city art gallery name

catalog 2020
 art gallery catalog 2020

An artist should never be a

prisoner of himself, prisoner of
style, prisoner of reputation,
prisoner of success.
HENRI MATISSE

2 3
 art gallery catalog 2020

CONTENTS

TYPES OF GALLERIES GALLERIES IN MUSEUMS

Manchester City Art Gallery
06-09 19

CONTEMPORARY GALLERY VANITY GALLERIES 13 32

09-12 UNIVERSITY INTERNATIONAL

It owns more than 13,000
Royal Manchester Institution decorative art objects including
PRIVATE COLLECTIONS
ceramics, glass
4 5

13-18 18 42

PUBLIC GALLERIES VISUAL ART NOT SHOWN IN A GALLERY ARCHITECTURE PAINTINGS

Thomas Coglan Horsfall’s eclectic

19-25 The City Art Gallery building collection from the Manchester
Art Museum in Ancoats Hall

CULTURAL ASPECTS MUSEUMS WITH MAJOR WEB PRESENCES

23 53

26-30 COLLECTIONS FOUNDATIONS

ONLINE ART COLLECTIONS
The gallery has fine art collection
The oldest object is an Egyptian
consisting of more than 2,000 oil
canopic jar from circa 1100 BC
paintings

31-36
30 68
EUROPEAN LOCAL AREAS
CONTEMPORARY INTERIORS
37-45 Including four pieces by the The removal came two months
Victorian architect and designer after an unsuccessful campaign
William Burges to have the Metropolitan Museum
NORTH AMERICAN

46-62
 art gallery catalog 2020

ABOUT US

HISTORY
6 7
The art exhibition has played a crucial part in the market for
new art since the 18th and 19th centuries. The Paris Salon,
open to the public from 1737, rapidly became the key factor
in determining the reputation, and so the price, of the French
artists of the day. The Royal Academy in London, beginning in
1769, soon established a similar grip on the market, and in both
countries artists put great efforts into making pictures that
would be a success, often changing the direction of their style
to meet popular or critical taste.

LENGTH OF THE EXHIBITION

The British Institution was added to the London scene in 1805,
holding two annual exhibitions, one of new British art for sale,
and one of loans from the collections of its aristocratic patrons.
These exhibitions received lengthy and detailed reviews in the
press, which were the main vehicle for the art criticism of the
day.

BY LEONE DANIELI
 art gallery catalog 2020

FOREWORD
BY AARON BURDEN

INSTALLATION ART IS AN ARTISTIC GENRE OF THREE-

DIMENSIONAL WORKS THAT OFTEN ARE SITE-SPECIFIC
AND DESIGNED TO TRANSFORM THE PERCEPTION OF A
SPACE. GENERALLY, THE TERM IS APPLIED TO INTERIOR
SPACES, WHEREAS EXTERIOR INTERVENTIONS ARE OFTEN
CALLED PUBLIC ART, LAND ART OR INTERVENTION ART;
HOWEVER, THE BOUNDARIES BETWEEN THESE TERMS
OVERLAP.

A
8 9
work of art in the vi-
sual arts is a physical
two- or three- dimen-
sional object that
is professionally determined or
otherwise considered to fulfill a
primarily independent aesthetic
function. A singular art object is of-
ten seen in the context of a larger
art movement or artistic era, such
as: a genre, aesthetic convention,
culture, or regional-national dis-
tinction.[3] It can also be seen as
an item within an artist’s “body of
work” or oeuvre. The term is com-
monly used by: museum and cul-
tural heritage curators, the inter-
ested public, the art patron-private
art community, and art galleries.[4]
Physical objects that document
immaterial or conceptual art
works, but do not conform to artis-
tic conventions can be redefined
and reclassified as art objects.
Some Dada and Neo-Dada and
readymade works have received
later inclusion. Also, some archi-
tectural renderings and models
of unbuilt projects, such as by Vit-
ruvius, Leonardo da Vinci, Frank
Wright, and Frank Gehry, are other
examples.
The products of environmental de-
sign, depending on intention and
execution, can be “works of art”
and include: land art, site-specific
art, architecture, gardens, architec-
ture, installation art, rock art, and
megalithic monuments.
Legal definitions of “work of art”
are used in copyright law; see Vi-
sual arts#United States of America
copyright definition of visual art.
Marcel Duchamp critiqued the
idea that the work of art should
be a unique product of an artist’s
labour, representational of their
technical skill and/or artistic ca-
price.[citation needed] Theorists
have argued that objects and peo-
ple do not have a constant mean-
ing, but their meanings are fash-
ioned by humans in the context of
their culture, as they have the abil-
ity to make things mean or signify
something.[5]
ARTIST MICHAEL CRAIG-MAR-
TIN, CREATOR OF AN OAK TREE,
SAID OF HIS WORK - “IT’S NOT A
SYMBOL. I HAVE CHANGED THE
PHYSICAL SUBSTANCE OF THE
GLASS OF WATER INTO THAT OF
AN OAK TREE. I DIDN’T CHANGE
ITS APPEARANCE. THE ACTUAL
OAK TREE IS PHYSICALLY PRES-
ENT, BUT IN THE FORM OF A
GLASS OF WATER.” [6 THE ORIG-
INAL FOUNTAIN BY MARCEL DU-
CHAMP, 1917, PHOTOGRAPHED
BY ALFRED STIEGLITZ AT HIS 291
AFTER THE 1917 SOCIETY OF IN-
DEPENDENT ARTISTS EXHIBIT.
Some art theorists and writers
have long made a distinction be-
tween the physical qualities of an
art object and its identity-status
as an artwork.[7] For example, a
painting by Rembrandt has a physical exis-
tence as an “oil painting on canvas” that is
separate from its identity as a masterpiece
“work of art” or the artist’s magnum opus.[8]
Many works of art are initially denied “mu-
seum quality” or artistic merit, and later be-
come accepted and valued in museum and
private collections. Works by the Impres-
sionists and non-representational abstract
artists are examples. Some, such as the
“Readymades” of Marcel Duchamp includ-
ing his infamous urinal Fountain, are later
reproduced as museum quality replicas.
There is an indefinite distinction, for current
or historical aesthetic items: between “fine
art” objects made by “artists”; and folk art,
craft-work, or “applied art” objects made
by “first, second, or third-world” designers,
artisans and craftspeople. Contemporary
and archeological indigenous art, industrial
design items in limited or mass production,
and places created by environmental de-
signers and cultural landscapes, are some
examples. The term has been consistently
available for debate, reconsideration, and
redefinition.
 art gallery catalog 2020

