Slade School of Fine Art UCL
Gower St London WC1E 6BT
Rideal completed a Foundation at Brighton Polytechnic in 1972/3, a BA Combined Honours in English and Fine Art at Exeter University and Exeter College of Art in 1973/76 and a Post Graduate Certificate in Education at Exeter University in 1978.
From 1992 she has worked in the Painting Department at the Slade School of Fine Art, she also lectures and writes educational material for the National Portrait Gallery.
Rideal's latest book How to Read Painting, had an initial UK print run of 8,000 and by April 2015 in excess of 5,500 copies had been sold. It has now been translated into Japanese, Spanish, Korean and Russian. To mark the Bloomsbury publication in October 2014, she gave a Lunchtime Lecture at UCL (streamed live). Her book has proved equally popular in the USA where it was published by Rizzoli (in April 2015, 8,000 copies) and launched at the Nelson-Atkins Museum of Art, Kansas City, where the author gave a lecture introducing the concepts behind the publication, linking these to their Raphaelle Peale painting; Venus Rising from the Sea - A Deception, c.1822, (reproduced in the Still Life section of her book) and explaining in turn how this particular painting of drapery relates to her own art production. Rideal's strands of research inter-connect and are explored through lecturing, exhibiting and writing about visual art. FREEFALL, her fifth solo show in the USA was held at Gallery 339, Philadelphia in October 2014, The University of Massachusetts held a retrospective of her work in 2001 and there were three solo shows at Lucas Schoormans Gallery, New York, 2000/01/06. Her latest exhibition was accompanied by a catalogue comprising an artist interview by Iwona Blazwick, Director Whitechapel Art Gallery and essays on her work by leading art historians Professor Paul Hills (Courtauld) and Professor John Onians (University of East Anglia).
Kerfuffle, BBC, 2004, Winding weeds, 2014 & Drappeggio in Ercolano, Aurelian Wall, 2008
Drapery and portraiture continue as important themes. Permanent public pieces such as Hawthorn Hall of Mirrors, for the Churchill Hospital, Oxford (2009) are now complemented by temporary film installations broadening public engagement. In Philadelphia, Cloth Cascades, was projected at night onto a wall adjacent to the gallery. In London for the Erotic Cloth, colloquium, (University for the Creative Arts, 20/03/15) Rideal showed MOI NON PLUS, a new work revealing the importance of a narrative that can suggest meanings locked within dumb textiles. This work was rooted in a previous commission Light Curtain/Drop Sari, for the exhibition Cotton: Global Threads, at The Whitworth Art Gallery, Manchester University (2012). It animated the Victorian architecture by night in tandem with a film and print installation viewed by day in the galleries. A British Academy Grant enabled her to film the cotton industry in India.
Golden Years?1905-1950: a non-digital world. Self-expression, self-promotion, self-preservation, Louisiana Museum of Modern Art (2012) continued research previously realised in her books - Insights: Self-portraits, (2005) and Mirror/Mirror: Self-portraits by Women Artists, (2001) - both published by The National Portrait Gallery and the latter co-published by Watson-Guptill, New York.
Rideal's innovative photo-booth work is included in the current History of Photography: Series and Sequences, exhibition at The Victoria and Albert Museum, alongside images by Muybridge and Fenton. In 2014, The Portland Art Museum, Oregon and The Whitworth Art Gallery acquired her work, which can now be found in 17 public Collections worldwide including, Tate, The Yale Center for British Art, George Eastman House, International Museum for Photography and Film, USA and The Museet for Fotokunst, Denmark.
Uniquely I am qualified to work part-time at two institutions, the Slade School of Fine Art (UCL) and the National Portrait Gallery, London. At the Slade I have contributed to teaching, supervision, curriculum development and assessment. I have given a number of public engagement lectures at UCL and this year I will be running a new course on Collage for the Slade Summer School.
