Pallant House Gallery Magazine 12 by Pallant House Gallery

Eye-Music: Kandinsky, Klee and all that Jazz 30 June−16 September 2007 Museum of the Year, Winner of the Gulbenkian Prize 2007 Prof. Sir Colin St. John Wilson Remembered Event and Workshop Programme

£1.50 Number 12 July−Sept 2007 www.pallant.org.uk

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David Bomberg (1890 – 1957) paintings and works on paper until 30 June 2007 Wed - Sat 11 - 6

Self Portrait, 1931 oil on board 61 x 51 cm

to mark the 50th anniversary of Bomberg's death

Shooting Range, 1919 inkwash 26 x 20cm

Mother and Child, 1920 w’col 38 x 29 cm

6 July – 11 August Painting with Thread embroidered pictures by Mary Cozens-Walker and Caroline Dahl Boundary Gallery handles the estate of DOROTHY MEAD

Boundary Gallery 98 Boundary Road London NW8 020 7624116 www.boundarygallery.com

Derrick Greaves, The Actress Entertained, Acrylic paint and collage on canvas, 92.7 x 227.3 cms (36½ x 89½ inches), 1979

DERRICK GREAVES FROM KITCHEN SINK TO SHANGRI-LA An exhibition in three parts to celebrate Derrick Greaves’s 80th birthday and the publication of the first major book on the artist. Part I Derrick Greaves The Early Work 1945 – 1965 01 June – 22 June 2007 Part II Derrick Greaves The Middle Years 1965 – 1985 28 June – 13 July 2007 Part III Derrick Greaves Recent Paintings 1985 – 2007 19 July – 24 August 2007

JAMES HYMAN FINE ART Tel 020 7839 3906 Fax 020 7839 3907

LEADING SPECIALISTS IN MODERN BRITISH ART 6 Mason’s Yard, Duke Street, St James’s, London, SW1Y 6BU mail@jameshymanﬁneart.com www.jameshymanﬁneart.com

A Jewel of a Gallery We have lost Prof. Sir Colin ("Sandy") St John Wilson, with his wife MJ Long, the architect of the new extension to Pallant House. Of course he was also, with MJ and their children Sal and Harry, the donor of the Wilson Gift, which catapulted Pallant House Gallery into one of the best collections of British 20th century art in the world. We will miss him. (See pg 30 for a full obituary). Only a day after Sandy's funeral the gallery received the ultimate acknowledgement in the British museum world: the Museum of the Year, Gulbenkian Prize for Museums and Galleries 2007. We dedicate the winning of the Gulbenkian Prize, which recognises originality, imagination and excellence in museums and galleries in the UK to all who contributed to the achievements of today, but in particular to Sandy Wilson's memory. To be nominated or short-listed for any accolade is exciting and we are very pleased to say that we have also received other awards in addition to the Gulbenkian Prize (see pg 14). We regard these awards as an acknowledgement of the vision and hard work of everyone who has been or is working for the gallery. The road to realising this dream has been long, and every one who stayed with us all the way and has contributed to our success deserves a share of these awards. It is less than a year ago since the gallery re-opened and the visitor figures are well beyond our initial estimates. At the time of writing, over 60,000 people have visited the Gallery which is 10,000 more than we forecast for the first full year and we hope for a further 6,000 - 10,000 visitors before 1 July. The number of Friends has also increased to more than 3,000 and over 4,000 people have used the education studio. This is all excellent news. Of course, it is important to remember that visitor figures in themselves do not reveal the spiritual and emotional impact of an individual visit. From the feedback we have had from both visitors and staff, it seems clear that people like the atmosphere and feel welcome in every sense. As Francine Stock, Chairman of the Judges for the Gulbenkian Prize 2007 said:

(Left to Right) Francine Stock, Chairman of the Judges, Tessa Jowell MP, Secretary of State for Culture, Stefan van Raay, Director of Pallant House Gallery, Penelope, Viscountess Cobham, Chairman of the Gulbenkian Prize, Photograph by James Darling

"We're delighted to award this Prize to a jewel of a gallery. The brilliance of Pallant House Gallery lies not only in its thoughtful and intelligent curation but in the warmth and welcome of the building.There's nothing elitist about the way this fine collection is displayed – intimate yet with space for reflection and tranquillity". We are looking forward to the first international exhibition. The Esmée Fairbairn Foundation has supported this project most generously within its Regional Museums Initiative. 'Eye-Music: Kandinsky, Klee and all that Jazz' (30 June to 16 September 2007) is curated internally by Frances Guy. She has combined two personal passions, the visual arts and music, in this exhibition with loans from public and private collections from all over Europe. The fundraising effort for this year, both for running costs and for the endowment, is under way. We have received several substantial donations and 31 Gallery Club members and 19 patrons have joined the Friends. Of course, the £100,000 Gulbenkian prize will, as promised, be added to the endowment fund and generate income for the gallery in perpetuity. We hope to receive news about some major grant requests mid summer and will report back in the next magazine. Lady Nicholas Gordon Lennox, Chairman of the Trustees and the Friends Stefan van Raay, Director of Pallant House Gallery 7

Editorial

Global financial excellence now has a local address.

This will be my last issue of the Magazine as editor as I am moving to a new position in July. A programme of exhibitions and events like those included in this issue are exactly what makes leaving Pallant House Gallery so difficult. 'Eye-Music: Kandinsky, Klee and all that Jazz' promises to be an exciting moment in the gallery's history with an exhibition including many works from important international collections. Frances Guy, the show's curator, gives her personal vision for this exhibition and we are pleased to have Tom Phillips contributing his take on the role of art and music.

EDITORIAL Editor Andrew Churchill Sub Editor Harriet Wailling Gallery Editorial Frances Guy, Simon Martin, Stefan van Raay, Marc Steene, Harriet Wailling Guest Editorial (with many thanks) George Melly, Tom Phillips Design, Photography & Production David Wynn, d.wynn@pallant.org.uk ADVERTISING Kim Jenner +44 (0)207 3005658 Jane Grylls +44 (0)207 3005661 FRIENDS Events +44 (0)1243 770816 Membership +44 (0)1243 770815 Gallery Information Pallant House Gallery 9 North Pallant, Chichester West Sussex, PO19 1TJ Telephone +44 (0)1243 774557 Email info@pallant.org.uk www.pallant.org.uk www.myspace.com/pallanthousegallery

Outsider art will not be a subject familiar to all and yet it has served as a direct and important influence on many of the most significant Modern artists including Jean Dubuffet and Ben Nicholson. Continuing his important and ground-breaking work in the community, Marc Steene, the Gallery's Education and Outreach Officer launches Inlocal toinsight showcase the That’s why we’ve opened a branch office in Global investing capability meansOutside little without and perspective. give you the best of bothHe worlds. A key partthe of what makes us a leading worldwide wealth manager is our work ofBrighton localtoOutsider artists. explains history accent on the personal, our dedication to you. We take the time to listen to you and understand your investment needs. of the movement and this project before Then we individually tailor strategies to help you reachGeorge your goals. Melly So what you get is a relationship that feels like the most powerful two-person financial firm. You and us. looks atworld’s how Scottie Wilson began to make art - quite Supporter of the Collection 2007 different from the usual art school, degree show, Saatchi gallery route more common today!

Eye-Music supported by

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Nileof House The role Prof. Sir Colin St. John Wilson in the making Nile Street BrightonPallant BN1 1HW House Gallery, both as architect of the new www.ubs.com/uk and donor of artworks has long been clear. His death in May has brought into sharp focus just how important and valued that contribution was and he will be greatly missed. His legacy to us and his importance as an architect, collector, teacher and friend to artists is explored by Stefan van Raay.

Supporter of the Gallery 2007

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I am extremely proud of the Magazine and its development over the last 7 years. My thanks go to everyone who has worked on it, but particularly to David Wynn, for his brilliant design. The up-side of moving on to a new position is that Pallant House Gallery will become my local gallery and I will get to enjoy it as a visitor with the fondest of memories of my time working here. Andrew Churchill Editor

The Priory and Poling Charitable Trusts, The Monument Trust, The Garfield Weston Foundation and other Trusts, Foundations and anonymous benefactors.

Linda Karshan Recent Works

21.8.06, 2006, graphite stick on paper, 76 x 56 cm

7 September to 18 October 2007

The Redfern Gallery, 20 Cork Street, London, W1S 3HL t. 0044 (020 7734 1732 f. 0044 (0)20 7494 2908 art@redfern-gallery.com, www.redfern-gallery.com

Membership Plus Free entry to the Cass Sculpture Foundation Goodwood grounds for you and a partner or friend throughout the 2007 season.

Cass Sculpture Foundation Goodwood, West Sussex PO18 0QP Phone +44 (0)1243 538449 Email info@sculpture.org.uk www.sculpture.org.uk/membership

Free hardback 2004/07 pocket guide, with over 100 pages showcasing all of the new sculptures in the grounds.

Grounds at Goodwood are open from 27 March–4 November 2007

Plus up to 25% off our publications. Enjoy the benefits today, invividual membership £25, membership plus one £35. Apply online, by phone or in person.

Opening hours Tuesday–Sunday & Bank Holiday Monday 10:30am–5pm (last admission 4pm) Admission Adults £10. Membership holders and Children under 10 years go free (unless part of a school party). Assistance dogs are welcome

Contents Pallant Praise 12 Gulbenkian Prize and other awards 14 Post-It Note Praise

Prof. Sir Colin St. John Wilson 30 Remembered by Stefan van Raay 32 A Brief Biography

Eye-Music 34 A Musical Interlude by Frances Guy 40 The Sound In My Life by Tom Phillips 39 Eye-Music Artist in Residence

Outside In 44 47 50

William Coldstream, Portrait of Colin St John Wilson, 1982−3, Oil on canvas, Wilson Loan, © Andrew Margetson; Wassily Kandinsky, Cossacks, 1910−11, oil on canvas, Presented by Mrs Hazel McKinley 1938, Copyright : © ADAGP, Paris and DACS, London 2007, Photo credit: © Tate, London 2007; Artwork by Linda Harvey Front Cover Wassily Kandinsky, Cossacks (In Detail), 1910−11, oil on canvas, Presented by Mrs Hazel McKinley 1938, Copyright : © ADAGP, Paris and DACS, London 2007, Photo credit: © Tate, London 2007

Outsider? An introduction to Outsider Art by Marc Steene Outside In: About the Gallery Project Suddenly Scottie by George Melly

Regulars 07 Chairman and Director's Letter 08 Editorial 16 Current Exhibitions 18 Forthcoming Exhibitions 22 Previews 51 Book Reviews and New Pallant Titles 59 Collection News 62 The Pallant Restaurant Interview: John Brookes 66 Friends News, Visits, Talks, Events & Workshops 75 Listings 80 Pallant Photos 82 Artwork of the Month 11

Pallant House Gallery is the Gulbenkian Prize Museum of the Year 2007 Pallant House Gallery has been named the Museum of the Year, winning £100,000 and the Gulbenkian Prize for museums and galleries 2007. The panel of seven judges, chaired by presenter and broadcaster Francine Stock, chose Pallant House Gallery from the UK wide shortlist of four museums and galleries, including Kelvingrove Art Gallery, Kew Palace and Weston Park Museum in Sheffield, as the overall best example of an original project over the last calendar year. Francine Stock said: "We're delighted to award this Prize to a jewel of a gallery. The brilliance of Pallant House Gallery lies not only in its thoughtful and intelligent curation but in the warmth and welcome of the building. There's nothing elitist about the way this fine collection is displayed – intimate yet with space for reflection and tranquillity. "The challenge of creating a modern gallery extension to an important Queen Anne building in a Conservation Area has been achieved with flair and sensitivity resulting in a creative marriage of old and new, a theme which is continued in inspired contemporary installations reflecting the history of the House. "This is a 'collection of collections' now housed in a series of beautifully-lit gallery spaces, which also accommodate the regular temporary exhibitions for which the gallery is already building a national reputation. The extension has also provided a print room, library, lecture room, bookshop and new education suite which underpins the Gallery's already lively programme of education and outreach work.

Stefan van Raay, the Director of Pallant House Gallery on accepting the award said: "The £100,000 prize money will now be invested in the Gallery's endowment fund, to ensure the continued success of the Gallery, with the long term aim to work towards building sufficient core funding to eventually offer free entry to the Gallery." This award tops off an incredible opening year for the Gallery which has been the subject of a number of awards, honours and short-listings. In May this year the Gallery was awarded a South East Region RIBA (Royal Institute of British Architects) Award. These are presented to buildings which meet exceptional architectural standards and make a substantial contribution to the local environment. RIBA Awardwinning buildings go on to be considered for RIBA National Awards, the winners of which are short-listed for the Sterling Prize. We were commended in the Museums & Heritage Awards for Excellence 2007 for the opening exhibition and the education initiative, Partners in Art. These join our earlier Civic Trust Award which recognizes the 'sensitive' and 'respectful' build of the new extension at Pallant House Gallery and the Adapt 'Excellence in Access' award for the work undertaken to ensure that the new Gallery has the highest levels of accessibility.

"The fundamental genius of this Gallery lies in its thoughtful and intelligent displays, and its welcoming ambiance which nevertheless allows the visitor space for reflection and tranquillity."

Marc Steene, Education and Outreach Officer, Harriet Wailling, Marketing Officer, Andrew Churchill, Marketing and Commercial Manager, Elaine Bentley, PA to the Director, Lady Nicholas Gordon Lennox, Chairman of the Trustees, Stefan van Raay, Director

MICHAEL FORSTER Allegro, 1990

acrylic on canvas 79 x 91 cms 31 x 36 ins atelier no. 718 monogram and date verso

Over the years, Messum’s have discovered and represented a number of significant studio collections which, following research and academic re-appraisal, has led to the works achieving their true value on the Art market. In this first public showing in England, Messum’s present a selection of 50 paintings from Michael Forster’s studio estate. An Englishman born in India who spent significant periods of his life in Canada and Mexico, before spending the last years of his life in Cornwall, Forster exhibited widely in Canada and Europe in his lifetime and is represented in major public and private collections there. A monograph disclosing the extraordinary events that surrounded and influenced his life and work by the eminent art historian Paul Duval, Michael Forster: An Inner Landscape, is available from our Cork Street gallery. Order your copy of the fully illustrated monograph and catalogue, Michael Forster: An Inner Landscape by Paul Duval: 240 x 260 mm, 80 pages, 70 colour and 26 black and white illustrations, £20 inc p&p.

