Thérèse Oulton Elsewhere
Thérèse Oulton Elsewhere
Front cover: Rock Face 2014 | This page: Quarry II 2011
5 -27 September 2014
ThÊrèse Oulton Elsewhere
Marlborough Fine Art 6 Albemarle Street London W1S 4BY t: +44 (0) 20 7629 5161 e: mmiller@marlboroughfineart.com www.marlboroughfineart.com
The Art of Survival?
What does it mean to imagine the world destroyed? The proposition makes no sense since, if the world has been destroyed, there would be no one left to imagine it.
This is why disaster movies like I Am Legend or even novels like
From the beginning of her career, Oulton’s immovable commitment
Cormac McCarthy’s The Road are so misleading or even comforting. Someone, however precariously, always survives, as well as the spectator or reader who is watching. How, then, to represent a world on the verge of extinction, or one which has extinction already written across its surface? How or where should you place the viewer of a vanishing world? How to paint the earth lovingly but without false solace, a world in which love might be impotent?
has been to paint as matter. Today, the world as matter – what we have done to it, whether it can survive our depredations - is the burning issue. We could say that the world has finally caught up with her (although one suspects that this would be cold comfort). For Oulton this has always been a political question. Oulton has never fully belonged inside the landscape tradition which might seem her most obvious affiliation. As early as 1987, she explained her distance in terms of a control she was not interested in exerting. The problem was how landscape is 'appropriated both in the real world and in the painted landscape'.6 'I see it', she continued, 'as a kind of parallel – finding a way of approaching the subject of paint. Treating it less brutally.'7
Since her 2010 exhibition, Territory, Thérèse Oulton has been quietly painting herself into the heart of these questions. Not for the first time, she places us in the realm of something which it is almost impossible to envisage. As with all Oulton’s work, the paintings of Elsewhere, this new exhibition, are disarmingly exquisite, but they do not pretend to redeem man’s destructiveness. This dilemma requires new forms. It calls for what Rosa Luxemburg once described as `a new guest… the human being,’ – she was writing with reference to a devastating volcanic eruption in 1902 on the island of Martinique.1 Oulton, we might say, is creating a new viewer, one who has to look in two self-contradictory, or self-annihilating directions at once. First she brings your face right up to the world’s surface, closer probably than you have ever experienced it before. But then, at the very moment you have ceded such intimacy, she manages to give you the sensation of a world hurtling to the point when there might no longer be anything, or anybody, there. 'Suppose', Oulton has recently suggested 'we are witnessing a whole form of life collapsing, ceasing to exist as the determinant form of the human?'2 The paintings of Elsewhere demand a peculiar type of `inhuman proximity’ – from artist and viewer alike. 'Does the space of belonging', she asks, 'survive at all?'3 According to scientific commentator, Elizabeth Kolbert, we have entered the epoch of the 'sixth extinction' – the most devastating of the first five took place some 250 million years ago and almost emptied out the earth altogether (it is known as 'the mother of mass extinctions' or 'the great dying'.)4 This time around, Kolbert writes, the extinction is of our own making. The cataclysm, as she puts it, 'is us'.5
She was way ahead of herself (and indeed most of us), although the continuities between the almost overwhelming lushness and density of the earlier work – from Fools’ Gold of 1984 to Lines of Flight of 2003-2005 – and the painstakingly detailed recording of a disintegrating world in the later paintings are stronger than one might at first think. For me, Oulton has always been a painter of unique, uncompromising, sensuousness. I have always seen her as digging her nails into the rock faces, into the underground hollows and sludge of the earth (what landscape mostly chooses not to represent). This is the process of her art, as she herself has described it. Oulton slides her paint across the canvas, one skin deep, no one brush mark on top of another: 'It’s only touched once'.8 The key aesthetic demand seems to be that of preventing each trace and gesture from being wiped out by the next. To that extent, hers has always been an aesthetic of care, a means, as she once put it, of 'letting the whole take care of itself.'9 Today the stakes of such a commitment are higher. Once we recognise – although many still deny – the damage we have wrought on the earth, then everything starts to look different. The whole tradition of landscape painting, for instance, might seem like a defensive form of art: 'Might the petrified fixity of a painted landscape be an effect of anxiety', Oulton now asks, 'to freeze this
Jacqueline Rose
narrative moment towards catastrophe?'10 To look at these paintings
against each other. We see the same effect in Fissure and Glacier,
is to register the anxiety and beauty in the same place. Pleasure becomes its own warning-signal, as if today, against the more familiar norms of aesthetic appreciation, pleasure could only be anxious, a form of experience permanently menaced by itself.
where the ice seems to be packing itself against a darker mass that threatens at the far edge of the canvas. A concave shape at the lower right hand edge of Glacier, rents the surface, as though the ice, and the whole painting with it, is about to be sucked into a black hole. What we have done – Oulton shows us like no other painter today – is pitch the elements into an unending war.