IT’S A LONG WAY TO TIPPERARY2015
Gallery 339, Philadelphia, USA
“It’s a Long Way to Tipperary” is the last show for Gallery 339 in Philadelphia. The gallery has been a remarkable adventure, and we are happy with what we have been able to accomplish over the last ten years. We had wanted to bring great photography to the city, and take the extraordinary work of Philadelphia photographers to other places. And through the tremendous effort of staff, artists, and other supporters, many wonderful pictures have come to Philadelphia, and remarkable photographs from here have gone out to collectors around the world. With this last show, we want to sum up the gallery in an appropriate way, which is not simply a look back. We are pleased therefore to present some of the best-remembered images from past exhibitions alongside compelling new projects. We have been very fortunate to work with an exceptional group of photographers since we opened, and it is a privilege to exhibit their art one more time.
A History of Photography: Series and Sequences2015
The Victoria and Albert Museum.
Photobooth Original Collage
The Photographs Gallery draws upon the V&A’s internationally renowned collection of photographs, and chronicles the history of photography from 1839 up to the present day. In 1852, the V&A became the first museum in the UK to collect photographs and in 1858, the first to hold a photography exhibition. Its collection is now among the most important in the world and forms the UK’s national collection of the art of photography. The Photographs Gallery celebrates the creative language and visual appeal of photographs in their many forms, and showcases some of the most technically brilliant and artistically accomplished photographs in the museum's collection. The display focuses on the wider visions of photographers through series and sequences of images, and features Lewis Baltz, Sian Bonnell, Philip-Lorca diCorcia, Harold Edgerton, Masahisa Fukase, Sally Mann, Eadweard Muybridge, Nicholas Nixon, Liz Rideal, Josef Sudek and Sze Tsung Leong.
Exhibition including staff, students and alumni from the Slade School of Art, curated by Andrew Stahl, Head of Undergraduate Painting Department. Slade School of Art.
Gallery 339, Philadelphia, USA
Works in photographic media (silk photograms, digital prints, Photo Booth collages, c-types and b & w prints) that describe floating fabrics in spaces either confined to the booth interior spaces or those created by Baroque architect Borromini in Rome.
Collyer Bristow Gallery, 4 Bedford Row, Holborn, London WC1R 4TF
Artists have wrapped, knitted and woven for centuries but the use of ‘fabric’ as a medium is going through an interesting resurgence. Increasing global demand for cheap clothing and huge technological advancement have both imbued the very material with meaning beyond the domestic, enabling fabrics to be printed and manipulated in hitherto unimaginable ways. This eponymous exhibition looks at some current practices, teasing out threads and themes through the work of 8 artists.
Royal Academy Summer Exhibition 20142014
Royal Academy, Piccadilly
Annual competition at the R.A.
Royal Academy Summer Exhibition 20132013
Royal Academy, Piccadilly, London
Annual Summer Competition Exhibition
Ahmedabad - Manchester: Cotton exchange: a material response2013
Old Rajnagar Mill, Ahmedabad, Gujarat, India
On the occasion of celebrating UNESCO World Heritage Day in Ahmedabad, Gujarat, India. Jointly funded by the Centre for Heritage Management, Ahmedabad University, Manchester Metropolitan University in association with National Textile Corporation Ltd. (A government of India Undertaking). An initiative towards documenting and research on the management of Industrial Heritage of India.
Small is Beautiful XXX2012
Flowers Central, Cork St. WC1
Selected in competition for the Delhi Film Festival
Tapestry Weaving the Century at Dovecot Studios 1912-20122012
Dovecot Studios Edinburgh: A history of weaving
In Paradisum: Disappearing Act: Marthe Callet (née Bailleul) 1896-1993.2012
Rich Mix, London
Disappearing Act: Marthe Callet (née Bailleul) 1896-1993.
More photos about buildings and food2012
Gallery 339, Philadelphia, USA
A visual riff on Brian Eno's Talking Heads second album - More songs about buildings and food.
Voilier - Sailing2012
Slade Research Centre and touring
ne minute film on sailing
Weaving the Century 1912-2012. Tapestry from Dovecot Studios2012
Verdure - commissioned work from Dovecot Studios.
Speed Date at St.Paul's2012
UCL Slade Research Centre, WC1 0NS
Cities Methadologies (2012)
C2 Gallery, MK17 9DD
Film, book and painting around the theme of water.
