6 March - 5 April 2013
JOE TILSON A Survey
Marlborough Fine Art 6 Albemarle Street London W1S 4BY t: +44 (0)20 7629 5161 mfa@marlboroughfineart.com www.marlboroughfineart.com
Love Letters: L‘arte A modo Tilson Marco Livingstone
Joe Tilson is unique among British artists of his generation in being as celebrated in Italy, which he first visited in 1949 and where he has lived and worked for part of every year during most of his adult life, as he is in his native country, and for anchoring his art to the culture of both countries. It was in Rome, after winning the Rome Prize on graduation from the Royal College of Art, that he met his future wife, Joslyn Morton, in 1955, and in Venice, where they shared a studio at Casa Frollo on the Giudecca, that they married a year later. The earliest painting in this exhibition, Pigeons Piazza S. Marco, 1956 which features recent work inspired by his Italian sojourns, was painted in Venice in 1956; it represents a subject, Pigeons Piazza S. Marco, suggestive of a new arrival’s intoxication with this magical city, painted in a straightforward figurative style that he was soon to abandon but with a feeling for the texture and physicality of paint that anticipates the characteristics of his mature work. The coincidence of his marriage and his love affair with Italy, both of which are still going strong nearly six decades later, inject a particular passion into the work that he has made, and continues to make, not only at his studios in Tuscany and Venice but from those sensory and intellectual stimulations on his return to London. Since the late 1960s, before moving in 1972 with their three children from London to Wiltshire, the Tilsons have divided their time between England and a house and studios in the hills near Cortona in Tuscany. A particularly beautiful series of paintings made in 1993 under the title Le Crete Senesi, some of them on a grand scale, evoke the hills around Siena in their forms, mark-making and subdued palette of rich earth colours derived from the ferric oxides of that region. After resettling in London in the late 1990s, the Tilsons’ lives in Italy continued without interruption. Even during his Pop phase of the 1960s Tilson had transmitted his fascination with ancient man-made structures, as in Zikkurat 3 1967 – one of a number of brightly painted wood reliefs alluding to the imposing temple buildings of the Mesopotamian valleys – and in Sky,Greek Cross and Dodecagon of the same year, in which state-of-the-art processes and materials (tri-chromatic screen and
polyurethane on wood relief) give form to shapes and symbols with a history almost as old as that of mankind itself. During the 1970s Tilson immersed himself increasingly in such timeless themes as the four elements and the four seasons (conflated with elegant economy in Mnemonic Device 1974) and in Greek pre-classical mythology. Painted reliefs of the 1980s such as Kore 1986 and Eiresione Version D 1987, constructed from separate wood panels covered in canvas and then decorated with Greek words and emblematic images in succulent colours, convey the artist’s passion for Mediterranean civilizations as the foundation for European culture. The Conjunction paintings begun in 1999 are deeply rooted in Siena, where the first of this extended series was shown in that year at the Palazzo Pubblico alongside an exhibition of terracottas by his wife Jos. Three years after having the honour of designing the banner for the annual Palio di Siena, Tilson took inspiration from the heraldic depictions Conjunction Sangiovese, Arco, 2004 of animals associated with the city’s 17 districts, known as contrade. Though he began with the traditional animals that symbolize each ward, such as the eagle, the she-wolf, the giraffe, the goose and the panther, he had soon produced such a torrent of paintings in this format that he was obliged to add other creatures to this ever-growing bestiary, such as the goldfinch (zaffo), woodpecker (zolla) and swallowtail (orcia). The principle in each case was of the utmost simplicity: two separate conjoined panels, one bearing the Italian name of the animal and the other a simplified heraldic depiction of it, are embedded within a wide wooden frame that itself is decorated in lush colours and repeat patterns that remain endlessly various as the series progresses. Their intimacy of scale, their delight in decorative mark-making and their opulent hues suggest an affinity with the work of his old friend Howard Hodgkin, who during the 1970s was a near neighbour in Wiltshire, but the touch and sensibility are unquestionably Tilson’s own. Bold and assertive in their configurations, like flags of countries from another world, they nevertheless exude a tenderness of feeling and a delight in nature that make them among Tilson’s most life-affirming works.
