Showing results by author "James N" in All Categories

A review of Nam June Paik at Tate Modern, explores the exhibition room by room. "When asked about his practice Paik replied "I am aware of Zen, but I am an artist: I react to Zen in the same way I react to the music of Johan Sebastian Bach."

Review of the exhibition of visionary artist William Blake at Tate Britain, September 2019: The exhibition is arranged in eight rooms of the downstairs gallery spaces of Tate Britain, low-lit, maroon-painted walls, a very comprehensive collection of a highly original and complex visionary creator.

Seven days in Funchal on the Island of Madeira. Journal notes of the settings, locations, and personal stories in diary entries.

Through his radio and film works, such as The War of the Worlds and Citizen Kane, Orson Welles became a household name in the United States. Yet Welles’s multifaceted career went beyond these classic titles and included lesser-known but nonetheless important contributions to television, theater, newspaper columns, and political activism. Orson Welles in Focus: Texts and Contexts examines neglected areas of Welles’s work, shedding light on aspects of his art that have been eclipsed by a narrow focus on his films.

The 251st Summer Exhibition at the Royal Academy London in a review recorded at the press view on 3rd June 2019. The Summer Exhibition is most popular event in the nation’s cultural calendar, and commercially the most successful. It allows works in all media, print/photography/painting/sculpture/architectural models - with rooms arranged by different Royal Academicians, some of whom, like Barbara Rae’s Arctic room, set a theme to their hang.

Viewing the exhibition at the Ashmolean Museum Oxford by American Artist Jeff Koons (born 1955). Considers sculptures such as Silvered Ballerinas, a Magenta Balloon Venus, and GPS System. Also the artist's re-constitution of classic works by Titiam, Rubens, and Gericault with the inclusion of a blue glass sphere.

A recorded visit to van Gogh and Britain considers the work of Vincent van Gogh (1853-1890) placed in the context of British art and literature of the 19th century and his effect on succeeding generations of artists.

In a collection of works and artist’s notes, the listener is introduced to the intimate process of landscape painting; from the initial choice of the subject and theme to detail the formation of a work. Oils, watercolors, drawings, and sketchbooks include views of the Sussex Downs, Cornwall, and Dartmoor and abroad in France, Greece, and Southern Spain; with studies of London, Paris, and work from the model, made in live studios.

Interview with leading British sculptor Alison Wilding, RA, recorded at Tannery Street Studio, Bermondsey, in 1995. She describes the making of Harbour, in alabaster and pvc moulding, and Echo, a stainless steel sculpture exhibited at Karsten Schubert. Sourcing materials, the levels of the work; assistant Adam Kershaw; and its relation to other contemporary works.

In September 1972, three graduates rented two floors above a cash and carry warehouse at 65A Lisson Street, West London. After a couple of months, one emptied his studio, the first floor front room, and opened the space for exhibitions. There followed a spate of invented artists which made humorous comments on the high-flown conceptual arena. In 1974, the gallery strengthened its identity with the Gallery London Displays, a series developed with sculptor Vaughan Grylls.

This is a recorded conversation with Manchester-born artist Hughie O'Donoghue, first published in Cv Journal of the Arts v2/3 September 1989. He discusses his ideas about painting and evaluates key works such as Sleeper and recent landscape The Irish Sea.

This work talks about the visits to Paris in January 2003 and August 2005. Walks through the city absorb changing moods of its social occupation that suddenly transform from glittering vitality to silenced avenues, bearing witness to heightened security in its boundaries.

Interview with John Murdoch, director of the Courtauld Gallery, Somerset House, London, recorded in 1993, describes the formation of key Impressionist works by Sam Courtauld in the early twentieth century.

Interview recorded with Jan-Luc Olivie, keeper of the collection of glass at Centre du Verre, Musee des Arts Decoratifs Paris in December 1989. Explores the artefacts of Art Nouvau and Bohemian glass by renowned makers, Galle, Brocard, Drahonovsky.

Episodes and encounters in social and internal scenes build a document of fiction entwined with the real. Daily life is transformed by message of promise and desolation.

The growth of careers and career pathways within medicine and health care can be confusing, yet it reflects the evolution of modern medicine which relies upon a myriad of different specialists each able to contribute their own particular skills to the care and wellbeing of the patient or client. Careers within the NHS are many and varied, with opportunities to train not only as nurses and doctors but also as dieticians, occupational therapists, physiotherapists, and speech and language therapists.

Published as a Cv audiobook, Cv/VAR series 94 reviews "'Beyond Belief", a major exhibition at White Cube of the prominent British artist Damien Hirst (born 1965, Bristol UK, upbringing in Leeds Yorkshire). The author experiences the Biopsy and Fact paintings, votive pieces, and installations including the imposing "Saint Sebastian, Exquisite Pain" and views "For the Love of God", the iconic GBP50 million diamond skull.

This essay considers the major Cézanne exhibition at the Tate Gallery London, staged from 8th February until 28th April 1995. Rather than focusing exclusively on the artist's work, the piece attempts to place the exhibition in context, exploring the institutional arena of presentation and the social and economic strata to which the retrospective is mainly addressed.

Over 100 reviews cover the London art scene from 1994 to 2011. Exhibitions in the city's private and public galleries are explored in detailed and informative texts. The reviews were first published in a variety of weekly arts magazines and sites and now appear in a professionally narrated audiobook.

This essay takes as its focus two paintings by Johannes Vermeer (1632-75): The Milkmaid c.1661-62 and Woman Holding a Balance c.1662-65, and considers critical approaches to the artist by four historians, Edward A. Snow, Lawrence Gowing, John Michael Montias, and Martin Pops. Its aim is not solely to describe Vermeer's art, but by a process of comparative analysis to discern the various standpoints of his biographers, and to clarify their methodologies in research.