Pallant House Gallery - Magazine No.30 (Full Version)

EDUARDO PAOLOZZI Collaging Culture Simon Martin celebrates one of the most inventive artists of the post-war era My Friend Paolozzi Playwright Sir David Hare reflects on his friendship with the artist Modern British Collage Charles Darwent on the role of cut-up in British Modernism

£2 Number 30 July – October 2013 www.pallant.org.uk

William ScOtt and FriendS including works by William & mary Scott, Heron, Hilton, Wallis, lanyon, Heath & Frost amongst others

WILLIAM SCOTT (1913 - 1989) Mackerel and Garlic, 1950. Oil on canvas. 66.4 × 81.3 cm; 26¼ × 32 in

June 11th – July 13th 2013 In association with the William Scott Foundation catalogue available on request

a selection of work from the exhibition at the gallery will also be on view at

June 27th – July 3rd 2013

23a Bruton Street, london W1J 6QG t: 020 7493 7939 e: info@osbornesamuel.com www.osbornesamuel.com

Preview on 26 June on the South Grounds of the royal Hospital chelsea, london SW3.

MODERN & CONTEMPORARY EDITIONS Now acceptiNg coNsigNmeNts AUCTION 12 December 2013

PATRICK CAULFIELD Arita Flask from White Ware Prints, 1990 (detail) Š the estate of patrick caulfield. all rights reserved, Dacs 2013

ENqUIRIES robert Kennan Head of modern & contemporary editions, London rkennan@phillips.com +44 (0) 207 318 4075

Contents Features

Eduardo Paolozzi, 'Secrets of the Internal Combustion Engine' from Moonstrips Empire New, 1967, Screenprint, Pallant House Gallery (Wilson Loan) Š Trustees of the Paolozzi Foundation

You can find full details of our latest events programme in the What's On guide.

Previous copies of the Gallery magazine, as well as all the latest news, exhibitions and events, can be viewed online at www.pallant.org.uk You can also follow us at .com/pallantgallery .com/pallantgallery

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Icons of the Machine Age Simon Martin Paolozzi's 'The Return' Dr Judith Collins My Friend Paolozzi Sir David Hare Modern British Collage Charles Darwent Visions of Utopia Katy Norris and Louise Bristow Travels with a Sketchbook Keith Miller Simple Complex Drawings Phil Baird and Rose Knox-Peebles Artist in Focus Jonas Ranson

Friends 47 48 49

Chairman's Letter Become a Patron Friends' Events

Regulars 7 Director's Letter 9 Exhibitions Diary 12 News 53 What's On: Events 57 Pallant Bookshop 59 Pallant Photos 60 Collection in Focus:

Portrait of Juan Gris 3

Contributors

With thanks

Editorial Editor Emma Robertson, e.robertson@pallant.org.uk Sub Editor Beth Funnell Editorial Assistant Kate Davey Gallery Editorial Simon Martin, Katy Norris, Gregory Perry Guest Editorial Lady Susan Anstruther, Phil Baird, Louise Bristow, Dr Judith Collins, Charles Darwent, Sir David Hare, Rose Knox-Peebles, Keith Miller Friends' Editorial Lady Nicholas Gordon Lennox, Annie Flitcroft Design, Editing and Production David Wynn

eduardo Paolozzi sponsors

Advertising Booking and General Enquiries Paolo Russo +44 (0)207 300 5751 Emily Knowles +44 (0)207 300 5662 Gallery Information Pallant House Gallery, 9 North Pallant, Chichester, West Sussex, PO19 1TJ, UK +44 (0)1243 774557, info@pallant.org.uk www.pallant.org.uk Opening Times Monday Closed Tuesday–Saturday 10am–5pm Thursday 10am–8pm Sunday/Bank Holidays 11am–5pm

eduardo Paolozzi Supporters

Paolozzi Foundation Paolozzi Supporters' Circle Gallery Supporters Headline Sponsor of the Gallery 2013

PALLANT HOUSE GALLERY Friends

Friends' Office Events +44 (0)1243 770816 friendsevents@pallant.org.uk Membership +44 (0)1243 770815 friends@pallant.org.uk Bookshop www.pallantbookshop.com shop@pallantbookshop.com +44 (0)1243 781293 Field & Fork at Pallant House Gallery www.fieldandfork.co.uk Reservations +44 (0)1243 770827

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Willard Conservation Limited, The Priory and Poling Charitable Trusts, The Garfield Weston Foundation, and other Trusts, Foundations and anonymous benefactors.