Visions of Italy2012
Villa Wolkonsky, British Embassy
Royal Academy Summer Exhibition 20122012
ECHO (Forbes Watson)
Bronzes in project space
Slade Centre for Research, UCL
Cotton: Global Threads2012
The Whitworth Art Gallery, Manchester
Film, LEDs, Monotype Prints, Installation
Gallery illuminated by night with film and LEDs. Inside by day, film installation and monotypes produced while artist in residence at Aurobora.com. San Francisco.
Small is Beautiful XXIX2011
Flowers Central Gallery
Gallery 339, Philadelphia
Recent portraiture in photography, includes Tina Barney.
Gallery Arnstedt,Postridarensvag 18, Ostra Karup, Sweden
Bronze cast matthiola plants.
Royal Academy Summer Exhibition 20112011
Royal Academy, Burlington House,Piccadilly, W1.UK
Danzando con Borromini2010
Hybrida Contemporanea, v.Reggio Emilia 32, Roma
Photographs of flying silk within backdrops of Borromini's architecture.
Roman Dance, Cities Methodologies2010
Slade Research Centre, UCL, Woburn Square, WC1.
Cities Methodologies 2010 presents recent innovations in urban methods from current researchers at UCL. Through the juxtaposition of installations, films, maps, models, objects, performances, photographs, poems, talks, texts, walks, websites and workshops, visitors will encounter a diverse array of cities and urban conditions – from literature in London, to flyovers in Mumbai, from movement and spatial organisation in Jeddah, to fear in New York City, and housing in Lisbon seen through cinema. The exhibition and events programme promise a unique experience for urban practitioners, researchers, and others interested in contemporary cities. They will provide insights into emerging and experimental methods in the urban field, looking right across the full spectrum of disciplines in which the city is predominant, including distinctive perspectives and interdisciplinary collaborations from the built environment, the arts and humanities and the social and historical sciences.
Reading with the Master (Off the Shelf)2010
Slade, UCL group staff/student exhibition. Many multi-media works and performances.
Contemporary Women Printmakers2009
St.George's Hospital, SW17. UK
Contemporary Women Printmakers, Arts for the Teaching and Healing Environment (AfTTE) V&A museum and Paintings in Hospitals Curated by Sarah Grant V&A (assisant curator of Prints V&A) http://www.stgeorges.nhs.uk/findstgeorges.asp
BRITISH SUBJECTS: IDENTITY & SELF-FASHIONING 1965-20092009
Neuberger Museum of Art, Purchase, Westchester County, NY. USA
The John & Mabel Ringling Museum of Art, Sarasota, FL
Bow Quarter Art Annual2008
261 Manhattan Buildings, Bow Quarter, Fairfield Road, London, E3 2UG
The British School at Rome
Nunziante Magrone, Piazza dei Pietro, Rome
Bart's Hospital, London
Projection by night onto Bartholomew the Less belltower. Illumination of the Bart's gatehouse.
Museum for Photographic Arts, San Diego, California, USA
Cohesion: textiles & photography,2007
Ellen Curlee Gallery, St.Louis, USA
Suc des Vosges2006
Lucas Schoormans Gallery, NY
Fall, River, Snow2006
Compton Verney, Warwickshire
Above and Below Ground2006
Gallery 339, Philadelphia, PA
Revealed, Nottingham's Contemporary Textiles2005
Castle Museum, Nottingham
Focus on Photography2004
Poetry Library, Royal Festival Hall
Who's Looking at the Family?2004
Barbican Art Gallery, EC1, London
Art Space, Imperial College London
The Auroral Light: Photographs by Women2003
The Grolier Club, New York, USA
The Drawing Centre, London
HackelBury Fine Art, London
HackelBury Fine Art, London
Works 1992/2002 Mandrake Tango2002
The Fine Art Centre, University of Massachussetts, Amherst, USA
Fold: Drapery in Contemporary Visual Culture2002
City Art Gallery, Leicester
Aurobora Press, San Francisco, USA
Lucas Schoormans Gallery, 508 W26th St. New York 10001
Photobooth Collage 142x116 Cm
Works reflecting specific use of light in artworks, for example Dan Flavin.
