Tilson: The Stones of Venice
COVER: THE STONES OF VENICE VENECIA GIUSTIZIA (DETAIL) 2015
2 March – 2 April 2016
Tilson: The Stones of Venice
Marlborough Fine Art 6 Albemarle Street London W1S 4BY + 44 (0)20 7629 5161 mfa@marlboroughfineart.com www.marlboroughlondon.com
Stepping Stones: Venice Reconfigured
The Stones of Venice, from which Joe Tilson borrowed the series title of most of the latest paintings produced during his annual sojourns in Venice and Tuscany, is a three-volume examination of Venetian art and architecture published between 1851 and 1853 by the great Victorian critic, art historian and artist John Ruskin. Perhaps the most celebrated publication in the vast bibliography of a writer who proclaimed the importance of handcrafted ornament in architecture – indeed, who thought of the aesthetic dimension of architecture in terms of all that was extraneous to its pure function, in direct opposition to the ‘form follows function’ dictates of the modernist architecture that was to follow early in the 20th century – it wielded immense influence. For Tilson, it has clearly served not just as a source of inspiration but more especially as a guide to the specific characteristics of the most notable churches of Venice, where he has had a home since 2002 in the sestiere of Dorsoduro. Some 80 of the city’s churches, including those featured in Tilson’s latest paintings, are described in detail by Ruskin. Both that book and the city’s beautiful ecclesiastical buildings serve him as stepping stones to a reconfiguration of a city celebrated by many artists before him – from Canaletto to Whistler and Monet – and to the larger issues for which Venice serves him here as a powerful metaphor and signifier.
TOP: JOE TILSON, BY JOS TILSON BOTTOM: THE STONES OF VENICE LA SCUOLA GRANDE DI SAN GIOVANNI EVANGELISTA, VENESSIA
The four distinct groups of paintings presented here for the first time, and representing about half of this very recent production, are striking in their marked differences of scale, from pairs of canvases measuring just twelve by nine inches each to single paintings as large as six by four feet. With the exception of the Stones of Venice paintings measuring around 60 x 90 cm, which were made in Tuscany, the works were all produced at his studio in Venice. The intense African heat wave that hit the city in summer
2015 kept the artist indoors more than anticipated, resulting in a particularly fruitful period of production. All the canvases are painted in acrylic, but with a thickness and looseness of application, and a layering of saturated colours, that gives the surface an expressiveness and emphatically human touch not normally associated with this synthetic medium. In an age dominated by sleek fabrication and the ‘perfect’ finish of industrial production, these paintings are defiantly handmade, each mark and each choice of hue asserting the artist’s authorship and a sense of communion and solidarity with the history of European painting stretching back to antiquity. The interdependence of painting, architecture, design and the written word is celebrated in these pictures as a feast for the mind and the senses. These factors are reflected in their very structure as well as in their imagery of church façades conjoined with the geometric patterns of stone flooring and hand-written inscriptions of now obsolete variant forms of the venerable city’s name. Many of the smaller canvases, stretched over wooden supports, have gently curved corners, emphasizing their physical presence as objects rather than simply as flat surfaces bearing painted designs. In one particular group of paintings, most measuring 60 x 90 cm, such as The Stones of Venice I Carmini, Venessia and The Stones of Venice La Scuola Grande di San Giovanni Evangelista, Venessia, the attention directed to the construction is compounded by the cutting into the central portion of the surface and the insertion there of pairs of separate
Marco Livingstone
