Search Results for “exhibitions” – The Courtauld

Exhibitions

Ashleigh Toll — Wed, 21 Apr 2021 11:11:05 +0000

Collection, 91�Թ��Gallery, What’s On Highlights

Visit the permanent collection

Open Daily, 10:00 – 18:00

You can now book your visit to see our much-loved collection of masterpieces ranging from the Middle Ages to the 20th century….

Exhibition, 91�Թ��Gallery, What’s On Highlights

Monet and London. Views of the Thames

27 Sept 2024 – 19 Jan 2025

An exhibition reuniting for the first time in 120 years an extraordinary group of Claude Monet’s Impressionist paintings of London, depicting Charing Cross Bridge, Waterloo Bridge, and the Houses of Parliament….

Display, 91�Թ��Gallery, What’s On Highlights

Drawn to Blue: Artists’ use of blue paper

4 Oct 2024 – 26 Jan 2025

This display presents a selection of drawings on blue paper from The Courtauld’s collection, ranging from works by the Venetian Renaissance artist Jacopo Tintoretto to a watercolour by famed English Artist Joseph Mallord William Turner….

Display, 91�Թ��Gallery, What’s on Highlights

Medieval Multiplied: A Gothic Ivory and its Reproductions

19 Oct 2024 – 16 Feb 2025

This display��draws from the collections of 91�Թ��and V&A to explore how different technologies of reproduction have shaped encounters with artworks since the 19th��century….

Past Exhibitions

Discover 91�Թ��Gallery’s past exhibitions, special displays and more. …

The Collection

Explore The Courtauld’s remarkable collection of paintings, prints and drawings, sculpture and decorative arts. …

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Frank Auerbach. The Charcoal Heads

Caitlin Brooker — Fri, 04 Aug 2023 12:59:01 +0000

9 Feb – 27 May 2024��
Denise Coates Exhibition Galleries

A remarkable series of hauntingly beautiful, large-scale drawings by Frank Auerbach (1931-2024), is being presented together for the first time at 91�Թ��Gallery.

During his early years as a young artist in post-war London, Frank Auerbach produced one of his most remarkable bodies of work: a series of large-scale portrait heads made in charcoal. Auerbach spent months on each drawing, working and reworking them during numerous sessions with his sitters.

The marks of this prolonged and vigorous process of creation are evident in the finished drawings, which are richly textured and layered. Sometimes, he would even break through the paper and patch it up before carrying on. Auerbach’s heads emerge from the darkness of the charcoal as vital and alive, having come through a lengthy period of struggle – the image repeatedly created and destroyed. The character of the drawings speaks profoundly of their times as people were remaking their lives after the destructions and upending of war.

The Griffin Catalyst Exhibition: Frank Auerbach. The Charcoal Heads will be the first time Auerbach’s extraordinary post-war drawings, made in the 1950s and early 1960s, have been brought together as a comprehensive group. They will be shown together with a selection of paintings he made of the same sitters; for him, painting and drawing have always been deeply entwined.

The exhibition will be a unique opportunity to see early masterpieces by one of the world’s most celebrated living artists.

Tickets from £14. Includes entry to the permanent collection and displays.
Friends go free. Other concessions available.

Title Partner

Supported by��Kenneth C. Griffin,��The Huo Family Foundation and��The Garcia Family Foundation

With additional support from The Rothschild Foundation

★★★★★

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★★★★★

★★★★

“One epic experience.”

★★★★

“Thrillingly alive.”

★★★★

“A��پ��Բ�.”

★★★★

Highlights

Frank Auerbach (b.1931), Self-Portrait, 1958, charcoal and chalk on paper, private collection © the artist, courtesy of Frankie Rossi Art Projects, London.

Frank Auerbach (b.1931), Head of Julia II, 1960, charcoal and chalk on paper, private collection © the artist, courtesy of Frankie Rossi Art Projects, London

Frank Auerbach (b.1931), Head of Gerda Boehm, 1961, charcoal and chalk on paper, private collection, courtesy of Eykyn Maclean © the artist, courtesy of Frankie Rossi Art Projects, London

Frank Auerbach (b.1931), Head of EOW, 1960, charcoal and chalk on paper, The Whitworth, The University of Manchester © the artist, courtesy of Frankie Rossi Art Projects, London

Limited edition print

Frank Auerbach,��Sketch for ‘Mornington Terrace, 2015–16

Exclusive to The Courtauld, this limited edition print has been developed in partnership with Frank Auerbach, to celebrate his landmark exhibition at 91�Թ��Gallery.

One of an edition of 200 plus 5 artist’s proofs.��Each print has been hand signed and numbered by the artist and is presented in a handmade portfolio with a certificate of authenticity.��All proceeds from the print will��support The Courtauld.

i Frank Auerbach, Sketch for ‘Mornington Terrace’, 2015–16, © the artist

Buy the catalogue

The catalogue accompanying The Griffin Catalyst Exhibition: Frank Auerbach. The Charcoal Heads is now available to purchase from 91�Թ��Shop.

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Get free unlimited entry to 91�Թ��Gallery and exhibitions including The Griffin Catalyst Exhibition: Frank Auerbach. The Charcoal Heads, priority booking to selected events, advance notice of art history short courses, exclusive events, discounts and more.

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Display, 91�Թ��Gallery, What’s On Highlights

Vanessa Bell: A Pioneer of Modern Art

25 May – 6 Oct 2024��

This display will be the first devoted to The Courtauld’s significant collection of Vanessa Bell’s work, including her masterpiece A Conversation, and the bold, abstract textile designs she produced for the Omega Workshops….

Display, 91�Թ��Gallery, What’s On Highlights

From the Baroque to Today: New Acquisitions of Works on Paper

23 Feb – 27 May 2024

This display will present a selection of drawings and prints acquired by 91�Թ��since 2018, including works by Mary Cassatt, Sir Grayson Perry and Susan Schwalb….

Exhibition, 91�Թ��Gallery, What’s On Highlights

Roger Mayne: Youth

14 Jun – 1 Sept 2024��

An exhibition of works by photographer Roger Mayne, bringing together his evocative documentary images of communities and neighbourhoods of 1950’s inner London, alongside intimate images of his own family at home in Dorset in the 1970s….