Pallant House Gallery makes every effort to seek permission of copyright owners for images reproduced in this publication. If however, a work has not been correctly identified or credited and you are the copyright holder, or know of the copyright holder, please contact the editor.

British art at its very best with a focus on post-war and modern British

11 -15 September 2013 Royal College of Art Kensington Gore London SW7 2EU for information tel: 020 8742 1611 e: info@britishartfair.co.uk w: www.britishartfair.co.uk Proudly sponsored by

Head 1956–8, bronze, h.59 in / 150 cm

Representatives of the Estate of

Sir Eduardo Paolozzi 6

Jonathan Clark & Co 20th Century British Art

18 Park Walk London SW10 0AQ

Tel: +44 (0) 20 7351 3555 info@jonathanclarkfineart.com www.jonathanclarkfineart.com

Director's Letter

Photography by Jason Hedges

In my first letter to the Friends in the previous issue of the magazine I had just begun my tenure at the Gallery.

Now, I am an old hand of five months having spent much of that time learning more about the Gallery and getting to know our Friends, the staff and volunteers and others in our extended family.

Something that strikes a newcomer is the level of enthusiasm for and pride in the Gallery shared by those in the community. I was well aware of the Gallery's reputation among those in the art world in Britain and those at the major national museums and galleries, but I was also heartened to learn, firsthand, how the Gallery has affected people’s lives - providing opportunities to see international travelling exhibitions, inspiring artists through our Community Programmes and simply serving as a place of inspiration and respite.

While I had heard of the loyal following of the Gallery, one thing that I had not expected is how our smaller exhibitions - those staged in the house and in the De'Longhi Print Room - can, at times, draw as many visitors as the exhibitions in our main spaces.

This is a testament not only to the depth of our Collections which allows us to highlight a variety of themes within British modernism, but also to the interest and knowledge of our visitors who may attend to see a large career retrospective of an artist, but are equally intrigued by an unfamiliar aspect of an artist's work or a new addition to our Collection.

It is our goal to continue the high level of engaging programming that our visitors have come to expect from the Gallery, presenting major figures and movements within British modernism as well as less well-known but equally accomplished artists of the last century. We have done this with our summer programme which features several exhibitions on the theme of collage. The major show is a survey of the work of leading post-war artist Eduardo Paolozzi (1924–2005). The exhibition examines the importance of collage as a working process throughout the artist's career - and explores his extraordinarily inventive and diverse output from sculptural assemblage to printmaking and filmmaking (p.20).

We will also feature a related display in the house which explores the use of collage by other artists in the Gallery's Collection including Ben Nicholson, John Piper, Julian Trevelyan, Paul Nash, Richard Hamilton and Peter Blake (p.28). The first exhibition in the De'Longhi Print Room parellels this theme with Louise Bristow's 'Unofficial Paintings' (p.32). Bristow, like Paolozzi, is an enthusiastic collector of ephemera and her work draws on a range of objects and images such as Ladybird children’s books and Modernist architecture.

These programmes, as well as others described in the magazine, will ensure that the summer is another lively season at the Gallery. We invite you to join us and we look forward to seeing you here.

Gregory Perry, Director 7

EDUARDO PAOLOZZI STUDY FOR TOTTENHAM COURT ROAD UNDERGROUND Oil on melamine panel with screenprinted outline. It appears that Paolozzi drew the outlines on a small scale. These were enlarged and transferred to screens before being printed onto the panels. He then painted the colours in oil.

1985, signed, framed size 154 x 98 cm £18,500

HEAD OF JOSEPHINE BAKER A beautiful unique modelled clay sculpture of Josephine Baker (the American born French expatriate singer/dancer and movie star, from the 1920s). The sculpture is mid 1990s, it has never been seen before. Provenance from the artist’s studio.

