- 7 May - 6 June 2013
Image by Patrick White
Duet began with a challenge to all current students at the Slade to develop their own practices while taking the time to consider and appreciate what has gone before. Over one term students were given special access to thousands of remarkable and historically important artworks from the Museum’s collections. Their in-depth research led to the discovery of a number of hidden treasures that they produced a response to: William Hogarth’s Industry and Idleness series; Eduardo Paollozzi’s collages from the Bunk! series; a Gwen John watercolour, painted when she was a Slade student; plaster phrenological heads; Japanese woodblock prints; printing tools and much more.
Duet marks the fifth annual collaboration between the Slade School of Fine Art and UCL Art Museum. Previous collaborations include Sequel (2009), Transfer (2010), Moreover (2011) and Vincula (2012).
Slade artists are: Dana Ariel, Sheenagh B. Geoghegan, Andrew Gomez, Lauren Keeley, Jumpei Kinoshita, Jonathan Kipps, Mollie King, Siân Landau, Julia McKinlay, Eleanor Morgan, Marianna Simnett, Georgina Tate, Danielle Tay, Eunice Tsang, Milou van der Maaden, Patrick White, Tom Worsfold.
For further documentation on the work Printers' Symphony, which you can experience in the Duet exhibition, visit the artists' website at http://printerssymphony.tumblr.com/
- 21 January - 19 April 2013
Museum is delighted to present Plastered, an exhibition about plaster
and the casting process highlighting the sculpture models of the neoclassical
artist John Flaxman (1755-1826). A pioneer during an age of industrialism, Flaxman
was the first British sculptor to use the technique as a consistent part of his
working practice, revealing early on the material’s extraordinary versatility.
Displays offer a rare glimpse at Flaxman’s methods by showing preliminary drawings, the back of models, and other studio work demonstrating the artist’s inventive use of plaster throughout all stages of design. Examples include a model for a memorial to Georgiana, Countess of Spencer, with the artist’s handprints smeared into and permanently set within the soft plaster at the back. Small-scale scenes of angels and mourning figures, all details for funerary memorials made later in marble, show Flaxman working out his compositions whilst striving to reduce detail to a bare minimum.
Shown alongside Flaxman’s art will be more unusual applications of plaster pulled from UCL’s stored collections, including Victorian death masks used for the early study of eugenics and casts of human pathological specimens from the Great Ormond Street Hospital Collection. Many of these macabre objects highlight the efficiency of plaster and its unique ability to capture fleeting moments in time.
Image: detail of John Flaxman plaster cast ©UCL Art Museum
John Flaxman: Line to Contour (13 February - 21 April) is at Ikon Gallery in parallel, the exhibition consisting almost entirely of drawings and models for sculpture from the Flaxman Collection at UCL Art Museum. John Flaxman: Line to Contour, runs at Ikon till the 21st April 2013. A catalogue (£15) accompanies the exhibition and includes an essay by David Bindman, Emeritus Professor, History of Art, UCL. Contact email@example.com to purchase.
- Part II (UCL Art Museum) 24 September - 14 December
The second part of our One Day in the City exhibition. This exhibition explores the various everyday experiences of life in London over the centuries, as presented to us through architecture, art and literature. It will feature rare items from UCL's art and book collections, including selections from Hogarth's series Industry and Idleness (1747).
The exhibition is organised by the Department of English with UCL Art Museum, in partnership with the Bartlett School of Architecture, and is generously supported by UCL Grand Challenges: Sustainable Cities. Free admission.
Image: William Heath, Morning Noon Night ©UCL Art Museum
- Part I (UCL Art Museum & South Cloisters) 15 June - 22 August
This exhibition explores the various everyday experiences of life in London over the centuries, as presented to us through architecture, art and literature. It will feature rare items from UCL's art and book collections, including selections from Hogarth's series Industry and Idleness (1747). Part of the UCL Festival of London and Literature the exhibition runs concurrently with a display in the South Cloisters. The exhibition is organised by the Department of English with UCL Art Museum, in partnership with the Bartlett School of Architecture, and is generously supported by UCL Grand Challenges: Sustainable Cities. Free admission.
