Peter Blake by The Cat Street Gallery

Contents

4 10 14 146 148

Peter Blake And Gavin Turk In Conversation New Territory Plates Biography Acknowledgements

sir Peter Blake and Gavin Turk in conversation May 1st 2011 at Sir Peter Blakeâ&#x20AC;&#x2122;s Hammersmith Studio, London

GT: The first question I want to ask is about what you are going to show in Hong Kong. Is it your first show there? PB: This is the first show in a commercial gallery. A few years back I showed the Alphabet Series (plates 17 to 43) at the British Council as part of a big tour we did. In this exhibition we are going to show the new prints that I have been working on. The show will include found objects and completely new prints that are part of A Hundred Matchbox Covers (plate 10). For instance, for the show in Hong Kong there is a Butterfly Man series that I have made specifically (plates 1 to 4). I have postcards from Hong Kong that I have scanned into the computer. I then use the Butterfly Man and his butterfly troupe to make the picture. I have had shows in New York and Venice in the last two years and I have made special pieces for each. They were also from the Butterfly Man series but placed wherever I was at the time. I would pick up postcards from wherever I went. GT: So they are like your Duchamp painting series - always travelling around and existing in other peopleâ&#x20AC;&#x2122;s worlds? PB: Yes, and I printed them out and stretched them out on canvas so they are like paintings. Some of them are unique. GT: So who is the Butterfly Man? PB: I did a piece called Parade and found the Butterfly Man was on the cover of this 18th century music book. He was actually a composer so his baton became a little stick for the butterflies. In Parade he was just one of the characters and then he just developed into a separate star. GT: Is he a self-portrait? PB: No GT: So he is just a man who collects butterflies? PB: Well, they are performing butterflies. He travels with a troupe of performing butterflies. He was created in homage to Damien [Hirst] (plates 5 to 8). I heard that Damien thought it was amusing at first. But I got the impression from someone else that now he might think that I am milking it a bit. And to be honest I think I was. So, the Butterfly Man is now dead!

Image courtesy of Rob Carter, 2011

GT: This aesthetic of things fluttering around reminds me of the way that you see things that you like the look of, but you are not quite sure how you are going to use them. Something like the matchboxes for instance, have you been collecting matchboxes for years? PB: Sure, I collected a few initially and then at a fair I bought a book of the covers. On that same day there was a man who had a great big suitcase full of them and he said I could have the lot for 10 quid, so I bought an instant collection of a thousand matchboxes. The matchboxes series is from that. They are arranged in 10 rows of 10, so they look like a kind of weaving. GT: Are they portrait or landscape? PB: Both. The top row is portrait and the next row is landscape, and so on. It creates a basket-weave effect. GT: Are they all Swedish? PB: A lot of them are, but there are also Chinese and Japanese matchboxes. It is an incredible collection from all over the world. GT: The one that I am quite keen on is the ship. It seems somewhat romantic PB: Well, I used Captain Webb originally. I made a wooden sculpture in the sixties which was a Captain Webb matchbox. He is one of the troupe of recurring characters that I use, which come and go. I remember saying at the end of Ruralism [an artistic movement of which Blake was a member in the 1970s] that although the pictures had changed it had become more and more romantic and fairy like, they are exactly the same characters. In my head they are the same cast, but play various parts. Duchamp [the painting series] was an important one and that is still ongoing. The next one will be when he meets Robinhood. GT: Your paintings take quite a lot of time and there are several stages that they go through, aren't there? PB: Yes, they are made over a long period of time because I donâ&#x20AC;&#x2122;t work on them from start to finish. I put them to one side and I work on other things. Some pictures can take many years to complete but that is what is so exciting about some of the printmaking. The contrast is huge. I can go into Coriander studios with a pocket full of postcards and come out with a work at the end of the day.