15 x 10 cm, £9,500

goldmark UPPINGHAM

RUTLAND LE15 9SQ 01572 821424 visit goldmarkart.com

Exhibitions Diary

Modern British collage and its legacy 15 June – 15 September 2013 Collage has been at the centre of artistic practice since the beginning of the twentieth century. In its simplest form, whether pasted, painted, assembled or constructed, the technique represented a radical restructuring of the pictorial tradition. Through Surrealism and Pop Art, it evolved from a marginal and purely synthetic process to become an intrinsic part of the modern aesthetic. This exhibition will explore the role of collage in the trajectory of modern British art through collage, prints and paintings by John Piper, Ben Nicholson, Eileen Agar, Edward Burra and Paul Nash to Eduardo Paolozzi, Nigel Henderson, Richard Hamilton, Peter Blake and John Stezaker.

Main gallery 4 Louise Bristow: Unofficial Paintings 2 July – 18 August 2013 Brighton-based artist Louise Bristow's paintings are the end result of an intricate working process that involves constructing three-dimensional models and flat collages and arranging them to form set-ups in her studio. Her work is inspired by an eclectic range of sources from the work of Eduardo Paolozzi to Modernist architecture. This exhibition brings together a selection of paintings alongside her original models.

De'Longhi Print Room

Eduardo Paolozzi, Wittgenstein in New York from 'As is When' portfolio, 1964-5, Colour screenprints, hand-cut and photo-stencils, Pallant House Gallery (Wilson Gift through the Art Fund, 2006), © Trustees of the Paolozzi Foundation

Eduardo Paolozzi: Collaging Culture 6 July – 13 October 2013 Sir Eduardo Paolozzi RA (1924–2005) was one of the most inventive and prolific of the British artists to come to prominence after the Second World War. Widely celebrated as one of the founders of British Pop art, this new exhibition also considers Paolozzi's position as a bridge between Surrealism and European Modernists such as Giacometti and Dubuffet, and the post-war cultures of Britain and America. Featuring around 150 works in a variety of media including drawings, collage, textiles, sculpture and prints, the exhibition will explore the extraordinary versatility of Paolozzi's approach to making art and the central importance of collage as a working process within his career, not only in the traditional sense of paper collage, but also in terms of sculptural assemblage, printmaking and filmmaking.

Main galleries 12–17

Louise Bristow, Survivor, 2013, Gouache on board © Louise Bristow, Photograph by Bernard G Mills

Keith Miller: Travel Sketchbooks 20 August – 6 October 2013 Canadian artist Keith Miller's artist sketchbooks document his extensive travels - from the waterways of South East Asia to the crowded villages of Central America. This exhibition brings together a selection of sketchbooks, varying from pocket-sized to album-like volumes, each a unique graphic record of a trip.

De'Longhi Print Room

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Exhibitions Diary

Phil Baird: Simple Complex Drawings 6 August – 8 September A celebration of the intricate and imaginative drawings of Phil Baird, Outside In: National Award Winner in 2012.

Partnership of the Month: Simon Russell and Stephen Codner 10 September – 6 October An exhibition highlighting the creative partnership of Simon Russell and Stephen Codner, both part of Pallant House Gallery's innovative Partners in Art scheme.

Bouke de Vries: Bow Selector Until december 2013 Dutch artist Bouke de Vries works as both a ceramics restorer and contemporary artist, using fragmented porcelain to create new sculptures that often feature witty and subversive narratives. Commissioned by Pallant House Gallery to mark the 300th anniversary of the historic house, this installation has been constructed by De Vries from the Gallery’s collection of Bow porcelain and makes reference to the celebrated historic porcelain displays of Daniel Marot.

Stairwell

Knitting Time: A journey through loss 8 October – 3 November A research and development project by writer and artist Colin Hambrook, reflecting on loss and its impact on psychosis. Timed to coincide with World Mental Health Day (10 October).

Jonas ranson: Plans for a New Mausoleum at Halicarnassus 6 July – 13 October 2013 Print graduate of the Royal College of Art, Jonas Ranson creates bold, geometric designs that have a remarkably sensuous texture and delicacy of appearance. To coincide with the exhibition 'Eduardo Paolozzi: Collaging Culture', the Garden Gallery wall will be covered in a specially-designed limited edition screenprinted wallpaper inspired by Paolozzi.

Garden Gallery

Sean Scully: Triptychs October 2013 – February 2014 In a career spanning over thirty years, Sean Scully (b.1945) has gained international prominence as one of the most admired painters in the abstract tradition, fusing the traditions of European painting with the distinct character of American abstraction.