The exhibitions open on 15 June as part of the UCL Festival of London and Literature: One Day in the City.
Image: Wenceslaus Hollar, London Panorama ©UCL Art Museum
- 8 May - 8 June 2012
The 4th annual Slade/UCL Art Museum collaboration began with an invitation to today's artists to develop their own practices while exploring and responding to art from the past. With the Museum's vast collections of award-winning works by Slade alumni as well as works by revered Old Masters situated only minutes away from the artists' studios, this collaboration presents a unique opportunity for a dialogue across time through which to explore new ideas. This exhibition features the work of selected finalists. Free admission.
Image: Yoshikuni, Bat and Full Moon ©UCL Art Museum
- 9 January - 27 April 2012
This exhibition features rare items from UCL’s art and book collections to mark the 300th anniversary of the birth of one of the most controversial authors in the history of philosophy, Jean-Jacques Rousseau (1712-1778). Among the items on show are first editions of Rousseau’s works, including On the Social Contract (Du contrat social, 1762), frontispieces and translations. The display highlights his unique and interdisciplinary characteristics as a philosopher who not only wrote on politics, economics and education, but also composed music and wrote best-selling novels. A significant part is dedicated to Rousseau’s engagement with the philosophical tradition (from Plato to Locke) and his own posthumous reception by revolutionaries and conservatives alike. Featuring objects from UCL’s collections, the British Museum and the Voltaire Foundation, the show coincides with an international conference marking Rousseau’s tercentenary and a special performance of his rarely produced opera, Le Devin du village (UCL, performance on 20 April, Conference dates: 19-21 April). Information about the Opera and booking details are available here. Conference information can be found here.
This set of events, under the auspices of the UCL Centre for Transnational History, is generously supported by UCL Grand Challenges, the UCL European Institute,
the Berendel Foundation, the French Embassy in London, the Swiss
Embassy in London, the Fidelio Charitable Trust and the Voltaire
Image: Jean-Jacques Rousseau ©Trustees of the British Museum
- 15 September - 16 December 2011
This exhibition explores cultural exchange in the period 1450 to 1800. Featuring highlights from UCL’s art and rare book collections, Word and Image delves into themes such as travel, translation and the traffic of objects and ideas. It offers the chance to see an eclectic and unusual combination of items, including a 17th-century volume on the history of Lapland complete with pictures of skis, an illustrated early work of Egyptology, and images of elaborately costumed Jesuits in China. It also provides a rare opportunity to see Albrecht Dürer’s woodcuts from The Apocalypse (1498) next to its precursor The Nuremberg Chronicle (1493). The exhibition accompanies the launch conference for the new UCL Centre for Early Modern Exchanges.
Image: Anonymous, Adam Johann Schall von Bell, c. 1600 ©UCL Art Museum
- 11 April - 17 June 2011
This exhibition began with a challenge to all current students at the Slade to develop their own practice using contemporary media and contemporary modes of thinking while taking the time to consider and appreciate what has gone before. Students excavated the collections to discover hidden treasures including an 18th-century print of a Soho drag queen, an annotated drawing by the arts educator and painter William Coldstream, John Flaxman’s neo-classical plaster casts, postcards addressed to Stanley Spencer, charts used by museum staff to map the shifting locations of art work – plus more. Moreover presents the work of 21 finalists – all of whom have appropriated, undermined and/or marked up past masters to create individual, new work in a range of media, including performance, print, sculpture, and video.