small canvases. Despite their relatively modest dimensions, they are endowed with a commanding authority as a result of this vigour of structure in association with the bold and richly coloured repeat patterns that adorn them. They look just as strong and imposing from a great distance as they do when scrutinised at close quarters, punching above their weight; they perform like much larger paintings and almost demand to be hung on generous stretches of wall. The colourful geometric patterns themselves constantly tease the eye, drawing one in to a game by which one’s reading of them fluctuates constantly between flat pattern and illusions of three-dimensionality. Tilson’s identity as a leading protagonist of British Pop Art during the 1960s was shed, like an unnecessary skin, from the time that he relocated from London to an old vicarage in rural Wiltshire in 1972. In part this change came about through a profound disenchantment with the promise of technology – the very realm of modernity so assiduously pursued by his friend and contemporary Richard Hamilton – and a desire to ground himself not in the transience of the modern world but in timeless, ancient systems of thought and ways of perceiving and making sense of the world. Ancient mythology, primeval forms including mazes and ziggurats, and categories such as the four elements, the four seasons or the five senses have thus become both conceptually and physically embedded in his art over the past four and more decades. Joe and his wife Jos, whose sculptural training and exploration of form in terracottas and weavings is in such sympathetic accord with her husband’s work, have lived much of their lives in Italy, where they met (in Rome) in 1955 and married (in Venice) in 1956. Having made annual pilgrimages to Italy during most of their marriage, since the late 1960s they have spent part of each year at their farmhouse
near Cortona in Tuscany and latterly crucially also in Venice. This long experience of Italy is essential to an understanding of the sense of communion with the past that animates all of Tilson’s later work. There appears to be a free flow between the archaic, the medieval, the classical tradition as revived in the Renaissance and also – in the co-option of the language of abstraction – the modern. One can even detect in the deliriously varied decorative patterns affinities with Islamic art, and for good reason. As the artist himself points out, Venice traded all the way down the coast and around the orient, and there are deep historical connections between Venice both with Byzantine and Muslim culture; St Mark himself hailed from Alexandria. The confluence between Christian and Islamic art in these paintings is thus a deliberate one and one that he conceives as speaking of healing and reconciliation at a time of deeply damaging mutual distrust between opposing religious traditions. Conscious, too, is the conviction that pattern and structure are not superficial, as the more puritanical viewer might believe, but profound and fundamental, relating even to the skeletal, muscular and other structures that hold our bodies together. These are very longstanding concerns for Tilson, traceable back to his youthful reading of On Growth and Form (first published in 1917) by the Scottish mathematical biologist D’Arcy Wentworth Thompson, which had such an impact on artists of his generation and which Tilson sees as leading directly to the investigations of Buckminster Fuller and others in his own time. That the centuries-old churches depicted in these pictures have remained standing and in continuous reverential use is presented as a source of wonder and as evidence of the enduring qualities of civilization and of humanity’s most treasured achievements. As emblems not just of Christianity but more
TOP: THE STONES OF VENICE I CARMINI, VENESSIA MIDDLE: PC FROM VENICE SAN SEBASTIANO, VENESIA BOTTOM: THE STONES OF VENICE SANTA MARIA DEI MIRACOLI, DIPTYCH
widely of the ethical foundations of our culture, they provide a moving testament – even, one has to say, to non-believers – to a sense of belonging within a long tradition. Within this layering of history lies a more personal impulse on the part of the artist, now in his late eighties, to address himself to his own past. The works in this show follow on directly from those featured in Tilson’s last exhibition at Marlborough Fine Art in London, held in March - April 2013, which also prominently referenced Venetian church architecture. It is of course natural that he should make use of strategies, formats, images and methods of construction and paint application that he has used before, and to create new variations on them that demonstrate their remarkably sustained energy and freshness. The use of pairs of small panels bearing divergent images inset into a larger surface, for instance, relates directly to the Conjunctions series begun in 1999. The conceit of the painting as a postcard or vastly enlarged greeting card emerging from an opened envelope – as seen here in such works as PC from Venice San Sebastiano – was first employed by Tilson as early as 1963 in classic Pop works such as 21st, a hugely magnified replica of a birthday card. In these