Seen in this light, there is something deceptive about the titles of these paintings – Glacier, Quarry, Headland, Rock Face and Ice – which might suggest the world is available to be classified and known. Oulton has always pitched herself against such over-arching presumption. In fact, all we are being given are the geographical feature – the sites have no place names and could be anywhere (thus always potentially elsewhere). The overall effect of these paintings is one of vertigo and groundlessness, a world endlessly on the move. Such radical disorientation can be read as a type of political resistance in itself. As she put it in relation to Territory: 'matter constantly shifting about, unfit to be the landscape of political control'.11 Even as the meticulous differentiation of the painted surface is also a way of holding on to the swill and soil of the earth, insisting against all odds on its 'thereness' (her word).12
Jacqueline Rose writes more fully about Thérèse Oulton’s work in Women in Dark Times (Bloomsbury) (Endnotes) R osa Luxemburg, 'Martinique,' 1902, The Rosa Luxemburg Reader, ed. Peter Hudis and Kevin B. Anderson (New York: Monthly Review Press, 2004), p. 123.
1
' Notes,' Conversation with Jacqueline Rose, London, 15 May 2014.
2
A terminal moraine, I then discover, is the snout of a glacier marking its maximum advance. The dense brown at the base of the canvas is in fact the debris accumulated by plucking and abrasion which is then deposited in a heap by the glacier at the point where it can go no further – as if you could lay down your arms by dumping the shit of your enemy at his own feet. In Norway, there is a terminal moraine called 'Giant’s Wall' which, according to legend was built by giants to keep out invaders. Oulton is now placing herself on the other side of the sublime. Be awed by nature – so long as you recognise that today the awe arises less from nature’s magnificence than from the human capacity to destroy it.
The paintings of Territory showed the world as scarred. Images, reduced in scale from the vast earlier canvases, picked out the microscopic details of the ravaged earth with a precision we had not seen in Oulton’s paintings before. This was another split injunction – we were being asked to focus minutely on something that was also vanishing before our eyes. The paintings of Elsewhere can be seen as her response to the anxiety of that predicament which it also intensifies. Something elemental has entered the paintings, which are mostly now larger in scale. Ice hits rock, glaciers seem to be moving across the canvas, as if nature were now miming the endless
Elsewhere, the title of this exhibition, has another meaning. It refers, more simply but no less disquietingly, to rootlessness as the condition of our times, to migrants, asylum seekers and refugees as the ghostly figures in our landscape. Writing on stateless people in the 1950s, Hannah Arendt described how a person deprived of citizenship is reduced to what she called the 'dark background of mere difference' – a realm in which 'man cannot change and cannot act and in which, therefore, he has a distinct tendency to destroy'.13 Millions of people today are homeless, in flight from the ravages of wars (more than after the Second World War when Arendt was writing). Take together as two forms of violence, assaults
slide of Oulton’s paint. In Terminal Moraine, for example, as we look at the canvas, the paint seems to be coagulating, thickening, each stroke, each element struggling to hold its ground and stay in its own place. The ice, swathes of white almost but not quite broken by miniscule variations of tone, and the earth, thick brown marks coiling into their own depths, appear to be – barely - holding out
on the ground – in military terms – and on the body of the earth are of course profoundly linked, testament to the same deadly conglomerates of power. In paintings of often stunning luminosity, Thérèse Oulton manages to paint us into the darkest spaces of our times, displaying once again her exceptional, on-going relevance, for anyone trying to understand them.
' Notes,' Conversation with Jacqueline Rose, London, 15 May 2014.
3
Elizabeth Kolbert, The Sixth Extinction – An Unnatural History (London: Bloomsbury, 2014), p. 6.
4
Kolbert, p. 267 and jacket.
5
' Interview with Sarah Kent,' FlashArt, 127, April 1987, p. 43.
6
' Interview with Sarah Kent,' FlashArt, 127, April 1987, p. 43. My emphasis.
7
' Interview with Sarah Kent,' FlashArt, 127, April 1987, p. 41.
8
' Double Vision: Thérèse Oulton in conversation with Stuart Morgan', Artscribe International, 69, May 1988, p. 8.