Exhibition, 91�Թ��Gallery, What’s On Highlights

Monet and London. Views of the Thames

27 Sept 2024 – 19 Jan 2025

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What’s on

dp_admin — Fri, 09 Apr 2021 10:28:48 +0000

Collection, 91�Թ��Gallery, What’s On Highlights

Visit the permanent collection

Open Daily, 10:00 – 18:00

Exhibition, 91�Թ��Gallery, What’s On Highlights

Monet and London. Views of the Thames

27 Sept 2024 – 19 Jan 2025

The post What’s on appeared first on The Courtauld.

24 – Collectors, Exhibitions and Art Dealers: Modern Art in Europe 1863-1920

Charlotte Regan — Wed, 11 Dec 2024 11:34:01 +0000

Course 24 – Summer School on campus

Monday 14 – Friday 18 July 2025
Dr Natalia Murray
£645

Course description

This course examines the role of collectors, dealers, and exhibitions in the formation of modern art in Paris, Vienna, London, Moscow and Munich. In these lectures and during afternoon visits, we shall discuss the ways in which dealers directed collectors’ purchases and thereby helped shape contemporary taste. We shall also explore if and to what extent dealers influenced what artists created, and how these works were presented, disseminated and received, by way of prominent exhibitions, and in art journals and reproductive prints.

Picasso’s dealer, Daniel Kahnweiler, was responsible for the titles of Picasso’s and Braque’s Cubist paintings, while the Berlin-based dealer Paul Cassirer provided German artists with access to the paintings of Van Gogh, without which German Expressionism might not have developed. The critic, painter and arbiter of taste Roger Fry introduced British audiences to avant-garde French art in his groundbreaking exhibitions at the Grafton Galleries in 1910 and 1912, for which he coined the label ‘Post-Impressionism’. And the major promoter of Impressionism, Paul Durand-Ruel, who sent Monet’s Haystacks��to the 1896 Impressionist exhibition in Moscow, was pivotal in Kandinsky’s decision to become an artist and to pursue abstraction. The sponsorship of leading collectors meanwhile enabled artists to create some of their most outstanding work – Sergei Shchukin, for instance, commissioned Matisse’s Dance��Ի� Music.

How to book

To book your chosen course(s) please use the book now button below and you will be taken to our booking system where you can book and pay (Visa / Mastercard / GooglePay / ApplePay).

At checkout, you will be prompted to login (if you have previously booked gallery tickets) or to register and create a new account.

(Please note: this ticketing login is not the same as your Short Courses VLE login if you have one).

Please note that in the EU new VAT rules for online courses are coming into effect.�� This means that from 1 January 2025 we will be required to charge EU participants their local VAT rate.�� VAT-inclusive prices for EU students will be displayed at check-out.

If you have any questions please email us at��short.courses@courtauld.ac.uk

Book now

Lecturer’s biography

�ٰ��ٲ��ѳܰ��is a lecturer in modern art and curating at The Courtauld. She gained a BA and MA in art history at the Academy of Fine Arts in St Petersburg, and a PhD at The Courtauld. She is a writer, lecturer and curator specialising in late nineteenth- and early twentieth-century Russian and Western European art and was the curator of the Royal Academy’s major exhibition Revolution. Russian Art 1917-1932��(2017).��Natalia��is currently working on several new exhibition projects in the US and in Europe. She has published widely: her most recent book,��Two Women Patrons of the Russian Avant-Garde. Nadezhda Dobychina and Klavdia Mikhailova,��was published in 2021��Ի��was��dedicated to the first gallerists in Russia.

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Dr Elena Crippa

Marta Guerrini — Fri, 25 Oct 2024 17:26:07 +0000

Elena Crippa is a specialist in modern and contemporary art, with a particular emphasis on post-war and contemporary British art from a transnational perspective.

Elena joined the Courtauld in 2024 from the Whitechapel Gallery, where she was Head of Exhibitions. Previously, she was Senior Curator of Modern and Contemporary British Art at Tate Britain, where her projects explored transnational and transcultural intersections.��She curated the retrospective exhibitions Frank Bowling��(2019) and��Paula Rego��(2021) and the group exhibition��All��Too Human, Bacon, Freud and a Century of Painting Life��(2018).��She��also curated the 2022 commission��Hew Locke: The Procession��and several research-based displays, including Basic Design (2013), Jo Spence��(2015), Stan Firm Inna Inglan: Black Diaspora in London 1960–70s (2017), and Kim Lim: Carving and Printing��(2020–21). Working at Tate for over ten years, she initiated projects that bridged curatorial and research activities and led acquisition strategies, collection displays and the 2023 collection rehang.

Internationally, Elena curated Mariana Telleria’s first solo exhibition in Rosario, Argentina, and Manon de Boer’s Cinema of Sound��at Loop Festival Barcelona (2011). She toured exhibitions on artists associated with the ‘School of London’ to the J. Paul Getty Museum, Los Angeles (2016); Museo Picasso, Malaga (2017); AROS Kunstmuseum, Aarhus (2017-18); The Pushkin State Museum of Fine Arts, Moscow (2019) and Chiostro del Bramante, Roma (2019). She co-curated��Objects of Wonder��with Daniel Slater for PalaisPopulaire, Berlin (2019).��She was a member of the International Jury of the 60th��International Art Exhibition of La Biennale di Venezia (2024).

Elena studied at Università degli Studi di Trieste, Italy, and Sorbonne Nouvelle, Paris, before obtaining her MA in Curating Contemporary Art at the Royal College of Art, London. She was the recipient of a Leverhulme Trust-funded Collaborative PhD award (London Consortium and Tate Research Department). She completed her doctorate working as part of the Tate Research Project ‘Art School Educated: Curriculum Development and Institutional Change in UK Art Schools, 1960-2010’ (2009–13).��She was a lecturer on the MRes Exhibition Studies, Central Saint Martins, UAL, and has been a visiting lecturer and external examiner at the Royal College of Art. She is a member of the Advisory Council of the Paul Mellon Centre for Studies in British Art.