new pictures this ploy serves to remind us of the fundamental impulse in art to communicate a message or to convey values and observations of the world as experienced by the artist. Tilson’s constant passage from London, where he again settled in the late 1990s after selling his Wiltshire property, and Italy, his longstanding spiritual home, is as materially and emotionally present as ever, expressed emblematically in these deliciously visual paintings in the form of illustrated letters that he continues to send back to his land of origin. In many of these pictures there is a suggestion of the surface as a fragment of a much larger pattern that can be understood to continue far beyond one’s field of vision, an expression of a world without end, where past, present and future intermingle and where each of our lives, however intensely lived, is but a speck within a very much larger, grander and endlessly mysterious story. Understanding one’s place in the greater scheme of things, shedding one’s ego while remaining wholly oneself, is perhaps a task that can be accomplished only over a lifetime. Tilson, ever vigorous well into his ninth decade, is both a learned and an intuitive artist, and he understands all this perfectly well. It is from
this accumulated wisdom, and from the joy he continues to experience in his responses to art, architecture and culture, that the infectious optimism of these tender and delightful paintings, fizzing with energy, emanates. The largest of the paintings come closest to conveying the impact of the architecture they depict, engulfing our bodies so as to flood the senses. In The Stones of Venice Santa Maria dei Miracoli one even feels, through the bleached whiteness of the stone, the intense summer heat, triggering physical sensations of being present, however simplified and abstracted the mode of representation. Crucially, though, even these largest paintings do not insist on monumentality. Like all the new works, their defining characteristic is, on the contrary, their intimacy and their fragile humanity. As spectators we are free to enjoy these paintings on a simple level as lusciously decorative, colourful, visual objects. If we wish, we can experience them, too, as conduits of the life force, as agents of communication that invite us to embrace the world and all it offers. At a time when we seem as globally engulfed as ever in fear, suffering and violence, this atmosphere of positivity provides welcome solace.
List of works
1.
7.
12.
The Stones of Venice Depositi di Pane 2015
PC from Venice Campana di San Marco, Calle dei Fabbri 2015
The Stones of Venice San Trovaso, Venaga 2014
Acrylic on canvas
Acrylic on canvas on wood relief
Acrylic on canvas on wood relief
124 x 92 cm / 48
60 x 85 cm / 235/8 x 331/2 in
114 x 152.5 cm / 44
7/8
x 60 in
7/8
x 36
1/4
in
2.
8.
13.
The Stones of Venice Santa Maria dei Miracoli 2015
PC from Venice San Sebastiano, Venesia 2014
The Stones of Venice Campana di San Marco, Calle dei Fabbri Diptych 2015
Acrylic on canvas
Acrylic on canvas on wood relief
Mixed media on canvas on wood panels
183 x 122 cm / 72 x 48 in
67 x 50 cm / 26
23 x 30.5 cm / 9 x 12 in
3.
9.
14.
The Stones of Venice Dogana da Mar 2015
The Stones of Venice Santa Maria Della Visitazione, Venusia 2014
The Stones of Venice San Sebastiano Diptych 2015
Acrylic on canvas
Acrylic on canvas on wood relief
Mixed media on canvas on wood panels
183 x 122 cm / 72 x 48 in
54 x 78 cm / 211/4 x 303/4 in
43 x 58.5 cm / 167/8 x 23 in
4.
10.
15.
The Stones of Venice Venecia Giustizia 2015
The Stones of Venice I Carmini, Venessia 2014
The Stones of Venice Dogana da Mar Diptych 2015
Acrylic on canvas on wood relief
Mixed media on canvas on wood panels
60 x 90 cm / 23
29.5 x 38.5 cm / 115/8 x 151/8 in
3/8
Acrylic on canvas 178 x 142 cm / 70
1/8
x 55
7/8
in
5/8
x 19
3/4
x 35
3/8
in
in
5.
11.
16.