GT: Printmaking is quite interesting as a stepping stone between finding something that captures your imagination and then taking that through into something you can make into an image. PB: I think what the Found Art series (plates 9 to 12) is really about is the technology. We took some pictures and we scanned them and I was amazed at the accuracy of the scan. Because the camera is nearly touching the object it is actually able to see more than the human eye. This is something quite different to most kinds of printmaking which use something like an etching block. When you take it bigger you lose definition whereas, with these, you can see more. It is almost like you see a universe of stuff. As you look closer, more is going to appear. That is why I have continued with digital printmaking, because the more it is blown up the more you can see. GT: I have that with my apple cores. I paint them, then photograph them and blow them up so they are life-sized and you can see all the brush strokes, which is strange because when you see them with the naked eye, they look perfect. PB: Yes, you and I often do things that are similar, like taking an object and then changing its scale. GT: I was thinking about the notion of you making these souvenirs with the postcards and the idea of visions of another place. How do you go about creating these? Do you think about tourism with regards to your work? PB: Well I suppose I have travelled quite a bit with work but I wouldn’t say I am a traveller. I don’t go on holidays for example. The Marcel Duchamp's World Tour was about me saying 'thank you' for him saying that 'whatever an artist says is art, is art', or whatever that saying is. So I sent him on a world tour. It was a kind of fantasy world tour, and maybe, in a way, my characters are all on the world tour that I didn't do. I am not saying that in a frustrated way, but in a way they are my alter egos going off and meeting strange people and having strange things happen to them. GT: And in a way your work is starting to travel in a real sense. You have a world tour at the moment with works showing all over the world. I think an important element of your collecting is your desire to gather things that attract you, not because they are the most valuable things of their period. Actually, the opposite as they are the most disposable things. They are lucky to have survived. One of the great things about these objects is that they exist at all and haven’t been destroyed. I think some of your things become treasure partly because you choose them to be so. PB: They are treasures by selection. The suitcase of matchboxes, for example - someone had collected them from bars and railway stations, so in a way they are the product of someone else’s world tour.

GT: It is new for you to be making big prints. PB: Very new. I have always been against gigantism, if there is such a thing. And now we are making prints big, just for the sake of making them big. GT: In a way making prints big tests the boundaries and tests your own ability. PB: I am anti the fascism of gigantism. I am anti the Richard Serra way of making something important simply because it is heavy. I am not against size. I think size is interesting but I am against making a small block out of iron so that it becomes important just because it is difficult to install. GT: By taking something which you want to attribute value to, I think you also want to make something that has resonance and power. PB: What I have done previously is take something like Brancusi’s Endless Column, and by making it very small you can make it far more endless because it has far more units. Brancusi’s Endless Column only had about 18 units and they were bigger than a man, whereas my endless column was much smaller so we were able to make far more units. It is about size and sometimes it relates. Rob Carter was telling me about your work - The Match? GT: The Nail [a large public installation in London by Turk, recently unveiled] PB: Yes, and that is interesting because you have taken something that is usually small, and made it large. Whereas I take something large and make it smaller. At the moment I am working on a painting of St Martin that is going to go into St Paul’s Cathedral. It is the first work that they have commissioned in a very long time which is rather extraordinary. St Paul’s has a parallel Modern scheme going on where they commission modern art. We have been working on it for over two years.

GT: You have been investigating figurative works and images from life for sometime now. PB: I did a series called A Thousand Life Drawings. I kept everything and didnâ&#x20AC;&#x2122;t reject any drawings, so I eventually had a thousand. I started it about 20 years ago and it went on until about three years ago. GT: It seems, with your studio in particular, that it is all about things which in someway might become useful. They have that possibility. PB: It is like a big toy box or a big dressing-up box. If I am someplace I will pick up whatever I find and then I wonâ&#x20AC;&#x2122;t add to it in anyway. The selection is in picking it up and therefore the rejection. Some of the stuff just sits around for a long time and some of it will develop into a series of sculptures. In the long term a lot of the things that are around my studio will become part of pictures. Another thing is the sense that time is running out. I am going to be 80 next year. I have ignored it for 20 years. I have had my artificial retirement 15 years ago, and I entered into my late period consciously. GT: I think your artificial retirement was a renaissance for you. That is when I first met you and you said that since you had retired everything was much easier. In a way you stopped being so worried about context. PB: It was a big psychological change. Since then I have worked easily and had the opportunity to curate a lot of these shows as well which has been good.

