded the responses of passersby. The Beckettian transcript of the Cardiff interviews is presented here, framed by Evans's introduction and reflection. Art historian Jon Wood contextualizes The Cardiff Tapes within contemporaneous debates about sculpture and public space. These writings explore ideas about the social responsibilities of art and artists, and make a cogent argument for the value of "difficulty" in sculpture.

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Bill Woodrow (b.1948) and Richard Deacon (b.1949) have been making sculpture together since 1990. This new book is the first to showcase the work made over this thirty-year period. They have created over sixty works altogether which they call 'shared sculptures', highlighting the important equality of authorship and responsibility at stake for both these artists.Their shared sculptures exist as five main bodies of work, which have been variously shown in exhibitions in Britain and abroad: 'Only the Lonely' (1993), 'monuments' (1999), 'Lead Astray' (2004), 'On the Rocks' (2008) and 'Don't Start' (2016). Their recent body of work, 'We Thought About It A Lot' (2021), has seen them working on paper to explore their ideas together. This new book provides a rich visual account of these works, showing new and original photographs of them individually and in their exhibition contexts. It also includes studio photographs, images of the preview cards that they have designed for exhibitions over the years and reproduces one of their earlier fax exchanges. The publication features an introductory essay by the art historian and curator Jon Wood and is released to coincide with the artists' latest two-person exhibition, 'We Thought About It A Lot, and other shared drawings' at Ikon, Birmingham, in autumn 2021.Bill Woodrow (b.1948) has exhibited internationally, representing Britain at biennales in Sydney (1982), Paris (1982, 1985) and São Paulo (1983). He was shortlisted for the Turner Prize in 1986 and participated in Documenta 8 in 1987. He was elected a RoyalAcademician in 2002 and had a major retrospective at the Royal Academy of Arts in 2013. Richard Deacon (b.1949) has exhibited internationally throughout his career. He was awarded the Turner Prize in 1987, elected to the Royal Academy in 1998 and to the Akademie der Kunste in Berlin in 2010. A large exhibition of his work was shown at Tate Britain in 2014, the same year as a selected edition of his writings was published. Dr Jon Wood (b.1970) is a writer and curator, specialising in modern and contemporary sculpture. Recent publications and exhibitions include: 'Sean Scully' (2020), 'Contemporary Sculpture: Artists' Writings and Interviews' (2020), 'Tony Cragg at the Boboli Gardens' (2019) and 'Sculpture and Film' (2018). He is a trustee of the Gabo Trust.

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Rhythm and Geometry: Constructivist art in Britain since 1951 celebrates the dynamic abstract and constructed art made and exhibited in Britain over a seventy-year period. Including constructed reliefs and sculpture, kinetic and participatory art, painting and printmaking, the publication explains the dialogue and collaboration between artists working in radical ways across the generations to continually reinvent Constructivist art.Rhythm and Geometry is drawn from the collection at the Sainsbury Centre, University of East Anglia.Featured artists include Robert Adams, Rana Begum, Charles Biederman, Lygia Clark, Natalie Dower, Stephen Gilbert, Adrian Heath, Anthony Hill, Kenneth Martin, Mary Martin, Victor Pasmore, Jean Spencer, Takis, Victor Vasarely, Mary Webb, Stephen Willats, Gillian Wise and Li Yuan-Chia.

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Recent multimedia projects by Simon Starling on hidden histories and unlikely connections Published for British artist Simon Starling’s (born 1967) exhibition at the Rennie Collection in Vancouver, this volume presents a selection of the artist’s multimedia, research-based art from the last decade, contextualized by new essays.