It is to Venice, however, that Tilson’s current work is directed. Finestra Veneziana San Zan Degola 2008 and associated works, alluding in their titles to the characterful windows of Venetian buildings, breathe new life into a compartmentalized format that Tilson had used in his early Pop constructions, such as the celebrated A-Z Finestra Veneziana Venessia 3, 2009 Box of Friends and Family 1963, and in paintings such as Page 6, Snow White and the Black Dwarf 1969, in which the front page of a countercultural newspaper was reconfigured in the form of screenprinted canvas ‘cushions’ wedged into vertical rows evocative of columns of type. Having worked as a carpenter and joiner for two years from the age of 16, before doing his national service in the RAF and then beginning his art school education, Tilson continued to find exposed wood alluring as a material in itself and as a neutral container for disparate objects (constructed, painted, fabricated): taking his cue from such functional objects as boxes, bookshelves and ladders, in the mid- to late 1970s in particular he created wooden constructions whose compartments were filled with items that could be apprehended as small-scale sculptures and paintings in their own right. It is from that period in his art that he borrows the concept of the new Finestra reliefs, though the objects that fill these compartments are now sometimes brightly-coloured and even made of Lattimo glass (an opaque glass, also known as milk glass, first produced in Murano during the 15th century), highlighting these Venetian credentials. Many of the churches memorialised in Tilson’s newest paintings are located in the sestiere of Dorsoduro, where he and Jos, an accomplished artist who has herself made terracotta sculptures and weavings inspired by Italian architecture, have owned a small house since 2002. San Nicolò dei Mendicoli (‘Saint Nicholas of the Beggars’, a 12th-century structure with a sumptuous later interior), the largely mid-17th century San Pantalon, San Trovaso (dating back to the early 11th century but largely rebuilt in the 16th century) and the early 16th-century Santa Maria della Visitazione are all among the ancient structures with which the artist has become very familiar while strolling around his neighbourhood and which he first drew in sketchbooks and in charcoal on larger sheets
of paper. Every one of these churches has a complex history, with successive alterations layering each building: that sense of accumulated time, and of yet another layer imposed by Tilson’s interpretation, surely formed part of the attraction of the subject. Several of these new paintings make overt reference in their titles to John Ruskin’s The Stones of Venice, published in three volumes between 1851 and 1853, in which the great critic presented an architectural treatise followed by two volumes analysing particular features of Venetian structures The Stones of Venice San Nicolo dei (such as the numerous orders of Mendicoli Diptych, 2012 arches) and specific buildings. As in the other paintings in this series, in The Stones of Venice San Nicolò dei Mendicoli Diptych 2012 the artist homes in on the main entrance, here to the exclusion of the unusually wide façade, simplifying this one section to its main features as they might be held in memory. Each of the small but opulently decorative diptychs named after these publications consists of two wooden panels of equal size, with curved corners, sheathed in canvas. On the right-hand panel of each is a rendering of almost childlike economy – often with notable features eliminated and sometimes even with the overall proportions stretched vertically to accommodate the chosen shape of the support – abutting a panel that features a particularly bold geometric pattern inspired by the stone floors of Venetian churches. The decorative panels, presented as pure abstractions, attest at once to their historic origins and to their paradoxical modernity, just as they oscillate between flat pattern and spatial illusionism. The adjacent panels, though depicting buildings, are resolutely flat, concentrating on the frontality of the elevation and presenting the grand entry-points to these atmospheric structures as portals to the past and to the mysteries of faith embraced by believers. Tilson’s infatuation with Venice, now stretching back over 56 years, shows no sign of abating. It is therefore fitting that four of his most recent paintings, again featuring the façades of favourite Venetian churches, should be voiced as postcards from Venice embedded in giant-sized replicas of envelopes, a rephrasing in his current language of propositions from his Pop works dating back as far as 1963: love letters to the country from which he has drawn a lifetime of inspiration.