Exhibition and prices on www.messums.com

MESSUM’S 8 CORK STREET, LONDON W1S 3LJ

TEL: +44 (0)20 7437 5545 EMAIL: info@messums.com

ÂŠ CHEMA MADOZ

Photography for connoissewers.

Arden and Anstruther Photographic Gallery, 5 Lombard Street, Petworth. www.ardenandanstruther.com Telephone 01798 344411

Current Exhibitions

Eye-Music: Kandinsky, Klee and all that Jazz 30 June–16 September 2007 Searching for a new visual language at the beginning of the twentieth century, many artists were inspired by musical forms and ideas in their early experiments in abstract art. Wassily Kandinsky, Paul Klee, Piet Mondrian, Alan Davie and John Tunnard were all inspired by music, and this major exhibition explores the relationship between artist and music, the idea of 'hearing' colours, and the spectacle and sound of light performance. Eye-Music Funded by

Eye-Music Supported by

Sighting Music 30 June–16 September 2007 Musical scores convey information by visual means. This intimate exhibition in the Prints Room explores some of the many ways composers have expressed their musical thoughts graphically. Scores on show include 'Stripsody' by Cathy Berberian, 'A Colour Symphony' by Arthur Bliss, John Cage's 'Imaginary Landscape No.4 for 12 radios', Cornelius Cardew's 'Treatise', Tom Phillips' 'Irma', Peter Maxwell Davies' A Mirror of Whitening Light and Eight Songs for a Mad King, and Arnold Schönberg's 'The Lucky Hand'. Curated by Dr. Simon Shaw-Miller A-tonal Time Twister: An interactive lift installation, by Thor McIntyre-Burnie 30 June–16 September 2007 In a twist on the concept of the colour tone organ, the Gallery's lift is turned into a vessel to play and control a specially recorded quartet. Inspired by Arnold Schönberg's a-tonal compositions and Kandinsky's colour-tone theory, this unique installation stretches one concert over hundreds of short intervals, experienced during each physical journey in the elevator; where the number of people or the movements of the passengers control both the musicians heard and colours seen.

Ivon Hitchens 21 April−7 October 2007 An exhibition of works by English painter Ivon Hitchens (1893−1979) selected from the Gallery's extensive holdings. Highlighting his Sussex connections (many of his landscapes were painted near Petworth) it will also consider Hitchens concern for creating 'visual music', complimenting the exhibition 'Eye Music: Kandinsky, Klee and all that Jazz'. Susie MacMurray: Shell Until autumn 2007 Susie MacMurray has created an installation for the stairwell in Pallant House Gallery in response to the site and history of the building. 'Shell' is made of 20,000 mussel shells inlaid with velvet which covers the walls of the 18th century stairwell. This is the second in a series of commissions inviting artists to create site specific work for this space. Supported by Arts Council, England and Abbey Harris Mural Fund

Images from Left to Right Piet Mondrian, Composition with Yellow, Blue and Red, 1937-42, Oil on canvas, 72.5x69cm, © 2007 Mondrian/Holtzman Trust c/o HCR International Warrenton, VA; Cornelius Cardew, Treatise, 1967, © 1970 Hinrichsen Edition, Peters Edition Limited, London; Ivon Hitchens, Red Centre, 1972, Oil on canvas, Kearley Bequest, through The Art Fund (1989), © Estate of Artist; Linda Harvey

Outside In 7 August–2 September 2007 'Outside In' is an exhibition of works by prize winning outsider artists. The inaugural exhibition for the bi-annual prize displays artists who were invited to submit work as part of a region-wide initiative to bring outsider art into the Gallery space. Outsider artists have little or no contact with the institutions of the mainstream art world and their work often illustrates unconventional ideas or elaborate fantasy worlds. 'Outside In' is a celebration of the creativity of some of most marginalized members of society. Studio Exhibitions Partners in Art 11 June−2 July (Tom Holloway and Molly Watson) 3−30 September (Peter Neuner and Derek Groves) Partners in Art helps those who, due to disability, illness, injury or other reasons, have difficulty in accessing the arts themselves. 'Partnership of the Month', is a series of exhibitions that showcases the work of each partnership. Paint the City 2 July−30 July An exhibition of the prize winners from the local competition to paint a picture of Chichester in one day. Painting day is Sunday 1 July, 9am–5pm. Register in the city centre. 17

Forthcoming Exhibitions Snowdon's Private View: The Artist through the Lens 29 September 2007–13 January 2008 An exhibition of Snowdon's photographs of some of the most important figures in recent art history including Frank Auerbach, Peter Blake, William Coldstream, John Piper, Graham Sutherland, Joe Tilson and many others. Peter Snowdon, Peter Blake, 1964, Photograph, © Peter Snowdon

The Catch in the Breath and the Thumping Heart: Collections and Architecture of Colin St. John Wilson 9 February–17 June 2008 Highlighting Wilson's involvement with the Independent Group in the 1950s, his commissions for the British Library, his passion for collecting work by artists including Andrews, Auerbach, Blake, Coldstream, Hamilton and Kitaj and his involvement in Pallant House Gallery as architect and donor. William Coldstream, Portrait of Colin St. John Wilson, 1982–3, Wilson Loan, © Andrew Margetson

Gallery Pangolin Lynn Chadwick Prints and Maquettes · 11th June - 20th July

Catalogue available

Maquette for the Trigons 1961

G a l l e r y P a n g o l i n · C h a l f o rd · G l o u c e s t e r s h i re · G L 6 8 N T · U K T: 00 44 (0)1453 886527 · E : g a l l e r y @ p a n g o l i n - e d i t i o n s . c o m · w w w. g a l l e r y - p a n g o l i n . c o m

Exhibiting a talent for understanding.

Make it new is the rule of art. Our rule is: make it individual. At UBS Wealth Management we create unique investment solutions designed to satisfy just one person: you. First we discuss your total financial picture. Then we offer the global expertise and resources of a world-leading wealth manager to make your investment vision reality. Itâ&#x20AC;&#x2122;s personalised service raised to an art form. Supporter of Pallant House Gallery. For information about UBS in the south of England, please contact Ewen Emmerson on 01273 715300. Nile House Nile Street Brighton BN1 1HW www.ubs.com/uk

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A Summer of Pop Andrew Churchill Wolverhampton Art Gallery, just like Pallant House Gallery, has one of the largest collections of Pop Art outside of London. They began their collection during the movement's heyday in 1969. This collection forms the foundation, complimented by national and international loans, including paintings by Peter Blake, sculpture by Jann Haworth and a print by Richard Hamilton from Pallant House Gallery, for a look at how Pop Art embraced celebrity culture, long before it was the phenomenon we know today. Including the work of British and American Pop Artists this exhibition is housed in the new triangle gallery space, a recent addition to the Gallery. One of stars of the Wolverhampton exhibition is certainly Peter Blake and his role as the father of British Pop Art (it was in discussing his work that the critic Lawrence Alloway first used the term Pop Art) ensures him a place in the hearts of art lovers across the world. Tate Liverpool, something of a second home for Blake as they have previously presented his 'About Collage' exhibition, is a fitting venue for a new retrospective exhibition of his work. Blake's connection to The Beatles also makes Liverpool an ideal city as, with Jann Haworth, he famously designed the cover for Sgt. Peppers Lonely Hearts Club Band. He also completed, over many years, a portrait of the Beatles which was originally intended to carry the signatures of the band. However, Blake recalls that after a visit to his studio by Paul McCartney during which he failed to take the opportunity to sign the painting, he assumed that McCartney was not keen to do so and the white rectangles now sit empty. This work joins many more as a celebration of the whole of the artists' career, including a recent series of paintings entitled 'The Marcel Duchamp World Series' in which the artist explores imagined encounters of the seminal artist and many art stars of today including Tracey Emin and Damien Hirst.

The Autumn also sees the continuation of the Pop theme for 2007. Fresh from its visit to Liverpool, Blake's portrait of the Beatles will be heading to London's National Portrait Gallery for it's exhibition 'Pop Art Portraits'. It will be joined by an important painting from Pallant House Gallery by a contemporary and friend of Blake, Patrick Caulfield's 'Portrait of Juan Gris', completed whilst still a student at the Royal College of Art in 1963. Wolverhampton Art Gallery will also follow its summer exhibition with a look at how Pop and Politics collided in the 1960s. Pallant House Gallery's permanent display of Pop Art from Britain will certainly miss not having these highlights on its walls through the Summer and into the Autumn but it is fortunate enough to have many equally important works (some, including Richard Hamilton's 'Swingeing London '67', which are simply too fragile to travel) on display throughout the year. The evolving display includes Howard Hodgkin, Joe Tilson, Colin Self, RB Kitaj and the afore mentioned Blake, Caulfield and Haworth. The lack of acknowledgment of Britain's role as the originator of Pop Art (yes, before the Americans!) has long been a cause for concern to many, but it would seem that 2007 is the year where, at least partially, this is re-addressed. Long live the Summer of Pop! Pin Up: Pop Art and Popular Culture Wolverhampton Art Gallery 31 Mar−4 Aug 07 Peter Blake: A Retrospective Tate Liverpool 29 June−23 September 2007 Pop Art Portraits National Portrait Gallery 11 October 2007−20 January 2008

Peter Blake, The Beatles 1962, 1963–68, Acrylic emulsion on hardboard, Wilson Gift through The Art Fund

Neo-Surrealism and Unphotography in Arundel

Gilbert Garcin, Controlling Oneself, 1999, ÂŠ The Artist

Arden and Anstruther Gallery in Petworth has been bringing world class photography to West Sussex for several years now. Showing both temporary exhibitions and their own collection, some of which is for sale, their unusual space in amongst the Petworth antique dealers stands out for its bold content and always amusing window displays. This summer the photography is breaking out from their gallery and will be in Arundel as well. However, this won't just be a normal, pictures hung on four walls, type of exhibition. 'Neo-Surrealism' will be shown in a room at Arundel Castle and more unusually, in the Rose Garden at the Castle as well. Photographs by Gilbert Garcin and Brian Griffin will demonstrate that surrealism is alive and well. In addition to this Arden and Anstruther are also presenting their exhibition of the work of students from Kingston College at the Mill Studio in Arundel, something that excites them enormously as the work is always innovative and interesting. Both exhibitions are part of the Arundel Festival which runs from the 24 August to the 2 September.

Arden and Anstruther 01798 344411 www.ardenandanstruther.com The Mill Studio 01243 558880 www.themillstudio.com Arundel Festival 08714 720414 www.arundelfestival.co.uk Chichester Festivities The 33rd Chichester Festivities opens with a bang on 29 June with a Magic of Motown Fireworks Concert featuring the Drifters. Setting the pace for 16 days of concerts, talks and exhibitions, highlights include Christopher Frayling, Rector of the Royal College of Art and Chairman of Arts Council England, delivering a lecture on 'spaghetti' westerns; BBC journalist Andrew Marr discussing his new book, 'A History of Modern Britain' and where it all went wrong; David Dimbleby on his new series for television and book 'How We Built Britain' which explores the architecture of these isles and the Nigel Kennedy Quintet present their new album 'Blue Note Sessions' in Chichester Cathedral. Chichester Festivities 01243 780192 www.chifest.org.uk

Log on to the best of British Contemporary Art in the South.

Island Fine Arts Ltd Gordon Radford and Ian Hargreaves 16 June â&#x20AC;&#x201C; 21 July 2007

Ian Hargreaves

Ice Cream Parlour, Venice

Acrylic 27.5 x 27.5 inches

All works are for sale, please contact the gallery for a card

53 High Street, Bembridge, Isle of Wight PO35 5SE Tel 01983 875133 Office 2, Sadlers Walk, 44 East Street, Chichester PO19 1HQ (by appointment only) Email gallery@islandfinearts.com Web www.islandfinearts.com

Derrick Greaves: From Kitchen Sink to Shangri-La Andrew Churchill Derrick Greaves (b.1927) first came to prominence in the 1950s as part of the 'Kitchen Sink' school of painters championed by Helen Lessore at Beaux Arts in London. Along with his contemporaries John Bratby, Edward Middleton and Jack Smith he painted the everyday occurrences of a rather drab and economically restricted post-war Britain. Whilst the painting of John Bratby remained in a similar vain for many years, Greaves and his friends Middleton and Smith progressed rapidly away from realist paintings and towards, in Greaves case at least, a kind of figurative abstraction. Much more akin to the Pop art of the 1960s, Greaves' paintings of this time are not so much celebrations of popular culture but rather what Mark Glazebrook has called 'Pop-Classical'. The everyday objects had been taken off the kitchen table and placed singularly, executed with perfect line and bold, flat colours. It was around this time that an anonymous supporter of Pallant House Gallery came into contact with Greaves, commissioning a series of prints from him and acquiring three magnificent large canvases, two of which have just been given to the Gallery. This now takes the Gallery's holdings of paintings by Greaves to three (including an earlier picture which was given by the same donor) and means that this increasingly respected artist is now well represented in the collection. That Greaves' reputation is at last being reassessed and his importance recognised, is due in no small part to James Hyman who, in his capacity as Gallery owner in London's St. James', has held a series of exhibitions over the last few years of the artist's output from the 1950s through to his most recent pictures. What struck me most about these shows, was not only the incredible paintings which had been completed whilst Greaves stayed in relative obscurity over the last 30 years, but also that the artist's most recent pictures were still pushing the boundaries. Like Patrick Caulfield, who Glazebrook also classed as 'Pop-Classical' in his

Derrick Greaves, Dish, Moon, Two Lines, 1970, Oil on canvas, Pallant House Gallery, Presented by an Anonymous Donor (2007), © Derrick Greaves

article for London Magazine in 1967, Greaves has continued to paint inspired canvasses well into his later years. Celebrating his eightieth birthday this year, his latest picture entitled War Triptych measures 1.5 metres by 4 metres and is a dark, brooding indictment of recent events in the Middle East. James Hyman, in his impressive monograph on the artist published recently by Lund Humphries, talks of the painting's "…bold iconography and emblematic imagery speak[ing] for and of our times in a strong and distinct voice, a voice that is both individual and universal, classical and contemporary". A better description of the whole of the output of this artist would be hard to find. Derrick Greaves: From Kitchen Sink to Shangri-La by James Hyman is available in hardback priced £35 from the Gallery bookshop. 01243 770813 James Hyman Fine Art has three exhibitions of Greaves' work this summer from 1 June−24 August covering his earliest pictures to his most recent. 020 7839 3906 www.jameshymanfineart.com 27

Prunella Clough at Tate Britain Simon Martin

Prunella Clough (1919−1999) was one of the most original British artists of her generation, but she has often been has been described as 'a painter's painter', a somewhat double-edged compliment. Clough was admired by artists such as Keith Vaughan, Ceri Richards, Patrick Caulfield and Bridget Riley, but little known by the wider public. This was largely due to her intensely private nature, her modesty and admirable reluctance to engage in vulgar self-promotion. It is therefore a great pleasure to see her work so beautifully presented in the current free exhibition at Tate Britain, which will later be shown at Norwich Castle Museum and Abbot Hall Art Gallery in Kendal. Described by the critic John Berger as 'one of the most developed and serious English painters of her generation', Clough painted subjects that many artists would not deem worthy of attention. She was not a follower of fashion; rather she charted her own artistic course, creating subtle and often complex compositions that distilled the essence of transient urban and industrial spaces. She imbued unloved subjects such as building sites, industrial tips, machine parts and wastelands with a profound and poetic beauty. This relatively small, but enlightening exhibition focuses on her figurative paintings of the 1940s and 1950s, which have been seen as encompassing socalled 'Neo-Romanticism' and Social Realism, and on her later abstract paintings from 1960 onwards.