Elena edited and contributed to numerous exhibition catalogues on��the work of Manon de Boer, Frank Bowling and Paula Rego, among other artists, and is the author of Sonia Boyce (Artists Series, Tate Publishing, 2024). She has contributed essays and articles to��British��Art Studies,��IDEA Arts + Society,��Manifesta Journal��Ի��Tate Etc. She authored and co-edited��Exhibition, Design, Participation: ‘An Exhibit’ 1957 and Related Projects��(Afterall Books, Exhibitions Series, 2016) and contributed several articles and book chapters on artistic practices and networks that germinated in the art school, including in��London Art Worlds:��Mobile, Contingent, and Ephemeral Networks, 1960–1980��(The Pennsylvania State University Press, 2018). She is co-editing a special issue of��British��Art Studies��on collage, 1945–now (forthcoming, 2026).

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Amy Graves

Marta Guerrini — Fri, 25 Oct 2024 17:18:19 +0000

Amy studied English at the University of Birmingham (BA, 2006) and History of Art at University College London (MA, 2008).

Before joining 91�Թ��(2017) Amy held positions at the Horniman Museum and Gardens (2011), and at the National Maritime Museum (2009).

Amy manages the planning and delivery of the Gallery’s temporary exhibitions and displays programme. Notable exhibitions include��Van Gogh: Self Portraits, 2022,��Edvard Munch: Masterpieces from Bergen, 2022, and��Frank Auerbach: The Charcoal Heads, 2024. Amy is looking forward to upcoming exhibitions in our very varied and exciting programme ahead.

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Belatedness and U.S. Exhibitions in Transnational Contexts

Grace Williams — Tue, 09 Aug 2022 11:31:39 +0000

How has the display of U.S. art in transnational contexts built or rejected ideas of American culture as belated? How do exhibitions outside the United States construct cultural arguments, from John Singleton Copley and Benjamin West in eighteenth-century London to interwar and post-World War II exhibitions on the history of U.S. art? How did Copley’s transnational performance shape attempts by John Trumbull and Thomas Sully to circulate exhibitions of art related to U.S. revolutionary history? How did the international circulation of paintings in exhibitions like “Three Centuries of American Art” (1938), “Advancing American Art” (1946-57), “The New American Painting” (1958-59), and the second documenta in 1959 capitalize on ambiguous claims of art’s ‘coming of age’ in these decades? What is the role of art criticism in reinforcing ever dynamic ideas of culture?

Organised by Professor Emily C. Burns (Director of the Charles M. Russell Center for the Study of Art of the American West at the University of Oklahoma) and Professor David Peters Corbett (Professor of American Art and Director of the Centre for American Art, The Courtauld) as part of the ‘Belatedness and North American Art’ series.

Minding the Gap: John Singleton Copley’s Provincialism, Belatedness, and the Paradox of Colonial Self-Fashioning

Emily Ballew Neff, The Kelso Director, San Antonio Museum of Art

How does provincialism relate to belatedness? Colonial artist John Singleton Copley performed belatedness through persistent claims of colonial naiveté, which proved remarkably astute in terms of positioning himself in a broader transatlantic artistic network before he left colonial Boston in 1774. Once settled in London in 1775, the repetition of geo-temporal themes as evidenced in his work, his letters, and novel exhibition strategies, both helped and worked against him and, to some degree, his friend and eventual adversary, Benjamin West. While both artists used their colonial status to advance their careers, ultimately stunning the artistic world with contemporary history painting in the Grand Manner, Copley’s development of the genre, so closely tied to modernity—news media, celebrity, political rhetoric, transatlantic exchange and empire building—threw into question its relevance as changing global events inevitably altered its meanings. In retrospect, moving from belatedness to strategic foresight (or being “early”) was not just the expression of a remarkable career trajectory in the case of Copley. In the historiography of North American art, belatedness and provincialism evolved into positive affirmations of “American” identity.

Emily Ballew Neff is the Kelso Director at the San Antonio Museum of Art. The author or co-author of six catalogues and a contributor of essays to numerous others, she has created 25 exhibitions, including major presentations such as American Adversaries: West and Copley in a Transatlantic World (2013) and John Singleton Copley in England (1995) and, in the area of western studies, The Modern West: American Landscapes, 1890-1950 (2006), the latter two of which illustrate her interest in a broad range of media and dialogue with indigenous arts. Throughout her career, beginning at the Museum of Fine Arts, Houston, where she was the inaugural curator of American Painting and Sculpture, she has been guided by an interest in situating American art in a more expansive, global context and nurturing interest across diverse cultures and geographies.

John Singleton Copley, Watson and the Shark, 1778, oil on canvas, 182.1 x 229.7 cm, National Gallery of Art, Ferdinand Lammot Belin Fund, 1963.6.1

Timing and History in Trumbull and Sully’s Early American Single Painting Exhibitions

Tanya Pohrt, Curator, Lyman Allen Art Museum

In 1818–1819 John Trumbull exhibited his large-scale Declaration of Independence in New York, Boston, Philadelphia, and Baltimore. It was the first multi-city exhibition of a history painting in America, a format modelled after John Singleton Copley’s successful independent exhibitions in London in the 1780s. America was far different than London, however, and Trumbull’s Revolutionary project took nearly four decades to come to fruition. Because of this, his Declaration reflected a version of history that was out of sync by 1818-1819, leading viewers to question who was included and excluded from this symbolically important moment in the nation’s history.

A resurgence of interest in the American Revolution followed the war of 1812, facilitating Trumbull’s federal commission and motivating other artists such as Thomas Sully to paint canvases celebrating the nation’s founding. By adapting British exhibition strategies to fit the needs of American artists and audiences, Trumbull and Sully created ambitious yet flawed history paintings for the public. Belatedness explains many of their problems, yet the paintings’ inaccuracies also reflect the difficulty of history painting as a genre. By attempting to pin down iconic events in a nation’s contested and fractured history, artists opened themselves up to critique.