This exhibition features a selection of Scully's Triptych paintings to mark the Gallery's major acquisition of the work 'Pink Dark Triptych' (2011).

Coming soon

STUDIO EXHIBITIONS LINKS School Visit – Photographic Response 2 July – 7 July A temporary display of photographic responses to the Gallery's Collection and exhibitions.

Sussex Artists' Award 9 July – 4 August Formerly the Open Art Competition, this exhibition will showcase selected entries to the 2013 Sussex Artists' Award, a collaboration between St. Wilfrid’s Hospice and Pallant House Gallery’s Outside In which aims to raise valuable funds for the two charities.

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Sean Scully, Pink Dark Triptych, 2011, Oil on linen, Presented by an Anonymous Donor through Timothy Taylor Gallery (2012), © Sean Scully

EMANUEL BAEYER EMANUEL VON VON BAEYER CABINET CABINET EDUARDO PAOLOZZI

EDUARDO PAOLOZZI Proofs from Munich Proofs from Munich 1970 – 1994 1970 – 1994

See the works online in ‘Recent Exhibitions’ at www.evbaeyer-cabinet.com VON BAEYER SeeEMANUEL the works online in 130 – 132 Hamilton Terrace ‘Recent Exhibitions’ at London NW8 9UU www.evbaeyer-cabinet.com visit by appointment only

EMANUEL VON BAEYER 130 – 132 Hamilton Terrace London NW8 9UU visit by appointment only

news Catalyst Appeal Update Thanks to the £1 million match funding grant that the Gallery received from the Heritage Lottery Fund in 2012 we have the opportunity to increase our endowment fund to £9 million. In February we reported that we had raised just under £100,000 and we are delighted that, since then, another £120,000 has been raised thanks to the generosity of the Eranda Foundation, many individuals and the proceeds from the Friends 30 for 30 Appeal. Our next interim target is £150,000 which will then be matched pound for pound with a grant from the Heritage Lottery Fund. These funds will be paid into the Gallery's Catalyst Endowment Fund, the interest from which pays for the Gallery's vital running costs and supports our core exhibition and community programmes. Thank you to everyone who has contributed to this Appeal to date. For more information on this Appeal or to make a donation, please contact Elaine Bentley, Head of Development (01243 770844 or e.bentley@pallant.org.uk).

Outside in Shortlisted for Charity Awards Outside In, Pallant House Gallery's pioneering project aimed at those facing barriers to the art world, has been shortlisted for the Charity Awards 2013, the highest profile event in the charity calendar.

All 30 shortlisted charities were judged by an independent panel of sector leaders as having demonstrated outstanding best practice from which other organisations can learn. Dan Phelan, organiser of the Charity Awards, says: "In being shortlisted, Pallant House Gallery has demonstrated exceptional performance against as many of the ten hallmarks of excellence as possible." Outside In has grown significantly since its inception in 2006, with its main vehicle being a triennial open art exhibition. The first exhibition in 2007 featured work by 100 artists from across Sussex, a number that has grown rapidly, with the 2012 exhibition going national and engaging more than 1,500 artists and 10,000 audience members.

For more information visit www.outsidein.org.uk.

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Eduardo Paolozzi, London to Paris, Image courtesy of Cass Sculpture Foundation and the artist

Paolozzi in Sussex To coincide with our major summer exhibition of Eduardo Paolozzi, Cass Sculpture Foundation at nearby Goodwood, will be showing a complementary exhibition of sculptures, dating from 1956 to 2000, titled 'Eduardo Paolozzi: Sculpting History' (16 July to 26 October 2013). The sculpture grounds are a permanent home to Paolozzi's monumental piece 'London-Paris', which was funded as a joint commission between the Royal Academy, Flowers East Gallery and the Foundation in 2000. The commission led to a flourishing friendship between Paolozzi and Cass co-founder Wilfred Cass, prompting the artist to overturn his former view of sculpture parks as 'rather static places'. The work remains one of the Foundation's most coveted sculptures to date and will form the centre-piece for the exhibition alongside twelve other large-scale loans.

Pallant House Galley magazine readers can receive 2 for 1 entry to Cass in the opening weeks of the exhibition (between 16 July and 16 August). To claim the offer, please show a copy of the magazine at the visitor's reception. The offer is valid for the magazine holder only and is not transferable. For more information visit www.sculpture.co.uk.