9
' Notes,' Conversation with Jacqueline Rose, London, 15 May 2014.
10
Thérèse Oulton, 'Brief Notes on a Change of Identity,' Territory (London: Marlborough Fine Arts Publications, 2010), (p. 5 – pages unnumbered).
11
' Notes,' Conversation with Jacqueline Rose, London, 15 May 2014.
12
Hannah Arendt, The Origins of Totalitarianism, (New York: Harcourt Brace Jovanovich, 1979), p. 301-302.
13
List of works All works are oil on canvas unless stated otherwise and entitled, dated and signed on reverse. Relief 2011 30.5 x 62.2 cm. / 12 x 241/2 in.
Pipeline 2011 31.1 x 64.1 cm. / 121/4 x 251/4 in.
Rock Face 2014 60.5 x 94 cm. / 237/8 x 37 in.
Quarry I 2011 42.5 x 64.1 cm. / 163/4 x 251/4 in.
Moraine 2013-14 62.5 x 94 cm. / 245/8 x 37 in Private Collection
River System 2010 30.2 x 50.2 cm. / 117/8 x 193/4 in.
Quarry II 2011 Oil on aluminium 29.2 x 64.1 cm. / 111/2 x 251/4 in.
Glacier 2013-14 127 x 160 cm. / 50 x 63 in.
Marsh 2010 32.1 x 40.3 cm. / 125/8 x 157/8 in.
Quarry with Pool 2013-14 60.5 x 93.5 cm. / 237/8 x 363/4 in.
DRAWINGS
Shingle 2010 29.8 x 55.6 cm. / 11他 x 217/8 in.
Quarry III 2011 oil on aluminium 48.9 x 73.7 cm. / 191/4 x 29 in.
Pacific 2010 30.2 x 55.6 cm. / 117/8 x 217/8 in. Granite 2010 Oil on aluminium 38.1 x 61 cm. / 15 x 24 in.
Coastline 2011 oil on aluminium 48.9 x 66.0 cm. / 191/4 x 26 in. Headland 2013-14 54 x 82.5 cm. / 211/4 x 321/2 in.
Estuary 2010 Oil on aluminium 38.1 x 61.0 cm. / 15 x 24 in.
Glacier 2013 62.5 x 94 cm. / 245/8 x 37 in.
Long Shore Drift 2011 28.3 x 41.9 cm. / 111/8 x 161/2 in.
3323m 2012 60.5 x 90 cm. / 237/8 x 353/8 in.
Below Sea Level 2010 40.6 x 61.3 cm. / 16 x 241/8 in.
Terminal Moraine 2013-14 120 x 185 cm. / 471/4 x 727/8 in.
Green Belt 2010 23.8 x 44.1 cm./ 93/8 x 173/8 in.
Fissure 2013-14 33.5 x 64 cm. / 131/4 x 251/4 in.
Bridge 2011 Oil on aluminium 47 x 61 cm. / 181/2 x 24 in.
Ice 2014 80.5 x 94.5 cm. / 313/4 x 371/4 in.
Flood Plain 2011 Oil on aluminium 47 x 61 cm. / 181/2 x 24 in.
Incline 2012 60.5 x 89 cm. / 237/8 x 35 in.
All works are pencil on Whatman paper, watermarked and dated 1939. Each work is 68.5 x 45 cm. / 173/4 x 27 in. Signed and dated lower right. Winter I 2013-14 Winter II 2013-14 Winter III 2013-14 Winter IV 2013-14 Winter V 2013-14 Winter VI 2013-14 Winter VII 2013-14 Winter VIII 2013-14 Winter IX 2013-14 Winter X 2013-14
Relief 2011 30.5 x 62.2 cm. / 12 x 241/2 in.
River System 2010 30.2 x 50.2 cm. / 117/8 x 193/4 in. Marsh 2010 32.1 x 40.3 cm. / 125/8 x 157/8 in.
Shingle 2010 29.8 x 55.6 cm. / 11他 x 217/8 in. Pacific 2010 30.2 x 55.6 cm. / 117/8 x 217/8 in.
Granite 2010 Oil on aluminium 38.1 x 61 cm. / 15 x 24 in. Estuary 2010 Oil on aluminium 38.1 x 61.0 cm. / 15 x 24 in.
Long Shore Drift 2011 28.3 x 41.9 cm. / 111/8 x 161/2 in. Below Sea Level 2010 40.6 x 61.3 cm. / 16 x 241/8 in.
Green Belt 2010 23.8 x 44.1 cm./ 93/8 x 173/8 in.