New Territory Kate Bryan Gallery Director

Undoubtedly one of the most important exhibitions to ever be held in Hong Kong, the first major show in Asia for Peter Blake, known as ‘The Godfather of British Pop Art’, is a celebration of an extraordinary career that has spanned six decades. Peter Blake: New Territory is an enlivening print exhibition combining the distinguished artist's iconic work of past decades with new artworks to mark the occasion. Blake’s work has always had a universal appeal and is widely collected and exhibited internationally. He is one of the best known British artists of his generation and has achieved the rare status of an artist who continues to work as he approaches his eighties, with great commercial success, whilst simultaneously already having entered the canon of art history as a master. In 1983, what was then The Tate Gallery in London, staged a retrospective exhibition of the artist’s work. This was followed by a period holding the National Gallery’s prestigious position of Associate Artist from 1994-1996. More recently, in 2007, Tate Liverpool held a major retrospective of the artist’s work, further sealing his status as a British national treasure. Accordingly, Blake became a Royal Academician in 1981, a CBE in 1983, was awarded an Honorary Doctorate from the Royal College of Art in 1998, and in 2002 Blake received a knighthood for his services to art. Blake is most commonly known for creating the artwork for one of the most celebrated moments in twentieth century music history, The Beatles' album ‘Sgt. Pepper’s Lonely Hearts Club Band’ of 1967 (plate 13). This one work reveals many of Blake’s preoccupations; a key component is the desire to make art that could serve as the visual equivalent of pop music. His unforgettable album cover features a strange and wonderful collection of characters including Charlie Chaplin and Marilyn Monroe huddled around The Beatles in their memorable uniforms. The juxtapositions formed by the cut and paste collage exemplifies Blake’s style; they are certainly an unexpected motley crew but the assembly is not disconcerting or visually jarring. It is a piece that clearly draws upon references from many periods and subcultures, yet done without irony or critical undertones. It is a psychedelic celebration of icons of the past and present, a transcendental album design that became an artwork in its own right residing in the homes of millions of music lovers the world over. The artist has an innate fascination with popular culture and mass entertainment that clearly manifests itself in his work. Blake’s inclusive and non-elitist approach to making fine art no doubt stems from the combination of his period in art school with what the artist describes as the ‘working class pursuits’ of his family. Born in Kent in 1935, Blake attended the Gravesend Technical College and School of Art after wartime evacuation. There, he was tutored not just in life drawing but typography, silversmithing and design. In addition to his well rounded creative schooling, his teachers also gave the students a taste for high culture such as classical music and old master painting. In contrast, at home Blake’s world was one of football matches, music halls, wrestling and jazz clubs. As time passed he, like most of his generation, became increasingly caught up in the phenomenon of the rock and roll music scene and also became a collector of discarded objects - he can still be found scouring car boot sales to this day. In the mid 1950s, once accepted at The Royal College of Art in London, Blake began to find a way to synthesise his interest in both high and low art forms. His success in doing so would mark him out as key artist of his generation amidst an exciting wave of pop artists, both in Europe and the U.S.