PC from Venice La Scuola Grande di San Giovanni Evangelista 2014
The Stones of Venice Santa Maria dei Miracoli Diptych 2015
Acrylic on canvas on wood relief
The Stones of Venice La Scuola Grande di San Giovanni Evangelista, Venessia 2014
160 x 150 cm / 63 x 59 in
Acrylic on canvas on wood relief
29 x 38 cm / 113/8 x 15 in
50 x 75 cm / 19
3/4
6. PC from Venice San Sebastiano 2014 Acrylic on canvas on wood relief 160 x 150 cm / 63 x 59 in
x 29
1/2
in
Acrylic on canvas on wood panels
1. The Stones of Venice Depositi di Pane 2015 Acrylic on canvas
2. The Stones of Venice Santa Maria dei Miracoli 2015 Acrylic on canvas
3. The Stones of Venice Dogana da Mar 2015 Acrylic on canvas
4. The Stones of Venice Venecia Giustizia 2015 Acrylic on canvas
5. PC from Venice La Scuola Grande di San Giovanni Evangelista 2014 Acrylic on canvas on wood relief
6. PC from Venice San Sebastiano 2014 Acrylic on canvas on wood relief
7.
8.
PC from Venice Campana di San Marco, Calle dei Fabbri 2015
PC from Venice San Sebastiano, Venesia 2014
Acrylic on canvas on wood relief
Acrylic on canvas on wood relief
9. The Stones of Venice Santa Maria Della Visitazione, Venusia 2014 Acrylic on canvas on wood relief
10. The Stones of Venice I Carmini, Venessia 2014 Acrylic on canvas on wood relief
11. The Stones of Venice La Scuola Grande di San Giovanni Evangelista, Venessia 2014 Acrylic on canvas on wood relief
12. The Stones of Venice San Trovaso, Venaga 2014 Acrylic on canvas on wood relief
13.
14.
The Stones of Venice Campana di San Marco, Calle dei Fabbri Diptych 2015
The Stones of Venice San Sebastiano Diptych 2015
Mixed media on canvas on wood panels
Mixed media on canvas on wood panels
15.
16.
The Stones of Venice Dogana da Mar Diptych 2015
The Stones of Venice Santa Maria dei Miracoli Diptych 2015
Mixed media on canvas on wood panels
Acrylic on canvas on wood panels
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 für Bildende Künste, Hamburg. For more than fifty-five 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.” As André Gide wrote, “Toutes choses sont dites déjà; 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 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. 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 Waddington 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. From 1969 he has spent several months of each year at their house in the hills near Cortona in Tuscany and since 2002 also at their studio in Dorsoduro in Venice. 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 Gió 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 Gió 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 Art 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. In 2011 he was awarded the XXVI Premio Internazionale di Grafica Do Forni, Museo d’Arte Moderna Ca Pesaro, Venice. There were solo exhibitions in 2012 “Finestre veneziane” at Bugno Art Gallery, Venice and 2012-13 University of Ljublijana. In 201314 he exhibited at Centro Saint Bénin and Villa Manin, Codroipo in Italy.
Biography cont.