Bridge 2011 Oil on aluminium 47 x 61 cm. / 181/2 x 24 in. Flood Plain 2011 Oil on aluminium 47 x 61 cm. / 181/2 x 24 in.
Pipeline 2011 31.1 x 64.1 cm. / 121/4 x 251/4 in. Quarry I 2011 42.5 x 64.1 cm. / 163/4 x 251/4 in.
Quarry II 2011 Oil on aluminium 29.2 x 64.1 cm. / 111/2 x 251/4 in.
Quarry with Pool 2013-14 60.5 x 93.5 cm. / 237/8 x 363/4 in. Quarry III 2011 oil on aluminium 48.9 x 73.7 cm. / 191/4 x 29 in.
Coastline 2011 oil on aluminium 48.9 x 66.0 cm. / 191/4 x 26 in. Headland 2013-14 54 x 82.5 cm. / 211/4 x 321/2 in.
Glacier 2013 62.5 x 94 cm. / 245/8 x 37 in. 3323m 2012 60.5 x 90 cm. / 237/8 x 353/8 in.
Terminal Moraine 2013-14 120 x 185 cm. / 471/4 x 727/8 in.
Fissure 2013-14 33.5 x 64 cm. / 131/4 x 251/4 in. Ice 2014 80.5 x 94.5 cm. / 313/4 x 371/4 in.
Incline 2012 60.5 x 89 cm. / 237/8 x 35 in. Rock Face 2014 60.5 x 94 cm. / 237/8 x 37 in.
Moraine 2013-14 62.5 x 94 cm. / 245/8 x 37 in Private Collection Glacier 2013-14 127 x 160 cm. / 50 x 63 in.
Drawings
Winter I 2013-14 Winter II 2013-14
Winter III 2013-14 Winter IV 2013-14
Winter V 2013-14 Winter VI 2013-14 Winter VII 2013-14
Winter VIII 2013-14 Winter IX 2013-14 Winter X 2013-14
Biography
1953 Born in Shrewsbury, Shropshire, England 1975‑9 St. Martin’s School of Art, London 1980-3 Royal College of Art, London 2014 Lives and works in London and Nice
SOLO EXHIBITIONS
1984 Peterborough City Museum and Art Gallery Fool’s Gold: New Paintings, Gimpel Fils, London 1985 Recent Paintings, Museum of Modern Art, Oxford 1986 Letters to Rose, Galerie Krinzinger, Vienna Skin Deep, Galerie Thomas, Munich Galerie am Moritzplatz, Berlin 1987 Monoprints, Marlborough Graphics, London 1988 Lachrimae, Marlborough Fine Art, London 1989 Hirschl & Adler, New York Works on Paper, Marlborough Graphics, London 1990 Paintings and Prints, Pittsburgh Centre for the Arts Recent Paintings, Marlborough Fine Art, London 1991 Paintings and Works on Paper, L.A. Louver Gallery, Los Angeles From the Sphinx to the Lizard: Recent Watercolours, Marlborough Graphics, London 1992 Abstract with Memories, Marlborough Fine Art, London Monoprints and Etchings, Marlborough Graphics, London 1994 Marking Time, L.A. Louver Gallery, Los Angeles New Monoprints, Marlborough Graphics, London Recent Paintings, Marlborough Gallery Inc., New York 1997 Wavelength – Recent Paintings 1995 - 97, Marlborough Fine Art, London 1997/98 Peterborough Art Museum and Gallery 1998 Illuminations, Marlborough Graphics, London Peterborough Art Museum and Gallery, Peterborough 1999 Illuminations, Oxford Gallery, Oxford
2000 New Mezzotints and Monotypes, Marlborough Graphics, London Slow Motion – Recent Paintings 1997-2000, Marlborough Fine Art, London Thérèse Oulton, University Gallery, Newcastle-upon-Tyne 2002 Illuminations, Wyards Printworks, Faversham 2003 Clair Obscur – Recent Paintings and Watercolours, Marlborough Fine Art, London 2006 Lines of Flight – Recent Paintings and Prints, Marlborough Fine Art, London 2010 Thérèse Oulton – Territory, Marlborough Fine Art, London, 10 February – 13 March
SELECT GROUP EXHIBITIONS
1982 John Moores, Walker Art Gallery, Liverpool 1983 Germinations, Kassel, Germany Place II, Gimpel Fils Gallery, London Painting 1983, Warwick Arts Trust, London 1984 Home and Abroad: An Exhibition of Recent Acquisitions for the Arts Council and British Council Collections, Serpentine Gallery, London The Image as Catalyst: The Younger Generation of English Figurative Painters, Ashmolean Museum, Oxford The British Art Show, Birmingham City Museum and Art Gallery Landscape, Memory and Desire, Serpentine Gallery, London 1985 John Moores, Walker Art Gallery, Liverpool 1986 How Much Beauty Can I Stand: Contemporary Landscape Painting, Australian Centre for Contemporary Art, Victoria British Art and Design, Künstlerhaus, Vienna The Sixth Biennale of Sydney: Origins, Originality and Beyond Recent British Painting, British Council exhibition, National Art Gallery, Kuala Lumpur and Far East tour