LIST OF WORKS 1. PC from Venice I Carmini, 2012
9. Finestra Veneziana Bon, 2010
Acrylic on canvas on wood relief 161 x 150 cm/63½ x 59 in
Acrylic, terracotta relief and shell on wood relief 56 x 58 cm/22 x 22 7/8 in
2. PC from Venice Santa Maria della Visitazione, 2012
10. Finestra Veneziana Vio, 2010
Acrylic on canvas on wood relief 170 x 120 cm/66 7/8 x 47¼ in
Acrylic on wood relief 84 x 44 cm/33 1/8 x 17 3/8 in
3. PC from Venice San Trovaso Venecia, 2012
11. Finestra Veneziana Fondamenta Zattere al Ponte Lungo, 2009
Acrylic on canvas on wood relief 124 x 92 cm/48 7/8 x 36¼ in
Acrylic, glass and Lattimo glass on wood relief 132 x 107.5 cm/52 x 42 3/8 in
4. PC from Venice San Pantalon Veniesia, 2012
12. Finestra Veneziana Venessia 3, 2009
Acrylic on canvas on wood relief 124 x 92 cm/48 7/8 x 36¼ in
Acrylic, oil, glass, Lattimo glass and resin relief on wood relief 103.5 x 105 cm/40¾ x 41 3/8 in
5. The Stones of Venice San Nicolo dei Mendicoli Diptych, 2012
13. Finestra Veneziana San Zan Degola, 2008
Acrylic on canvas on wood panel 43 x 58 cm/16 7/8 x 22 7/8 in
Acrylic, glass and Lattimo glass on wood relief 162 x 28 cm/63¾ x 11 in
6. The Stones of Venice San Zan Degola Diptych, 2011
14. Finestra Veneziana Tullio, 2008
Acrylic on canvas on wood panel 29.5 x 39 cm/11 5/8 x 15 3/8 in
Acrylic and mixed media on wood relief 72 x 63 cm/28 3/8 x 24¾ in
7. The Stones of Venice San Trovaso Diptych, 2011
15. Finestra Veneziana Cortesela della Vida, 2007
Acrylic on canvas on wood panel 29.5 x 39 cm/11 5/8 x 15 3/8 in
Acrylic and mixed media on wood relief 100 x 22 cm/39 3/8 x 8 5/8 in
8. The Stones of Venice S.M. della Visitazione Diptych, 2011
16. Conjunction Hesiod, Kytinos, 2005
Acrylic on canvas on wood panel 23.5 x 31 cm/9¼ x 12¼ in
Oil on canvas on wood panel 175 x 175 cm/68 7/8 x 68 7/8 in
17. Conjunction Barbera, Pavei, 2005
25. Mnemonic Device, 1974
Oil on canvas on wood panel 85 x 120 cm/33½ x 47¼ in
Oil on wood relief 208 x 208 cm/81 7/8 x 81 7/8 in
18. Conjunction Sangiovese, Arco, 2004
26. Page 6, Snow White and The Black Dwarf, 1969
Oil on canvas on wood panel 160 x 190 cm/63 x 74¾ in
Screenprint and oil on canvas on wood relief 95.3 x 57.2 cm/37½ x 22½ in
19. Conjunction Theophrastos, Peperoncino 2004
27. Sky, Greek Cross and Dodecagon, 1967
Oil on canvas on wood panel 120 x 150 cm/47¼ x 59 in
Tri-chromatic screen and polyurethane on wood relief 122 x 244 cm/48 x 96 in
20. Conjunction Swallowtail, Orcia, 1999
28. Zikkurat 3, 1967
Oil on canvas on wood panel 33 x 46 cm/13 x 18 1/8 in
Oil and acrylic on wood relief 216 x 216 cm/85 x 85 in
21. Conjunction Great Spotted Woodpecker, Zolla, 1999
29. Geometry? 3, 1964
Oil on canvas on wood panel 64 x 69 cm/25¼ x 27 1/8 in
Oil and acrylic on wood relief 188 x 188 cm/74 x 74 in
22. Conjunction Goldfinch, Zaffo, 1999
30. Small Odeon Cut-Out, 1962
Oil on canvas on wood panel 51 x 63 cm/20 1/8 x 24¾ in
Oil on wood 68.5 x 53.3 cm/27 x 21 in
23. Eiresione Version D, 1987
31. Pigeons Piazza S. Marco, 1956
Oil on canvas on wood relief 124.5 x 160 cm/49 x 63 in
Oil on canvas 120 x 90 cm/47¼ x 35 3/8 in
24. Kore, 1986 Oil on canvas on wood relief 133 x 133 cm/52 3/8 x 52 3/8 in