ART AND
OBJECTHOOD

BY JANE FOSTER
Directed by Tony McBride,
MoH associate (formerly
Cardboard Citizens)
10 11
In “Art and Objecthood,” Michael Fried derisively labels art that acknowl-
edges the viewer as “theatrical” (Fried 45). There is a strong parallel be-
tween installation and theater: both play to a viewer who is expected to
be at once immersed in the sensory/narrative experience that surrounds
him and maintain a degree of self-identity as a viewer. The traditional
theater-goer does not forget that he has come in from outside to sit and
take in a created experience; a trademark of installation art has been the
curious and eager viewer, still aware that he is in an exhibition setting
and tentatively exploring the novel universe of the installation.

The artist and critic Ilya Kabakov mentions this essential phenomenon
in the introduction to his lectures “On the “Total” Installation”: “[One] is
simultaneously both a ‘victim’ and a viewer, who on the one hand surveys
and evaluates the installation, and on the other, follows those associa-
tions, recollections which arise in him[;] he is overcome by the intense
atmosphere of the total illusion” (Kabakov 256). Here installation art be-
stows an unprecedented importance on the observer’s inclusion in that
which he observes. The expectations and social habits that the viewer
takes with him into the space of the installation will remain with him as
he enters, to be either applied
 art gallery
In “Art and Objecthood,” Michael Fried derisively la-
bels art that acknowledges the viewer as “theatrical”
(Fried 45). There is a strong parallel between installa-
tion and theater: both play to a viewer who is expect-
ed to be at once immersed in the sensory/narrative
experience that surrounds him and maintain a degree
of self-identity as a viewer. The traditional theater-go-
er does not forget that he has come in from outside
to sit and take in a created experience; a trademark of
installation art has been the curious and eager viewer,
still aware that he is in an exhibition setting and ten-
tatively exploring the novel universe of the installation.
THE ARTIST AND CRITIC ILYA KABAKOV MENTIONS
THIS ESSENTIAL PHENOMENON IN THE INTRODUC-
TION TO HIS LECTURES “ON THE “TOTAL” INSTALLA-
TION”: “[ONE] IS SIMULTANEOUSLY BOTH A ‘VICTIM’
AND A VIEWER, WHO ON THE ONE HAND SURVEYS
AND EVALUATES THE INSTALLATION, AND ON THE
OTHER, FOLLOWS THOSE ASSOCIATIONS, RECOL-
12
LECTIONS WHICH ARISE IN HIM[;] HE IS OVERCOME
BY THE INTENSE ATMOSPHERE OF THE TOTAL ILLU-
SION” (KABAKOV 256).
Here installation art bestows an unprecedented im-
portance on the observer’s inclusion in that which he
observes. The expectations and social habits that the
viewer takes with him into the space of the installa-
tion will remain with him as he enters, to be either
applied or negated once he has taken in the new en-
vironment. What is common to nearly all installation
art is a consideration of the experience in toto and the
problems it may present, namely the constant con-
flict between disinterested criticism and sympathet-
ic involvement. Television and video offer somewhat
immersive experiences, but their unrelenting control
over the rhythm of passing time and the arrangement
of images precludes an intimately personal viewing
experience (Kabakov 257). Ultimately, the only things a
catalog 2020
viewer can be assured of when experiencing the work
are his own thoughts and preconceptions and the ba-
sic rules of space and time. All else may be molded by
the artist’s hands.
THE MEDIA USED ARE MORE
EXPERIMENTAL AND BOLD;
THEY ARE ALSO USUALLY
CROSS MEDIA AND MAY IN-
VOLVE SENSORS, WHICH
PLAYS ON THE REACTION TO
THE AUDIENCES’ MOVEMENT
WHEN LOOKING AT THE IN-
STALLATIONS.
13
By allowing the spectator to “visit” the representation,
the artist creates “situations to live” vs “spectacle to
watch”.[6] At the turn of a new century, there is a trend
of interactive installations using digital, video, film,
sound and sculpture.
The artist and critic Ilya Kabakov mentions this essen-
tial phenomenon in the introduction to his lectures
“On the “Total” Installation”: “[One] is simultaneously
both a ‘victim’ and a viewer, who on the one hand sur-
veys and evaluates the installation, and on the other,
follows those associations, recollections which arise in
him[;] he is overcome by the intense atmosphere of
the total illusion” (Kabakov 256). Here installation art
bestows an unprecedented importance on the ob-
server’s inclusion in that which he observes.
 art gallery
BY NIGEL ASHCROFT
OBJECTIFIED
Full details about Objectified
can be found on the Museum
of Homelessness website.
14
20 OBJECTS.
20 EXTRAORDINARY STORIES.
Museums like Manchester Art Gallery usually hold great treasures
such as paintings in golden frames, marble statues or grand old
books. The Museum of Homelessness treasures might look ordinary
in comparison, they include bin bags, tobacco and a comb.
But each is a fragment of a life lived. The stories they tell challenge
stereotypes about what it means to be homeless and reveal a histo-
ry that’s too often hidden. We think they can change your mind in a
literal sense, altering how the brain responds to homelessness. Join
one of our performances at Manchester Art Gallery this October and
find out if we’re right.
To make Objectified, Museum of Homelessness has been working
with world class social neuroscientist Dr Lasana Harris to explore
why some people are treated as less than human, allowing home-
lessness to continue to rise in 2018.
catalog 2020
15
Testimonies that accompany each of these objects will be per-
formed by storytellers, directed by Tony McBride, MoH associate
(formerly Cardboard Citizens). Our storytellers bring the complex
and moving stories behind the objects to life, using the exact words
spoken by the people who have donated the object. This method
means the project will further contribute to actively involving those
with lived experience of homelessness in research in Greater Man-
chester.
THIS EXHIBITION WILL HELP US ALL UNDERSTAND WHY IT IS POS-
SIBLE FOR THIS TO HAPPEN IN ONE OF THE WEALTHIEST NATIONS
IN THE WORLD.
Book your place at a performance
Performances at 11.00am, 12.15pm, 2.15pm and 3.45pm daily
Book at Eventbrite. (Limited Spaces)
 art gallery catalog 2020