Throughout his career Blake has appropriated motifs and influences from a myriad of cultural genres, including music, fashion, magazines, sport and film. He is unlike his American Pop Art counterpart Andy Warhol, who also famously appropriated from popular culture, but did so in a direct and cold manner, mostly rendering his subject as an empty vessel. Blake shows nothing but a joyous admiration for his sources, positively venerating his carefully chosen subjects, whether they are the Union Jack flag or James Dean. He has often been described as a ‘fan’, presenting the things he admires or finds interesting in an uncomplicated fashion, clearly delighting in his subjects. This is perhaps best illustrated by his iconic Alphabet Series of 1991 (plates 17 to 43), a hugely personal and witty work that shows the artist’s favourite thing or a subject that he finds interesting for each letter of the alphabet. M is of course for Marilyn, K is for the King (Elvis Presley) J for James Dean. A more obscure reference is O for Ornithology, a delightful insight into Blake’s diverse interests. A perfect amalgamation is found in U, a photo collage of Unusual People, underscored by D for Dwarves and Midgets. The Alphabet Series brings together much of the imagery that has attracted Blake since the 1960s. It is a cornucopia of pop culture references that the artist has continued to return to, expand and reinvent throughout the past six decades. Blake’s recent print series entitled Replay (plates 44 to 51) takes its cue from his collage paintings of the 1960s. These works were a radical departure from the traditional parameters of painting still upheld by the conservative art establishment of the time. Blake employed collaged components to his work, for instance adding a photograph of Marilyn Monroe to the surface, or other pin-ups from mass-produced print materials. The works have brash, shiny surfaces as a result of the decision to use ordinary gloss paint, therefore eliminating the artist’s hand. The pictures were treated in bold primary colours, given sharp geometric patterns and form was treated with calculated simplicity. These pieces speak directly of the aesthetic of pop art and show Blake lending his work a very literal quality. In many respects their bluntness and directness remind us of how a teenager or serviceperson might cut out a pin-up or icon and roughly post them to their wall or locker. It is important to recognise that though visually much of Blake’s work seems uncomplicated and simple, it is no way a straightforward refashioning of existing images, devoid of conceptual potency or significance. Blake makes careful choices in his subjects and perhaps more importantly he makes crucial compositional decisions, ordering the picture plane in an incredibly specific way that ultimately results in the viewer being given direct access to the subject presented. The fact that the pieces seem so simply put together lends them their power, they invoke an immediate relationship with their audience, much like the pop music Blake admired and stated he was keen to emulate as a young artist. Blake may well bask in the warm glow of popular culture and entertainment, but closer engagement reveals how his work goes much deeper than this. In his visual references, sometimes obscure and sometimes incomparably iconic, Blake quietly translates current cultural trends and attitudes in an understated, even poetic manner, deftly presenting social interests and concerns to the contemporary audience experiencing them. Testament to his genius and the enduring success of his work is the manner in which the appeal of his artwork continues to grow as time passes. In some respects they act as time capsules for future generations looking back to these past eras. The silkscreen prints made in the last twenty years, such as the Replay series, or Found Art series (plates 9 to 12), are at once contemporary and yet have a distinctly retro quality. The duality persists when we consider how Blake manages to make work that has a lasting universal appeal, referencing and celebrating mass culture, and yet there is something decidedly personal and intimate about the artist’s approach. First and foremost these feel like pictures created by the artist. These are part of Blake’s world, and yet still feel part of ours.

The highly personal quality of Blake’s work is underscored by the fact that it is not simply icons of popular culture that find their way into his inventory of appropriated imagery. Throughout his long career the artist has created a visual dialogue with contemporary artists and old masters alike. In several key works Blake directly references other artists or pays subtle homage to them. The First Real Target?, a painting dating from 1961 which was revisited as a silkscreen print in 2008 and 2009 (plate 54), is an ordinary archer’s target with the questioning title written across the top in collaged typeface. The work is in dialogue with the paintings of targets by the American pop artist Jasper Johns and the abstract American painter Kenneth Noland, Blake’s transatlantic peers of the time. Considered one of Blake’s most significant works, it is important as it shows the artist contemplating the works being made in his time and taking them a stage further. Others painted targets, Blake employed a real target in his piece, transforming something metaphorical to something with literal connotations. An artist who is of key importance to Blake is Marcel Duchamp, whose pioneering work in the first decades of the twentieth century would set the course for a whole generation of pop artists. Duchamp’s iconic sculptures introduced the idea of the ‘ready made’ into art, that is the artist presented found objects as genuine works of art. Urinals or bicycles could become artworks by virtue of the artist choosing them to be so. Nearly one hundred years later, the revolutionary approach of Duchamp has resonance the world over. Always a Duchamp admirer, Blake is still fascinated by the concept of the found object in art, which is no doubt what makes him such an avid collector of discarded and seemingly valueless ‘things’. In recent years the increasing exactitude of digital technology has allowed the artist to show these found objects in an entirely new way. In his ‘Found’ Silkscreen print series Blake directly scans his object of choice and prints it in an enlarged fashion, subsequently showing every microscopic detail, for instance each individual thread of a flag that could not be seen with the naked eye. Blake chooses things that we would otherwise overlook and with this process monumentalises the discarded, such as matchboxes or cigarette packets. Unlike many of his pop artist peers, Blake is not an artist who has ever worked on a grand scale, and yet in these works it is the manipulation of scale that underscores the potency of the artist’s object selection. Although he is at core a Pop Artist, Blake also displays a fundamental interest in figurative realism. His work often explores and references Victorian imagery, illustrative art, folklore and myths. This is beautifully demonstrated in his Venice and Paris Suites (plate 56 and 57). Blake combines vintage postcards and photographs of these romantic locations and invents his own nostalgic scenes by adding collaged components. The imagery is painstakingly sourced; images of Victorian dancers, musicians, elephants, figures of all ages and types, carriages and even fairies are given a new lease of life in his whimsical scenes.