1. PC from Venice I Carmini, 2012
2. PC from Venice Santa Maria della Visitazione, 2012
3. PC from Venice San Trovaso Venecia, 2012
4. PC from Venice San Pantalon Veniesia, 2012
5. The Stones of Venice San Nicolo dei Mendicoli Diptych, 2012
6. The Stones of Venice San Zan Degola Diptych, 2011
7. The Stones of Venice San Trovaso Diptych, 2011
8. The Stones of Venice S.M. della Visitazione Diptych, 2011
9. Finestra Veneziana Bon, 2010
10. Finestra Veneziana Vio, 2010
11. Finestra Veneziana Fondamenta Zattere al Ponte Lungo, 2009
12. Finestra Veneziana Venessia 3, 2009
13. Finestra Veneziana San Zan Degola, 2008
14. Finestra Veneziana Tullio, 2008
15. Finestra Veneziana Cortesela della Vida, 2007
16. Conjunction Hesiod, Kytinos, 2005
17. Conjunction Barbera, Pavei, 2005
18. Conjunction Sangiovese, Arco, 2004
19. Conjunction Theophrastos, Peperoncino 2004
20. Conjunction Swallowtail, Orcia, 1999
21. Conjunction Great Spotted Woodpecker, Zolla, 1999
22. Conjunction Goldfinch, Zaffo, 1999
23. Eiresione Version D, 1987
24. Kore, 1986
25. Mnemonic Device, 1974
26. Page 6, Snow White and The Black Dwarf, 1969
27. Sky, Greek Cross and Dodecagon, 1967
28. Zikkurat 3, 1967
29. Geometry? 3, 1964
30. Small Odeon Cut-Out, 1962
31. Pigeons Piazza S. Marco, 1956
BIOGRAPHY Joe Tilson was born in 1928. Having worked as a carpenter and joiner from 1944 to 1946, he served in the RAF until 1949. Following his National Service, he went to St. Martin ‘s School of Art (with Leon Kossoff and Frank Auerbach) and in 1952 to the Royal College of Art (with Peter Blake and Richard Smith). In 1955, after winning the Rome Prize, he went to live and work in Rome where he met Joslyn Morton who was studying with Marino Marini at the Brera in Milan. They lived together at Cefalu in Sicily and, in 1956, were married in Venice from their studio at Casa Frollo on the Giudecca. After some months in Catalonia with Peter Blake they returned to London where Tilson taught at St. Martin’s School of Art from 1958 to 1963, then at the Slade School of Art, University College, London; at King’s College, Newcastle-upon-Tyne; at the School of Visual Arts, New York; and at the Hochschule fur Bildende Kunste, Hamburg.
Belgium in 1971. Other retrospectives took place at the Vancouver Art Gallery in 1979, and at the Arnolfini Gallery, Bristol in 1984. His work is represented in public and private collections worldwide.
For more than forty years Tilson has been making and exhibiting paintings, constructions, reliefs, prints and multiples. Originally associated with the British Pop Art movement in the early 1960s, he was soon led in a different direction by his deeply held convictions and dissatisfaction with the technology and industrial “progress” of the consumer society. “Art”; Tilson has written, “is a symbolic discourse of which alone mankind is capable ... I think of art as a tool of understanding, an instrument of transformation to put yourself in harmony with the world and with life ... The basic given data of experience and the physiological and psychological aspects of procreation, birth, growth and death remain relatively unchanged.”