'Brown Wall' (1964), on loan from Pallant House Gallery, has a pivotal position in the exhibition's narrative. Displayed apart from her early, smaller paintings of fishermen at Lowestoft Harbour, lorry drivers and factory workers operating machinery, it marks Clough's move into a highly personal form of painterly abstraction. Her late works, including 'Disused Land' (1999), also on loan from Pallant House Gallery, led to the artist being awarded the Jerwood Painting Prize in 1999. A searchable on-line archive of Clough's photographs, notebooks and studies, which is accessible in the exhibition, reveals her inspirations and working methods: notes on colour, reworked postcards, photographs of light and shadows and other ephemera. The artist claimed that she liked 'paintings that say a small thing edgily' and this focussed exhibition expresses this edgy but refined quality succinctly, encouraging the visitor leaving the gallery to look upon the world anew. Prunella Clough Tate Britain 24 March−27 August 2007

Prunella Clough, Brown Wall, 1964, Oil on canvas, Wilson Gift through The Art Fund, © Estate of the Artist

Island Fine Arts Ltd Gordon Radford and Ian Hargreaves 16 June â&#x20AC;&#x201C; 21 July 2007

Gordon Radford

The Welcome Inn

Oil 10 x 12 inches

All works are for sale, please contact the gallery for a card

Prof. Sir Colin St John Wilson (1922â&#x2C6;&#x2019;2007) Architect and Donor of the Wilson Gift Stefan van Raay Every day over the last 10 years, somebody in the Gallery would get a telephone call from Sandy Wilson. There were only ever two subjects; either an enquiry about an architectural detail for the design of the new wing, or a more passionate message about a painting, a book, an exhibition, or one of his many artist friends. When I first met with Sandy Wilson to discuss the brief for the new Pallant House Gallery in 1997 he was extremely benign and generous towards me, a freshly arrived client with an agenda of wishes and demands. He was the professional architect 'incarnate'; but he firmly drew the line when I picked up a pencil and started to 'design' one of the spaces for the future gallery. "Stef, never ever pick up a pencil" he said. "You tell me what you want, and I'll draw it!" That was a pact, and I never held a pencil in his presence again; I just described a brief which he always translated beautifully into real drawings. Our situation was a delicate one. He and his wife, MJ Long, with the support of their young children Sal and Harry, had promised their collection to the Gallery but, at the same time, we also had a clientarchitect relationship. I felt privileged to work with architects who were passionate about people, art and architecture, but the outside world was more cynical. Not once were the boundaries between the roles of architects and patrons crossed. Sandy and MJ took a very long term view in the design and planning process of the Gallery, no doubt wisened by the British Library experience. Sandy, in particular, was very philosophical about the onslaught of ill-informed and amateurish criticism from some of the wide array of bodies, both public and semi-public, involved in the planning process, and from some members of the public. I was not so patient, but Sandy always kept me on the straight and narrow. One of the delights of working with Sandy and MJ was their intensely creative way of communicating with each other, creative that is, once you realised it was not a huge row between a married couple, but simply a bouncing off of ideas, hindered only by Sandy's deafness. MJ Long has played a much more

significant role in the creative design of the British Library and Pallant House Gallery than she is credited with. Actually, in the case of the Gallery, she was an equal partner in the design process. In that sense, she deserves more public credit for what Sandy and she achieved together and there is now every reason to celebrate their combined architectural vision. Critical acclaim, a shower of awards, and most importantly, the ongoing delight of visitors to the Gallery, entirely invalidate the doubts and sometimes vicious attacks on the plans in the early stages. The generosity of the Wilson family has been extraordinary. Their gift to the Gallery, of one of the most important private collections of 20th century British art, is a reflection of their desire to share the delights of a life long passion for collecting with everyone. Further, this collection was not accumulated by great wealth, but is the result of Sandy's close involvement with artists and his active participation in the art world. Without the support of his wife MJ, and his children Sal and Harry, Sandy would have never been able to leave such a beautiful treasure to this country. In the end however, it was he who orchestrated the collection as it is now. And of course, it is not only those of us at the Gallery who should be grateful; artists, artists' widows, students, young architects and many, many others are also in debt to his loyal support through thick and thin, often in difficult times. Sandy was not only an outstanding architect and collector; he also was an inspiring teacher and Renaissance man with a huge social conscience and, luckily for him, a great sense of humour. Young people especially adored him because he always treated them with respect and profound interest. Of Pallant House Gallery, Sandy once remarked, "Perhaps, if the British Library is my symphony, then Pallant House Gallery is my quartet". And, how it sings! A perfect structure with his beloved paintings, accentuated as clear notes resonating in his eternal composition. Photograph by Anne-Katrin Purkiss

Prof. Sir Colin St John Wilson: A Brief Biography Born in Cheltenham on 14 March 1922, Wilson was the son of the left-wing wartime Bishop of Chelmsford, Henry Wilson. He attended Felstead School in Essex and studied for a two–year war degree in architecture at Corpus Christi College, Cambridge before joining the Royal Navy Volunteer Reserve. In the Navy (1942–46) he was attached to the Air Arm Communication Squadron at the time of the invasion of Europe, and subsequently served in India. He completed his studies at University College London (1946–49) and in 1950, joined the Architects' Department of London County Council, where his contemporaries included James Stirling, Alison and Peter Smithson, Alan Colquhoun and Peter Carter.

At this time he also set up his own independent practice: commissions included a development plan for the British Museum and the Civic Centre in Liverpool.

At this time, Wilson became closely involved with the Independent Group of artists, architects and designers that formed around the new Institute of Contemporary Arts (ICA) in London. The Group organised a number of influential exhibitions and events, which culminated in the groundbreaking collaborative exhibition of artists and architects known as This is Tomorrow at the Whitechapel Art Gallery in London in 1956. In the same year Wilson was invited to join Sir Leslie Martin, the newly elected Professor of Architecture at Cambridge, both to teach at the University and to work in association to form an architectural practice (1956–64). The practice produced the first project for the enlargement of the British Museum Library and a number of important University Campus developments and buildings including three Libraries for Oxford University, the Stone Building in Peterhouse, Harvey Court for Gonville and Caius College at Cambridge University.

The major project of Wilson's career was the British Library, which has been described as his 'thirty year war'. He produced two designs (1962–64 and 1969–73) opposite the British Museum in Bloomsbury, and a final design (1975–99) on a twelve-acre site beside George Gilbert Scott's St Pancras station. The new British Library is perhaps the most elaborate British public building of the twentieth century, which combines English brick facing and Scandinavian-Dutch influences in the light and airy interior.

In 1960 Wilson built his own residence and working studio at Granchester Road in Cambridge (the subject of a major painting by Howard Hodgkin). The building, which is now the home of the Wittgenstein Institute, was listed in 2000 by the department of English Heritage as of historic importance.

R.B. Kitaj, The Architects, 1981, Oil on canvas, Wilson Loan, © R B Kitaj

He also taught in the USA with Visiting Professorships to Yale (1960, 1964, 1983 and 2000) and MIT (1970–72). From 1975 until 1989 Wilson was Head of the School at Cambridge and since then was Professor Emeritus. One of his students at Yale, MJ Long, became one of the first students in his office, and later became his wife and partner in his practice, Colin St John Wilson and Associates. Together they had two children, Sal and Harry.

Wilson wrote two important theoretical books on architecture Architectural Reflections (1992) and The Other Tradition of Modern Architecture (1995) and a book on the working methods of the painters Michael Andrews and William Coldstream entitled The Artist at Work (1999). He had been a Trustee of the National Gallery and the Tate Gallery, and has been the Chairman of the Arts Council's architecture unit. He was knighted in 1998 for services to architecture. After the Pallant House Gallery project, which opened to the public in July 2006 and now houses the architect's internationally important collections of Modern British art, Wilson continued to work until the end, completing the master plan for the Royal Academy, as well as the extension to the British Library, with Long & Kentish, housing the Conservation Centre which opened just days after his death. 33

A Musical Interlude Frances Guy, Curator of Eye-Music

The summer exhibition 'Eye-Music: Kandinsky, Klee and all that Jazz' is an exploration of the particular correspondence between visual art and music at the beginning of the 20th century. Kupka, Klee and others turned to Bach to provide a model for an abstract visual language, and Kandinsky felt an affinity between the new musical system Schönberg was developing and his own rejection of figurative art. It's not often that you are asked to curate an exhibition of your own choice. Curators more often than not inherit projects from their predecessors and are rarely afforded the privilege of indulging their own interests. But when the opportunity arose to propose an exhibition for inclusion in the Esmée Fairbairn Foundation's Regional Museums Initiative, I was given free reign. Since having to make a choice at 'O' Level between art or music and Latin or home economics, I've always been torn between the two disciplines (art and music, that is). On that occasion art won and, despite pleading with the school to let me take both, my musical studies remained with the Associated Board. If it were not for youth and university orchestras, my life as a musician might have ended after Grade 8 oboe but I was able to continue to enjoy music as a performer, and still do today.

Wassily Kandinsky, Violet, 1923, colour lithograph Bauhaus Archive, Berlin, © ADAGP, Paris and DACS, London 2007

On my art foundation course, I tried to visualise music in various projects, none of them successful but each enabling me to understand a little better the similarities and differences between the art forms. Perhaps the most telling experience was my attempt to develop a set design for 'The Rite of Spring', which highlighted that any motif of ritual sacrifice I could imagine fell far short of the raw expression of Stravinsky's music. These aborted attempts to create my own visual language persuaded me to study the history of art instead. Subjects included medieval art and architecture, Gothic cathedrals being of particular appeal as the ultimate synthesis of all the art forms. A trip to the South of France introduced me to a more contemporary version in the form of Matisse's chapel at Vence. And my tastes expanded to encompass experimental theatre and film, fuelled by magical productions in my university city of Manchester where boundaries were blurred and art forms fused into energetic and exciting new wholes. Fast-forward to 2002 and the start of my research for this exhibition. My first problem was to produce a synopsis to present to the Esmée Fairbairn Foundation. I decided to focus on the early 20th century when many early forays into abstract art were stimulated by a desire to emulate music because of its ability to evoke an emotional and spiritual response unfettered by the material world. In the same period there was also a particular correspondence between the arts as each discipline underwent parallel transformations in the hands of innovators such as Kandinsky and Schönberg. Finally the arrival of jazz in Europe saw artists revelling in the energising and syncopated rhythms of this new style of music, many recognising that improvisation was a technique that could be reproduced in painting. 35

Left Frantisek Kupka, Discs of Newton, study for 'Fugue in Two Colours', 1911-12, Oil on canvas, Centre Pompidou, National Museum of Modern Art, Paris, gift of Eugenie Kupka in 1963, © ADAGP, Paris and DACS, London 2007 © Photo CNAC/MNAM Dist. RMN / © Jaques Faujour Right Arnold Schoenberg, Self-Portrait, 1910, Oil on 3-ply panel Arnold Schoenberg Centre, Vienna, Belmont Music Publishers, Los Angeles, © DACS 2007, Arnold Schönberg Center Far Right Eduardo Paolozzi, Early Italian Poets from Calcium Light Night (for Charles Ives), 1974-6, Series of 9 screenprints, Wilson Loan (2004), © The Trustees of the Eduardo Paolozzi Foundation

My choice of title, often one of the most problematic issues at the start of a project, derives from Wordsworth's poem of 1842, Airey-Force Valley. Wordsworth describes the action of a breeze on trees, that creates "A soft eye-music of slow-waving boughs/Powerful almost as vocal harmony/To stay the wanderer's steps and soothe his thoughts." When Esmée Fairbairn awarded the Gallery a most generous grant to bring 'Eye-Music' to realisation, I started a journey that was to take me to Edinburgh, Paris, Vienna, Berlin and Prague in order to track down and negotiate loans of artworks. As is peculiarly often the case, there was suddenly a rash of exhibitions on the same subject in Europe, the best being 'Sons et Lumières' at the Centre Pompidou in 2004. An exhibition of such scope and stature, which dealt not only with music but also sound in 20th century art, was obviously beyond the remit of what could be achieved at Pallant House Gallery. However I wanted to make the subject more relevant for our audience by introducing British artists, many represented in the Gallery's collection. With a few exceptions, British artists' affinity with music was mostly a post-World War II phenomenon, many being inspired by jazz such as John Tunnard and Alan Davie, both accomplished jazz musicians in their own right. 36

What also became important was to make a selection based on artists who were explicit in their own theories or writings about the role that music played in the development of their visual language, rather than art that has been written about in terms of musical analogy, often a resort for critics when faced with interpreting abstract art for the first time. I also wanted to show why that was so, that music could be seen as a useful analogy for explaining the sometimes incomprehensible content of non-figurative art but, likewise, that art can be a useful tool when it comes to understanding the jarring sounds and complexities of atonal music. Through my research I came across the work of the Czech artist František Kupka (1871-1957), previously unknown to me, one of the pioneers of abstract art whose 'Amorpha, Fugue in Two Colours' was in part inspired by the music of J. S. Bach. 'Amorpha' was the first purely abstract painting to be exhibited in Paris in the Salon d'Automne of 1912, pre-empting Kandinsky's fully-fledged abstract style that culminated in 1913 and Malevich's 'Black Suprematist Square' exhibited in St Petersburg in 1915.