Another body of work that takes Blake’s collage work in a different direction to his bold pop work is The Butterfly Man Series. The Butterfly Man is a Victorian character reminiscent of childhood picture books and vintage illustration. Seen with a flock of multicoloured and individually collaged butterflies, the quirky eighteenth century protagonist has been shown in Paris, London and Venice taking over familiar locations, conducting a wave of winged colour. To mark his first solo show in Asia, Blake has created a new set of images that appropriate vintage Hong Kong Street scenes (plate numbers 1 to 4). In some respects we cannot help but think of the artist himself when we see the familiar Butterfly Man walking through Queen’s Road Central of decades past or navigating the rickshaws and flower markets. The Butterfly Man is at the very least an alter ego of Blake’s, the quintessential Englishman abroad in an imagined, romanticised environment. The scenes are cultivated from imagery that belongs to a distinctly past era, creating a sense of nostalgia for the Hong Kong of the past, complete with European-style heritage buildings and colonial curiosities. However, Blake’s very interest in what is now a bustling urban metropolis is a positive affirmation, in that it is a response to the growing dynamism of the contemporary art market in the city and Asia more widely. In its use of the butterfly, the series recalls the motif commonly employed by Damien Hirst, another key British artist who has recently turned his attentions to Hong Kong with his first solo show in the city in January 2011. Hirst is a leading figure amongst a generation of artists termed YBAs (Young British Artists) who owe Blake and his peers a debt of gratitude for paving the way for their work of the 1990s. Blake is a known admirer of the YBA generation and since their emergence has supported their work in his position as a curator and teacher. A direct dialogue between the two generations is found in the engaging interview conducted by one of the most well known YBAs, Gavin Turk, with Sir Peter Blake in Spring 2011 for this catalogue (pages 4 - 9). Another key figure of the YBAs, Tracey Emin, appears in one of Blake’s most recent painting series, Marcel Duchamp’s World Tour. In showing Tracey Emin playing chess with the early twentieth century master, Blake also points out the incredibly important role Duchamp played for Emin and her generation too. The art of Sir Peter Blake therefore has a distinct and charming cyclical quality, drawing attention to his peers, old masters, modern art figureheads and also to the scores of artists who graduated in the decades after pop art and who were propelled into a healthy British art scene that Blake and his generation helped to cultivate. In its constant renewal of imagery, both cherished and newly appropriated, the artwork of Blake has continued to remain a vibrant force on the international art scene, as the artist constantly creates new departures in his work, showing no signs of fatigue. It is with great honour that The Cat Street Gallery welcomes this grandee of the art world to Hong Kong.

plates

Plate 1: Dancing Over Hong Kong (HK Butterfly Man Series) Silkscreen collage on canvas (Edition of 10) 152.4 x 91.4 cm 2011 2

Plate 2: Main Street, Hong Kong (HK Butterfly Man Series) Silkscreen collage on canvas (Edition of 10) 152.4 x 91.4 cm 2011

Plate 3: Queen's Road Central, Hong Kong (HK Butterfly Man Series) Silkscreen collage on canvas (Edition of 10) 152.4 x 91.4 cm 2011 2

Plate 4: Flower Street, Hong Kong (HK Butterfly Man Series) Silkscreen collage on canvas (Edition of 10) 152.4 x 91.4 cm 2011

Plate 5: The Butterfly Man, Hollywood (Homage to Damien Hirst) 2

Plate 6: The Butterfly Man, Tunis (Homage to Damien Hirst) 3

Plate 7: The Butterfly Man, Venice (Homage to Damien Hirst) 4

Plate 8: The Butterfly Man, Eastbourne (Homage to Damien Hirst) Silkscreen print (Edition of 100) 58 x 68 cm 2011