Other exhibitions include reliefs and sculptures in maiolica and terracotta made with the Cooperativa Cerarnica d’Imola at the Bologna Art Fair, and Le Crete Senesi. These were exhibited at the Gio Marconi Gallery, Milan, the Pinacoteca Macerata, and then the Palazzo Pubblico, Siena, where he was invited to paint the banner for the Palio of 1996. That year he won the Grand Prix d’Honneur at the Biennale of Ljubljana, followed in 1997 by a retrospective exhibition of prints at the Cankarjev Dom, Ljubljana. His one-man exhibition Selected Works was shown at the Castello Doria, Porto Venere, in 1999. In that same year I Tilson, an exhibition of terracottas by his wife Jos and his own Conjunctions, was held at the Palazzo Pubblico, Siena. The exhibition Conjunctions subsequently travelled to the Galleria Comunale d’Arte, Cesena, and the Pinacoteca Civica, Follonica, in 2000. In 2001, selected retrospective exhibitions were organised at Castelbasso and at the Gio Marconi Gallery, Milan, and he was elected Associate of the Accademia di San Luca in Rome. In 2002 a retrospective exhibition in the Sackler Wing of the Royal Academy, London, was followed by a print exhibition at the Alan Cristea Gallery, and a show of paintings at the Beaux Arts Gallery. Also that year Illuminations made a film about the artist in his studio in Tuscany. Another retrospective followed in 2006 at the Palazzo Doria, Loano, and paintings were shown at the Menhir Gallery, La Spezia. In 2007 he exhibited at Waddington Galleries in London and then, the following year, installed works made in glass in Murano at the Bugno Gallery in Venice. The publication of The Printed Works was celebrated in 2009 with an exhibition of the same name at the Alan Cristea Gallery. 2011 XXVI Premio Internazionale di Grafica Do Forni Museo d’Arte Moderna Ca’Pesaro, Venice. 2012 Solo exhibition “Finestre veneziane” Bugno Art Gallery, Venice. 2012-13 Solo exhibition University of Ljublijana.
As Andre Gide wrote, “Toutes choses sont dites déja; mais comme personne n’écoute, il faut toujours recommencer”. The themes Tilson chooses for his works aspire to transcend time and cut across cultures, to communicate the sacred in nature via references to pre-classical mythology, the North American Indians, the Dream Time of the Australian Aboriginals, and Neo-Platonism. Modular structuring devices - the letters of the alphabet, the days of the week, the circular mnemonic devices of Alchera which relate to the four Cardinal points, to the four Elements and to the four Seasons, the lunar months, labyrinths, ladders, words, symbols - are assembled in matrices layered with complex universal meaning. A contemporary of Frank Auerbach, Leon Kossoff, R.B. Kitaj, Peter Blake, Allen Jones, Patrick Caulfield and David Hockney (all students of the Royal College of Art), Tilson first had his works exhibited internationally in 1964 at the XXXII Venice Biennale. A retrospective exhibition at the Museum Boijmans van Beuningen in Rotterdam was also shown in
Tilson’s first one-man exhibition took place at the Marlborough gallery, London, in 1962. He continued to exhibit at their galleries in New York and Rome until 1977 when he joined the Wadddington Galleries. He is currently represented by Marlborough Fine Art and by the Alan Cristea Gallery in London. In 1985 Joe Tilson was elected to membership of the Royal Academy of Arts, London. Tilson has three children, Jake, Anna and Sophy, and lives with his wife Jos in London. Over the past forty-three years he has spent several months of each year at their house in the hills near Cortona in Tuscany and for the last eleven years also at their studio in Dorsoduro in Venice.