I also got to know the music of Charles Ives (18741954), the American insurance agent and exact contemporary of Arnold Schรถnberg (1874-1951) who, quite independently of the European avant-garde, developed a radical approach to composition that incorporated popular tunes, folk music and marching songs within the symphonic tradition. This 'collage' technique was particularly admired by Eduardo Paolozzi who, in the 1970s, dedicated a series of nine screenprints to Ives named after his orchestral work 'Calcium Light Night' (c. 1906). The fully illustrated catalogue which accompanies the exhibition investigates these and other relationships further. It contains illuminating essays by Dr. Simon Shaw-Miller and Professor Michael Tucker, both experts in the field who are not only contributing to the publication and the gallery talks programme but, together with Professor Peter Vergo, have been most generous with their time and knowledge during the progress of this project.

The accompanying programme of events is an important part of 'Eye-Music' in order to open up the subject for further exploration. As well as talks there is a series of concerts, the first to be scheduled in the Lecture Room following the Gallery's reopening. There was no shortage of interesting suggestions of performers and pieces to programme over the summer and the selection of Talkestra, Chroma and the Coull Quartet should provide a stimulating listening experience. (For further details, see page 69) Another integral part of the exhibition will be a programme of archival film, curated by Ben Rivers of Cinematheque in Brighton and featuring artists who were pioneers in early abstract filmmaking such as Viking Eggeling and Len Lye. This will alternate with a programme of work by contemporary filmmakers also generated in response to music or sound. (For further details, see page 73)

Semiconductor, Still from '200 Nanowebbers', 2005, ÂŠ The Artist

In addition to the main exhibition, the Prints Room contains an exhibition of musical notation that features some influential scores from the history of 20th century music where the visual experience of reading the music becomes an important part of its interpretation. Scores of compositions by John Cage, Cornelius Cardew, Tom Phillips and others will be on display. This has been curated by Dr. Shaw-Miller on behalf of the Gallery, who has written extensively about the visual spectacle of music. Also the exhibition of Ivon Hitchens' work from the Gallery's collections has been timed to coincide with 'Eye-Music' since the artist was concerned that many of his landscapes should be regarded as "pictures painted to be 'listened' to." Finally, Thor McIntyre-Burnie, an artist from Brighton, will be master-minding 'Orchitecture' with members of the New London Orchestra, an all-day event at the Gallery that aims to deconstruct a familiar piece of music and recreate it through audience participation. This will also form part of an event where filmmaker Bob Jaroc will work with the audio material produced from this event to reinvent it as a visual experience. Thor will also transform the Gallery's lift into a colourorgan for the duration of the exhibition. 38

It promises to be a summer of interesting sensory experiences at Pallant House Gallery, following on most aptly from an exhibition exploring the links between visual art and poetry. Preparing 'Eye-Music' has been a wonderful opportunity to research a subject close to my heart and, as you can probably tell from this article, it has been more than an academic exercise. I hope you will enjoy this small foray into a vast and complex subject and be inspired to discover more. Eye-Music Funded by

Eye-Music Supported by

Eye-Music: Artist in Residence Thor McIntyre-Burnie Thor McIntyre-Burnie is the artist in residence for Eye-Music. His projects will be varied, challenging and exciting and are explained here.

Orchitecture Orchitecture is part of an ongoing project (est. 2004), led by artist Thor McIntyre-Burnie, working in collaboration with architect and author Ayssar Arida and the New London Orchestra. The premise behind Orchitecture is one very similar to the abstract painters of the 1920's. "I can draw an exploded diagram of a mechanical engine to understand how all the components work together, but how can I create one for an orchestra and still capture the emergent qualities of a piece of music, where the whole is much more than the sum of its parts? How can I make a representation of an orchestra that includes time & space and also subjective emotional experience?" Thor McIntyre-Burnie For painters in the 1920s, abstraction offered a solution. For installation artist Thor McIntyre-Burnie it is Orchitecture. In essence, the idea is that the orchestra is removed from the objective stance of the stage and exploded around the caveats of a building, yet despite the dislocation of its components, the symphony continues. Here the elements of time and space have been stretched, and the viewer walks through and amongst the symphony. The aim is to make these factors that are implicit in the perception of music explicit. So much so, that one has to physically navigate an architectural space in order to perceive, not only all the physical components of the orchestra, but also the musical score itself. The experience becomes a process of discovery, a journey and a series of encounters. These encounters are not just with a loudspeaker, nor simply visual or acoustic. They are with real people making live musical sound. These encounters may be awkwardly intimate, challenging, dull or thrilling.

A-tonal Time Twister: An interactive lift installation "..in the third movement of Schoenberg's Second string quartet, the music takes leave of its key of Fsharp minor and veers off into an atonal abyss. In that instant, the harmonic laws that governed European music for 500 years are declared null and void." The day music went mad, by Norman Lebrecht. What happens if we take a-tonality a step further and break the laws of music time and space? What if the composition and the concert is stretched over 100s of short 8-15 sec physical journeys of an elevator, each a separate experience, where the number of people or the movements of the passengers determine the number of musicians heard? We get this: a bite size portion of Orchitecture, folded into a medley of Schoenberg's Second String Quartet, Kandinsky's colour-tone theory and a game of Twister, served up in short sharp journeys in an art gallery elevator. Here the concept of Orchitecture is distilled into an elevator; the musicians and their rooms have been replaced by pressure sensitive coloured circles and corresponding pools of coloured light upon an elevator floor; the spatial navigation has become a game of Twister; musical time passes only via the lift's physical journey time and the score is thus staggered and played out through a series of lift journeys.

Music for the Eye to Do A series of workshops with a local deaf group. Their aim, to explore concepts raised by the exhibition Eye Music, Orchitecture and the very visual nature of music technology. The results of this process will contribute towards a short documentary film.

The Sound In My Life Tom Phillips Left Tom Phillips, Concerto Grosso, 2002, Oil on canvas, Collection of the artist, © DACS 2007 Right Tom Phillips, Last Notes from Endenich 1975, Pastel on paper, Collection of the artist, © DACS 2007

A million years ago when man's ancestors stood upright in Africa (and began the whole adventure of making) the worlds of art, music and language were perhaps one thing. The mark made, the sound uttered or sung, even the step danced were intimately linked. The history of this unity is now lost, although as far as writing goes, we can piece together the development from drawing to script. The frequent liaisons, flirtations, affairs and marriages that are attempted between word and music and between those and the visual image (culminating in opera) celebrate that imagined past of perfect union.

In the film Song without End (1960) the young Wagner arrives at the opera and presents Liszt (Dirk Bogarde) with what seems to be a single rolled sheet of paper. 'Would you do me the honour,' he asks, 'of looking at my Tannhäuser?' This must have been the microdot version, yet the image stuck in my mind of a piece of paper charged with such density of sound whose objective form was a sequence of lines and blobs. This is mankind's greatest cryptographic achievement. As if in homage to that miracle I have bent those blind lines and with mute blobs have fashioned drawings which notate the sound outside my reach.

My own work also betrays a nostalgia for this Eden before the roads of expression forked off in their various directions and this essay is, as politicians say, an appropriate moment to declare an interest.

Around the mid seventies I had been reading about the last days of Schumann in the asylum at Endenich. The name Endenich itself with its sad derivable phrases and its harrowing absence of a redeeming final 't' had always fascinated me (… Enden Ich, Ende Nich…). Clara describes her husband's struggle to put down the unearthly music that he heard there. It seems that she destroyed these incomprehensible scraps of manuscript paper. This imagined music of delirium and its conjecturable wild orthography led me one day into a strange trance of drawing.

As well as writing music that can be played, I have often expressed the frustration of my technical limitations as a composer by drawing the music I aspire to make; a visual equivalent of the Lost Chord (Seated One Day at the Easel…). I love the way scores look as they compress wonders into their economical code (in which paradoxically the great is virtually indistinguishable from the awful). 40

For perhaps the first time since childhood I found the marks coming unbidden and a structure forming itself unwilled. Even the accidental appearance of an 'A' at the beginning (i.e. far left) seemed to represent the constant tone that we know was tinitically dinned into the deranged composer's brain. I called the drawing Last Notes from Endenich and it was published in a magazine as 'a score not intended for performance'. Its tenuous existence as a drawing and score, so nearly each and neither, provoked the French composer Jean Yves Bosseur to suggest that we collaborate on a version to be realised by his ensemble. It was his brilliant intervention that brought Schumann's last actual surviving melody (which he had discovered on a visit to Endenich itself) into the dialogue of the work and made the whole enterprise poignant and possible. I have revisited this shadowy no man's land between drawing and musical notation many times since and have made occasional transcriptions of real musical events (such as the motifs of the characters in The Ring). These are of course the result rather than the cause of what is played, yet they also witness that 'the sound in my life enlarges my prison'.

This phrase, which has become something of a motto for me, emerged from my working over (literally in both senses) a Victorian novel by W. H. Mallock, A Human Document. The resulting treated book is called A Humument. I have been working on it now for over forty years, forever replacing and revising its pages so that the version currently in print (3rd revised edition) is only a distant relative of the first privately printed version. Over the years each page has slowly yielded its hidden treasure of words, and images have grown up around them. Music, since it haunts my life, haunts also the texts and pictures of this work. When in 1969 I wrote a chamber opera called, after its heroine, Irma, I used the book as a source for the libretto and it also provided the poems for a song sequence Six of Hearts in 1995. Just as A Humument occupies the strange vacant lot between word and image so have my drawings annexed the neighbouring underdeveloped site between music and art whose rich and resonant relationship this series of essays has set out to explore. Taken from Tom Phillips, 'Music in Art', London, Prestel, 1997 41

Poets in the Landscape Poet in Residence: Ros Barber Simon Martin To coincide with the exhibition 'Poets in the Landscape: The Romantic Spirit in British Art' the award-winning contemporary poet Ros Barber (b. 1964) was recruited from an impressive shortlist to be Poet in Residence at Pallant House Gallery. Ros was born in Washington, but is based in Brighton and has published two collections of poetry: 'How Things Are On Thursday' (Anvil, 2004) and 'Not the Usual Grasses Singing' (Four Shores, 2005), a book about the Isle of Sheppey written entirely in rhyming couplets, which was the result of a public art commission. She is well known in the South of England for her public poetry commissions, which are largely site-specific or place based, connecting landscapes or urban environments to their histories. She teaches at the University of Sussex, has previously been the Poet in Residence at Arts Council England South East and appears frequently in anthologies, poetry magazines and prize shortlists. 42

During her residency Ros has led a programme of creative workshops with a variety of participants including pupils at the Jessie Younghusband School, Chichester High School for Boys, Central Church of England Junior School, members of the Gallery staff and the Gallery's volunteer guides. Her workshops took the 'fear' out of creative writing and encouraged participants to respond to paintings in the permanent collection in a personal and free manner. Many participants have found this an inspiring process, not least the gallery staff and volunteer guides. As part of her residency, Ros has been commissioned to compose a number of poems in response to works of art in the permanent collection. 'Straw Man' was written in response to Edward Burra's darkly surreal watercolour of the same name, currently on show in Room 5.

Straw Man by Ros Barber Some didn't see they kicked a man he couldn't shout his face was red

Who saw the man his hollow mouth it made no sound they didn't care

it wasn't them it wasn't me it wasn't him it wasn't real.

he wasn't there a hole is deep he wasn't real he couldn't feel.

Edward Burra, The Straw Man, 1963, Watercolour on paper, On loan from a private collection (2006) Opposite Page Ros Barbar, Poetry workshop

Outsiders? Marc Steene

An innovative project this summer will showcase the work of Outsider or marginalised artists. Here Marc Steene, explains what 'outsider art' is and then talks about the project. Finally George Melly looks at how one particular outsider artist, Scottie Wilson, began making art. The term Outsider Art was first coined by Richard Cardinal in 1972 as an equivalent for the term 'Art Brut', the art movement founded by the artist Jean Dubuffet who was responsible for establishing one of the first collections of Outsider Art, the Collection de l'Art Brut in Lausanne, France. Early Outsider Artists were primarily psychiatric patients; self taught visionaries whose work was recognisable for having no relation to the artistic cultural norms of their time and which was collected by psychiatrists such as Hans Prinzhorn. Artists such as Adolf WĂślffi, whose artwork charted his personal mindscape like a cartographer, developed strong idiosyncratic personal styles to portray inner worlds and thought processes. The impulse to create was driven often, not by the need to share or to communicate, but simply to make tangible an unspoken world with its own inherent logic. Purist Outsider art critics and collectors will often question and reject Outsider Artists who knowingly achieve fame and recognition. Albert Louden, for example, who exhibited at the Serpentine in 1985, was immediately rejected by purist Outsider critics for exhibiting his work at the venue, destroying in the process, so it was argued, the innocence and purity it

once contained. This unwavering purist attitude has placed the Outsider Artist in a seemingly impossible position, whereby they must work unknown, without any need to share or receive any sense of value in their work, die (preferably in obscurity), only to be discovered at a later date by an enlightened critic or psychiatrist who sets the terms for their acceptance or rejection. Fortunately, there are one or two exceptions to this somewhat bleak outlook for the Outsider Artist. Some well known Outsider Artists, such as Scottie Wilson and the self taught naĂŻve artist Alfred Wallis did receive recognition in their lifetimes, and their work was collected by artists and collectors alike. Wilson and Wallis made a large impact on several major artists of the twentieth century including Pablo Picasso and Ben Nicholson who, in their own quests to find new pictorial languages, explored different art traditions including Outsider and non Western art forms. Max Ernst and other Surrealist artists also found inspiration in the work of Outsider Artists. It is, in fact, possible to trace a steadily developing sense of awareness on the subject of Outsider Art over the last thirty years. There have been a handful of landmark exhibitions for example, including the 'Outsiders: An Art without Precedent or Tradition' exhibition at the Hayward Gallery in 1979 and the more recent 'Inner Worlds Outside' exhibition at the Whitechapel Gallery in 2006, as well as numerous other smaller exhibitions. Outsider Art can also prove a highly marketable art form, especially in America where there are numerous galleries and collectors investing in this type of work. The recent film 'Junebug', which comically parodied the unseemly competition between gallery owners to sign up an outsider artist, perhaps confirms an increasing interest in the subject.