Plate 9: 24 Flags (Found Art) Silkscreen print (Edition of 25) 101.6 x 122 cm 2011

Plate 10: Matchboxes (Found Art) Silkscreen print (Edition of 100) 82 x 82 cm 2011

Plate 11: Fifth Avenue (Found Art) Silkscreen print (Edition of 95) 70 x 10.15 cm 2004

Plate 12: Boule (Found Art) Silkscreen print (Edition of 95) 76 x 101.5 cm 2004

Plate 13: Sgt Pepper (Album Artwork) Silkscreen print (Edition of 500) 49.5 x 49.5 cm 2007

Plate 14: Band Aid (Album Artwork) Silkscreen print (Edition of 500) 48.5 x 49.5 cm 2005

Plate 15: Live Aid - The Global Jukebox (Album Artwork) Silkscreen print (Edition of 750) 48.5 x 51 cm 2005

Plate 16: Pentangle (Album Artwork) Silkscreen print (Edition of 100) 48.5 x 48.5 cm 2003

Plate 17: An Alphabet (A and Z Shown) A series of 26 silkscreens, embossed and glazed on Somerset Satin 300 gsm (Edition size 60, signed and numbered) 52.2 x 37.8 cm 2007

Plate 18: A is for Alphabet Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 19: B is for Boxer Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 20: An Alphabet (C shown) A series of 26 silkscreens, embossed and glazed on Somerset Satin 300 gsm (Edition size 60, signed and numbered) 52.2 x 37.8 cm 2007

Plate 21: D is for Dwarves and Midgets Silkscreen print (Edition of 95) 78 x 102 cm 1991

Plate 22: E is for Everly Brothers Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 23: F is for Football Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 24: G is for Girl Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 25: H is for Heart Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 26: I is for Idols Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 27: J is for James Dean Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 28: K is for King Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 29: L is for Love Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 30: M is for Marilyn Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 31: N is for Nude Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 32: O is for Ornithology Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 33: P is for Pachyderm Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 34: Q is for Quarters Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 35: R is for Rainbow Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 36: S is for Sumo Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 37: T is for The Beatles Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 38: U is for Unusual People Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 39: V is for Valentine Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 40: W is for Wrestler Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 41: X is for Xylophonist Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 42: Y is for Yacht Silkscreen pint (Edition of 95) 51 x 72.2 cm 1991

Plate 43: Z is for Zebra Silkscreen print (Edition of 95) 51 x 72.2 cm 1991

Plate 44: Wink (Replay Portfolio) Silkscreen print (Edition of 175) 45.5 x 66 cm 2008

Plate 45: La Vern Baker (Replay Portfolio) Silkscreen print (Edition of 175) 45.5 x 66 cm 2008

Plate 46: Marilyn's Door (Replay Portfolio) Silkscreen print (Edition of 175) 45.5 x 60 cm 2008

Plate 47: Milkmaids (Replay Portfolio) Silkscreen print (Edition of 175) 45.5 x 66 cm 2009

100

Plate 48: Kandy (Replay Portfolio) Silkscreen print (Edition of 175) 45.5 x 66 cm 2009

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Plate 49: Marilyn Monroe Black (Replay Portfolio) Silkscreen print (Edition of 175) 43 x 66 cm 2009

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Plate 50: Motif 10 (6) (Elvis) (Replay Portfolio) Silkscreen Print (Edition of 50) 24 x 30.5 cm 2003

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Plate 51: I Love You (Replay Portfolio) Silkscreen print (Edition of 175) 45.5 x 60 cm 2008

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Plate 52: Some Sources of Pop Art VII Silkscreen print (Edition of 175) 81.5 x 81.5 cm 2009

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Plate 53: Some Sources Of Pop Art III Silkscreen print (Edition of 175) 50.5 x 50.5 cm 2006

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Plate 54: The Second Real Target 25 Years Later Silkscreen print (Edition of 100) 66.6 x 87.3 cm 2009

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Plate 55: Homage to Schwitters Silkscreen print (Edition of 175) 40 x 48 cm 2006

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Plate 56: Eiffel Tower (Paris Quartet) Silkscreen print (Edition of 125) 44 x 67 cm 2010

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Plate 57: Four Man Up (Paris Quartet) Silkscreen print (Edition 125) 44 x 67 cm 2010