 MORE INFO

In modern ceramic engineering usage, ceram-

ics is the art and science of making objects from
inorganic, non-metallic materials by the action
of heat. It excludes glass and mosaic made from
glass tesserae.

AND
BREATHE…
16 17

EXPLORING THE RELATIONSHIP

BETWEEN ART AND MINDFULNESS

And Breathe… is an exhibition of artworks from our collection that has

been co-curated with mental health groups Start in Manchester, Man-
chester Mind as well as pupils from Charlestown Community Primary
School to explore the relationship between art, positive mental health
and wellbeing. The groups and gallery staff worked together last year
in a series of mindfulness sessions in the gallery’s art stores and have
developed an exhibition designed to encourage people to slow down,
connect with art and themselves to enhance their wellbeing.

This, the second phase of the exhibition, mixes the historic with the con-
temporary, moving from an early 20th century Gwen John interior, to
more abstract, surreal and modernist works and contemporary photo-
graphic pieces by a diverse range of artists including Yves Tanguy, Paul
Nash, Barbara Hepworth and Marcus Coates. The colour scheme, seating,
height of art works and interpretation have all been developed to en-
courage people to spend time in the space and a special audio resource
with a range of timed mindful meditations is available.
 art gallery catalog 2020

CONSERVATION
Nuremberg sculptor Adam Kraft, self-portrait from St Lorenz Church, 1490s. Worldwide, sculp-
tors have usually been tradesmen whose work is unsigned; in some traditions, for example Chi-
na, where sculpture did not share the prestige of literati painting, this has affected the status of
sculpture itself.[13] Even in ancient Greece, where sculptors such as Phidias became famous, they
appear to have retained much the same social status as other artisans, and perhaps not much
greater financial rewards, although some signed their works.[14] In the Middle Ages artists such
as the 12th century Gislebertus sometimes signed their work, and were sought after by different
cities, especially from the Trecento onwards in Italy, with figures such as Arnolfo di Cambio, and
Nicola Pisano and his son Giovanni. Goldsmiths and jewellers, dealing with precious materials and
often doubling as bankers, belonged to powGislebertus sometimes signed their work, and were
sought after by different cities, especially from the Trecento onwards in Italy, with figures such as
Arnolfo di Cambio, and Nicola Pisano and his son Giovanni. Goldsmiths and jewellers, dealing with
precious materials and often doubling as bankers, belonged to powerful guilds and had consider-
18 19
able status, often holding civic office. Many sculptors also practised in other arts; Andrea del Ver-
rocchio also painted, and Giovanni Pisano, Michelangelo, and Jacopo Sansovino were architects.
Some sculptors maintained large workshops. Even in the Renaissance the physical nature of the
work was perceived by Leonardo da Vinci and others as pulling down the status of sculpture in the
arts, though the reputation of Michelangelo perhaps put this long-held idea to rest.

CONTEMPORARY GENRES
Aniconism remained restricted to Judaism, which did not accept figurative sculpture until the
19th century,[16] before expanding to Early Buddhism and Early Christianity, neither of which ini-
tially accepted large sculptures. In both Christianity and Buddhism these early views were later
reversed, and sculpture became very significant, especially in Buddhism. Christian Eastern Or-
thodoxy has never accepted monumental sculpture, and Islam has consistently rejected nearly
all figurative sculpture, except for very small figures in reliefs and some animal figures that fulfill a
useful function, like the famous lions supporting.