American/European: Painting and Sculpture, L.A. Louver Gallery, Los Angeles
1994 British Abstract Painting, Flowers East, London
Marina Vaizey, ‘British Art’, Sunday Times
Prospect 86, Kunstverein Frankfurt
Group Show, Marlborough Fine Art, London
British Art of the 1980’s, British Council exhibition, Liljevalchs Konsthall, Stockholm, Sweden and Sara Hilden Museum, Tampere, Finland
Campbell, Le Brun, Oulton, Marlborough Gallery Inc., New York
John Roberts, ‘Fetishism, Conceptualism, Painting’, Art Monthly
Kunst aus den achtziger Jahren, A11 Artforum, Munich Monoprints, L.A. Louver Gallery, Los Angeles Galerie Krinzinger, Innsbruck
Maine
William Feaver, ‘Startling Images’, Observer
1985 Marina Vaizey, ‘Kritiker Umfrage’, Art
1994-5 An American Passion: The McLellan Galleries, Glasgow, Royal College of Art, London
Waldemar Januszczak, ‘The Church of the New Art’, Flash Art
1995 Contemporary British Art in Print, Scottish National Gallery of Modern Art, Edinburgh; Yale Center for British Art, New Haven, Connecticut
Jane Clarke, ‘Thérèse Oulton’, MOMA, Oxford, Spare Rib Marina Vaizey, ‘Making a Drama out of a Landscape’, Sunday Times
Introducing with Pleasure: Star Choices from the Arts Council Collection, Gardner Centre, Brighton and tour
Art in Worship, Worcester Cathedral Contemporary Art at the Courtauld: The East Wing Collection, Courtauld Galleries, London
Michael Archer, ‘No Birds Sing’, Art Monthly
Oulton, Prangenberg, Snyder, Hirschl & Adler, N.Y.
1995-96 A Passion for the New, Tel Aviv Museum
Turner Prize Display, Tate Gallery, London
Jane Withers, ‘Pitching Paint’, The Face
2000 Le Brun, Campbell, Oulton, Davies, Raab Galerie, Berlin
Jane Norrie, ‘David Mach, Thérèse Oulton’, Arts Review
London International Small Print Biennale, Morley Gallery
The British Picture, L.A. Louver Gallery, Los Angeles
Anna Bonshek, ‘Feminist Romantic Painting: A Reconstellation’, Artist’s Newsletter
Gallery Aasen, Norway
Light and Space, Crawford Arts Centre, St. Andrews
Alistair Hicks, ‘Moores or Less’, The Spectator
2005 Raised Awareness, Tate Modern
The New British Painting, Contemporary Arts Center, Cincinnati and tour
John McEwen, ‘Report from London’, Art in America
2006 Summer Exhibition, Marlborough Fine Art, London
Stuart Morgan, Thérèse Oulton, Gimpel Fils Gallery, Serpentine Gallery, Museum of Modern
1988 The Romantic Tradition in Contemporary British Painting, Sala de Exposiciones de Palacio de San Esteban, Murcia Circulo de San Esteban, Madrid
A Green Thought in a Green Shade, Pomeroy Purdy Gallery, London 100 Years of Art in Britain, Leeds City Art Gallery 1989 Blasphemies, Ecstasies, Cries, Serpentine Gallery, London and tour 1990 3 Ways, British Council/Royal College of Art touring Fine Art Academy, Budapest, and tour to Poland The Forces of Nature: Landscape as Metaphor, Manchester City Art Galleries and Harris Museum, Preston Aperto, Venice Biennale The Unique Print, Museum of Fine Arts, Boston, MA 1991 Discerning Eye 1991, Mall Galleries, London
2008 Marlborough Fine Art London and Arque Chiado, Arque Chiado Art Gallery, Lisbon, Portugal
Peter Fuller, ‘Fool’s Gold’, Art Monthly