Lucas Schoormans Gallery, New York, USA
Chelsea Girls, Cinema Studies2001
Lucas Schoormans Gallery, 508, West 26th St, 11B. New York 10001
Photobooth Original Collage
An exhibition focusing on how artists are influenced by film in their work. Examples from Muybridge, Katz and Nauman.
Lyon Town Hall Projection2000
Concerning the Photo-Booth2000
Museet for Fotokunst, Odense, Denmark
HackelBury Fine Art, London
Lucas Schoormans Gallery, New York, USA
Hiscox Gallery, London
Hall of Mirrors: Variants of the Portrait2000
Museet of Fotokunst, Denmark
Ally Gallery, London
Pacaembu: A Planetary Reply for the World1999
Oficina Cultural Oswald de Andrade, Sao Paulo, Brazil
Liz Rideal: New Work1999
Ferens Art Gallery, Hull
Up On Deck1999
Ramsgate Art Gallery, Ramsgate
Focal Point Gallery, Southend
Liz Rideal: New Work1998
Rochester Art Gallery, Rochester, Kent.
The Photographer's Gallery, London.
Berry House, St.John St. London EC1.UK
Liz Rideal: New Work1998
Angel Row Gallery, Nottingham.
50 Ans de Tati1998
Musée de Arts Décoratifs, Palais de Louvre, France.
The Mag Collection: Image Based Work in the Late 20th Century1998
The Fruit Market Gallery, Edinburgh and toured to The Towner Gal
Conceived at Christmas1997
The Photographers' Gallery, London
History: The Mag Collection (Image Based Art in Britain in the Late 20th Century.)1997
Ferens Art Gallery, Kingston upon Hull
Behind the Arras1997
Economist Plaza, London, WC1
Through the Looking Book, 20 Years of Circle Press1997
Royal National Theatre, London
As Big as Life1995
Michael Klein Gallery, 40 Wooster St. New York. USA
Portrait show. Reviewed by The Village Voice, Vince Aletti, 25 July, 1995
A Mes Beaux Yeux: Auto-portraits Contemporains. Here's Looking at ME1993
ELAC, Espace Lyonnais d'Art,Ville de Lyon, France
Broad range of self-portraits - including Richard Hamilton, George Baselitz, Jean-Michel Basquiat,Louise Bourgeois, Gilbert & George, Gerhard Richter et al.
'The Arbitrarinous Line: Line = Map = Division'.1990
The Orchard Gallery
Irish photo-booth project in association with Photo-Me Northern Ireland and Woolworth's Derry
People Profile: Pillars of Society1988
Museum and Art Gallery Stoke on Trent
The National Portrait Gallery,, London
Mass portraiture using a photobooth
This is one in a series of ‘In Focus’ resources, aiming to discuss particular artists whose practice has changed the way we think about the art of portraiture, featuring works from the National Portrait Gallery Collection. It is useful to look at developments in portrait painting through the lens of a single, significant artist, appreciating their techniques and innovations, and the way that they have been influenced by the advances of others and how in making their contribution they in turn influence others. Each resource focuses on a limited number of paintings and study details taken from them. This includes questions about the practice and historical context of the artist, with suggested lines of enquiry and ideas for classroom activity, plus links for further research. The aim is to support teachers in encouraging students to investigate the artist and their practice in-depth.
The film title refers to the Birkin/Gainsbourg duet from 1969; ‘Je’taime…moi non plus’ (‘I love you…me neither’), fabled to have been recorded live during sex, in a studio in Marble Arch (there is much heavy breathing). Rideal’s film balances three elements; William Hogarth’s pornographic diptych, ‘Before and After’, 1731 (Collection: The Fitzwilliam Museum, Cambridge), a voice over of poems translated by Robert van Gulik that accompany erotic colour prints of the late Ming period and film of cloth either at rest or in syncopation, some of the footage relates to previous exhibition installations by Rideal of film projected onto cloth in motion. The question of ambiguity of sexual power, cloth used as a vehicle in male and female arousal and the tensions surrounding the sexual act are the focus of this short film. Avoiding overt pornography and using voice over to imply, through poetic suggestion, the ‘variegated positions of the flowery battle’, the desire is to provoke thought about the complexity of arousal and the repetitive narrative of sexual congress. The opening text, ‘The Bronze Man holding the Dew Basin’, refers to a large bronze statue of a man holding up a basin that belonged to Emperor Wu of the Han Dynasty. The bowl was meant to catch the morning dew that the Emperor used as an ingredient in the Elixir of Longevity. Referred to in the context of the original print and poem, the implication was that the vaginal secretions containing the woman’s Yin essence, could be collected by those wishing to attain the goal of immortality. The mixture would ‘complete’ their Yang essence.