 MORE INFO

In modern ceramic engineering usage, ceram-

ics is the art and science of making objects
from inorganic, non-metallic materials by the
action of heat. It excludes glass and mosaic
made from glass tesserae.
 art gallery catalog 2020

20 WOOD 21

A wood carver begins a new carving SCULPTURES

by selecting a chunk of wood the BY ASHIM SILVA

approximate size and shape of the

WOOD ART craft, and decoration including chip carving, wood burn-
ing, and marquetry. Wood offers a fascination, beauty,

figure he or she wishes to create or, if As a contemporary artistic medium, wood is used in tra- and complexity in the grain, that often shows even when

ditional and modern styles, and is an excellent medium the medium is painted. Wood is used by carpenters to

for new art. Wood is used in forms of sculpture, craft, create many useful items such as cabinets, furniture and
musical instruments. As a contemporary artistic medi-

the carving is to be large, several pieces

and decoration including chip carving, wood burning,
and marquetry. Wood offers a fascination, beauty, and um, wood is used in traditional and modern styles, and is

complexity in the grain, that often shows even when the an excellent medium for new art. Wood is used in forms

medium is painted. Wood is used by carpenters to create of sculpture, craft, and decoration including chip carving,

of wood may be laminated together to many useful items such as cabinets, furniture and musical
instruments. As a contemporary artistic medium, wood is
wood burning, and marquetry. Wood offers a fascination,
beauty, and complexity in the grain, that often shows

used in traditional and modern styles, and is an excellent even when the medium is painted. Wood is used by car-
penters to create many useful items such as cabinets
create the required size.
medium for new art. Wood is used in forms of sculpture,
 art gallery catalog 2020

SOCIAL STATUS OF sculptors maintained large workshops. Even in

SCULPTORS
22
Nuremberg sculptor Adam Kraft, self-portrait
from St Lorenz Church, 1490s. Worldwide, sculp-
tors have usually been tradesmen whose work
is unsigned; in some traditions, for example Chi-
na, where sculpture did not share the prestige
of literati painting, this has affected the status
of sculpture itself.[13] Even in ancient Greece,
where sculptors such as Phidias became fa-
mous, they appear to have retained much the
the Renaissance the physical nature of the work
was. Aniconism remained restricted to Juda-
ism, which did not accept figurative sculpture
until the 19th century,[16] before expanding to
23
Early Buddhism and Early Christianity, neither
of which initially accepted large sculptures. In
both Christianity and Buddhism these early
views were later reversed, and sculpture be-
came very significant, especially in Buddhism.
Christian Eastern Orthodoxy has never accept-
ed monumental sculpture, and Islam has con-
sistently rejected nearly all figurative sculpture,
except for very small figures in reliefs and some

In modern ceramic engineering usage, ceram-

ics is the art and science of making objects from
inorganic, non-metallic materials by the action
of heat. It excludes glass and mosaic made from
animal figures that fulfill a useful function, like
same social status as other artisans, and per-
the famous lions supporting a fountain in the
haps not much greater financial rewards, al-

HALIMA CASSELL:
Alhambra. Many forms of Protestantism also
though some signed their works.[14]
do not approve of religious sculpture. There
IN THE MIDDLE AGES ARTISTS SUCH AS THE has been much iconoclasm of sculpture from
12TH CENTURY GISLEBERTUS SOMETIMES

ECLECTICA–GLOBAL
SIGNED THEIR WORK, AND WERE SOUGHT AF-
TER BY DIFFERENT CITIES, ESPECIALLY FROM
THE TRECENTO ONWARDS IN ITALY, WITH FIG-
religious motives, from the Early Christians, the
Beeldenstorm of the Protestant Reformation to
the 2001 destruction of the Buddhas of Bamyan
by the Taliban.

INSPIRATIONS URES SUCH AS ARNOLFO DI CAMBIO, AND

 MORE INFO

NICOLA PISANO AND HIS SON GIOVANNI.

glass tesserae.
Goldsmiths and jewellers, dealing with pre-
cious materials and often doubling as bankers,
belonged to powerful guilds and had consid-
erable status, often holding civic office. Many
sculptors also practised in other arts; Andrea
del Verrocchio also painted, and tects. Some
 art gallery catalog 2020

99
24 99 EXHIBITIONS & EVENTS

EXHIBITIONS 25

& EVENTS
 art gallery catalog 2020

26 27

SUBI OBJECTIFIED KATE HAYWOOD ANNIE SWYNNERTON: PAINTING

14 September 2020–1 November 2020 10 October 2020–14 October 2020 14 September 2020–1 November 2020
LIGHT AND HOPE

10 October 2020–14 October 2020

LONDON ART GALLERY PARIS ART GALLERY LONDON ART GALLERY

PARIS ART GALLERY

Subi is a Korean word which when used in a ceramics context 20 Objects. 20 Extraordinary stories. Subi is a Korean word which when used in a ceramics context
refers to the process of refining clay. refers to the process of refining clay.
20 Objects. 20 Extraordinary stories.