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Plate 58: Vichy - Butterfly Man (Vichy Trio) Digital print on canvas (Edition of 10) 135 x 135 cm 2011

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Plate 59: Vichy - A Convention of Comic Book Characters (Vichy Trio) Silkscreen print (Edition of 125) 39.3 x 38 cm 2010

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Plate 60: Vichy - Horseshow (Vichy Trio) Silkscreen print (Edition of 125) 39.3 x 38 cm 2010

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Plate 61: World Tour: Chicago Boating Silkscreen print (Edition of 100) 22 x 30 cm 2010

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Plate 62: World Tour: London, Regatta I Silkscreen print (Edition of 100) 22 x 30 cm 2010

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Plate 63: World Tour: London, Regatta II Silkscreen print (Edition of 100) 22 x 30 cm 2010

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Plate 64: World Tour: London, Multi-Ethnic Crowd Silkscreen print (Edition of 100) 22 x 30 cm 2010

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Plate 65: World Tour: Paris, Mugging Silkscreen print (Edition of 100) 22 x 30 cm 2010

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Plate 66: World Tour: Paris, Parade Silkscreen print (Edition of 100) 22 x 30 cm 2010

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Plate 67: World Tour: Paris, Duel Giant Pig Silkscreen print (Edition of 100) 22 x 30 cm 2010

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Plate 68: World Tour: Cannes, Statuary Silkscreen print (Edition of 100) 22 x 30 cm 2010

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Plate 69: World Tour: Nice, Promenade Silkscreen print (Edition of 100) 22 x 30 cm 2010

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Plate 70: World Tour: Paris Dancing Silkscreen print (Edition of 100) 22 x 30 cm 2010

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Biography

1932 1946 – 1949 1949 – 1951 1950 1951 – 1953 1953 – 1956 1956 – 1957 1961 1962 1964 – 1976 1973 – 1974 1974 1975

1981 1983

1985 1986 1994 1998 2002 2005 2006

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Born 25 June, Dartford, Kent Gravesend Technical College and School of Art; Junior Art Department Gravesend School of Art Accepted by the Royal College of Art, London National Service in the R.A.F. Royal College of Art, London - First Class Diploma (1956) Leverhulme Research Award to study popular art; travelled in Holland, Belgium, France, Italy and Spain Featured in Ken Russell's B.B.C. 'Monitor' film, Pop Goes the Easel First Prize Junior Section, John Moores Liverpool Exhibition First one-man exhibition, Portal Gallery, London Taught at Royal College of Art, London Retrospective exhibition, Stedelijk Museum, Amsterdam touring to Hamburg, Brussels and Arnhem Elected Associate Member of the Royal Academy of Arts, London Founding member of the Brotherhood of Ruralists, with Jann Haworth, Ann and Graham Arnold, David Inshaw, and Annie and Graham Ovenden Elected Member of the Royal Academy of Arts, London Awarded C.B.E. Retrospective exhibition, Tate Gallery, London touring to Kestner Gesellschaft, Hannover Designed poster for Live Aid Publication of Marina Vaizey's monograph Peter Blake Third associate artist of the National Gallery Made Honorary Doctor, Royal College of Art, London Receives Knighthood Designed poster for the Live 8 concert Resigned from the Royal Academy of Arts, London Judge of John Moores 24, Liverpool.

Image courtesy of Rob Carter, 2011

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Book Acknowledgements Peter Blake: New Territory Catalogue written in full by Kate Bryan All images courtesy of Sir Peter Blake and CCA Galleries Catalogue Design The Antithesis 1 Pak Tze Lane, Central www.theantithesis.net

Exhibition Acknowledgements This book was published to accompany an exhibition of the same name Peter Blake: New Territory Thursday 26th May - Saturday 25th June 2011 The Cat Street Gallery at The Space

222 Hollywood Road, Sheung Wan, Hong Kong T: +852 2291 0006 www.thecatstreetgallery.com

Exhibition curated by Kate Bryan Mandy d'Abo and Kate Bryan would like to thank: Sir Peter Blake, Chrissy Blake, Gillian Duke, Lance Trevellyan, Rob and Nick Carter.

210 Hollywood Road, Hong Kong T: +852 2361 1210 www.thespace.hk