Prizes
1970
1955 Rome Prize, Royal College of Art Knapping Foundation Prize
1971 Museum Boijmans van Beuningen, Rotterdam (retrospective) touring to Belgium and Italy Waddington Galleries, London
1957
John Moores Liverpool Exhibition Prize
1960
Gulbenkian Foundation Award
1963
San Marino Biennale (Gold Medal)
1965
VI Exposition Internationale de Gravure, Ljubljana
1967 John Moores Liverpool Exhibition Prize VII Exposition International de Gravure, Ljubljana 1996
Grand Prix d’Honneur, Biennale of Ljubljana
2011
XXVI Premio Internazionale di Grafico Do Forni
Solo exhibitions 1962
Marlborough New London Gallery
1963 Hatton Gallery, Newcastle upon Tyne Ferens Art Gallery, Hull Walker Art Gallery, Liverpool University Art Gallery, Nottingham 1964 Marlborough New London Gallery British Pavillion, XXXII Venice Biennale Modern Galerija, Zagreb 1965 Kunstamt Renickendorf, Berlin Stadt Museum, Recklinghausen Kunstverein, Braunschweig Stedelijk Museum, Amsterdam 1966
Marlborough New London Gallery, London
1967 Galleria del Naviglio, Milan Marlborough Galleria d’Arte, Rome 1968 Galleria Ferrari, Verona Galleria de’Foscherari, Bologna Galerie Brusberg, Hanover
Marlborough New London Gallery
1976
Marlborough Fine Art, Marlborough Graphics, London
1978
Tate Gallery, London (prints)
1979
Vancouver Art Gallery (prints retrospective)
1984
Arnolfini Gallery, Bristol (retrospective)
1990 Centro Culturale Fontanella Borghese, Rome Fortezza Medicea, Cortona 1991 Plymouth City Museum Tour Fromage, Aosta Galerie Inge Baecker, Cologne 1992 Extra Moemia, Todi Waddington Graphics, London Waddington Galleries, London 1993 Multimedia, Brescia Giò Marconi, Milan Cooperativa Ceramica d’Imola Heter A Hunermann Galerie GmbH, Dusseldorf 1994 Pinacoteca, Macerata Galleria Rotta, Genova 1995 Westend Galerie, Frankfurt Palazzo Pubblico, Siena Theo Waddington Fine Art, London Alan Cristea Gallery, London 1996 Annandale Galleries, Sydney Mestna Gallery, Ljublijana 1997
Cankarjev Dom, Ljubljana (prints retrospective)
1998 Theo Waddington Fine Art, London Marino alla Scala, Milan
1999 Peter Guyther Gallery, London Theo Waddington, Boca Raton, Florida Castello Doria, Porto Venere 1999-2000 Palazzo Pubblico, Siena, touring to Galleria Comunale d’Arte, Cesena and Pinacoteca Civica, Follonica 2001 Castelbasso, Abruzzo (restrospective) Giò Marconi Gallery, Milan (retrospective) 2002 Alan Cristea Gallery, London (prints) Beaux Arts Gallery, London Royal Academy of Arts, London (retrospective) 2004
Beaux Arts Gallery, London
2006 Palazzo Doria, Loano (retrospective) Menhir Arte Contemporanea, La Spezia 2007
Waddington Galleries, London
2008
Bugno Art Gallery, Venice
2009
Alan Cristea Gallery, London
2003 Paper Road, Santa Maria della Scala, Siena Global Village the 60s, Montreal Museum of Fine Arts 2003-7 As is When: A Boom in British Printmaking 1961-1972, British Council touring exhibition 2004 Pop Art UK: British Pop 1956-1972, Palazzo Santa Margherita, Modena; Palazzina dei Giardini, Modena 2005-6 Summer of Love: Art of the Psychedelic Era, Tate Liverpool; Schirn Kunsthalle, Frankfurt; Kunsthalle Wien, Vienna British Pop, Museo de Bellas Artes, Bilbao 2006-7
Eye on Europe, Museum of Modern Art, New York
2012-13 Pop Art in Europa, Museum Het Valkhof, Nijmegen, Belgium
