Wednesday, 19 April 2017
As director of the Jerwood Gallery for its first five years, Liz Gilmore has demonstrated ambition, courage and a refreshing willingness to speak directly to the public. A couple of years ago her 'Bring us your Bratbys' appeal had people queuing up to lend their paintings to an exhibition that was, I suspect, much more popular and widely discussed than anyone imagined beforehand.
It seems criminal that Paula Rego hasn't been the subject of a full exhibition in a decade, but if anyone is going to make such an exhibition happen, it's Liz. Having worked with her on 'Century' last year I have experienced her infectious enthusiasm at first hand, and I'm sure she will get Rego to Hastings.
If you follow this link to the Art Fund website, you can help, but you've only got a few days (until about 25 April, I think).
Saturday, 15 April 2017
|Angie Lewin, Lakeside Teasels (artist copyright)|
This is in one sense a continuation of the long and distinguished tradition of St Judes exhibitions. There are pictures on offer by Mark Hearld, Emily Sutton and Ed Kluz, as well as Angie herself, of course. But alongside these is a fascinating selection of work by artists who have inspired or influenced the artist-curator in some way.
|Alan Reynolds, Summer: Young September's Cornfield, 1954 (Tate)|
But the loveliest thing not by Angie (in the catalogue at least) is rather a surprise to me: a 1954 painting by Alan Reynolds which is rich in colour and texture. According Kirsty Nutbeen's Foreword this was Angie's first pick, 'remembered from a school trip as a teenager'. I like the sense of continuity this recollection suggests. Suddenly those mid-century artists seem part of today's world.
There's info about the exhibition here.