Search results for ""Author Phyllida Barlow""

New site-specific works by Phyllida Barlow fill the Royal Academy's Gabrielle Jungels-Winkler Galleries in early 2019. This accompanying publication provides a lively account of the artist's role in modern British sculpture. The British sculptor Phyllida Barlow CBE RA (b. 1944) studied at Chelsea College of Art (1960-63) and the Slade School of Art (1963-66), where she later taught for much of her career. In recent years, she has been elected a Royal Academician, created new work for Tate and the Royal Academy, had numerous solo shows and represented Britain at the Venice Biennale. Barlow's large-scale sculptures eschew serenity, balance and beauty in favour of instability, obstruction and oddness. They invade the spaces they inhabit, instead of neatly complementing them. Her use of inexpensive, everyday materials - concrete, plywood, cardboard, plaster, fabric and paint - suggests that her works are a double act of recycling: both of the materials she uses and the images she draws from her memory. With installation shots of the artist's new works at the Royal Academy and photography from the studio, this book situates Barlow as a key figure within contemporary sculpture. Published to accompany an exhibition at the Royal Academy of Arts, London, 16 February-23 June 2019. Alastair Sooke is an art critic and broadcaster. Edith Devaney is Head of Summer Exhibition and Curator of Contemporary Projects at the Royal Academy.

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Phyllida Barlow: folly presents the British Council's new commission created by Phyllida Barlow for the British Pavillion at the 57th Venice Biennale. Best known for her colossal sculptural projects, for over 5 decades Barlow has employed a distinctive vocabulary of inexpensive materials such as plywood, cardboard, plaster, rubber, cement, fabric and paint. Barlow creates striking sculptures and bold and expansive installations that confront the relationship between objects and the space that surrounds them. Drawing on memories of familiar objects from her surroundings, Barlow's practice is grounded in an anti-monumental tradition characterised by her physical experience of handling materials in an expedient and direct way.

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This first ever monograph in English on Olga Jevrić offers a unique opportunity to discover the work of a remarkable Serbian artist whose long and distinguished career established her as the most significant modernist sculptor from the former Yugoslavia. Despite gaining widespread acclaim from her contemporaries both in Europe and the USA, economic, social and geopolitical upheavals meant that her work has been little seen outside Serbia in the past four decades. As a witness to the Second World War and its aftermath, Jevrić sought to give voice to the spiritual roots, cultural foundation and social conditions of the war-torn environment in which her work developed. Through her materials – primarily a mixture of cement, iron oxide, rods and nails – she created distinctive forms that communicate the relationship between matter and void; weight and weightlessness; containment and release. Though many of her works are modest in scale, they have an immensely powerful presence. This collection of texts and images provides a range of perspectives on, and a thorough contextual overview of, Jevrić’s work from some of the UK’s most influential sculptors, alongside prominent art historians from the former Yugoslavia. It was produced in celebration of Jevrić's exhibitions at London art platforms PEER (28 June–14 September 2019) and Handel Street Projects (28 June–13 December 2019), along with the acquisition of nine of her sculptures by Tate Modern.

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Since the 1960s, British sculptor Phyllida Barlow (born 1944) has pursued a unique investigation into materiality, form and process in the wake of the minimalist and postminimalist movements of the 1960s and 70s. Barlow's 2013 exhibition Scree, at the Des Moines Art Center, was designed specifically for the museum, responding to and residing within the architecture of its I.M. Pei wing. Built in 1968, this classically Brutalist architecture with its poured concrete structure and expansive windows forms the perfect backdrop to the artist's ongoing development of the minimalist legacy. Scree also includes 55 works on paper from the late 1960s to the present, which are juxtaposed with works she has selected from the Des Moines Art Center's Permanent Collections. These include works by artists who have been central to her artistic development such as Louise Bourgeois, Yayoi Kusama, Magdalena Abakanowicz, John Chamberlain and Eva Hesse.

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