99 EXHIBITIONS & EVENTS

99 EXHIBITIONS & EVENTS
 art gallery catalog 2020

SYLVIA PANKHURST: WORKING

WOMEN
28 29
10 October 2020–14 October 2020

PARIS ART GALLERY

SOUTH ASIAN DESIGN
20 Objects. 20 Extraordinary stories.
10 October 2020–14 October 2020

PARIS ART GALLERY

20 Objects. 20 Extraordinary stories.

THE OTHER IN MOTHER

14 September 2020–1 November 2020

LONDON ART GALLERY

Subi is a Korean word which when used in a context refers to the process of refining clay.

99 EXHIBITIONS & EVENTS

99 EXHIBITIONS & EVENTS
 art gallery
IN “ART AND OBJECTHOOD,” MICHAEL FRIED
DERISIVELY LABELS ART THAT ACKNOWL-
EDGES THE VIEWER AS “THEATRICAL”
There is a strong parallel between installation
CLAY ART and theater: both play to a viewer who is expect-
ed to be at once immersed in the sensory/nar-
rative experience that surrounds him and main-
BY ASHLEY KNEDLER tain a degree of self-identity as a viewer.
THE TRADITIONAL THEATER-GOER DOES
NOT FORGET THAT HE HAS COME IN FROM
OUTSIDE TO SIT AND TAKE IN A CREATED EX-
PERIENCE
30 Trademark of installation art has been the curi-
ous and eager viewer, still aware that he is in an
exhibition setting and tentatively exploring the
novel universe of the installation.
THE ARTIST AND CRITIC ILYA KABAKOV MEN-
TIONS THIS ESSENTIAL PHENOMENON IN
THE INTRODUCTION TO HIS LECTURES “ON
THE “TOTAL” INSTALLATION”:
“[One] is simultaneously both a ‘victim’ and a
viewer, who on the one hand surveys and eval-
uates the installation, and on the other, follows
those associations, recollections which arise
catalog 2020
in him[;] he is overcome by the intense atmo-
sphere of the total illusion” (Kabakov 256). Here
installation art bestows an unprecedented im-
portance on the observer’s inclusion in that
which he observes. The expectations and social
habits that the viewer takes with him into the
space of the installation will remain with him as
he enters, to be either applied. In “Art and Ob-
jecthood,” Michael Fried derisively labels art that
acknowledges the viewer as “theatrical” (Fried
45). There is a strong parallel between installa-
tion and theater: both play to a viewer who is
expected to be at once immersed in the senso-
ry/narrative experience that surrounds him and 31
maintain a degree of self-identity as a viewer.
IN “ART AND OBJECTHOOD,” MICHAEL FRIED
DERISIVELY LABELS ART THAT ACKNOWL-
EDGES THE VIEWER AS “THEATRICAL”
There is a strong parallel between installation
and theater: both play to a viewer who is ex-
pected to be at once immersed in the sensory/
narrative experience that surrounds him and
maintain a degree of self-identity as a viewer.
Trademark of installation art has been the cu-
rious and eager viewer, still aware that he is in
 MORE INFO
In modern ceramic engineering usage, ceram-
ics is the art and science of making objects from
inorganic, non-metallic materials by the action
of heat. It excludes glass and mosaic made from
glass tesserae.
 art gallery catalog 2020

NEHA CHOKSI IN CONVERSATION

WITH NATASHA HOWES, SENIOR
CURATOR
Ceramic art is art made from ceramic materials (including clay),
which may take forms including art ware, tile, figurines, sculp-
ture, and tableware. Ceramic art is one of the arts, particularly
one of the visual arts, and of those, it is one of the plastic arts.
While some ceramics are considered fine art, some are consid-
ered to be decorative, industrial or applied art objects. Ceramics
may also be considered artefacts in archaeology. Ceramic art
can be made by one person or by a group of people. In a pottery
or ceramic factory, a group of people design, manufacture and
decorate the art ware. Products from a pottery are sometimes
referred to as “art pottery.”[1] In a one-person pottery studio, ce-
ramists or potters produce studio pottery.

32 33

NEHA CHOKSI
In “Art and Objecthood,” Michael
Fried derisively labels art that ac-
knowledges the viewer as “theat-
rical”
BY WAQAS KHAN
There is a strong parallel between
installation and theater: both play
to a viewer who is expected to be
been the curious and eager view-
er, still aware that he is in an exhi-
bition setting and tentatively ex-
ploring the novel universe of the
installation.
The artist and critic Ilya Kabakov
is overcome by the intense atmo-
sphere of the total illusion” (Ka-
bakov 256). Here installation art
bestows an unprecedented im-
portance on the observer’s inclu-
sion in that which he observes.
The expectations and social hab-