This charmingly illustrated, highly informative field guide to understanding art history is small enough to fit in a pocket yet serious enough to provide real answers. This seventh entry in the hugely popular How to Read series is a one-stop guide to understanding the world’s great artworks. The book explains the aesthetics of schools of painting from the Renaissance masters and Impressionists to the Cubists and Modernists. It enables readers to develop swiftly an understanding of the vocabulary of painting and to discover how to look at diverse paintings in detail.In the first part of the book, the author reveals how to read paintings by considering five key areas: shape and support, style and medium, compositional devices, genre, and the meaning of recurring motifs and symbols. The second part explores fifty paintings through extracted details, accompanied by insightful commentary, training the reader and viewer to understand context and discover meaning within art. How to Read Art is the perfect companion for anyone interested in paintings and a book that no art lover’s home should be without.
The exhibition features a new video piece, “Cloth Cascades,” that addresses the water/drapery parallel, weaving together images of both. “Cloth Cascades” was created specifically for the exhibition using film shot in The Berkshires, and it will premiere at the opening reception. For a limited number of evenings during the exhibition, the video will be featured as an outdoor projection onto a wall adjacent to the gallery. The projection is being presented with assistance from Philadelphia’s Animated Architecture.
How to Read Paintings is a valuable visual guide to Western European painting. Through a gallery of artworks accompanied by informative commentary, it enables readers to swiftly develop their understanding of the grammar and vocabulary of painting, and to discover how to look at diverse paintings in detail, closely reading their meanings and methods. In the first part of the book, the Grammar of Paintings, the author reveals how to read paintings by considering five key areas: shape and support, medium and materials, composition, style and technique, and signs and symbols, as well as the role of the artist. In the second part, we explore fifty paintings through extracted details, accompanied by insightful commentary, training the reader and viewer to understand context and discover meaning within art. As a collection, the pictures featured in How to Read Paintings have a strong relationship with one another, and underpin the story of painting. This book will be a valuable tool whether you are viewing the real thing on a gallery wall, or simply reading around the subject to learn more about Western art. - See more at: http://www.bloomsbury.com/uk/how-to-read-paintings-9781472525123/#sthash.OghZFXzO.dpuf
A collection of writings and artwork on the subject of colour and colour theory.
Images from Dancing with Borromini series, relating to the philosophical arguments in the journal.
9 Illustrations from - Dancing with Borromini - to the text
Comparing two portraits in depth. Henry VII by an unknown artist 1505 and Diana Princess of Wales by Bryan Organ, 1981. Both Collection NPG.
Technical beginnings and Early Photography. Art & photography; the wider context. The photographic studio. Contemporary photographic techniques. Self image: six pairs of photographic self-portraits.
25th Anniversary Show. 2012 International Photobooth Convention
Session part of the'Social Dynamics and Technology Transfer' stream on the 10th November. The cotton industry past and its relationship to the present – in India and Manchester.
Survey of the Automatic Portrait
Comparisons between the Indian Portrait 1560-1860 and works in the Collection of the National Portrait Gallery. Drawing parallels between paintings in the exhibition and the Collection that were made at a similar time, for similar reasons and which share compositions and techniques.The comparisons selected connect parallel symbolism, structure, narrative, allegory, themes of royalty, propaganda and domestic life.