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With a career spanning more than five decades, Ian McKeever is one of Britain’s most senior artists working on the international stage. This publication documents the Henge paintings – a series started in 2017 and completed over the course of five years, inspired by prehistoric standing stones in the county of Wiltshire, England, and continuing the artist’s long-standing investigation into the languages and possibilities of abstract painting.Comprising thirty paintings along with numerous works on paper, the genesis of the series was a visit by McKeever to the world-famous neolithic site in the village of Avebury in 2016, where he took black and white photographs of the large stones that form three discrete circles: two smaller ones contained within the largest. Erected some 4500 years ago, Avebury is the largest stone circle in Britain, and forms part of what English Heritage asserts to be ‘a set of neolithic and Bronze Age ceremonial sites that seemingly formed a vast sacred landscape.’Art historian and curator Paul Moorhouse, in his essay commissioned for the publication, describes how McKeever ‘framed each megalith in close-up, their edges visible at the extremity of the resulting images,’ explaining how ‘the experience of moving around Avebury and responding to the huge stones’ monumental presence made an abiding impression that resonated with deep-seated preoccupations.’ McKeever’s resulting body of work is an earnest and considered exploration into how paint can convey universal forces and properties such as mass, gravity and time, and how colour, texture and abstraction can converse with three-dimensional space, form and materiality.The relationship between painting and sculpture in McKeever’s work is discussed by means of an in-conversation between the artist and Dr Jon Wood. ‘My interest in alluding to early megalithic sites in titling the group of paintings Henge paintings,’ says McKeever, ‘was in touching that deeper sense of time, time’s weight, so to speak. How to imbue a painting with its own weight of time, forsake the immediacy of the here and now.’Designed and produced by Tim Harvey, the publication has been printed by Narayana Press in Odder, Denmark. It is published by Anomie, London, with support from Galleri Susanne Ottesen, Copenhagen, and Heather Gaudio Fine Art, New Canaan, Connecticut. The publication accompanies exhibitions of selected works from the Henge paintings at both galleries in 2022.Ian McKeever was born 1946, Withernsea, Yorkshire, UK. He lives and works in Hartgrove, Dorset. McKeever has received numerous awards including the prestigious DAAD scholarship in Berlin 1989/90 and was elected a Royal Academician in 2003. He has held several teaching positions including Guest Professor at the Städel Akademie der Kunst in Frankfurt, Senior Lecturer, Slade, University of London and Visiting Professor at the University of Brighton. He has also published many texts on painting.Recent public solo exhibitions include Ian McKeever / Tony Cragg – Painting and Sculpture, Skulpturenpark Waldfrieden, Wuppertal, Germany (2020); Paintings 1992–2018, Ferens Art Gallery, Hull, UK (2018); Hours of Darkness, Hours of Light, Kunstmuseet i Tønder, Denmark (2015); Between Darkness and Light, National Gallery of the Faroe Islands, Tórshavn, Faroe Islands (2015); Hours of Darkness, Hours of Light, Kunst-Station Sankt Peter Köln, Cologne, Germany (2014); and Hartgrove. Malerei und Fotografie, Josef Albers Museum, Bottrop, Germany (2012). McKeever’s work is represented in leading international public collections, including Tate, British Museum, Royal Academy of Arts, London; Museum Moderner Kunst (mumok), Vienna; Museum of Fine Arts, Budapest; Louisiana Museum of Modern Art, Humlebæk; Glyptotek, Copenhagen; Museum of Contemporary Art, Helsinki; Brooklyn Museum of Art, New York; Metropolitan Museum of Art, New York; Boston Museum of Fine Art and Yale Center for British Art, Connecticut.

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Internationally renowned as one of the most significant and influential sculptors working today, Gormley has long expressed his admiration and interest in the works of German sculptor Wilhelm Lehmbruck for their inwardness, sense of poise and calm, and their reflexive potential. Calling on the Body has been conceived as a dialog between the two artists, showcasing key works created almost a century apart. It includes a selection of works spanning the breadth of Gormley’s practice: from his seminal early lead works, to Drift VI, a seemingly weightless bundle of nothing, abandoning mass and dissolving surface, and his more recent Slabwork series that despite its abstraction conveys a sense of vulnerability and exposure. This richly illustrated catalogue illuminates Gormley’s working process and his models. A conversation with the artist offers insights into his way of thinking and working as well as the value of sculpture in our society.

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