Art, Oxford, Artforum
2009 Works on Paper, mixed exhibition, Marlborough Fine Art London
1986 Sarah Kent, ‘Interview with Thérèse Oulton, Flash Art
Peter Mehr, ‘Thérèse Oulton at Krinzinger’, Artscribe
SELECT BIBLIOGRAPHY
Kristian Sotriffer, ‘Die Stimme Lebloser Dinge’, Die Presse Vienna
1982-3 Deanne Petherbridge, Art Monthly
Barbara Steffan, ‘Letters to Rose’, Vernissage Vienna
Matthew Collings, ‘Place I and II’, Artscribe, August
1987 Greta Scacchi, ‘Introducing with Pleasure’, Sunday Telegraph Magazine
Waldemar Januszczak, ‘Painting 1983’, Galleries Briefings, Guardian 1984 Patrick Kinmouth, ‘Thérèse Oulton Painting’, Vogue Waldemar Januszczak, ‘A Clear Case for Tub‑Thumping’, Guardian
1992 Art at Broadgate, Broadgate, London
Tony Godfrey, ‘Romantic Landscape in the Age of Materialism’, Artscribe
Nash, Oulton, Virtue, L.A. Louver Gallery, Los Angeles
John Spurling, ‘Arts’, New Statesman
1993 Skowhegan Show, Colgate University Art Museum,
Sarah Kent, ‘The Alchemist’, Time Out
Rosa Lee, ‘Resisting Amnesia: Feminism, Painting and Postmodernism’, Feminist Review 1988 Marina Vaizey, ‘Critic’s Choice’, Sunday Times Waldemar Janunszczak, ‘Cute in the Third Dimension’, Guardian William Feaver, ‘Star Signs’, Observe Richard Dorment, ‘Unfamiliar Landscapes’, Daily Telegraph
Andrew Graham‑Dixon, ‘In the Dark Wood’, The Independent
Andrew Renton, ‘Thérèse Oulton’, Flash Art
Alistair Hicks, ‘Fickle Fashion Defied’, Times
William Wilson, ‘Grace under Pressure’, L.A. Times
Marina Vaizey, ‘Pictures in the Mind’s Eye’, Sunday Times
Todd Baron, ‘Thérèse Oulton’, Artscene
Judith Higgins, ‘Painted Dreams’, Artnews Richard Cork, ‘All Passion Spent’, The Listener
Simon Morley, ‘Thérèse Oulton, Tema Celeste
Kristine McKenna, ‘Breaking into the BBC’, L.A. Times Calendar
1995 Andrew Benjamin, “Other Abstractions: Thérèse Oulton’s Abstract with Memories”, Journal of Philosophy and the Visual Arts Thérèse Oulton, “Notes on Painting, 1994”, Journal of Philosophy and the Visual Arts Thérèse Oulton, “Saturations No. 4”, Art and Design 1997 Peter Gidal, “Different and the Same”, act 3
Michael Sheperd, Daily Telegraph, ‘Fairy Craft’
Lita Barrie, ‘An Alchemist of English Landscape’, Artweek
David Cohen, ‘Thérèse Oulton’s Painting: The Jewels of Art History’, Modern Painters
Michael Anderson, ‘Thérèse Oulton at L.A. Louver’, Art Issues
Tony Godfrey, Art in America Brian Hatton, Artforum
Tony Godfrey, ‘A British painting for the ‘90’s’, Art in America
‘Double Vision: Thérèse Oulton in Conversation with Stuart Morgan’, Artscribe
Charles Hall, ‘Thérèse Oulton: Watercolours’, Arts Review
Thérèse Oulton, “Superimposition”, Modern Painters
John Welchman, ‘A Softer Euphoria’, Art International
David Pagel, Thérèse Oulton, Arts Magazine
1989 Michael Brenson, ‘Thérèse Oulton, Hirschl & Adler’, N.Y. Times
1992 James Hyman, Richard Cork & Jane Martineau, “An Artist for All Seasons”, R.A. Magazine
David Cohen, “Painting in London: Through Thick and Thin”, ArtNet Worldwide
Judith Higgins, ‘Thérèse Oulton, Hirschl & Adler’, Artnews
Andrew Lambirth, “The Loss of Perfection”, R.A. Magazine
Charles Hagen, ‘Thérèse Oulton, Hirschl & Adler’, Artforum
Clayton Campbell, “Marking Time”, Art in America
Charles Millard, ‘Garner Tullis’, Print Quarterly
Mark Sladen, “Painter and Decorator”, New Statesman
Carolyn Cohen, ‘The New British Painting’, Art & Design
“Art Preview”, The Sunday Times Magazine
David Cohen, ‘Thérèse Oulton’s Printmaking’, Print Quarterly
Sarah Kent, “Thérèse Oulton”, Time Out