"NO SUBJECT" is an online exhibition of photographs by seven artists, selected by Nina Zurier. The title refers to a type of photograph in which image takes precedence over subject (or object). These photographs are documents (as are all photographs), but they are not "documentary" in the sense of recording places, people, or events. These photographs have been chosen for their quality of "image as image", as described by Charlotte Cotton in her excellent book The Photograph as Contemporary Art. Some of them are staged, some are collaged and incorporate drawing, and some are simply beautiful images taken with an iPhone.
Veiling, wrapping and entwining the body with material. Discussing Edward Said. Fancy dress in oriental fashion
Permanent installation at the Oxford/Radcliffe Trust.
Foreword by Liz Rideal
NPG Identity image used
The resource looks at the relationship between photography and portraiture in the work of Gerhard Richter, considering how photographs inform his painting and making comparisons with artists in the National Portrait Gallery who have similar concerns and working methods. Reviewing the work of artists in the collection whose reliance on photography has been documented. These are the Victorian painter G.F. Watts (1817-1904), his friend the photographer Julia Margaret Cameron (1815-1879), the ground breaking work of Walter Richard Sickert (1860-1942) and the commissioned portrait by Jason Brooks (b.1968). Their working practices are compared with that of Gerhard Richter, in the exhibition, Gerhard Richter Portraits (26 February - 31 May 2009.
Face to face talk Liz Rideal discusses John Singelton Copeley's self-portrait on display in the exhibition "American Origins" recorded at the National Portrait Gallery, Washington, USA 26 September 2009
This book focuses on making prints from found or cheap objects - as opposed to highly expensive printing machines and computers.
Ron Bowen is an American artist and teacher living in Paris. He taught at the Slade School of Fine Art between 1977 and 1997, and has taught art at all levels of experience from novice to professional. His book, "A Drawing Masterclass" was published by Random House in 1992. This is a web based interactive drawing class comprising: Masterclass 1 | Masterclass 2 with further relevant links to: Games | This is me| Investigating Drawing Self-portrait drawings in the collection
This distance learning package is aimed at art students, teachers and adults. * Introduction * Context * Definitions and useful words * Making a perspective drawing * The Drawing Machine * Circle in perspective * Sphere in perspective * Drawing
The notes focus on interconnecting themes within the movement of Pop Art. Written to underpin the exhibition held at the National Portrait Gallery 11.10.07-20/20/01/08
Hanging sculpture at the Birmingham Hippodrome Theatre.
The differences between the heavens they seek and the comparatively dark, messy earth they are limited to charge their work with both political and environmental concerns--this is no heaven. And yet sometimes they make it seem so.
Unlike portraits painted in other centuries, those produced in the twentieth century tend to be painted wholly by each individual artist whereas in the seventeenth to nineteenth centuries collaborations were common. Twentieth-century works tend to reflect more of an artist’s individual stylistic achievement. Due to the pervasive influence of the photographic portrait, the twentieth-century painted portrait developed a slightly different brief. Artists have gone down a multitude of roads to try to resolve the problem of creating a likeness whilst retaining their artistic integrity. Naturally ‘pot-boilers’ still exist, as do works that obviously flatter sitters, works that merely document a sitter’s prestige and of course portraits that simply reiterate the photographic through technical prowess.
Commission for the Contemporary Art Society for the contemporary textiles collection at Nottingham Castle Museum.
An interactive website discussing all aspects of male and female self-portraits - almost all of the examples are taken from the National Portrait Gallery collection. A self-portrait can be as varied and limitless as our imaginations. It is more than a mere mirror reflection. A self-portrait can be an exact likeness or an abstract whirl of thoughts and feelings. It has the potential to create a myth, tell a story, suggest sadness or joy. A self-portrait is a person's version of themselves.
In the early twenty-first century we are so familiar with the photograph and technically reproduced imagery, that to imagine a world without these visuals is hard. The invention of photography was such an astonishing achievement in the mid nineteenth century that perhaps its only imaginable equivalent might be the first human steps taken on the moon's surface and robotic vehicles landing on Mars. Photography now relates to everything within society and art. In portraiture, the impact of photography is huge; the correlation between 'reality' and 'likeness' as perceived within the format of the photograph is undeniable. This combination of illusion and real life, guarantees its continuing success as a medium for this purpose, whether digital, moving or other lens based methods of making portraits.