Modern British Art Specialists Lyon & Turnbull are leading auctioneers in British painting and sculpture and our specialist for Southern England is visiting homes in your area.

For no-obligation valuations, please contact Emily Johnston: 07741 247 225 or emily.johnston@lyonandturnbull.com

LOWRY Sold £597,000

PEPLOE Sold £264,000

HITCHENS Sold £48,000

HOYLAND Sold £186,000

IRVIN Sold £20,000

SIR EDUARDO PAOLOZZI (SCOTTISH 1924-2005) MASTER OF THE UNIVERSE Sold for £155,000

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A very different collection of photographs gathered by Paul Arden

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De'Longhi prepares for exclusive Charity Art Auction

Sneak preview of artworks coming to Pallant House Gallery

Jonathan Yeo, 2013 donation

Mark Wright, 2013 donation

Premium Italian coffee machine brand, De'Longhi, continues its investment into the arts, charities and local community through its fifth year of sponsorship of Pallant House Gallery. De'Longhi, whose own collections push the boundaries of innovation and design, appreciates and supports creativity throughout the UK. Since the last Gallery magazine, preparations for the Macmillan De'Longhi Art Auction 2013 have been heavily underway.

2013 will be the seventh annual Macmillan De'Longhi Art Auction, where pieces of art from a specially invited selection of contemporary artists will go under the hammer to raise funds for Macmillan Cancer Support. This year's auction will be overseen by Oliver Barker, one of Sotheby's leading auctioneers, who coordinates Impressionist, Modern and Contemporary art sales at the world famous auction house.

For the first time ever, the event will be preceded by a four-day exhibition open to the public at the Royal College of Art. The exhibition will run from Thursday 19th September – Monday 23rd September and feature all donated artworks across a live silent auction. The exhibition will culminate in an exciting evening event with a champagne and canapé reception on Monday 23rd September.

Last year's host, Jo Wood, got into the spirit of the night, seizing the mic from the auctioneer to encourage bidding wars on the live auction's pieces.

Some signature artists donating to this year's prestigious auction include Jonathan Yeo, Stuart Pearson Wright, Alison Jackson and Turner Prize Winner Tomma Abts. Visitors to Pallant House Gallery will have the opportunity to get an exclusive preview of a selection of the artworks ahead of the sale when they go on display at the Gallery later this summer.

The charity event has raised over £800,000 since its conception in 2007, helping support those whose lives are affected by cancer. The money raised is used for funding services such as information and support centres, phone services, building cancer care facilities, as well as assisting nurses and other specialist health care professionals. For more information about the artwork being sold, to request a lot book or apply for an invitation, please contact Clarion Communications at delonghi.artauction@clarioncomms.co.uk or telephone 020 7343 3147.

For more information about De'Longhi, its products, offers and coffee events visit www.seriousaboutcoffee.com

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icons of the machine age To mark a major exhibition of Eduardo Paolozzi, Simon Martin, Head of Collections and Exhibitions, explores the celebrated artist's idiosyncratic approach to making art