Tanya��Pohrt��is curator of the Lyman Allyn Art Museum in New London, Connecticut. She has curated a range of exhibitions at the Lyman Allyn, including��The Way Sisters: Miniaturists of the Early Republic��(Exh. Cat., 2021),��The Prismatic Palette: Frank Vincent DuMond and His Students, 2021, and curated the permanent collection gallery��Louis Comfort Tiffany in New London, which opened in 2018. She holds a Ph.D. in art history from the University of Delaware with a specialty in American art and was previously a Marcia Brady Tucker Fellow in American Paintings and Sculpture at the Yale University Art Gallery.

John Trumbull, The Declaration of Independence, July 4, 1776, 1786-1820, oil on canvas, 53 x 78.7 cm, Trumbull Collection, Yale University Art Gallery, 1832.3

American Cultural ‘Innocence’ as Political Tool in 1930s France

Caroline M. Riley, Research Associate, Department of Art and Art History, University of California, Davis

In 1938, MoMA curators installed the museum’s first international exhibition, Three Centuries of American Art, in Paris. With Three Centuries, MoMA laid out an authoritative vision of American art history that extended its chronology to the early colonial period and encompassed countries far beyond the geographical borders of the United States. The exhibition contained over 750 artworks as well as interpretive documents, including film scripts and maps, dating from 1609 to 1938. Three Centuries operated as a representational proxy for the United States that promoted both its cultural exceptionalism in the display, for example, of folk art, including art by Black artists, and its industrial strength in the display, for example, of Chicago skyscrapers. On the cusp of World War II, how did the perception of American cultural belatedness in an exhibition of American art history benefit the French? Alternatively, how did the display of American industrialization serve as a powerful counter-narrative that shifted American and French perceptions of each other? Complicating our notion of belatedness, Three Centuries was the first collaboration between MoMA and the US government, and officials saw in it the potential to represent American democratic values as totalitarianism advanced in the 1930s.

Caroline Riley serves as Research Associate at the��University of California, Davis and a NEH Long-Term Fellow at the New York��Public Library (2022–2023).��She has published on Pictorialist photography, nineteenth-century portrait painters, and vernacular art. Her first book,��MoMA Goes to Paris in 1938��(University of California Press, January 2023), explores American art’s canonization during the interwar period and the deployment of art in international diplomacy. Her next book, presently titled Thérèse Bonney and the Global Syndication of Photography, will analyse��how Bonney’s trail-blazing life impacted the progress of women in the male-dominated professions of photographer, journalist, spy, business owner, and curator.

Freake-Gibbs Limner, Margaret Gibbs, 1670, oil on canvas, 102.87 x 84.14 cm, Museum of Fine Arts, Boston, Bequest of Elsie Q. Giltinan (1995.800).

The second half of the event will be moderated by Angela Miller.

Angela Miller��is Professor of Art History at Washington University in St. Louis. She is author of��Empire of the Eye: Landscape Representation and American Cultural Politics, 1825-1875; and lead author, along with Janet Berlo, Bryan Wolf, and Jennifer Roberts, of��American Encounters: Cultural Identity and the Visual Arts from the Beginning to the Present��(Pearson, 2008). She has published widely on 19^th��Ի� 20^th��century visual arts and culture. Along with Sabine Eckmann, she is planning an exhibition on post-war abstraction in the US, France, and Germany that sets Abstract Expressionism within a network of international exchange.

The Long Struggle: Belatedness and International Exhibitions of American Art, 1946-1959

Mark A. White, Executive Director, New Mexico Museum of Art

As the United States asserted its influence abroad following World War II, institutions as varied as the U.S. State Department, the Museum of Modern Art (MoMA), and the International Business Machines Corporation (IBM) followed a similar path by creating exhibitions of contemporary American art for foreign audiences. Traveling exhibitions such as the State Department’s Advancing American Art (1946-47) and MoMA’s The New American Painting (1958-59) declared the legitimacy of American modernism, which had been perceived as late to the party. Organizers of the respective exhibitions asserted that contemporary American art deserved serious consideration, having been relatively ignored on an international stage in the past. This talk will explore how these exhibitions situated contemporary American art within an international context, whether to suggest American artists had finally come of age or had triumphed over their foreign rivals.

Mark Andrew White is the Executive Director of the New Mexico Museum of Art. He received his Ph.D. from the University of Kansas in 1999 and spent the first decade of his career in academia at Oklahoma State University. In 2009, he joined the Fred Jones Jr. Museum of Art at the University of Oklahoma as curator and, in 2015, was named the Wylodean and Bill Saxon Director of the museum.

Exhibitions and publications include OK/LA (2020), Macrocosm/Microcosm: Abstract Expressionism in the American Southwest (2014), and Art Interrupted: Advancing American Art and the Politics of Cultural Diplomacy (2012).

Ben Shahn, Renascence, 1946, gouache on whatman hot pressed board, 55.5 x 76.2 cm, Fred Jones Jr. Museum of Art, University of Oklahoma; Purchase, U.S. State Department Collection, War Assets Administration, 1948

Global Modernism, US Imperialism, and the Paradoxes of Decolonization

Joshua I. Cohen, Associate Professor of Art History, The City College of New York

In his classic study of Abstract Expressionism around the start of the Cold War, Serge Guilbaut (1983) noted that American art before the mid-1940s had “trailed behind French production.” Yet by the end of the decade, the United States, in terms of global cultural influence, made a “transition from colonized nation to colonizer.” For a country of epigones to become an avant-garde powerhouse, a major geographical reorientation was needed, in Guilbaut’s thesis, shifting the art world’s so-called centre from Paris to New York. Less commonly noted in postcolonial and Cold War scholarship is a revised temporal postwar schema, which was crucial for positioning the US on the cutting edge of global artistic trends and purportedly in synch with liberated Third World modernists. This paper comparatively examines landmark exhibitions of American art and US-sponsored exhibitions of artists from different parts of the decolonizing world, focusing on the late 1940s through the early 1960s. It analyzes how, paradoxically, American advocacy for the end of colonialism seeded and supported new forms of capitalist imperialism, posing a new set of challenges for modernist painters from ex-colonies.