Keith Purcell, Marc Steene (detail), n.d. ÂŠ the artist

Largely due to the often nebulous criteria applied by art critics and historians to artists and their work, the question of who is and who is not an Outsider Artist is, I feel, still open for debate. I would include within the boundaries of Outsider Art, any self taught artist who has arrived at a visual language and way of working outside of what is seen as the cultural norm. In my own experience, during the many years I have worked in day centres with people with learning difficulties, I have seen first hand those artists who have spent a lifetime developing their own inherent personal style and visual language, often in the face of total apathy and, at worse, derision. I particularly remember one artist who I supported as a volunteer at a day centre, who once asked for her work to be returned at the end of a project only to find it had been turned into papier-mâché. What I found most shocking was that this destruction was considered a normal outcome for any of the works created.

The truly original is hard to find but we come close to it in the work of Outsider Artists. I feel privileged to have known and taught some of these artists, one of whom, the Brighton artist Keith Purcell, I feel has produced some of the most directly expressive and powerful work I have seen in the last ten years. The naïve and intuitive is a highly valued commodity and we crave the innocent and untainted vision. This is often parodied or copied, but the inherent pattern making and vision of true Outsider Artists sings truly and clearly, never to be imitated. Gary Williams, Ceiling Decoration, n.d., © the artist

Outside In There are a large number of people in our community who create art. Some attend art classes, others attend local art groups and others still, practice as amateur or professional artists. Some individuals make a living from selling their artwork, others simply take opportunities to share and talk about what they create. Yet however these individuals make art, they all can (and often do) participate in the creative life of their local community. In contrast to this discernible group of artists, there are many others working within our society who do not have such easy access to their local communities and are far less visible. This group of individuals attend day centres, reside in hospitals or live isolated within our communities. These are the artists who are commonly found working in isolation, often with a disability and/or mental health problems, and despite the often highly personal and idiosyncratic characteristics of their artwork, rarely receive any recognition, with little or no dialogue or interest surrounding the subject, suffering, as it all too often does, under the misrepresentation of being either childish or strange. When thinking about how to make a museum or gallery accessible, providing physical access, through ramps for wheelchair users, or producing large text labels or audio guides, only addresses a few of the physical and intellectual barriers disabled and marginalised individuals might face. Providing access to opportunity and personal development is far harder to achieve, and the new exhibition and arts prize called OUTSIDE IN is a move towards providing this at the Gallery. Building on the already impressive outreach and community work carried out by the Gallery, including the recently commended Partners in Art scheme and the Hans Feibusch Club, OUTSIDE IN will offer a new opportunity for Outsider and marginalised artists to access the collections and exhibitions at the Gallery, highlighting this often neglected group and welcoming another new audience to Pallant House Gallery.

Linda Harvey, untitled, n.d. ÂŠ the artist

Ultimately, the OUTSIDE IN arts prize aims to offer Outsider and marginalised artists a unique opportunity to have their work shown in a gallery with the further opportunity of winning an award that includes either a residency or solo exhibition at Pallant House Gallery. In it's first year, the initiative is open to those who live in Sussex, with plans to grow across the South region and eventually nationwide within five years so that OUTSIDE IN becomes a landmark art event, hosting exhibitions, conferences and events. Outside In: A Discussion Thursday 23 August, Studio, 6â&#x20AC;&#x201C;8pm, Free A chance to find out about the ideas and intentions of this innovative project from members of the steering committee. Outside In supported by

Scottie Wilson, Peaceful Vase, n.d., Pencil on paper, Wilson Gift through The Art Fund

Suddenly Scottie George Melly Scottie Wilson (1891–1972) is celebrated as both an outsider artist and a key member of the Modern British art scene. His emergence as an artist is explored here. First there was a pen, a pen which Scottie later described as looking 'like a bulldog, with a nib as thick as my finger'. It rested on a card-table given him by a friend because in the back of Scottie's small shop in Toronto there was nowhere to put his radio set. The baize on the card-table had long worn out. It had been replaced by a piece of cardboard. The radio was on the table, playing some Mendelssohn in a concert sponsored by a beer company. Scottie 'all of a sudden', picked up 'the bulldog', dipped it in ink and began to draw on the cardboard. The pen, like the red shoes in Anderson's story, refused to stop. 'Almost continuously … the images, the faces and designs just flowed out' said Scottie, as Mervyn Levy recorded in his book on the artist. When the table-top was completely covered Scottie went to Woolworth's, where he bought drawing paper and children's crayons. From then on there was nothing he wanted to do, nothing he could do, but draw. The exact details of this event vary; it is evident that Scottie added, or embellished, or occasionally forgot some aspect of his moment of revelation or possession although the broad outline remained consistent. In describing it to Mervyn Levy for example, he claimed to have bought the table. To Victor Musgrave on the other hand, Scottie recalled a 'humpty-backed man', with whom he had business dealings who, seeing the radio on the floor, offered him the table to stand it on. Musgrave also reports that it took two weeks to cover the table-top with drawings. E.L.T. Mesens, whom I believe to have written the first article on Scottie published in England (Horizon, June 1946), gives no precise moment of creative inspiration, no 'bulldog', no Mendelssohn. In his account, Scottie, faced by financial failure, 'retired more and more frequently into his back shop, where he passed the long hours in covering a large piece of beaverboard on his worktable-top with tiny pen strokes'. Levy offers neither 'two weeks' nor 'long hours' for the completion of the first 'Scottie',

but two days. At all events, whichever of these details are accurate, all agree on the essentials: at some point between the late Twenties and early Thirties in the back room of a Toronto junk shop, a Glaswegian Jewish second-hand dealer in his early forties, almost illiterate, totally uneducated in the conventional sense, picked up a fountain pen and entered his magic domain. 'Life! – it's all writ out for you – the moves you make.' This was Scottie's most frequently repeated aphorism, not in itself strikingly original, but in his case apposite enough. Suppose for example he had not decided in Toronto to buy up all the fountain pens he could find so as to strip them of the gold nibs to sell to a refinery ('Gold was fifteen shillings an ounce' he told Musgrave – outside his art, he enjoyed exhibiting the small selfcongratulatory cunning of the street-trader). Suppose that among the pens he'd bought for this reason there had been no 'bulldog' to catch his fancy, that the 'humpty-backed' man hadn't given him the card-table or that, if he had, it had still retained its baize. What if there had been no ink handy? Would it have made a difference if, instead of Mendelssohn, the radio had been transmitting a talk or dance music? Suppose that, at the moment Scottie was dipping the pen in the ink and was about to draw his first line, someone had entered the shop, a Canadian person from Porlock, to purchase one of the cut-glass scent bottles which were his principle if curious stock-in-trade? These are not intended as frivolous questions. What I am asking is, of any one of these conditions had been missing, would Scottie Wilson, ex-newspaper boy, street-trader, soldier, deserter, lumberjack, smallshopkeeper, have then or later or never become an artist? It was not after all a conscious decision. It had never occurred to him that that was what he would like to be. Every moment of our lives is controlled by what we chose to call chance, but few of us experience quite so traumatic an intervention. No wonder Scottie felt 'it's all writ out for you'. From '"It's All Writ Out For You": The Life and Work of Scottie Wilson' by George Melly, © 1988. Reprinted by kind permission of Thames & Hudson Ltd., London

Book Reviews Ivon Hitchens Peter Khoroche Lund Humphries ÂŁ35.00 Ivon Hitchens (1893-1979) was surely one of the greatest modern artists to paint the English landscape. For his many admirers this summer should be a veritable feast with the current display at Pallant House Gallery, an exhibition of over twenty flower paintings at Jonathan Clark Fine Art, and the republication of Peter Khoroche's excellent monograph on the artist. In the Preface of his book, Khoroche writes of how the pictures reproduced are 'intended as a form of retrospective exhibition.' As an 'exhibition in a book' it forms a comprehensive and fascinating overview of Hitchen's creative output, from the early and highly traditional 'Portrait of Lt. Bryson Bellot' (1916) to his bravura last painting, the brightly coloured and completely abstract 'Finale, In the Garden' (1979).

showing the underlying structure of his painting 'A Lake with Two Boats' (1960) alongside the finished work. Such inclusions, and a detailed text that draws on Hitchens' own writings, provide an insight into the artist's working methods, together with some wonderful (but probably staged) photographs that capture a sense of the creative act: Hitchens painting en plein air in his beret, neck scarf and jaunty jumper surrounded by his painting paraphernalia. The book also includes an almost comprehensive list of Hitchen's exhibitions, lists of public collections holding his work and a useful chronology and select bibliography, which make this engaging book an important reference work.

First published in 1990, Khoroche's study of Hitchen's life and work has been out of print, and hence somewhat expensive, for quite some time. It is therefore a pleasure to see that this new, revised and enlarged edition is available for a comparatively reasonable price, which is in fact cheaper than when it was first published seventeen years ago. The new selection of over 100 colour images, includes some of the works in Pallant House Gallery's collection such as Curved Barn (1922), one of Hitchen's earliest works in a public collection, and House Among Trees (1943) depicting 'Greenleaves', his home and studio in the woodlands near Lavington Common. In addition to the much celebrated landscapes, the book features reproductions of ink figure studies revealing the artist's fluidity of line, bold nudes and vibrant flower paintings, as well as a fascinating comparative illustration

Available from the Bookshop - 01243 770813

Simon Martin

Roger Hilton: The Figured Language of Thought Andrew Lambirth Thames & Hudson £35.00

Mary Fedden: Enigmas and Variations Christopher Andreae Lund Humphries £35.00

Although Roger Hilton (1911−1975) has been affiliated with the St Ives artists, he was more interested in the human figure and its emotional context than in the landscape. Andrew Lambirth's comprehensive monograph charts Hilton's artistic development from his pre-war figurative art, following his studies at the Slade and the Académie Ranson in Paris, to the post-war 'semi-figurative expressionism' for which he is best known: bold colours, nervy expressive lines, dynamic compositions and sometimes highly sexual female nudes. Although Hilton comes across as a rude and rather unlikeable individual, known for his alcoholism and excess, it is the urgency and vitality of his art and the fascinating relationship between drawing and painting that remains the focus of this well-illustrated and insightful book. SM

Describing painting as a 'passion', Mary Fedden continues to paint into her nineties. This enjoyable new monograph celebrates the fruits of this lifelong passion with over 200 lavish illustrations, accompanied by an engaging text which explores the artist's creative process. The book takes a thematic rather than chronological approach to the artist's work, and in doing so demonstrates Fedden's wide range of interests beyond the still life subjects for which she is so widely celebrated. The book shows Fedden to be a consummate colourist with an intuitive sense of composition and design. Most interestingly, it reproduces Fedden's creative output in a range of media besides her paintings, including drawings, sketchbooks with pages of ideas, collages and lithographs, as well as book illustrations and studies for early murals. SM

Available from the Bookshop - 01243 770813 Available from the Bookshop - 01243 770813

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Collection News Simon Martin, Assistant Curator Pallant House Gallery has recently received an important collection of prints by the illustrator and designer Enid Marx (1902−1998). Marx was a contemporary of artists such as Eric Ravilious, Edward Bawden and Peggy Angus. During her lifetime Marx created an extraordinary array of textiles, postage stamps, repeat patterns for both fabric and paper, posters for the London Underground, book jackets and book illustrations, as well as designs for Zodiac Books, Chatto and Windus and the King Penguin series. She wrote and illustrated twelve children's books during and after the war and was the coauthor−with her lifelong companion the eminent historian Margaret Lambert−of two books about folk art, including the important 'English Popular Art' (1951). The Breuning−Eve Gift of Enid Marx Prints includes over 100 examples of her wood engravings, lino-cuts, etchings, book illustrations and ephemera and so it is a significant addition to the Gallery's collection of twentieth-century art and design. The

Gift is composed of prints left to Dr Eleanor Breuning by Margaret Lambert and the collection of Marx's biographer Dr Matthew Eve. It forms one of the only major collections of her work outside London. Dr. Breuning has also presented a beautiful charger and bowl by Katherine Pleydell-Bouverie (1895-1985), one of the pioneer women in British Studio Pottery. Pleydell-Bouverie was a friend of Enid Marx and Dr. Breuning, and she was one of Bernard Leach's first apprentices in St. Ives. Technically her work drew on the oriental ideals of Leach but it can equally be aligned to the modernist values of minimalism and 'truth to materials'. Her ash glazes were prepared from the sieved ash from the huge variety of woods and hedgerows on her family's estate. The Gallery's growing collection of Studio Pottery has been supplemented with the gift from a Friend of the Gallery of a salt-glazed charger by Trevor Chaplin, a stoneware bowl by Britain's oldest-working potter 59

Katherine Pleydell-Bouverie Charger and Bowl Stoneware, with ash glaze Presented by Miss Eleanor Breuning, 2007 Previous Page Enid Marx Folly Swans at Star Cross Devon 1989 Linocut on paper The Breuning−Eve Gift of Enid Marx Prints (2007)

Ursula Mommens (b. 1908) and an important group of late 1960s pots by Emmanuel Cooper (b.1938). One of British's leading contemporary potters and the Editor of Ceramic Review, Cooper is currently visiting Professor of Ceramics and Glass at the Royal College of Art. The gift also includes a number of paintings and sculptures including two acrylic paintings by Derrick Greaves (b. 1927) entitled 'Dish, Moon, Two Lines' (1970); an abstract composition by James Hull (1921-1990) demonstrating the influence of American Abstract Expressionism on British art in the late 1950s, and a welded sculpture in bronzed steel, en titled 'Rising Movement No.2' (1962), by the post-war sculptor Robert Adams (1917-1984) who, like James Hull, was a participant in the seminal exhibition 'This is Tomorrow' in 1956. The gift also includes an aquatint print entitled 'The Feast' (1958) by the Portugese artist Bartolomeu Dos Santos (b.1931), who was the Professor of Printmaking at the Slade for 35 years. Inspired by the 'Poets in the Landscape' exhibition, the poet Tony Curtis, who is Professor of Poetry at the University of Glamorgan, has presented the Gallery with a hand-coloured etching by the Welsh artist John Selway (b. 1938). The print, entitled 'New Jersey Morning', incorporates a poem by Professor Curtis. In the course of researching the 'Poets in the Landscape' exhibition nine engravings relating to the Chichester poet William Hayley were discovered loose in a volume of Hayley's 'Life of William Cowper' in the Gallery's Art Reference Library. These include engraved portraits

of Hayley by William Ridley, James Hopwood Snr., and Thomas Holloway after paintings by George Romney. Another recent discovery is currently on show for the first time: 'Cavallo' (c.1959), a silk textile panel by the Italian sculptor Marino Marini, which was woven by Edinburgh Weavers. This bold textile featuring a repeat motif of a horse once hung as curtains in the Deanery, Walter Hussey's Chichester home and was recovered from the Gallery's cellar during the renovation of the Gallery. The conservation programme of the works on paper which are housed in Prints Room has been ongoing and many more works have been re-mounted into standardised acid-free mounts, including the Kitaj portfolio 'First Series: Some Poets' prior to its recent exhibition. The Chichester Decorative and Fine Art Society has generously 'adopted' the John Piper 'Study for Chichester Cathedral Tapestry' (1965) in order to fund the conservation of this fascinating work, which relates to the city's artistic heritage. 'Adopting' an artwork supports this vital conservation work and the donor is credited on the label. The cost of adopting a work varies according to the treatment required in each case, ranging from £50 to around £400. If you are interested in participating in the 'Adopt a Picture' scheme to support conservation at the Gallery please email s.martin@pallant.org.uk or call 01243 770 834 to discuss which works are 'up for adoption'.