1990 Catherine Fischer, ‘Painterly Arguments’, Harpers and Queen Tom Lubbock, ‘Meltdown in a Painting Powerhouse’, The Independent on Sunday Guy Burn, Arts Review Sarah Kent, ‘Thérèse Oulton’, Time Out Larry Berryman, ‘Thérèse Oulton’, Arts Review Marina Vaizey, ‘Invitations Into Magical Worlds’, Sunday Times Peter Fuller, ‘Can Abstract Pictures Be Great Art?’, Sunday Telegraph Arthur Berman, ‘Secret Gardens’, TNT Magazine ‘Precipitate – Thérèse Oulton’, The Burlington Magazine
James Burr, “The Confines of Style”, Apollo Magazine
“Abstract with Memories”, The Art Newspaper Tim Hilton, “Otherworldly Abstractions”, The Guardian Tania Guha, “Thérèse Oulton”, City Limits
William Feaver, “Exhibition of the Week”, Observer Life John Russell Taylor, “Around the Galleries”, The Times Waldemar Januszczak, “The quick and the dead”, Sunday Times John Slyce, “Thérèse Oulton”, What’s On Thérèse Oulton, Art Review
Frances Spalding, “London: Caulfield, Scott, Oulton, Riley”, Burlington Magazine Mick Finch, “Painting as Vigilance”, Contemporary Visual Arts Nigel Reynolds, “Downing Street has a brush with the present”, The Daily Telegraph 2003 Sarah Kent, “Thérèse Oulton’s Light Reading”, Time Out Elspeth Moncrieff, “Thérèse Oulton: Clair Obscur”, The Art Newspaper Hephzibah Anderson, “Thérèse Oulton’s Clair Obscur”, Evening Standard Metro Life
The World of Interiors
Rachel Campbell-Johnson, “Thérèse Oulton, Best London Exhibitions”, The Times
“Viewpoints”, Arts Review
William Feaver, “Thérèse Oulton”, ArtNews
“Thérèse Oulton”, Fine Arts Tableau Magazine, Amsterdam
2010 Nicholas James, Surface Ciphers Thérèse Oulton: Territory, Artslant online magazine http://www. artslant.com/lon/articles/show/13546
Suzanne Reilly, “Abstract with Memories”, Women’s Art Andrew Renton, Flash Art 1994 Susan Kandel, “Thérèse Oulton’s Paintings Are Echoes from the Void”, L.A. Times Jeff Wright, “Preserving the Future - Three British Painters Are Back in New York”, Cover Magazine
Germaine Greer, Painting landscapes requires authority. Is this why so few women try them?, Arts Comment, The Guardian, 1 March www.guardian. co.uk/artanddesign/2010/feb/28/germaine-greertherese-oulton-landscapes
Gabor Gabriella, “Beleszeretett a Modern Festeszetbe”, Epes Europa Magazine
CATALOGUE INTRODUCTIONS
Germinations, Kassel and tour, 1983
Enrique Juncosa, ‘Thérèse Oulton’, Lapiz
Constance Mallinson, “Thérèse Oulton at L.A. Louver”, Art in America
Pacesetters 4, Peterborough City Museum and Art Gallery, August/September 1984
Marjorie Althorpe-Guyton, Artforum
Clayton Cambell, “L.A.Louver”, L.A., Flash Art
Peter Gidal / Catherine Lampert, Thérèse Oulton, Fool’s Gold, Gimpel Fils, 1984
Gary Phillips, ‘Thérèse Oulton’, City Limits Margaret Drabble, ‘Thérèse Oulton’, Modern Painters
Adrian Searle, ‘Thérèse Oulton, Artscribe
PUBLIC COLLECTIONS
Jaynie Anderton, The Image as Catalyst, Ashmolean Museum, 1984
Jane Burton, editor, The East Wing Exhibition, Contemporary Art at the Courtauld, 1996
Marjorie Althorpe‑Guyton, Jon Thomas, Alexander Moffat, The British Art Show:
John Slyce, Thérèse Oulton - Stillness follows, Slow Motion catalogue 2000
Birmingham Museum and Art Gallery
Birmingham City Museum and Art Gallery and tour 1984/85
Thérèse Oulton & Peter Gidal: Speaking of these paintings, Clair Obscur catalogue 2003
British Museum, London
Michael Archer, Tony Godfrey, Landscape, Memory and Desire, Serpentine Gallery, London, 1984/85
Richard Cork, Between Two Worlds, Lines of Flight catalogue, 2006
John Moores Liverpool Exhibition 14, Walker Art Gallery, Liverpool, 1985
Thérèse Oulton, Brief Notes on a Change of Identity, Territory catalogue 2010