Emilie Atkinson, Claire Boyd, Will Davis, Becca Djan, Laura Elias, Nicolas Feldmeyer, Catharina Golebiowska, Thomas Jenkins, Nadine Mahoney, Sam Mould, Haruka Ono, Ninna Pedersen, Harriet Poznansky, Nina Prader, Nina Rodin, Patricia Townsend, Kristan Saloky, Alex Springer, Cyrus Shroff, Mo Wang, Vivien Zhang
Image: Nicolas Feldmeyer, Untitled (Woven Portico) 2011, digital print © Nicolas Feldmeyer
- 8 February - 25 March 2011
This exhibition includes works by Max Beckmann, George Grosz, Käthe Kollwitz, Franz Marc, Emil Nolde, Egon Schiele and Karl Schmidt-Rottluff on loan from the Barber Institute of Fine Arts, University of Birmingham. Many of the artists featured in the exhibition were asssociated with German Expressionism. The works respond to the First World War and its aftermath using familiar print techniques such as woodcut and drypoint with an innovative simplicity and directness to evoke powerful emotional states.
To find out more about the Barber Institute and their exhibitions, click here.
Image: Egon Schiele, Crouching Woman, 1914 ©The Barber Institute of Fine Arts
- 21 June - 17 December 2010
This exhibition celebrates the 200th anniversary of John Flaxman's appointment as the first Professor of Sculpture at the Royal Academy. On display are the many preparatory sketches Flaxman drew to work through his ideas on how to convey life, action and sentiment in three-dimensional form. Kept for reference at his studio, then given to UCL by his family, these informal, linear drawings are shown together for the first time. They reveal Flaxman's almost obsessive dedication to his cause, the creation of a modern school of sculpture.
Further works by Flaxman are currently on show in The Language of Line: John Flaxman’s illustrations to the works of Homer and Aeschylus, Royal Academy of Arts. Read more here.
The Flaxman Gallery, situated in UCL Library, has been host to scenes in Christopher Nolan's latest film, Inception, and is Film London's 'Location of the Month' for July 2010 . Read more here.
Image: John Flaxman, Studies of a Girl Shaking Out a Cloth, c. 1794-1826 ©UCL Art Collections
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Looking Back at the Life Room
A project by Naomi Salaman
- 27 January - 11 June 2010
This installation looks back at an academic model of art education that centred on drawing the male model in classical poses. In the tradition of the visual essay, artist Naomi Salaman puts together photographs of spaces where drawing is still taught alongside historic prints and photocopies from her research archive. Revisiting the academic art curriculum, she explores the process of looking at, making and reading images in relation to institutional forms of knowledge and the technologies of image reproduction.
Drawing a nude model after the antique was the apex of an hierarchical course which began with copying from copies of old master prints and plaster casts and lessons in anatomy. This curriculum served as the basis of art education in Europe from the 1600s. In the 1960s art schools in this country moved away from mandatory exams in these subjects.
Charting the remnants of a pedagogical system now suspended, Salaman identifies a "curved space of observation" that builds up through a montage of historic life rooms and dissection theatres. Her research path begins with the much-cited painting of The Royal Academicians (1772) by Johann Zoffany and its reproductions in feminist art history texts two hundred years later. Zoffany's group portrait in the life room was contentious as it illustrated the exclusion of women artists from the life room, and therefore from professional advancement. Looking back at this painting, through feminist critiques, to the early ambitions of the life room, Salaman reconsiders the academy life room as a theoretical apparatus that marked the distinction between fine art as an intellectual pursuit and the workshop practices of the guild.
Naomi Salaman is a London-based artist and a lecturer at the University of Brighton. Her research-based practice is rooted in the politics of representation and combines photography, installation, curated exhibitions and publications.
Co-curated by Nina Pearlman and Naomi Salaman, this exhibition is supported by Arts Council England and the University of Brighton. It draws on research supported by the Arts and Humanities Research Council and is accompanied by a limited edition artist's print.
In conjunction with the exhibition, UCL Art Collections, the Royal Collection and the University of Brighton have organised a conference entitled Art Schools: Invention, Invective and Radical Possibilities. For more information, please click here.
Image: Naomi Salaman, Salle de Dessin, École Nationale Supériure des Beaux-Arts Paris, autumn 2004 © Naomi Salaman
A Tribute to Bartolomeu dos Santos
- Until 22 December 2009
'The Paradox of Mezzotint'
- 2 July - 31 October 2009
'A Drawing Cabinet Unlocked: Old Masters from UCL Art Collections'
- 10 November 2009 - 20 May 2009
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