Joshua I. Cohen is associate professor of art history at The City College of New York and the CUNY Graduate Center. His first book, The “Black Art” Renaissance: African Sculpture and Modernism across Continents (University of California Press, 2020), received honorable mention for the Modernist Studies Association First Book Prize. He is at work on a new book project entitled Art of the Opaque: African Modernism, Decolonization, and the Cold War.

‘Documenta? An American assault on Europe!’ Gesture Painting and the Failures of Transatlanticism at documenta II (1959)

Dr Matthew Holman, The Terra Foundation for American Art Postdoctoral Fellow, The Courtauld

‘Art has become abstract’, wrote Werner Haftmann in 1959 and, in so doing, became ‘the first example of world culture.’ The transatlanticist Haftmann, perhaps the most vociferous supporter of modern art in post-war Germany, believed that a ‘world language’ of gestural abstraction had become a reality. This philosophical and formal attitude to art informed Haftmann’s vision for documenta II, held in the small West German city of Kassel, which he co-curated with Arnold Bode. However, just as a buoyant internationalism looked to celebrate the arrival of a ‘lingua franca’ in post-war art, the political and transnational power asymmetries in an art-world increasingly dominated by Abstract Expressionism, supported by the deep-pockets of the Museum of Modern Art in New York, exposed the fault-lines in Haftmann’s worldview. By focusing on the controversial American representation at documenta II, in which an overdetermined display of works was hung one on top of another in a claustrophobic and labyrinthine hang, this paper will use this exhibition as a case study to interrogate wider questions about Cold War cultural politics. I will argue that Abstract Expressionism––as the flagship style of American modernism––‘came of age’ at the same moment when confidence in a genuinely international mode of gestural abstraction was on the wane. If gestural abstraction offered, for some Mittel-European critics, an artistic manifestation of the North Atlantic alliance, then for others it showed a decadent American art form which was already beginning to be eclipsed by formal critiques of gesture painting in Neo-Dada and Pop, as examples of both lurked in the background of documenta II and threatened the story of art that it advocated by the end of the 1950s.

Dr Matthew Holman is The Terra Foundation for American Art Postdoctoral Fellow at The Courtauld. In 2020, he completed a PhD in post-war exhibition histories of American art at University College London, where he stayed on and taught modern poetry. Matthew has held research fellowships at Yale University, The Smithsonian, The Paul Mellon Centre for Studies in British Art, and spent a year at The John F. Kennedy Institute for North American Studies in Berlin under a Leverhulme Trust Studentship. His research has been published or is forthcoming in Critical Quarterly, Women’s Studies, The Oxford Art Journal, Essays and Studies, Modern Italian Art, and elsewhere. His first book, Curating Modern Life: Frank O’Hara and the Politics of Art, is forthcoming with Bloomsbury in spring 2024

Installation view of Museum Fridericianum with paintings by Jackson Pollock documenta II (1959) Kassel Germany. DCA-005-18.001-d02.026 © documenta archiv / Foto: Günther Becker

Belatedness and U.S. Exhibitions in Transnational Contexts

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WIKTOR KOMOROWSKI // Biennials, Triennials, and Documenta: The Exhibitions that Created Contemporary Art | Anthony Gardner and Charles Green

Grace Williams — Thu, 06 May 2021 11:10:36 +0000

Biennials, Triennials, and Documenta: The Exhibitions that Created Contemporary Art��Anthony Gardner��Ի��Charles Green ��304pp, Wiley-Blackwell, 2016

Have you ever heard of the Biennale de la Méditerranée, one of the first large-scale periodic exhibitions on the African continent? Or have you come across the Ljubljana Graphic Art Biennial, one of the oldest and largest periodic exhibitions of prints, which, in 1963, brought Robert Rauschenberg his first international recognition? If these events remain a mystery to you, the new publication by Anthony Gardner and Charles Green will satisfy your curiosity. In their book, Green and Gardner revisit the history of exhibitions such as the 1972��Documenta5, elaborate on these grandiose events, link them with the history of obscure – yet still ground-breaking – periodical events, and create a coherent and compelling narration of the history of ‘biennialisation’.

The book consists of three parts, each divided into subsequent chapters, followed by an epilogue. The first part discusses exhibitions such as the��Documenta5, the Biennale of Sydney, the Bienal de São Paulo and the Bienal de La Habana. These exhibitions, according to Green and Gardner, epitomise what they term the ‘Second Wave of Biennialisation’ (50). This surge of new survey exhibitions took place between the mid-1950s and the late 1980s, mostly on the ‘fringes’ of the twentieth-century art world, and was aimed to act as a counterweight to the almost exclusive division of the art world between Paris and New York. These shows became the model examples of alternative cultural strategies introduced to re-establish the patterns of global cultural exchange broken after World War 2, and to overcome the cultural dependency forged by the Cold War powers.

The second part reviews the biennials that came into being as a result of the major socio-political changes that took place after the Cold War era. The first chapter of this part focuses on the history of Asian survey exhibitions, such as the Gwangju Biennale and the Fukuoka Asian Art Show. This chapter is followed by an examination of exhibitions in Europe, particularly the Manifesta and its role in bonding the post-wall division of European cultural space. The idea of an art show as a space of mediation is then tested on the example of the Second Johannesburg Biennale (1997), organised under the term��Trade Routes. This biennial sought to connect the local political context, marked by the uneasy confrontation of local apartheid, and the cosmopolitanism of the contemporary art world.

The third part introduces a polemic questioning the position of the more recent exhibitions in relation to the canon of survey shows established during the second half of the twentieth century. The main topic questions whether formulae for setting up recent survey exhibitions have become rigidly defined. This part covers exhibitions such as��Documenta11��(2002), which was staged in five different locations worldwide in order to challenge the traditional pattern for organising a biennial in just one locality.��Documenta11��questioned the authority of an art show that produces cultural discourse from an undeniable stance built upon the properties of institutional prestige. This part also covers, among other topics,��The 50th Venice Biennale: The Dictatorship of the Viewer��and the��Tirana Biennale, which, similarly to��Documenta11, challenged the traditional modes of organising survey shows.