Fitzwilliam Museum, Cambridge
Mary Rose Beaumont, Recent British Painting, National Art Gallery, Kuala Lumpur and Far East tour, 1985/86
Jacqueline Rose, Thérèse Oulton, The Art of Survival?, Elsewhere catalogue, 2014
Harris Museum and Art Gallery, Preston
Sue Cramer, How Much Beauty Can I Stand, Australian Centre for Contemporary Art, Victoria, 1986
BOOKS
Mel Gooding, Marina Vaizey, Britain in Vienna, Künstlerhaus, Vienna, 1986
Tony Godfrey, The New Image: Painting in the 1980’s , Phaidon Press, 1986
Sarah Kent, The Sixth Biennale of Sydney 1986
Alistair Hicks, The School of London: The Resurgence of Contemporary Painting, Phaidon Press, London 1989
Prospect 86, Kunstverein Frankfurt, 1986
British Council, London Broadgate, London Cleveland County Museum Service Government Art Collection Leeds City Art Gallery Leicestershire Education Authority Library of Congress, Washington D.C. Mead Gallery, University of Warwick Metropolitan Museum of Art, New York Merrill Lynch Investment Advisors, London Museum of Fine Art, Boston
Whitney Chadwick, Women, Art and Society , World of Art, Thames and Hudson, 2014
Museum of Contemporary Art, San Diego
Angela Moorjani, The Aesthetics of Loss and Lessness, MacMillan, 1992
Peterborough City Museum & Art Gallery
Paul Crowther, Critical Aesthetics and Postmodernism, Clarendon Press, London 1992
John Moores, Liverpool
Stuart Morgan, Skin Deep, Galerie Thomas, Munich 1986 Stuart Morgan, Letters to Rose, Galerie Krinzinger, Vienna 1986/87 Kunst aus den achtziger Jahren, A11 Artforum, Munich, 1987
Stuart Morgan, What the Butler Saw, Durian Publications, 1997
Stuart Morgan, British Art of the 1980’s, Stockholm, 1987
Virginia Button, The Turner Prize, Tate Gallery Publications, 1997
Keith Patrick, The Romantic Tradition in Contemporary British Painting, Sala de Exposiciones de Palacio de San Esteban, Murcia and tour, 1988
Angela Moorjani, Beyond Fetishism, St Martins Press N.Y., 2000
Robert Musil, The Man without Qualities; Gertrude Stein, Picasso; Lou Andreas-Salomé, The Freud Journal, Paul Klee, Contribution to the Pedagogy of Visual Form, Lachrimae Catalogue 1988
Siân Ede, Strange and Charmed: Science and the Contemporary Visual Arts, Gulbenkian Foundation, 2000 Martin Kemp editor, The Oxford History of Western Art, 2002/2010
Carolyn Cohen, Judith Higgins, Edward Lucie‑Smith, The New British Painting, Contemporary Arts Center, Cincinnatti and tour, 1988/89
Richard Cork, New Spirit, New Sculpture, New Money: Art in the 1980’s, Yale University Press 2003
Frances Spalding, 100 Years of Art in Britain, Leeds City Art Gallery, 1988/89
Jacqueline Rose, Women in Dark Times, Bloomsbury, London, 2014
Angela Moorjani, Thérèse Oulton, Hirschl & Adler, N.Y, 1989
Interviews-Artists Cv/Visual Arts Research Editions volume 22: Recordings 2010
Andrew Brighton, Blasphemies, Ecstasies, Cries, Serpentine Gallery, 1989
Richard Cork, Face To Face: Interviews With Artists, Tate Publishing, 2015
Andrew Renton, Seaming, L.A. Louver Gallery, 1989 Bryan Robertson, British Abstract Painting, Flowers East Gallery, 1994
Arts Council of Great Britain, London
National Gallery of Victoria, Melbourne St. Louis Art Museum, Missouri Tate Gallery, London Victoria and Albert Museum, London Yale Center for British Art, Connecticut
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Design: Shine Design, London Print: Impress Print Services Ltd. Photography: Prudence Cuming Associates, Todd White Photography ISBN 978-1-909707-11-5 Catalogue no. 638 Š 2014 Marlborough