In her new work Choksi tests at once immersed in the senso-

ry/narrative experience that sur-
mentions this essential phenom-
enon in the introduction to his
its that the viewer takes with him
into the space of the installation

her belief that to learn to be rounds him and maintain a de- lectures “On the “Total” Installa- will remain with him as he enters,

oneself, one always needs

gree of self-identity as a viewer. tion”: to be either applied. In “Art and
“[One] is simultaneously both a Objecthood,” Michael Fried deri-

others.
The traditional theater-goer does
not forget that he has come in
from outside to sit and take in a
created experience
Trademark of installation art has
‘victim’ and a viewer, who on the
one hand surveys and evaluates
the installation, and on the other,
follows those associations, recol-
lections which arise in him[;] he
sively labels art that acknowledg-
es the viewer as “theatrical” (Fried
45). There is a strong parallel be-
tween installation and theater:
both play to a viewer who is
 art gallery
34
In “Art and Objecthood,” Michael
Fried derisively labels art that ac-
knowledges the viewer as “the-
atrical” There is a strong parallel
between installation and theater:
both play to a viewer who is ex- Choksi lives
and works in
pected to be at once immersed
in the sensory/narrative expe-
rience that surrounds him and
maintain a degree of self-identity
Los Angeles
as a viewer.
and Mumbai
The traditional theater-goer does
not forget that he has come in
and has
from outside to sit and take in a exhibited
extensively in
created experience
Trademark of installation art has
been the curious and eager view-
er, still aware that he is in an exhi-
galleries
bition setting and tentatively ex-
ploring the novel universe of the
worldwide.
installation.
The artist and critic Ilya Kabakov
catalog 2020
35
mentions this essential phenom-
enon in the introduction to his
lectures “On the “Total” Installa-
tion”:
“[One] is simultaneously both a
‘victim’ and a viewer, who on the
one hand surveys and evaluates
the installation, and on the other,
follows those associations, recol-
lections which arise in him[;] he
is overcome by the intense atmo-
sphere of the total illusion” (Ka-
bakov 256). Here installation art
bestows an unprecedented im-
portance on the observer’s inclu-
sion in that which he observes.
The expectations and social hab-
its that the viewer takes with him
into the space of the installation
will remain with him as he enters,
to be either applied. In “Art and
Objecthood,” Michael Fried deri-
sively labels art that acknowledg-
es the viewer as “theatrical”
 art gallery catalog 2020

PAINTING
PAINTING IS THE PRACTICE OF APPLYING PAINT, PIGMENT,
COLOR OR OTHER MEDIUM TO A SOLID SURFACE (SUPPORT BASE).
THE MEDIUM IS COMMONLY APPLIED TO THE BASE WITH A BRUSH,
BUT OTHER IMPLEMENTS, SUCH AS KNIVES, SPONGES, AND
AIRBRUSHES, CAN BE USED.

PAINTING IS A MODE OF CREATIVE EXPRESSION, AND THE

36 37
FORMS ARE NUMEROUS. DRAWING, GESTURE (AS IN GESTURAL
PAINTING), COMPOSITION, NARRATION (AS IN NARRATIVE
ART), OR ABSTRACTION (AS IN ABSTRACT ART), AMONG OTHER
AESTHETIC MODES, MAY SERVE TO MANIFEST THE EXPRESSIVE
AND CONCEPTUAL INTENTION OF THE PRACTITIONER. PAINTINGS
CAN BE NATURALISTIC AND REPRESENTATIONAL (AS IN A STILL
LIFE OR LANDSCAPE PAINTING), PHOTOGRAPHIC, ABSTRACT,
NARRATIVE, SYMBOLISTIC (AS IN SYMBOLIST ART), EMOTIVE (AS IN
EXPRESSIONISM), OR POLITICAL IN NATURE (AS IN ARTIVISM).

GREG ELIASON
 art gallery catalog 2020

COLOR AND TONE

What enables painting is the perception and representation
of intensity. Every point in space has different intensity, which
can be represented in painting by black and white and all
the gray shades between. In practice, painters can articulate

PAINTING IS A MODE OF shapes by juxtaposing surfaces of different intensity; by using

CREATIVE EXPRESSION, just color (of the same intensity) one can only represent sym-

AND THE FORMS ARE bolic shapes. Thus, the basic means of painting are distinct

NUMEROUS. DRAWING, from ideological means, such as geometrical figures, various

GESTURE (AS IN GESTURAL points of view and organization (perspective), and symbols.

PAINTING), COMPOSITION, For example, a painter perceives that a particular white wall

NARRATION (AS IN has different intensity at each point, due to shades and re-

NARRATIVE ART), OR flections from nearby objects, but, ideally, a white wall is still

ABSTRACTION (AS IN a white wall in pitch darkness. In technical drawing, thickness

ABSTRACT ART), AMONG of line is also ideal, demarcating ideal outlines of an object

OTHER AESTHETIC MODES, within a perceptual frame different from the one used by
38 MAY SERVE TO MANIFEST painters. 39

THE EXPRESSIVE AND

CONCEPTUAL INTENTION
Color and tone are the essence of painting as pitch and
OF THE PRACTITIONER.
rhythm are the essence of music. Color is highly subjective,
PAINTINGS CAN BE
but has observable psychological effects, although these can
NATURALISTIC AND
differ from one culture to the next. Black is associated with
REPRESENTATIONAL (AS IN
mourning in the West, but in the East, white is. Some paint-
A STILL LIFE OR LANDSCAPE
ers, theoreticians, writers and scientists, including Goethe,
PAINTING), PHOTOGRAPHIC,
Kandinsky, and Newton, have written their own color theory.
ABSTRACT, NARRATIVE,
SYMBOLISTIC (AS IN
SYMBOLIST ART), EMOTIVE
(AS IN EXPRESSIONISM), OR
POLITICAL IN NATURE (AS IN
ARTIVISM).