The third part smoothly transits into an epilogue, which serves as a reconsideration of the publication’s prevalent lines of argument. Green and Gardner weave three themes into the narration carried out throughout the chapters. The first theme addresses the authors’ quest for a definition of the main properties of post-war biennial culture and its relationship with broader social politics. Secondly, the book tests whether art and and the impact these shows have on contemporary culture.

At first glance, this book may not appear to be particularly exceptional, but compared to other publications in the field, its original classification of the discussed events is striking.¹��Green and Gardner’s main intention was therefore not to form a canon of survey exhibitions, but to delineate common denominators for these events and then, having these outlined, systemise the most important events into larger groups. As a result, this book will certainly become one of the first points of reference for audiences interested in the subject; nonetheless, due to its critical heftiness, it will be less suited to non-specialist exhibition lovers, and more appropriate to those looking for a more critically narrated history of the survey shows of contemporary art exhibition histories have been changed by the conditions of ‘peripheralialism’ and the postcolonial discourse.

Citations

_{[1] Bruce Altshuler,��Biennials and Beyond: Exhibitions that Made Art History: 1962– 2002��(London: Phaidon, 2013); Charlotte Bydler,��The Global Art World Inc.: On the Globalization of Contemporary Art��(Uppsala: Uppsala University Press, 2008).}

The post WIKTOR KOMOROWSKI // Biennials, Triennials, and Documenta: The Exhibitions that Created Contemporary Art | Anthony Gardner and Charles Green appeared first on The Courtauld.

91�Թ��Gallery announces 2024 exhibition programme including major exhibitions of Claude Monet and Frank Auerbach

Ashleigh Toll — Mon, 04 Sep 2023 16:01:30 +0000

High res images available to download here:

91�Թ��announced today its programme of major exhibitions and displays for 2024.

Monet and London: Views of the Thames will reunite for the first time in 120 years an extraordinary group of Claude Monet’s Impressionist paintings of London. Begun over three stays in the capital between1899 and 1901, the series – depicting Charing Cross Bridge, Waterloo Bridge, and the Houses of Parliament – was unveiled at a landmark show in Paris in 1904 and has never been the subject of a UK exhibition. Opening on 27 September 2024, this major exhibition at 91�Թ��Gallery will realise Monet’s unfulfilled ambition of showing this extraordinary group of paintings in London, on the banks of the Thames just 300 metres from The Savoy Hotel where many of them were created.

This spring, a remarkable series of hauntingly beautiful, large-scale drawings by Frank Auerbach (b. 1931), produced in post-war London in the 1950s and 1960s will be presented together for the first time. Auerbach created these portrait heads in charcoal and chalk, spending months reworking them during numerous sessions with his sitters. The drawings will be shown together alongside a selection of closely related paintings he made of the same sitters. Today, these works are considered some of his early masterpieces.

In the summer, 91�Թ��Gallery will present a rich array of shows across its spaces. An exhibition of works by acclaimed British photographer Roger Mayne (1929-2014) will open a new chapter in The Courtauld‘s programming by including photography as one of its exhibition strands. This exhibition will explore Mayne’s evocative black and white images of childhood and youth culture in London and elsewhere from the 1950s – 1970s, which captured an energy that embodied both the scars and new beginnings of post-war Britain.

In the Drawings Gallery, at the same time, a focused exhibition staged in collaboration with the Henry Moore Foundation will consider Henry Moore’s celebrated Shelter drawings as the point of departure for a new reading of the artist’s fascination with images of the wall, during and immediately after World War II. A display in the Project Space will focus on The Courtauld’s rich collection of work by avant-garde British artist Vanessa Bell, one of the leading artists of the Bloomsbury Group in the early 20^th century.

Other focused displays in the Project Space at 91�Թ��in 2024 will include a significant series of prints from the collection by the pioneering American artist Jasper Johns. A selection of new acquisitions of works on paper will be shown in the Gilbert and Ildiko Butler Drawings Gallery.

91�Թ��2024 Exhibition Programme

Frank Auerbach: The Charcoal Heads
9 February – 27 May 2024
Denise Coates Exhibition Galleries

During his early years as a young artist in post-war London, Frank Auerbach (born 1931) produced one of his most remarkable bodies of work: a series of hauntingly beautiful, large-scale portrait heads made in charcoal. Auerbach spent months on each drawing, working and reworking them during numerous sessions with his sitters. The marks of this prolonged and vigorous process of creation are evident in the finished drawings, which are richly textured and layered. Sometimes, he would even break through the paper and patch it up before carrying on. Auerbach’s heads emerge from the darkness of the charcoal as vital and alive, having come through a lengthy period of struggle – the image repeatedly created and destroyed. The character of the drawings speaks profoundly of their times as people were remaking their lives after the destructions and upending of war.

This exhibition will be the first time Auerbach’s extraordinary post-war drawings, made in the 1950s and early 1960s, have been brought together as a comprehensive group. They will be shown together with a selection of paintings he made of the same sitters; for him, painting and drawing have always been deeply entwined. The exhibition will be a unique opportunity to see some of the first great works by one of the world’s most celebrated living artists.

This exhibition is supported by the Huo Family Foundation and The Garcia Family Foundation.

Recent acquisitions of works on paper: from the Baroque to Today
23 February – 27 May 2024
The Gilbert and Ildiko Butler Drawings Gallery

This display will present a selection of drawings and prints acquired by 91�Թ��since 2018. Highlights include a 17^th-century Florentine drawing which will be here reunited for the first time with its left half from which it was cut at some point in its history. Female artists are significantly represented, the selection includes works by Mary Cassatt (the first by the Impressionist painter to enter the collection), Maliheh Afnan, Deanna Petherbridge and Susan Schwalb, as well as earlier watercolours. Prints by Sir Grayson Perry and Sir Frank Bowling will also feature.

The programme of displays in the Gilbert and Ildiko Butler Drawings Gallery is generously supported by the International Music and Art Foundation, with additional support from James Bartos.