Books and Catalogues Arturo Carlo Quintavalle (preface by Pierre Restany), Tilson, Milan, 1977 Gillo Dorfles, Maestri contemporanei: Tilson, Milan, 1982
2011 XXVI Premio Internazionale di Grafica Do Forni Museo d’Arte Moderna Ca’Pesaro, Venice
Maurizio Fagiolo dell’Arco, Opere recenti: Extra Moenia, Todi, 1992
2012 Bugno Art Gallery, Venice
Michael Compton and Marco Livingstone, Tilson, London and New York, 1992
2012-13
University of Ljublijana
Selected Group Exhibitions 2001 Pop Art: US/UK Connections, 1956-1966, The Menil Collection, Houston Les Années Pop, Centre Pompidou, Paris 2002-3 Blast to Frieze: British Art in the 20th Century, Kunstmuseum Wolfsburg; Les Abbatoirs, Tolouse 2003-5 Art and the 60s: This was Tomorrow, Tate Britain, London; Gas Hall, Birmingham Museums and Art Gallery
Enrico Crispolti, Terracotta e maiolica; sculture e rilievi, Imola, 1995 Mel Gooding, Tilson: Pop to Present, Royal Academy of Arts, London, 2002 Enzo Di Martino, Tilson, The Printed Words – L’Opera Grafica 1963-2009, preface by Philip Rylands and texts by Alan Cristea, Enzo Di Martino, Joe Tilson, Papiro Arte, Venice, 2009; Royal Academy of Arts, London, 2010
Public Collections
Museu de Arte Moderna, Sintra
Appleton Museum, Florida
Museum Het Valkhof, Nijmegen
Arts Council England, London Boymans van Beuningen Museum, Rotterdam Bristol City Art Gallery British Council, London British Library, London Christchurch College, Oxford Contemporary Art Society, London Dunedin Art Gallery, New Zealand Ferens Gallery, Hull Galerie der Stadt, Aachen Galleria d’Arte Moderna Museo Civico di Torino, Turin Galleria Nazionale d’Arte Moderna, Rome Gentofte Kommunes Kunstbibliotek, Copenhagen Gulbenkian Foundation, Lisbon Hatton Gallery, Newcastle upon Tyne Herbert Art Gallery, Coventry Johannesburg Art Gallery Kunsthalle, Basel Kunstmuseum, Hannover Kunstverein, Hamburg Laing Art Gallery, Newcastle upon Tyne Leamington Spa Museum Louisiana Museum, Humlebaek Ludwig Múzeum, Budapest Middlesborough Art Gallery Museo de Arte Contemporaneo, Caracas Museo de Arte Moderna de Bahia, Salvador Museo de Arte Moderno, Ciudad Bolivar Museo de Arte, São Paulo
Museum of Art, Carnegie Institute, Pittsburgh Museum of Contemporary Art, Tehran Museum of Modern Art, New York Museum voor Schone-Kunsten, Antwerp National Gallery of Australia, Canberra National Gallery of Ontario, Toronto New College, Oxford Norton Gallery, West Palm Beach Peter Stuyvesant Foundation, Amsterdam Portsmouth Museum Power Gallery of Contemporary Art, University of Sydney Queensland Art Gallery, Brisbane Royal Academy of Arts, London Scottish National Gallery of Modern Art, Edinburgh Sharjah Art Museum, UAE South African National Gallery, Cape Town Southampton Art Gallery Stedelijk Museum, Amsterdam Tate, London The Royal Collection Towner Art Gallery, Eastbourne Ulster Museum, Belfast Università di Parma Victoria & Albert Museum, London Walker Art Gallery, Liverpool Walker Art Center, Minneapolis Whitworth Art Gallery, University of Manchester Wolverhampton Art Gallery Yale Center for British Art, New Haven
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Cover: Finestra Veneziana Fondamenta Zattere al Ponte Lungo, 2009 (detail) Photography: Francis Ware Designed by Shine Design, London Print by Impress Print Services Catalogue no. 624 ISBN 978-1-904373-05-6 Š 2013 Marlborough
JOE TILSON A Survey