GREG ELIASON
 art gallery catalog 2020

IT OPENED IN 2020
FOLLOWING A MAJOR
RENOVATION AND
EXPANSION PROJECT
UNDERTAKEN BY THE ART
GALLERY.

Exquisite Cacophony, 2015

is a film of an improvised
encounter between indie rapper
40
Astronautalis and vocal artist 41

DEVOTIONAL COLLECTION
Elaine Mitchener. What enables painting is the perception and representation
of intensity. Every point in space has different intensity, which
can be represented in painting by black and white and all
the gray shades between. In practice, painters can articulate
shapes by juxtaposing surfaces of different intensity; by using

Their spontaneous interplay
explores tensions, slippages
just color (of the same intensity) one can only represent sym-
bolic shapes. Thus, the basic means of painting are distinct
from ideological means, such as geometrical figures, various
points of view and organization (perspective), and symbols.
For example, a painter perceives that a particular white wall

and revelations resulting from

has different intensity at each point, due to shades and re-
flections from nearby objects, but, ideally, a white wall is still
a white wall in pitch darkness. In technical drawing, thickness

mixing sounds and words to

of line is also ideal, demarcating ideal outlines of an object
within a perceptual frame different from the one used by
painters.

produce a cacophony.

ROYAL COLLEGE OF ART

LONDON
 art gallery
THE SIRENS
AND ULYSSES
BY EMMANUEL LUBEZKI
Aesthetics is the study of art and beauty; it was an important issue
for 18th- and 19th-century philosophers such as Kant and Hegel.
Classical philosophers like Plato and Aristotle also theorized about
art and painting in particular. Plato disregarded painters (as well as
sculptors) in his philosophical system; he maintained that paint-
ing cannot depict the truth—it is a copy of reality (a shadow of the
world of ideas) and is nothing but a craft, similar to shoemaking
or iron casting.[citation needed] By the time of Leonardo, painting
had become a closer representation of the truth than painting was
in Ancient Greece. Leonardo da Vinci, on the contrary, said that
42
“Italian: La Pittura è cosa mentale” (“English: painting is a thing of
the mind”).[9] Kant distinguished between Beauty and the Sub-
lime, in terms that clearly gave priority to the former.[citation need-
ed] Although he did not refer to painting in particular, this concept
was taken up by painters such as J.M.W. Turner and Caspar David
Friedrich.
Hegel recognized the failure of attaining a universal concept of
beauty and, in his aesthetic essay, wrote that painting is one of the
three “romantic” arts, along with Poetry and Music, for its symbolic,
highly intellectual purpose.[10][11] Painters who have written theo-
retical works on painting include Kandinsky and Paul Klee.[12][13]
In his essay, Kandinsky maintains that painting has a spiritual value,
and he attaches primary colors to essential feelings or concepts,
something that Goethe and other writers had already tried to do.
Iconography is the study of the content of paintings, rather than
their style. Erwin Panofsky and other art historians first seek to un-
derstand the things depicted, before looking at their meaning for
the viewer at the time, and finally analyzing their wider cultural,
religious, and social meaning.[14]
In 1890, the Parisian painter Maurice Denis famously asserted: “Re-
member that a painting—before being a warhorse, a naked wom-
an or some story or other—is essentially a flat surface covered with
colors assembled in a certain order.”[15] Thus, many 20th-centu-
catalog 2020
ry developments in painting, such as Cubism, were reflections on
the means of painting rather than on the external world—nature—
which had previously been its core subject. Recent contributions
to thinking about painting have been offered by the painter and
writer Julian Bell. In his book What is Painting?, Bell discusses the
development, through history, of the notion that paintings can ex-
press feelings and ideas.[16] In Mirror of The World, Bell writes:[?
clarification needed]
The best and most 43
beautiful things in the world
cannot be seen or even
touched - they must be felt
with the heart.
HELEN KELLER
A work of art seeks to hold your attention and keep it fixed: a history
of art urges it onwards, bulldozing a highway through the homes
of the imagination.[17] Aesthetics is the study of art and beauty;
it was an important issue for 18th- and 19th-century philosophers
such as Kant and Hegel. Classical philosophers like Plato and Aris-
totle also theorized about art and painting in particular. Plato dis-
regarded painters (as well as sculptors) in his philosophical system;
he maintained that painting cannot depict the truth—it is a copy of
reality (a shadow of the world of ideas) and is nothing but a craft,
similar to shoemaking or iron casting.[citation needed] By the time
of Leonardo, painting had become a closer representation of the
truth than painting was in Ancient Greece. Leonardo da Vinci, on
the contrary, said that “Italian: La Pittura è cosa mentale”
 art gallery
BY JANE FOSTER
44
In “Art and Objecthood,” Michael
Fried derisively labels art that ac-
knowledges the viewer as “theat-
rical” (Fried 45). There is a strong
parallel between installation
and theater: both play to a view-
er who is expected to be at once
immersed in the sensory/narra-
tive experience that surrounds
him and maintain a degree of
self-identity as a viewer. The tradi-
tional theater-goer does not forget
that he has come in from outside
to sit and take in a created expe-
rience; a trademark of installation
art has been the curious and eager
viewer, still aware that he is in an
exhibition setting and tentatively
VICTORIAN ARCHITECT AND DESIGNER WILLIAM BURGES
catalog 2020
45
exploring the novel universe of the
installation.
The artist and critic Ilya Kabakov
mentions this essential phenome-
non in the introduction to his lec-
tures “On the “Total” Installation”:
“[One] is simultaneously both a
‘victim’ and a viewer, who on the
one hand surveys and evaluates
the installation, and on the other,
follows those associations, recol-
lections which arise in him[;] he
is overcome by the intense atmo-
sphere of the total illusion” (Ka-
bakov 256). Here installation art
bestows an unprecedented im-
portance on the observer’s inclu-
sion in that which he observes.
 art gallery catalog 2020