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The Pallant Restaurant Interview Stefan van Raay, Director of Pallant House Gallery talks to John Brookes, the celebrated Garden and Landscape Designer

It is forty years ago that the landscape designer John Brookes published 'Room Outside' a ground-breaking book on landscape and garden design which this year has been re-published by the Antique Collectors Club. I thought it would be good to have lunch with him at The Pallant Restaurant at the same time as the Poets in the Landscape exhibition and a week before the Chelsea Flower Show where he, as the doyen of British landscape gardening, featured prominently in the events programme. 'Room Outside' represented a new approach to smaller gardens, up until then most people miniaturised very grand garden schemes into a small size, Brookes' approach was to make the smaller spaces better, and integrated with the building. Before John eagerly embarks on what concerns him most in his profession at the moment, we choose our first and second courses. For him, a carrot and ginger soup to start with followed by an asparagus and lemon risotto and for me, mozzarella, tomato and fennel salad followed by Lemon Chicken. John Brookes: I am a sucker for any soup every day. It's a rotten day and therefore it is pure comfort food for me and it is something that warms me up after a day in the garden. Anything with lemon I love because it reminds me of the time I worked in Iran, all those orchards of lemon trees which smell so wonderful and fresh. I asked John what his major concerns are at the moment with regard to his work. JB: I am really getting tired of talking decorative gardening, I have always been interested in the land and farming. For economic reasons (I was born in Durham city) I couldn't have a farm and therefore I went into horticulture. As I get to the brow of the hill

my interest in the landscape and the land where we live has returned. That interest in the organic cycle of food, well-being, diet, aromatherapy and herbs, the basic return to the earth is happening everywhere and I am no exception. From the beginning I was always also interested in the paintings of the land, artists like John Piper and Ivon Hitchens really influenced my earlier designs and after several decades I am back again with that influence and therefore I find the exhibitions here, like 'Poets in the Landscape: the Romantic Spirit in British Art' and the in-focus Ivon Hitchens fascinating. Also the Michael Andrews 'Thames Estuary' and those wonderful views of his of the Scottish moors and somebody like Andy Goldsworthy really picks up this 'back to earth' and 'back to landscape' trend. He must be one of the most inspiring sources for landscape designers at the moment. SvR: How does this reflect in your work? JB: Well, for instance, I am doing a garden for the coffee and tea company, Taylors of Harrogate. The company grows tea and coffee and have a chain of restaurants and I am now integrating tea, which is a camellia, and other plants to do with cooking, in the garden I am planning for them. Of course, I have to work with a combination of elements, the earth, the climate, the site and the client so it is not a free form of art but the locality, the food and the art are inspirations for where I work. Foreign clients are quite generous financially but in Britain people are more penny-pinching which influences the end product itself because I have never been very interested in making lots of money myself. At the moment I am working all over the world, in Sussex, in Harrogate, upstate New York, Chicago, Poland, Brazil and I still have a design school in Buenos Aires in Argentina. I used to work a lot in Japan and recently I thought, shall I go and 63

have a look at a garden I designed 20 years ago, but the thought of little bits of food served on ashtrays stopped me, I thought, I've done it! SvR: Have you seen the consequences of global warming over the years? JB: Yes, I think things seem to be different, for instance this April was really strange. We are sidelined by the arrival of John's carrot and ginger soup and my mozzarella, tomato and fennel salad. John thinks the soup is very good and I think that the fennel gives an interesting twist to a traditional salad. Food and art are an inspiration for John and he regrets the fact that it is very difficult to illustrate gardening books with paintings. Apparently the copyright fees for gardening books regarded as commercially successful are so high that it prevents John from including them in his publications which he regrets because the interweaving of different disciplines is quite central to his approach. JB: As I said I have come back to the meaning and the importance of the landscape and its different aspect but I seem to be slightly ahead of many people because when I bring the vision of the landscape earth, farming and the cycle of the seasons the whole broad range that makes the landscape, it is sometimes far beyond the interest of most gardeners, which is often very narrow. For instance in Sussex, I love the rolling landscapes and the contrast between the downland and the woodland. A perfect landscape is a very peculiar strain in art, the recurring Romantic Spirit which is now the subject of an exhibition at the gallery.

Over the main course, John explains his ideal menu. JB: The asparagus and lemon risotto and the lemon chicken salad brings me back to the time I worked in Iran before I came down to Chichester over 25 years ago. Those fantastically scented orange and lemon orchards. I don't have an ideal menu, it really depends where I am, as long as lunch is light. Because I travel so much around the world I am always happy to be back in West Sussex and for me a holiday is staying at home. This area has changed over the last 25 years since I've been here, the theatre has changed, probably less adventurous but more financially viable and the opening of the gallery again has brought a wonderful new dimension to living in this part of the world. We finished lunch with a rhubarb crumble for him ('comfort food again - you have pressed me to have it') and mango crème brulée for me. On saying goodbye John says how delicious the lunch was and he won't have to eat again for a week, it will last him until the Chelsea Flower Show. 'Room Outside. A New Approach to Garden Design', priced £29.95 will be stocked in the bookshop. The Pallant Restaurant is open Tuesday to Saturday 10am to 5pm and Sundays 12 to 5pm. The Restaurant is open for evening dining on Thursday, Friday & Saturday serving from 5pm including a lighter menu for pre theatre & cinema dining. To book please call 01243 784701. www.thepallantrestaurant.com

SvR: How do you see Denmans, your garden at Fontwell? JB: It is to a degree a laboratory, a place to experiment with new ideas and plants. I love opening and widening landscapes up and I love to bring nature into the house. More and more I believe we are not superior but we are all an integral part of it. Ivon Hitchens, Curved Barn, 1922, Oil on canvas, Presented by the Artist (1979), © Estate of Artist

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Friends News Dr Martin Collins 1921–2007 It was with a real sense of loss that we learned in March of the death of Martin Collins, an outstanding supporter and friend of Pallant House Gallery. For many years, Martin was a highly respected Chichester GP. On his retirement some 20 years ago, he and his wife Muf decided to indulge in one of their great loves: travel. For three years they ranged widely, visiting family and friends in many parts of the world. They recalled those years as a hugely enjoyable time in their lives. Once home again, Martin set about seeking outlets for his boundless energy and many interests, especially the arts. An active, enthusiastic member of both Chichester Art Society and the New Park Artists, drawing and painting were a great source of pleasure to him. He was a talented calligrapher, too, and it was always a joy to receive a note from Martin in his elegant italic script! How lucky for us that Martin's interest in the arts drew him towards Pallant House Gallery, then emerging as an important centre for Modern British Art. He offered his services first as a room steward, then as a guide. Finally, he was persuaded in 1999 to take on the Chairmanship of the Friends Events Committee., which also involved serving on the Friends Executive Committee. He fulfilled these rôles most ably and with typical relish. Together with Win Kitchener as Honorary Secretary of the Events Committee, they organised a lively and imaginative programme of events, which included several excellent arts-related holidays in the UK and abroad. Sadly, following illness in 2004, Martin withdrew from the Chairmanship of Events; I felt privileged to be invited to take his place – a tough act to follow. Martin Collin's belief in the Gallery, his infectious enthusiasm and the warmth of his personality will be missed. We are indeed fortunate that he chose to give so generously of his time and talents to Pallant House Gallery, where he will be remembered with respect and affection. Julia Cooper, Former Chair of the Events Committee 66

Win Kitchener While there are many people whose involvement with the activities of the Friends of the Gallery has been invaluable, Win Kitchener's contribution has been outstanding. Win has been with Pallant House Gallery for seventeen years, a remarkable accomplishment of dedication. She was initially recruited as a volunteer by Phillip Stroud (the founder of the Friends organisation) and was ‘interviewed' by Julia Cooper (a standing joke between them). She became Honorary Secretary to the Friends' Events Committee Chairman, Diana Welland, in 1994 and worked closely both with her and with Martin Collins, her successor. She has been a valuable source of help to both Julia and myself for the past two years and I am extremely sad that she has had to resign from the Committee, due to ill health. She will be greatly missed by us all for her unfailing good humour, always accompanied by a beaming smile, willingness to assist with everything and wealth of experience. We wish her better health and look forward to seeing her in the Gallery soon. Jillie Moss, Chair of the Events Committee New Post of Friends Administrator Gillian Thompson joins the Friends office as Friends Administrator. She will be in the office four days a week working on all aspects of the Friends administration. The office is dealing with an increasing workload and her organisational skills will be of tremendous help to Jillie Moss and Beth Funnell. 3,000th Friend Joins the Gallery We are delighted to welcome Gill Thomas as our 3,000th member. She is a teacher at West Dean Primary School in charge of art and is looking forward to popping into the Gallery regularly and to bringing in her pupils. She receives one year honorary membership and a copy of Modern British Art at Pallant House Gallery.

Exclusive Friends Visits and Tours Hinton Ampner Tuesday 21 August Continuing with the theme of Art in Nature we are taking a special garden walk with John Wood, the Head Gardner at Hinton Ampner. The gardens, with their stunning views over the South Downs, were created by Ralph Dutton, 8th and last Lord Sherborne, when he inherited the estate in 1935. After his death in 1985, he left the house, which he had stripped back to its Georgian core and re-built after a disastrous fire in 1960, and the gardens to the National Trust. John is carrying out Dutton's wish that the gardens should be a constantly developing project and will show us some of the innovative colour schemes and re-planting he has introduced as well as in his re-design of the walled garden After the walk we will have tea in the café and there will be time to explore the classical house. We will have a sandwich lunch in a nearby pub before arriving at the house. 11.30am–6pm approx; £28 (for National Trust members £22), including sandwich lunch.

Three Day Visit to Northampton Thurs 20−Sat 22 Sept To celebrate the 25th Anniversary of the Gallery we have arranged to go to Northampton to visit St Matthew's Church where Dean Hussey commissioned Henry Moore's Madonna and Child and Graham Sutherland's Crucifixion in the 1940s. We will begin the visit with a private tour of the newly restored Bassett-Lowke house which the remarkable Scottish designer and architect, Charles Rennie Mackintosh, remodelled in 1916-17. We have a private visit to the fascinating Drayton House, one of the largest medieval houses in the Midlands, which has been a family home for almost a thousand years. Before we return to Chichester we will tour Boughton House, home of the Duke and Duchess of Buccleuch and Queensberry, who have kindly allowed us a private visit on Saturday. The house, known as ‘The English Versailles', has a fine art collection which includes a remarkable series of Van Dyck sketches.The cost includes two nights at the Quality Hotel, with dinner, bed and breakfast. £220 per person for a double/twin room; £240 for a single room; including all entrance fees.

Two Sussex Galleries Thursday 18 October This visit continues our exploration of specialised local galleries. Beginning with the Arden and Anstruther photographic Gallery in Petworth where Paul Arden will talk to us about his extraordinary collection of 20th century classic photographs that he has put together over thirty years. The pictures have been acquired form skips, flea markets, acclaimed galleries and as gifts from the photographers themselves. In the afternoon we will view the exhibition by Tim Kent called Lustre, Light and Lumina at the Moncrieff-Bray Gallery. Elspeth Moncrieff, who is an arts writer, set up the Gallery in 2005; she has arranged for Tim to give a talk on his work. In between galleries there will be time to have lunch in a pub or café in Petworth 9.45am–5pm approx; £16

Friends' Coffee Morning Wednesday 5 September An informal coffee morning with the Friends' to learn more about the Gallery. Marc Steene, the Gallery's Education and Outreach officer, will discuss his work with schools and community groups. 10.30–12am; £3 to include coffee and biscuits Eye Music: Guided Exhibition Tour Weds 4 July, 10.30am | Weds 25 July, 2pm A tour of the exhibition 'Eye-Music: Kandinsky, Klee and all that Jazz' with its curator, Frances Guy £5 to include coffee/tea; £2.50 for students Ivon Hitchens: Guided Exhibition Tour Fri 20 July, 2pm | Weds 15 August, 10am Weds 19 September, 10am A special tour examining the landscape paintings of Ivon Hitchens. Led by Pallant House Gallery Guides. £5 to include coffee/tea; £2.50 for students

Talks Picturing Music: Klee, Kandinsky and Picasso Thursday 12 July The works of Paul Klee, Wassily Kandinsky and Pablo Picasso exemplify three different ways in which music developed a close relationship to the visual arts in the 20th century. Klee was fascinated by the polyphony of Johann Sebastian Bach; Kandinsky turned to the atonal works of Arnold Schönberg; Picasso spent much of the first decade of the 20th century painting pictures of musical instruments. This lecture by Dr Simon Shaw-Miller, Senior Lecturer in History of Art at Birkbeck College and Honorary Fellow of the Royal Academy of Music, will look at why these artists turned to music for inspiration and illustrate the possibilities with visual and musical examples. £8/£4 students; Lecture Room; 6pm Painting, Poetry, Music: The work of Joan Miró and Alan Davie Thursday 23 August The Catalan artist Joan Miró, who all his life was inspired by poetry and music, once said that he wanted his work to be like poem made into music by a painter. No other contemporary artist has shared this ambition to the extent that the Scottish painter and printmaker (and jazz musician) Alan Davie has done. This insightful talk, by Michael Tucker D. Litt., Professor of Poetics at the University of Brighton, considers the work of Miró and Davie in relation to this fundamental theme of the interpretation of the arts. £8/£4 students; Lecture Room; 6pm