Jasper Johns: The Seasons
28 February – 12 May 2024
Project Space

From 1984 to 1991, pioneering American artist Jasper Johns (b.1930) produced a significant body of paintings, drawings, and prints inspired by the four seasons. The Seasons are complex and distinctive works, weaving together themes of artist creation, the passage of time, and the artist’s own biography, with Johns’ shadow appears prominently in each composition. Printmaking is one of Johns’ major preoccupations, and this display will reveal Johns’ application of an array of techniques to create a collaging of imagery that is both evocative and mysterious. 91�Թ��was fortunate to be given the series of nine prints by Johns in 2016 by Barbara Bertozzi Castelli, the widow of John’s long-term dealer Leo Castelli, and is the only museum in the UK to have the series in its collection.

Vanessa Bell: A Pioneer of Modern Art
25 May – 6 October 2024
Project Space

Vanessa Bell (1879 –1961) was one of the leading artists associated with the Bloomsbury Group, the avant-garde group of artists, writers and philosophers who pioneered literary and artistic modernism in Britain at the beginning of the 20th century.

This focused display in the Project Space will be the first devoted to The Courtauld’s significant collection of Bell’s work. It will include paintings such as her masterpiece A Conversation, as well as the bold, abstract textile designs she produced for the Omega Workshops, led by influential artist and critic Roger Fry in London, which aimed to abolish the boundaries between the fine and decorative arts and bring the arts into everyday life. The exhibition will highlight one of the most cutting-edge artists working in Britain in the early 20th century.

Henry Moore: Shadows on the Wall
8 June – 22 September 2024
The Gilbert and��Ildiko Butler Drawings Gallery

This focused exhibition considers Henry Moore’s (1898 – 1986) celebrated Shelter drawings as the point of departure for a new reading of the artist’s fascination with images of the wall, during and immediately after World War II. From the London Underground, where Moore drew figures sheltering from the bomb raids, the walls of these spaces came to absorb his attention in an altogether new way, becoming scene-setters, and key components of his drawings. This fascination with the bricks and the presence of walls, their texture, mass and volume, became especially important after his project to illustrate the wartime radio play The Rescue, based on Homer’s Odyssey.

Henry Moore: Shadows on the Wall, a collaboration with Henry Moore Foundation, suggests for the first time that the walls in his drawings offer a new way to understand some of his most individual and monumental Post-War sculpture projects.

The programme of displays in the Gilbert and Ildiko Butler Drawings Gallery is generously supported by the International Music and Art Foundation, with additional support from James Bartos.

��Roger Mayne: Youth
14 June – 1 September 2024
Denise Coates Exhibition Galleries

��Acclaimed British photographer Roger Mayne (1929 – 2014) celebrated the lives of young people growing-up in his evocative documentary images in the 1950s and early 1960s. Self-taught and widely influential in the acceptance of photography as an art form, he was passionate about photographing human life as he found it – most famously the working-class communities of West London. Capturing children at play and the emerging phenomena of the swaggering teenager, Mayne discovered in the young a defining energy that perfectly embodied both the scars and radicalism of post-war Britain.

This exhibition of around 50 photographs focuses on this central thread in Mayne’s work, bringing together his iconic street scenes of London with little-known intimate images of his own family at home in Dorset from the late 1960s and ‘70s.

While the two bodies of work, street and family, have a different tenor, they are united by a radical empathy with his subject and the desire to create a photographic image with lasting impact, sensitivity and artistic integrity. With Mayne’s post-war subjects now in their more senior years and a new generation faced with myriad crises, Mayne’s deliberations on growing up, childhood, adolescence and family feel especially poignant and timely.

Monet and London: Views of the Thames
27 September 2024 – 19 January 2025
Denise Coates Exhibition Galleries

Claude Monet (1840-1926) is world renowned as the leading figure of French Impressionism. Less known is the fact that some of Monet’s finest Impressionist paintings were made not in France but in London. They depict extraordinary views of the Thames as it had never been seen before, full of evocative atmosphere, mysterious light, and radiant colour.

Begun over three stays in the capital between 1899 and 1901, Monet’s ‘Thames series’ – depicting Charing Cross Bridge, Waterloo Bridge and the Houses of Parliament – was unveiled at a landmark exhibition at his dealer’s gallery in Paris in 1904. Monet fervently wanted to show them in London the following year, but plans fell through. To this day they have never been the subject of a dedicated UK exhibition.

Monet and London: Views of the Thames will realise Monet’s unfulfilled ambition of showing this extraordinary group of paintings in London, on the banks of the Thames a mere 300 metres from the Savoy Hotel where many were painted. By presenting the paintings Monet himself selected for his public, the exhibition will provide visitors with the unique experience of seeing the show Monet curated and the works he felt best represented his artistic enterprise – reunited for the first time 120 years after their unveiling.

This exhibition is supported by the Huo Family Foundation.

Drawn to Blue: Artists’ use of blue paper
2 October 2024 – 26 January 2025
The Gilbert and Ildiko Butler Drawings Gallery

This display will present a selection of drawings on blue paper from The Courtauld’s collection, ranging from works by the Venetian Renaissance artist Jacopo Tintoretto to an Indian landscape by German-born artist Johann Zoffany.

Made from fibres derived from blue rags, blue paper first appeared in Northern Italy in the 14th century. It became a popular drawing support for artists, and its use spread across Western Europe by the late 16th century; it was widely used in England and France in the 18th century. Blue paper provided a nuanced mid-tone which allowed the creation of strong light and dark contrasts, an effect much sought after by draughtsmen.

This exhibition project brought together a team of curators and paper conservators at 91�Թ��and the J. Paul Getty Museum to explore the technical aspects and artistic richness of the use of blue paper.

The programme of displays in the Gilbert and Ildiko Butler Drawings Gallery is generously supported by the International Music and Art Foundation, with additional support from James Bartos.