Correlation between pattern making in portraits and within Rideal's artworks
8 self-portraits discussed in detail
Poly Styrene, André-Adolphe-Eugène Disdéri, Nadar and Warhol...multiple portraits and identities.
The self-portrait has always been an artist's most intriguing vehicle for analysis and self-expression. This exhibition brings together all of the self-portraits by women artists from the Gallery's collection alongside loans and new works acquired or commissioned by the Gallery for this exhibition. Exhibition description and virtual tour, publication details.
These notes focus on particular aspects of contemporary portraiture as revealed in the BP Portrait Award Exhibition. They concentrate on aspects of portrait production and commission.
Discussion of different materials and techniques used in drawn portraits since the sixteenth century. Examples and notes on drawing materials.
Artist residencies in Stoke on Trent
The interactive site concentrates on a variety of disguised self presentations documented within the genre of portraiture. The idea that the portrait ISN'T some form of disguise is interesting, after all it is always an interpretation of a presence. There is no guarantee that the sitter is not 'naturally disguised' when sitting for a portrait, this being often a peculiar and sometimes difficult experience to submit to.
A teaching aid investigating 8 works in a variety of media, produced at different times in history, between C16th & C20th. Symbolism, scale, palette, style & pose, artist/sitter relationship
One of the most famous restaurants in the world opens the doors to its kitchen, offering scores of superb recipes.
A selection made to complement my retrospective exhibition and hung 'salon style'.
Film shot in central London Waterloo garden documenting flowers as they bloom in sequence, in the manner of C17th Dutch painters would create still life paintings of flowers.
CD cover for 'Jazz, Dining & Tribeca' produced by the Knitting Factory New York
Liz Rideal discusses the constraints and possibilities for modelling a millennial gallery education department within a 19th century museum.
Exhibition curated Touring to Eastbourne, York, Bath, Brighton, Canterbury,1994
WORK illustrated in this survey
How sitters choose to 'fancy' dress for their portraits : a Duchess as a milkmaid, a nobleman in Van Dyck costume, an artist as Neptune,
Computer installation by Julie Myers juxtaposed with work by Andy Warhol, Huysmans and Lely.
Drawings on paper which exemplify different drawing techniques and media, reflecting the varied style of British portraiture.
Comparing photographic and drawn or painted portraits.
Curation of: Double Take - Comparing the art of graphic and photographic portraiture, touring to nine U.K. venues.
Hand tinted photobooth images specific to the poem.
Curation of this interactive exhibition
Curation of this exhibition - the first devoted entirely to the subject of self-portraiture in the history of the NPG
Curation of exhibition studying the art of preparation and the use of the sketchbook
Curation of exhibition studying the methods of the journeyman painter
Curation of an exhibition that looks at the importance of directional lighting in period portrait photography
Curation of an interactive exhibition investigating the methods and materials of sculptors
Curation of an exhibition comparing the impact of the miniature portrait with the large scale painted portrait
Curation of an exhibition investigating early workshop copies and contemporary methods of reprographics - the postcard and the lightbox
All about the booth and the National Portrait Gallery Project
Curation of an exhibition focusing on artists such as Van Aken and Peter Toms who painted backdrops for Reynolds and Hudson in the Eighteenth century
Interview and review of and about the work of artist Rose Garraard
Interview with Charlie Hooker
Curation of exhibition of work of young adults from Newcastle upon Tyne by artist in residence Helen Chadwick
The tripartite structure of this 22.12 minute silent film enables three different rhythms to play: a close up animation of patterned cloths collected in the nineteenth century, the jumping of the looms that weave the cloth and the mesmeric Rorschach imagery created as the tumbling fabric is caught in abstract freefall. The portrait format of the film echoes the way that cloth is created, relying on the strength of the vertical warp thread and allowing the weft to complete the equation of the two-way dynamic. Cotton embalms, surrounds, muffles, covers, stretches and breathes with us – from the cradle to the grave, this film cerebrates this ubiquitous material.Shot with a hand held HDV Sony video camera on location in Maharashtra and Gujarat, India and London, U.K.