American art discovers American music Thursday 13 September Stuart Davis was one of the first American artists to recognise the importance of jazz music as an element in the cultural identity of the United States. This acoustically illustrated lecture by Peter Batten will follow the development of Davis' contacts with that music and his realisation that its influence was moving his painting towards total abstraction. As his work reached maturity in the 1940s he met the exiled Dutch painter Mondrian. The final part of the lecture will explain why Mondrian shared Davis's enthusiasm for Boogie Woogie. £8/£4 students; Lecture Room; 6pm

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Alan Davie, Jazz by Moonlight no. 3, 1966, oil on canvas, Private Collection, courtesy of Goldmark Gallery, Uppingham, © John Wiliams

Performances Talkestra Thursday 26 July Talkestra concerts are different. These musicians don't just play the music, they talk about it. And they don't just talk about it, they take it apart to show you how it works and put it back together to show you how it sounds. This evening's concert is all about music by Arnold Schönberg, including two songs from 'Das Buch der Hängenden Gärten' performed by soloist Heather Cairncross, 'Three Pieces for Piano' which is performed by soloist Julian Jacobson and the extraordinary 'Pierrot Lunaire'. Talkestra talks you through the mysteries behind the works you're about to hear. Enjoy this novel concept; fun, relaxed, and not at all 'high-brow'. £12/£6 students; Lecture Room; 6pm CHROMA: String Quartet Thursday 9 August 2007 is the 10th anniversary of CHROMA: a dynamic, critically acclaimed chamber ensemble featuring some of Britain's most outstanding musicians. Known for the passion the group brings to contemporary work and their vivid renderings of classic pieces, their performances are truly memorable. In this evening's performance, Marcus Barcham-Stevens (violin), Anna Biggin (violin), Oliver Wilson (viola) and Clare O'Connell (cello) play J.S. Bach's 'Goldberg Variations' arranged by Sitkovetsky; Ian Wilson's 'Toward the Far Country' and 'Nell'ombra, nella luce' by Steven Stucky. CHROMA is currently Ensemble-in-Residence for Education at Spitalfields Festival, and the University of London's Royal Holloway and Bedford College. £12/£6 students; Lecture Room; 6pm Seeing Music, Hearing Colour Thursday 6 September Mark Rowan-Hull and the Coull Quartet with an introductory talk by Professor Vincent Walsh. Roger Coull (violin), Philip Gallaway (violin), Gustav Clarkson (viola) and Nicholas Roberts (cello) make up The Coull Quartet: one of Britain's most respected and longestestablished ensembles. In this special performance artist Mark Rowan-Hull will paint live on stage in response to a programme of music featuring works by Benjamin Britten and John Tavener. This fascinating

Perform Season T ance icket Save ove r 20%

when you for all fou buy a tick r perform et ances, inc price tick luding a to et for the p Canticum concert. £40 (Sav ing £14) £20 Stud ents (Sav ing £7)

performance will explore the visual qualities within music and create a dialogue between the two art forms. Rowan-Hull's recent performances live on stage have taken place at the Royal Academy of Music, the Royal Festival Hall and at Ronnie Scott's jazz club in London. This performance will be preceded by an introductory talk by Mark Rowan-Hull and Professor Vincent Walsh about Synaesthesia (the joining of the senses) and its relationship to both music and visual art. £12/£6 students; Lecture Room; 6pm Canticum Saturday 15 September Canticum, a leading London Chamber Choir, returns to Chichester Cathedral with a programme of works by composers linked to abstract artists J.S. Bach (Paul Klee), Schönberg (Kandinsky), Messiaen (Valensi), and Debussy (Ceri Richards). They will also explore the musical links between the composers with pieces by Mendelssohn and Brahms, along with sixteen part choral works by Gustav Mahler and Richard Strauss. The concert closes with a number of short song settings inspired by colour; Stanford's beautiful Blue Bird, Vaughan Williams' ever popular Greensleeves, and Lennon & McCartney's Blackbird. £18/£12/£8; students £9/£6/£4; Chichester Cathedral; 7.30pm Tickets are available from Pallant House Gallery, Chichester Cathedral and Bastows Classics. Supported by Thomas Eggar 69

Children, Adult and Student Workshops Saturday Workshops

Art Masterclasses

Artwork of the Month

Free Holiday Workshops

£6; 10am−12pm Advanced booking and payment required.

A programme of practical workshops based on the collections and led by artists knowledgeable in traditional art techniques. For those with some experience. £9 plus a materials/model charge where applicable. Participants to bring own art materials. 1−4pm Advanced booking and payment required.

£6 plus a materials charge where applicable. Participants to bring own art materials. 12−2pm Advanced booking and payment required.

10am−12pm also 1−3pm No booking required but places are limited 01243 774557

Percussion Painting Saturday 21 July Clap your hands, stamp your feet and create a rhythm in paint and sound Artist: Jane Moran 5−8 year olds A Sight for Sore Eyes Saturday 4 August Using textiles and felt explore the Eye Music Exhibition Artist: Jaita Patel 9−12 year olds Musical Mobiles Saturday 1 September Make a mobile that plays a tune Artist: Louise Bristow 13−16 year olds Take your plate and paint it! Saturday 15 September Make your own funky design on a plate to take home Artist: Dinah Kelly 5−8 year olds Weird Shapes Saturday 29 September Create a painting with weird cut-out shapes Artist: Jenny King 9−12 year olds NEW! Summer Holiday Activities for the Under 5's £6; 10am−12pm Please book early as places are limited Every child must accompanied by a parent 1, 18, 15 and 22 August Artist: Janet Sang

Landscape Painting Sunday 22 July Artist: Jayne Sandys-Renton Sculpture Sunday 5 August Artist: Peter Neuner Drawing Sunday 2 September Artist: Irina Brzeski Narrative in Painting Sunday 16 September Artist: Anne Tockwell Life Drawing Sunday 30 September Artist: Dinah Kelly

Dhruva Mistry's 'Regarding Guardian 2' Wednesday 27 June Carve your own sculpture using Zimbabwean stone and traditional techiques. Artist: tbc John Minton's 'David Tindle as a Boy' Wednesday 25 July Paint an expressive portrait. Artist: Jenny Tyson Howard Hodgkin's 'Granchester Road' Wednesday 29 August Use acrylic paints to explore colour and shape Artist: Jane Chitty Spencer Gore 'The Garden Path, Garth House' Wednesday 26 September Bring a photograph of your garden and paint it in oils Artist: Teresa Mason FREE Artwork in Focus Talk Preceding each Artwork in Focus workshop there is a 20 minute drop-in talk at 11am, which is free with admission to the gallery.

Jazzy Colours Saturday 28 July Make amazing monoprints with jazzed up colours Artist: Jane Chitty 5−16 years Musical Layer Cake Tuesday 7 & Wednesday 8 August A chance to explore how painting and music can weave together to create art. Led by CHROMA, a London based music ensemble and a Pallant House Gallery artist educator. Families and children of all ages Kandinsky Saturday 11 August Have fun painting with music and colour Artist: Jayne Sandys-Renton 5−16 years Pop Badges Tuesday 25 August Bring images of your favourite bands to make a pop badge (There will be a small charge for each badge) Artist: Louise Bristow 5−16 years

Cost

Number of Tickets

Visits, Events, Talks, Tours and Workshops Booking Form Exclusive Friends Visits and Tours Hinton Ampner

Tues 21 August

£28 (£22 for NT)

Three Day Visit to Northampton

20-22 September

Please tick to be sent a booking form

Two Sussex Galleries

Thurs 18 October

£16

Friends Coffee Morning

Wed 5 September

£3

Eye-Music: Guided Tour

Wed 4 July, 10.30am £5, £2.50 (students)

Wed 25 July, 2pm

£5, £2.50 (students)

Ivon Hitchens: Guided Tour

Fri 20 July, 2pm

£5, £2.50 (students)

Wed 15 Aug, 10am

£5, £2.50 (students)

Wed 19 Sept, 10am £5, £2.50 (students)

Talks and Performances Picturing Music: Klee, Kandinsky and Picasso Thurs 12 July

£8, £4 (students)

Painting, Poetry and Music

Thurs 23 August

£8, £4 (students)

American art Discovers American music

Thurs 13 September £8, £4 (students)

Talkestra

Thurs 26 July

£12, £6 (students)

CHROMA: String Quartet

Thurs 9 August

£12, £6 (students)

Seeing Music, Hearing Colour

Thurs 6 September

£12, £6 (students)

Canticum

Sat 15 September

£18/£12/£8, £9/£6/£4 (students)

£40/£20 (students)

Eye-Music Performance Season Ticket

All of the above are fundraising events for the Friends of Pallant House Gallery

Children's Saturday Workshops Percussion Painting (5−8 year olds)

Sat 21 July

£6

A Sight for Sore Eyes (9−12 year olds)

Sat 4 August

£6

Musical Mobiles (13−16 year olds)

Sat 1 September

£6

Take your plate and paint it! (5−8 year olds)

Sat 15 September

£6

Weird Shapes (9−12 year olds)

Sat 29 September

£6

Summer Holiday Workshops for Under 5s

Wed 1 August

£6

Wed 8 August

£6

Wed 15 August

£6

Wed 22 August

£6

Artwork of the Month Workshops/Adult Art Masterclasses Dhruva Mistry

Wed 27 June

£6

John Minton

Wed 25 July

£6

Howard Hodgkin

Wed 29 August

£6

Spencer Gore

Wed 26 September

£6

Landscape Painting

Sun 22 July

£9

Sculpture

Sun 5 August

£9

Drawing

Sun 2 September

£9

Narrative in Painting

Sun 16 September

£9

Life Drawing

Sun 30 September

£9

Total

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Cheque Payments Cheques should be made payable to Pallant House Gallery Services Ltd. Please leave the actual amount open in case we are not able to provide all the tickets you request. For security "Not above ÂŁâ&#x20AC;Ś.." can be written at the bottom of your cheque and we will advise you of the cheque total. 72

Free Films, Performances, Tours and Talks Films

Tours

A specially designed programme of archive and contemporary films which explores how movingimage artists have worked intimately with music and abstraction, often within the same movements as those represented in the exhibition. Curated by Ben Rivers of Brighton Cinematheque

Thursday evening tours are a series of introductory tours led by experienced Gallery Guides to bring the collections alive. Tours begin at reception at 6pm and are free with gallery admission. Places Limited.

Archival Programme Thursday 5 July / Repeated Thursday 2 August The archival film programme begins with Viking Eggeling's pioneering abstract film Diagonal Symphony (1921), followed by other groundbreaking films which show early experiments with colour and sound, such as those by Len Lye, Hy Hirsh and Norman McLaren. Free with half price Thursday evening admission; Lecture Room; 6.30pm; running time 1hr Contemporary Programme Thursday 19 July / Repeated Thursday 16 August The film programme continues with an evening of contemporary films by artists who have chosen to work beyond the confines of the music video, investigating the deeper meanings and associations found within music with an excitement and originality that mirrors their predecessors. Free with half price Thursday evening admission; Lecture Room; 6.30pm; running time 1hr

Performance Orchitecture: Octet Saturday 21 July Live Performance Installation by Thor McIntyre-Burnie. Quantum theory, meets sound, meets architecture: an exploration of space through orchestral music and the orchestra via architecture. Artist Thor McIntyreBurnie has worked with architect Ayssar Arida and the New London Orchestra to create a symphony to walk within. Dividing the musicians into different rooms around the original Pallant House, visitors will discover the score as a site-specific spatial experience, a journey through sound and space. Free with admission; Galleries; 11amâ&#x2C6;&#x2019;5pm

Talks Free 20 minute Artwork in Focus drop-in talk. Free with admission to Gallery; 11am Dhruva Mistry's 'Regarding Guardian 2' Wednesday 27 June Guide: Helen Ward John Minton's 'David Tindle as a Boy' Wednesday 25 July Guide: Anne Hewat Howard Hodgkin's 'Granchester Road' Wednesday 29 August Guide: Biddy Elkins Spencer Gore's 'The Garden Path, Garth House' Wednesday 26 September Guide: Alan Wood 73

Neil Lawson Baker Painter and Sculptor

Neil welcomes visitors to his studio by appointment It is only 10 minutes away from Pallant House Gallery

Graingers Studio, West Ashling, Chichester Telephone +44 (0)1243 576 082 Mobile +44 (0)7802 896 073 Email neillawsonbaker@aol.com www.neillawsonbaker.com

Listings Arundel Arundel Gallery Trail 25 August–2 September www.arundelgallerytrail.co.uk Coinciding with the Arundel Festival over 100 artists showing work in 50 venues in a wide variety of mediums. Most venues are within easy walking distance of each other. Zimmer Stewart Gallery 29 Tarrant Street 01903 885867 www.zimmerstewart.co.uk Summer Mixed Exhibition 9 June–11 August A mix of paintings, sculpture and ceramics including paintings by Holly Frean, Barbara Macfarlane, Piers Ottey, Giles Penny & Nicholas Wriglesworth, Etchings by Tom Hammick, ceramics by Lilia Umana Clarke & Josse Davis, and sculpture by Johnny Woodford Anthony Frost, Essex Tyler and Giles Penny 18 August–8 September A taste of St Ives - Paintings, monotypes and silk screen prints alongside Raku ceramics and bronze sculptures.

Brighton Brighton Museum & Art Gallery Royal Pavilion Gardens 01273 292882 www.brighton.virtualmuseum.info Stagestruck! 200 years of Theatre Royal Brighton 5 May - 2 September Celebrating one of Britain’s oldest working playhouses, the people who have made it work, and the drama and spectacle that have filled its stage. Hove Museum & Art Gallery 19 New Church Road, Hove 01273 290200 Peter Blake: Alphabet 14 July–9 September 2007 Alphabet is a set of bold and colourful silkscreen prints, one for each letter of the alphabet, produced by Peter Blake in 1991.