91�Թ��Lates
9 Feb 2024; 24 May 2024; 14 June 2024; 30 Aug 2024; 27 Sept 2024
91�Թ��Gallery

��91�Թ��Gallery will be open for late-night access until 22:30 on the first and last Friday of each of its temporary exhibitions as part of its Courtauld Lates series – giving visitors the chance to enjoy an evening of world-class art, cocktails, music, and performances surrounded by The Courtauld’s collection of masterpieces at Somerset House. Tickets to be announced soon.

Tickets for Frank Auerbach: The Charcoal Heads go on sale later this year. Tickets for other exhibitions at 91�Թ��in 2024 go on sale next year.

Friends get free unlimited entry to all exhibitions, access to presale tickets, priority booking to selected events, advance notice of art history short courses, exclusive events, discounts and more. Join at

Download the press release

91�Թ��Gallery 2024 Programme announcement – press release

91�Թ��Gallery
Somerset House, Strand
London WC2R 0R

Opening hours: 10:00 – 18:00 (last entry 17:15).

Weekday tickets from £10; weekend tickets from £12
Temporary Exhibition tickets (including entry to our Permanent Collection) – Weekday tickets from £13; Weekend tickets from £15.
Friends and Under-18s go free. Other concessions available.

MEDIA CONTACTS

91�Թ��
media@courtauld.ac.uk

Bolton & Quinn
Erica Bolton | erica@boltonquinn.com | +44 (0)20 7221 5000
Daisy Taylor | daisy@boltonquinn.com | +44 (0)20 7221 5000

SOCIAL MEDIA
Facebook @TheCourtauld
Instagram @Courtauld��#TheCourtauld
Threads @courtauld
TikTok @TheCourtauld
Twitter @TheCourtauld
YouTube TheCourtauld

NOTES TO EDITORS��

About The Courtauld��

91�Թ��works to advance how we see and understand the visual arts, as an internationally- renowned centre for the teaching and research of art history and a major public gallery. Founded by collectors and philanthropists in 1932, the organisation has been at the forefront of the study of art ever since. through advanced research and conservation practice, innovative teaching, the renowned collection and inspiring exhibitions of its gallery, and engaging and accessible activities, education and events.

91�Թ��cares for one of the greatest art collections in the UK, presenting these works to the public at 91�Թ��Gallery in central London, as well as through loans and partnerships. The Gallery is most famous for its iconic Impressionist and Post-Impressionist masterpieces – such as Van Gogh’s Self-Portrait with Bandaged Ear and Manet’s A Bar at the Folies-Bergère. It showcases these alongside an internationally renowned collection of works from the Middle Ages and the Renaissance through to the present day.

Academically, 91�Թ��faculty is the largest community of art historians and conservators in the UK, teaching and carrying out research on subjects from creativity in late Antiquity to contemporary digital artforms – with an increasingly global focus. An independent college of the University of London, 91�Թ��offers a range of degree programmes from BA to PhD in the History of Art, curating and the conservation of easel and wall paintings. Its alumni are leaders and innovators in the arts, culture and business worlds, helping to shape the global agenda for the arts and creative industries.

Founded on the belief that everyone should have the opportunity to engage with art, 91�Թ��works to increase understanding of the role played by art throughout history, in all societies and across all geographies – as well as being a champion for the importance of art in the present day. This could be through exhibitions offering a chance to look closely at world-famous works; events bringing art history research to new audiences; accessible and expert short courses; digital engagement, innovative school, family and community programmes; or taking a formal qualification. The Courtauld’s ambition is to transform access to art history education by extending the horizons of what this is and ensuring as many people as possible can benefit from the tools to better understand the visual world around us.

91�Թ��is an exempt charity and relies on generous philanthropic support to achieve its mission of advancing the understanding of the visual arts of the past and present across the world through advanced research, innovative teaching, inspiring exhibitions, programmes and collections.

The collection cared for by 91�Թ��Gallery is owned by the Samuel Courtauld Trust.

About The Henry Moore Foundation

The Henry Moore Foundation was founded by the artist and his family in 1977 to encourage public appreciation of the visual arts. Henry Moore Studios & Gardens is the former home and workplace of sculptor Henry Moore (1898-1986). From 1940 until his death in 1986, Moore lived and worked in rural Hertfordshire where he acquired over 70 acres of land and set up various studios, creating the ideal environment in which he could make and display his work and cater to an international demand for exhibitions. Now open to the public, Henry Moore Studios & Gardens offers a unique insight into the artist’s working practice and showcases a large selection of Moore’s renowned monumental sculptures in the landscape in which they were created. It also presents an annually changing programme of events, which further illuminate the life and work of the sculptor and is home to the Henry Moore Archive, one of the largest single-artist archives in the world.

The post 91�Թ��Gallery announces 2024 exhibition programme including major exhibitions of Claude Monet and Frank Auerbach appeared first on The Courtauld.

Past Exhibitions

Ashleigh Toll — Tue, 04 May 2021 13:44:02 +0000

2024

14 Jun – 1 Sept 2024

Acclaimed British photographer Roger Mayne (1929–2014) was famous for his evocative documentary images of young people growing-up in Britain in the mid-1950s and ‘60s.��

This exhibition, of around 60 almost exclusively vintage photographs, includes many of his iconic street images of children and teenagers, alongside an almost entirely unknown selection of intimate and moving later images of his own family at home in Dorset, as well as those taken on his honeymoon in Spain in 1962.

2023

29 Sept 2023 – 14 Jan 2024��

Presenting a carefully selected group of major works from across her career, from key early drawings such as the arresting��I Came to Dance,��1982,��and��And I Have My Own Business in This Skin,��1982, alongside recent and new works, this exhibition offers a compelling overview of Johnson’s pioneering career and artistic development.

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WIKTOR KOMOROWSKI // Biennials, Triennials, and Documenta: The Exhibitions that Created Contemporary Art | Anthony Gardner and Charles Green

Biennials, Triennials, and Documenta: The Exhibitions that Created Contemporary Art��Anthony Gardner�����Ի���Charles Green ��304pp, Wiley-Blackwell, 2016

Citations

91�Թ���Gallery announces 2024 exhibition programme including major exhibitions of Claude Monet and Frank Auerbach

Download the press release

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