SPEECH ACTS:
REFLECTION
BY EMMANUEL LUBEZKI

Aesthetics is the study of art and beauty; it was an important

issue for 18th- and 19th-century philosophers such as Kant
and Hegel. Classical philosophers like Plato and Aristotle also
theorized about art and painting in particular. Plato disre-
garded painters (as well as sculptors) in his philosophical sys-
tem; he maintained that painting cannot depict the truth—it
is a copy of reality (a shadow of the world of ideas) and is
nothing but a craft, similar to shoemaking or iron casting.
[citation needed] By the time of Leonardo, painting had be-
come a closer representation of the truth than painting was
in Ancient Greece. Leonardo da Vinci, on the contrary, said
46 47
that “Italian: La Pittura è cosa mentale” (“English: painting is
a thing of the mind”).[9] Kant distinguished between Beauty
and the Sublime, in terms that clearly gave priority to the for-
mer.[citation needed] Although he did not refer to painting
in particular, this concept was taken up by painters such as
J.M.W. Turner and Caspar David Friedrich.

Hegel recognized the failure of attaining a universal concept

of beauty and, in his aesthetic essay, wrote that painting is

What do public one of the three “romantic” arts, along with Poetry and Mu-
sic, for its symbolic, highly intellectual purpose.[10][11] Paint-

museums collect and ers who have written theoretical works on painting include
Kandinsky and Paul Klee.[12][13] In his essay, Kandinsky main-

why? Which works tains that painting has a spiritual value, and he attaches pri-

become highlights, and

mary colors to essential feelings or concepts, something that
Goethe and other writers had already tried to do.

which lie forgotten in Iconography is the study of the content of paintings, rather

storage?
than their style. Erwin Panofsky and other art historians first
seek to understand the things depicted, before looking at
their meaning for the viewer at the time, and finally analyzing
their wider cultural, religious, and social meaning.[14]
HELEN KELLER
In 1890, the Parisian painter Maurice Denis famously asserted:
“Remember that a painting—before being a warhorse, a na-
ked woman or some story or other—is essentially a flat
 art gallery catalog 2020

BY JEANETTE SCOTT

Just after World War II, many artists old and young were back in Paris
where they worked and exhibited: Nicolas de Staël, Serge Poliakoff,
André Lanskoy and Zaks from Russia; Hans Hartung and Wols from

THE HIRELING SHEPHERD

Germany; Árpád Szenes and Simon Hantaï from Hungary; Alexandre
Istrati from Romania; Jean-Paul Riopelle from Canada; Vieira da Silva
from Portugal; Gérard Ernest Schneider from Switzerland; Feito from
Spain; Bram van Velde from the Netherlands; Albert Bitran from
Turkey; Zao Wou Ki from China; Sugai from Japan; Sam Francis, John
Koenig, Jack Youngerman and Paul Jenkins from the U.S.A.

All these artists and many others were at that time among the “Lyrical
Abstractionists” with the French: Georges Mathieu, Pierre Soulages,
Nallard, Jean René Bazaine, Jacques Doucet, Camille Bryen, Jean Le
Moal, Gustave Singier, Alfred Manessier, Roger Bissière, Pierre Tal-Coat,
Jean Messagier and others.

Lyrical Abstraction was opposed not only to “l’Ecole de Paris” remains

of pre-war style but to Cubist and Surrealist movements that had
preceded it, and also to geometric abstraction (or “Cold Abstraction”).
Lyrical Abstraction was in some ways the first to apply the lessons of
48 49
Kandinsky, considered one of the fathers of abstraction. For the artists
in France, Lyrical Abstraction represented an opening to personal
expression. In Belgium, Louis Van Lint figured a remarkable example
of an artist who, after a short period of geometric abstraction, has
moved to a lyrical abstraction in which he excelled.

Many exhibitions were held in Paris for example in the galleries Arnaud,
Drouin, Jeanne Bucher, Louis Carré, Galerie de France, and every year
at the “Salon des Réalités Nouvelles” and “Salon de Mai” where the
paintings. Just after World War II, many artists old and young were
The best and
back in Paris where they worked and exhibited: Nicolas de Staël, most beautiful
Serge Poliakoff, André Lanskoy and Zaks from Russia; Hans Hartung things in the world
and Wols from Germany; Árpád Szenes and Simon Hantaï from
Hungary; Alexandre Istrati from Romania; Jean-Paul Riopelle from
cannot be seen or
Canada; Vieira da Silva from Portugal; Gérard Ernest Schneider from even touched - they
Switzerland; Feito from Spain; Bram van Velde from the Netherlands;
must be felt with
Albert Bitran from Turkey; Zao Wou Ki from China; Sugai from Japan;
Sam Francis, John Koenig, Jack Youngerman and Paul Jenkins from
the heart.
the U.S.A.

JACQUELINE WEST
 art gallery

50

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