Booth Museum of Natural History 194 Dyke Road, Brighton 01273 292777 Life in Death: The Victorian Art of Taxidermy 16 June 2007–15 June 2008 Every stylish Victorian home included at least one display of stuffed animals and birds amongst its knick-knackery. Life in Death: The Victorian Art of Taxidermy puts the practice into its context so visitors can enjoy its appeal in the light of the Victorians’ way of life.

Chichester Pallant House Gallery 9 North Pallant 01243 774557 www.pallant.org.uk Tues – Sat 10am-5pm Thurs until 8pm Sun/Bank Hol Mon 12.30-5pm Closed Mondays Eye-Music: Kandinsky, Klee and all the Jazz 30 June–16 Sept This major exhibition explores the relationship between artists and music. Sighting Music 30 June–16 Sept This intimate exhibition in the Prints Room explores some of the many ways composers have expressed their musical thoughts graphically. A-tonal time twister: Thor McIntyre-Burnie 30 June–16 Sept In a twist on the concept of the colour tone organ, the Gallery’s lift is turned into a vessel to play and control a specially recorded quartet. Ivon Hitchens 21 April−7 October Paintings from the extensive holdings of this English painter. Shell: Susie MacMurray Until Autumn 2007 An installation of 20,000 mussel shells, in-laid with velvet on the walls of the 18th century stairwell. Outside In 7 Aug−2 Sept Prize winning Outsider Artists, from the recent competition initiated by the Gallery

Studio Exhibitions: Partners in Art Tom Holloway and Molly Watson 11 June–2 July Peter Neuner and Derek Groves 3–30 September Paint the City 2–30 July Neil Lawson Baker Graingers Studio, West Ashling 01243 576082 www.neillawsonbaker.com Neil welcomes visitors to his studio by appointment. It is only 10 minutes away from Pallant House Gallery. Otter Gallery University of Chichester College Lane 01243 816098 www.chiuni.ac.uk/ottergallery Tree of life 29 June−29 July Different artists use a variety of media to show the importance of the heart and its blood supply through the arteries and veins. The Permanent Collection 6 August–30 September An opportunity to see some of the outstanding pictures in the collection, including works by Sutherland, Scott and Lanyon. Robert Enoch 5 October–11 November Robert Enoch has used single photographic images in sequences in a search for meaning in their connections. Bishop’s Kitchen Chichester Cathedral 01403 258 201 southernceramicgroup.co.uk The Southern Ceramic Group Summer Exhibition 28 July–11 August

Emsworth

Marlborough

Queen Street Gallery The Old Flour Mill Queen Street 01243 372722 www.queenstreetgallery.co.uk Malamocco July 2007 Jonathan Newdick - painter/author Sarka Dalton - painter /sculptor Angela Charles - painter Mike Nuth - painter/ceramics Distinctive Obsessions August 2007 Sonia Stanyard - painter Anne Ridsdale - painter Bonnie Brown - painter Emma Dunbar – painter Solstice Sisters September 2007 Emily Ball – painter Gail Elson – painter Felicity Keefe – painter Csilla Varga - sculptor

RABLEY DRAWING CENTRE Rabley Barn, Mildenhall, Wiltshire, SN8 2LW 01672 511999 www.rableydrawingsandprints.com Craigie Aitchison RA 2 June–20 July Prints and drawings including rare artist’s proofs and hand-coloured prints from Aitchison’s studio

Goodwood Cass Sculpture Foundation Sculpture Estate 01243 538449 www.sculpture.org.uk Evolving Display Changing display of 70 specially commissioned monumental sculptures sited within an idyllic landscape. Tony Cragg The largest exhibition of his outdoor sculptures in Britain to date

Kirdford Accolds Farm Kirdford, West Sussex 01403 820238 www.jozeshow.com The 07 Joze Show 23 June–8 July Curated by Kapil Jariwala. Sculpture, ceramics and paintings on display in the tranquil settings of the house, gardens, orchard, woods and fields of Accolds Farm. Paintings by: Paul Ashurst, Min Maude, Piers Ottey, Cherry Pickles, Michael Sangster, David Shutt, Henrietta Smith, Alan Waldie, Sandra Whitmore. Ceramics by Kitty Shepherd. Sculptors: Hamish Black, Allister Bowtell, Bruce Denny, Richard Lawrence, Carol Orwin, Lucy Swan, Nick Whitmore. Macmillan Cancer Support charity no:261017

Petworth Arden and Anstruther Gallery 5 Lombard Street 01798 3444 11 www.ardenandanstruther.com Flora and Porna 26 May–7 July Photographs by Elizabeth Zeschin and Hugh Gilbert. Unphotography 14 July–30 August Photography by students of Kingston College. Cars 31 August–13 September Photographs by Colin Barker

Partridge Green Seawhite Star Rd Trading Estate, Partridge Green 01903 743 537 www.emilyballatseawhite.co.uk The way we see it 7–13 July An exhibition of paintings by 40 artists at the Seawhite Studios.

Southampton John Hansard Gallery University of Southampton Highfield, Southampton 023 8059 7271 www.hansardgallery.org.uk Fig. 6 February−31 March 2007 Adam Broomberg and Oliver Chanarin Southampton City Art Gallery Commercial Road 023 8083 2984 www.southampton.gov.uk/art North & South 1 July–2 September 2007 A curatorial premise in which visual artists from every region of the country are invited to address the issue of ‘Englishness’. The artistic responses to this premise will serve to develop and shape this national cultural debate.

Baroque & Archimboldo 1 July–2 September 2007 Giuseppe Archimboldo’s portrait paintings are not the stereotypical portrait you may expect. The artist uses a variety of objects such as vegetables, fruit, fish and books to create the image.

West Dean West Dean – Sussex Barn West Dean, Chichester 01243 818277 www.westdean.org.uk

London 20/21 British Art Fair Royal College of Art, Kensington Gore 020 8742 1611 www.britishartfair.co.uk 20/21 British Art Fair 11-16 September The only fair for British art from 1900 to the present day Boundary Gallery 98 Boundary Road 020 7624116 www.boundarygallery.com David Bomberg Until 30 June Paintings and works on paper England & Co 216 Westbourne Grove 020 72210417 www.englandgallery.com The gallery has an exhibition programme of contemporary artists from Britain and abroad, themed survey exhibitions and retrospectives of British artists working from the 1930s to 1960s. The gallery also represents a number of emerging and established contemporary artists. The Neo Naturists From 23 June 2007 including Christine & Jennifer Binnie, Wilma Johnson and Grayson Perry The Fine Art Society 148 New Bond Street 020 7629 5116 www.faslondon.com One of the world’s oldest art galleries, specialising in British art and design from the 17th to the 21st centuries.

James Hyman Fine Art 6, Mason’s Yard Duke Street St. James’s London 020 7839 3906 www.jameshymanfineart.com Derrick Greaves From Kitchen Sink to Shangri-La Part I: The Early Work 1945–1965 1 June–22 June 2007 Derrick Greaves From Kitchen Sink to Shangri-La Part II: The Middle Years 1965–1985 28 June –13 July 2007 Derrick Greaves From Kitchen Sink to Shangri-La Part III: Recent Paintings 1985–2007 19 July –24 August 2007 Jonathan Clark Fine Art 18 Park Walk London www.jonathanclarkfineart.com 020 7351 3555 Robyn Denny Until 29 June Collages and Paintings from 1954 –1968

Messum’s 8 Cork Street 020 7437 5545 www.messums.com Offer Waterman & Co 11 Langton Street 020 7351 0068 www.waterman.co.uk Modern British Art from the Camden Town Group, Euston Road School, 7 and 5 Society, Unit One, Neo Romantics, St Ives, School of London and Pop. Piano Nobile 129 Portland Road 020 7229 1099 www.piano-nobile.com 20th Century International, Modern, British and Post-War paintings, drawings, watercolours and sculpture for private, corporate and museum collections. Adam Birtwistle Ongoing Recent Paintings

Portland Gallery 8 Bennet Street 020 7493 1888 www.portlandgallery.com One of London's leading Art Galleries dealing in Modern British and Contemporary paintings. A particular specialisation is the work of the Scottish Colourists, Peploe, Cadell, Hunter and Fergusson Redfern Gallery 20 Cork Street 020 7734 1732 www.redfern-gallery.com Representing over 20 contemporary artists estates. Extensive stock of modern and contemporary paintings, drawings, watercolours, sculpture and prints. Linda Karshan 7 Sept–28 Oct 2007 Recent works

Elsewhere

Isle of Wight

Websites

Bath

Island Fine Arts Ltd 53 High Street, Bembridge 01983 875133 or Office 2, Sadlers Walk, 44 East St, Chichester (By appointment only) www.islandfinearts.com The Art of Ronnie Wood 7 June–13 June 2007 The exhibition coincides with The Rolling Stones appearing at the Isle of Wight Festival. Gordon Radford and Ian Hargreaves 16 June–21 July 2007 Recent Paintings Selected members of the New English Art Club and The Summer Exhibition 29 July–2 September 2007

Vanessa Pooley 01603 663775 www.vanessapooley.com 01603 663775 Visits to studio in Norwich, Norfolk available by appointment Sculptures by Vanessa Pooley Sculpture grown out of a fascination with the female form with its beautiful curves and flowing lines.

Anthony Hepworth Fine Art 3 Margarets Builidings, Brock Street 01225 447480 www.anthonyhepworth.com Specialist dealers in Modern British & Irish Art, Tribal Art

Chalford Gallery Pangolin 9 Chalford Ind. Estate, Chalford Glos. GL6 8NT 01453 886527 www.gallery-pangolin.com Lynn Chadwick 'Prints and Maquettes' 11 June–20 July Sculptures and works on paper from all periods of Chadwick’s long working life.

Baa baa... …black sheep, white sheep, big sheep, small sheep: not to mention spotty pigs, delightful pygmy goats, cattle and poultry. Over 500 rare breed animals will take part in this lovely agricultural show, plus demonstrations, crafts and trade stands with a countryside theme. Rare and Traditional Breeds Show

Sunday 22 July

10.30am-5pm

* Juliet Robertson

Bobby Bale

Sally Barnard (top image). Nicola Hancock & Jane Grinling (bottom image)

the way we see it An exhibition of paintings by 40 artists at the Seawhite Studio July 7th - 13th Saturday - Friday (Closed Sunday 8th of July) 10am - 4pm each day Seawhite, Star Rd Trading Estate, Partridge Green, W.Sussex, RH13 8RA emily@emilyball.net or (01903) 743537. www.emilyballatseawhite.co.uk

The Southern Ceramic Group Summer Exhibition 28 July − 11 August 2007 Daily from 10am − 5pm at the Bishop’s Kitchen, Chichester Cathedral, Chichester PO19 1PX Tel: 01403 258 201 – email:info@southernceramicgroup.co.uk – www.southernceramicgroup.co.uk

Poets in the Landscape Private View

Top Row Fiona and John Smythe, Alan Sharp, Michael Phillips and Ewen Emmerson from UBS and William Richards from Bonhams, Robert Pulley, Principal of West Dean College Middle Row Charlotte Edwards, World of Interiors, Elspeth Moncrieff, Moncrieff-Bray Gallery, Roger Reed, Former Chairman of the Trustees and Jane Reed Bottom Row Lord Sainsbury of Preston Candover and Lady Sainsbury, Nick and Florence Judd, Jans Ondaatje Rolls 80

The Gulbenkian Prize 2007 Awards Ceremony and other photographs

Top Row Penelope, Viscountess Cobham, Tessa Jowell MP, Secratary of State for Culture and Stefan van Raay, Director of Pallant House Gallery, The moment of the announcement with Lady Nicholas Gordon Lennox, Marc Steene, Education and Outreach Officer and Andrew Churchill, Marketing and Commercial Manager, Photograph ÂŠ John Pratty / 24Hour Museum Bottom Row Mark Lawson, BBC Journalist and Broadcaster for BBC Radio 4's Front Row. Stefan van Raay and Fred from St. Anthony's School at the launch of The Feibusch Resource. Stefan van Raay, Maureen Bell, the 50,000th visitor to the Gallery and Lady Nicholas Gordon Lennox, Chairman

Artwork of the Month: August Howard Hodgkin, Grantchester Road, 1975 Biddy Elkins, Volunteer Guide

On an improbably hot and sunny April day, I find myself writing about Howard Hodgkin's painting 'Grantchester Road'. The analogy between this sublime weather – with cool undercurrents which threaten cooler climes to come – and this unexpectedly enigmatic painter, is tempting… At first blush, Hodgkin's work shouts COLOUR; bold uncompromising colour in broad, gestural brushstrokes, often (although not in the case of the picture in question here) spilling beyond the canvas, making the frame an integral part of the work. Delve deeper, beyond the swirls, dabs and slashes of paint – reminiscent of Matisse and Vuillard – and one senses a private past driven by a great deal of feeling and sentiment, lurking beneath this colourful carapace. Dredging up emotions and memories of past experience can be painful, requiring courage and resolve. I feel Hodgkin attempts this until the subject comes back again and the painting finishes itself, often after several years. In 'Grantchester Road' Hodgkin's habit of screening is at it's most obvious: a figure half obscured by a pillar of black adds tension to an otherwise warm and sunny painting. Far from wishing to obliterate the memory

of the boyfriend who took me to May Balls, punting on the Cam and evenings at The Footlights, I find the touches of cerulean fired by adjacent orange lightens the surface, giving the painting a carefree, outdoor feel. The delicate black/white curves which anchor the work and give it depth, may be due to the fact that this is a painting of an interior in Cambridge and the half obliterated figure is the painter himself! Hodgkin describes finishing a painting as "when the picture is somewhere hovering in mid-air between myself and the spectator so that it looks as strange or as interesting to me as it does to them" – so maybe my interpretation is valid. In an interview with David Sylvester in 1982, Hodgkin agreed that his work "took off on a leap forward in 1975, especially in the painting called Grantchester Road", as it was then he was able to join everything up together. His work then became more loose and liberated, as he said "I have been able to put more of myself into it." Pallant House Gallery is indeed fortunate to have such a definitive work of British 20th century art in its collection. See page 73 for details of all the FREE Artwork of the Month talks.

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John Tunnard (1900-1971), Workshop, August 1959, oil on board, 37.5 x 67.3cm

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