1970 Marlborough New London Gallery, London
Theo Waddington, Boca Raton, Florida Castello Doria, Porto Venere
1971 Museum Boijmans van Beuningen, Rotterdam (retrospective) touring to Belgium and Italy Waddington Galleries, London
1999-2000 Palazzo Pubblico, Siena, touring to Galleria Comunale d’Arte, Cesena and Pinacoteca Civica, Follonica
1960 Gulbenkian Foundation Award
1976 Marlborough Fine Art, Marlborough Graphics, London
2001 Castelbasso, Abruzzo (restrospective) Gió Marconi Gallery, Milan (retrospective)
1963 San Marino Biennale (Gold Medal)
1978 Tate Gallery, London (prints)
1965 VI Exposition Internationale de Gravure, Ljubljana
1979 Vancouver Art Gallery (prints retrospective)
2002 Royal Academy of Arts, London (retrospective) Alan Cristea Gallery, London (prints) Beaux Arts Gallery, London
Prizes 1955 Rome Prize, Royal College of Art Knapping Foundation Prize 1957 John Moores Liverpool Exhibition Prize
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, London 1963 Hatton Gallery, Newcastle upon Tyne Ferens Art Gallery, Hull Walker Art Gallery, Liverpool University Art Gallery, Nottingham 1964 Marlborough New London Gallery, London 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, Hannover
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 Gió Marconi, Milan Cooperativa Ceramica d’Imola Heter A Hunermann Galerie GmbH, Dusseldorf 1994 Pinacoteca, Macerata Galleria Rotta, Genoa 1995 Westend Galerie, Frankfurt Palazzo Pubblico, Siena Theo Waddington Fine Art, London Alan Cristea Gallery, London 1996 Annandale Galleries, Sydney Mestna Gallery, Ljubljana 1997 Cankarjev Dom, Ljubljana (prints retrospective) 1998 Theo Waddington Fine Art, London Marino alla Scala, Milan 1999 Peter Guyther Gallery, London
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 2011 XXVI Premio Internazionale di Grafica Do Forni, Museo d’Arte Moderna Ca’Pesaro, Venice 2012 Bugno Art Gallery, Venice 2012-13 University of Ljubljana 2013 Joe Tilson: A Survey, Marlborough Fine Art, London Joe Tilson: Pop & Politics, Prints published by Marlborough Graphics 1963-73, Marlborough Graphics, London 2013-14 Joe Tilson: Return to Aosta, Centro Saint Bénin, Italy 2014 Joe Tilson: Silkscreens and Constructions, Bohun Gallery, Henley on Thames Tilson: Segni & Simboli, Villa Manin, Codroipo, Italy 2016 Tilson: The Notebooks, Alan Cristea Gallery, London
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 Freeze: British Art in the 20th Century, Kunstmuseum Wolfsburg; Les Abbatoirs, Tolouse 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 2004-5 Art and the 60s: This was Tomorrow, Tate Britain, London; Gas Hall, Birmingham Museums and Art Gallery 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 2013 When Britain Went Pop - British Pop Art: The Early Years, Christie’s Mayfair 2013-14 Pop Art Design, Louisiana Museum, Humlebaek, Denmark; Moderna Museet, Stockholm; Art Gallery, Barbican Centre, London Pop Art to Britart: Modern Masters from the David Ross Collection, Djangoly Art Gallery, Lakeside Arts Centre, The University of Nottingham 2014 Editions & Acquisitions, Alan Cristea Gallery, London
2015 Joe Tilson: Eredità e Sperimentazione, Biennale Arte 56th International Art Exhibition: Official Collateral Event, Grande Albergo Ausonia & Hungaria, Venice Lido 2015-16 International Pop, Walker Art Center, Minneapolis; Dallas Museum of Art; Philadelphia Museum of Art The World Goes Pop, Tate Modern
Books and Catalogues Arturo Carlo Quintavalle (preface by Pierre Restany), Tilson, Milan, 1977 Gillo Dorfles, Maestri contemporanei: Tilson, Milan, 1982 Maurizio Fagiolo dell’Arco, Opere recenti: Extra Moenia, Todi, 1992 Michael Compton and Marco Livingstone, Tilson, London and New York, 1992 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 Works – L’Opera Grafica 1963-2009, preface by Phillip Rylands and texts by Alan Cristea, Enzo Di Martino, Joe Tilson, Papiro Arte, Venice, 2009; Royal Academy of Arts, London, 2010
Public Collections Appleton Museum, Florida Arts Council England, London Boijmans van Beuningen Museum, Rotterdam Bristol City Art Gallery British Council, London British Library, London Centro Saint Bénin, Aosta 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 Middlesbrough 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 Museu de Arte Moderna, Sintra Museum Het Valkhof, Nijmegen 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 Center, Minneapolis Walker Art Gallery, Liverpool Whitworth Art Gallery, University of Manchester Wolverhampton Art Gallery Yale Center for British Art, New Haven
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Tilson: The Stones of Venice