with the ethnographic collections at the Pitt Rivers Collage was central to Eduardo Paolozzi's creativity Museum whilst a student at the Ruskin School of Art as an artist. For him, it was not just a technique or a in Oxford in the mid-1940s Paolozzi had a fascination passing interest that formed one aspect of his oeuvre, with non-Western art forms. His appreciation found it was an abiding concern and an integral approach that confirmation in the work of his heroes such as Pablo he applied to all aspects of his work. Whilst Paolozzi Picasso and those artists he befriended whilst living is celebrated as one of the most important post-war in Paris from 1947-49 including Tristan Tzara and sculptors in Britain, it is collage that underpins all his Alberto Giacometti. Paolozzi once commented that work, whether sculpture, printmaking or pasted paper itself. The artist once claimed that, 'all human experience 'what I like to think I'm doing is an extension of radical Surrealism.' Whilst still a student in 1946 Paolozzi is one big collage' - a statement that reflected his had begun creating Surreal experience as the son of Italian immigrants growing up "Paolozzi once commented that he collages that fused together in the working class Scottish liked to think what he was doing was disparate images of classical statuary and engine parts, port of Leith. Born in 1924, an extension of radical Surrealism." simultaneously forming a his adult interest in consumer rejection of the traditional culture was undoubtedly teaching at the Slade School of Art where he was then shaped by his experience of helping in his parents' ice a student, and an indication of his future fascination cream and confectionary shop after school, collecting with the relationship between man and machine. cigarette cards of film stars, aeroplanes, battleships Paolozzi had a trans-disciplinary approach to and motorcars which he stuck into scrapbooks – an creativity, making work in a wide range of forms approach to collecting visual source material that he including textiles, printmaking, ceramics, sculpture continued throughout his life. As he later said: 'I keep and film. In each of these media he brought a new a lot of loose-leaf notebooks, scrapbooks going back approach, and in every case it was collage that enabled right over the years, and I've hacked a lot of them up that unique way of seeing. On his return from Paris in when doing collages. The thing was to find a kind of 1949 he was appointed as a tutor in the textiles design connection between these found images and one's department of the Central School of Art and Design, actual experience, to make them into an icon, or a where he also produced semi-abstract screenprints totem, that added up as different kind of symbol.' with the printmaker and theorist Anton Ehrensweig Making icons and totems was something that Paolozzi did throughout his life. From his first encounter that tapped into ideas of the unconscious. Paolozzi's Eduardo Paolozzi, Refreshing and Delicious, Dated 1949, Collage on paper, The Sherwin Collection, Š Trustees of the Paolozzi Foundation

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Eduardo Paolozzi, James Joyce and Dancer: Monument to Trieste, still from The History of Nothing, 1960-62, Collage on paper, Pallant House Gallery (Wilson Loan, 2006) Š The Trustees of the Eduardo Paolozzi Foundation

Eduardo Paolozzi, Mr Cruikshank, 1950, Bronze with brown patina, The Ingram Collection of Modern and Contemporary British Art Š The Trustees of the Eduardo Paolozzi Foundation

Paris and in London in the late 1940s. The collages approach to textile design was closely aligned to his have often been seen as some of the earliest works collage methods at the time: using scraps of printed of Pop Art as they were witty juxtapositions of designs, painted papers and ink drawings, and including disparate images of modern domesticity, cartoons ephemera and fragments of text to express a sense and superheroes, glamour models, car and food of transience, and what has been described as 'the adverts, presenting all kinds of mass culture imagery sublime of everyday life.' His designs were translated as possible sources for art. Paolozzi also contributed into fabric-designs for Horrockses and David to some of the most significant Whitehead Ltd in the early exhibitions associated with the 1950s, and in 1954 he and Nigel "His totemic bronze sculptures Henderson set up Hammer formed from cast machine forms Independent Group such as 'Parallel of Life and Art' in 1953, Prints Ltd to produce bold and detritus were considered to which was an extraordinary textile designs that suggested be icons of the existential age" installation composed of a new look in design. It seems enlarged photographs of appropriate that his abstract everything from tumours and plant forms, to collages of the 1950s could be worn as cocktail dresses paintings by Jackson Pollock and Jean Dubuffet, by the kind of glamorous modern woman that featured encouraging new ways of looking at the world. in the very magazines that he was using as the raw Paolozzi was one of the artists described by the material for his other collages. critic Herbert Read as expressing the 'Geometry of During the 1950s Paolozzi was a key member of the Fear' when his work was included in the celebrated Independent Group of artists, architects, designers and exhibition of British sculpture at the Venice Biennale critics associated with the Institute of Contemporary in 1952. He subsequently began creating reliefs Art. At the group's first meeting he presented his and bronze figures using the lost-wax technique, now-celebrated series of so-called Bunk collages that pressing mechanical forms into beds of clay to create were drawn from American adverts, science fiction extraordinary textured surfaces that expressed what magazines and popular magazines that he had obtained he described as 'the metamorphosis of junk.' His from American G.I.s and their wives when he was in 22

Eduardo Paolozzi, Collage, 1957 (amended 1962), Ink, paper and card collage laid on paper, Private Collection Š The Trustees of the Eduardo Paolozzi Foundation

sculptural heads created at the same time. Similarly, totemic bronze sculptures formed from cast machine his wooden reliefs created in the 1970s and inspired forms and detritus were considered to be icons of the

by German abstract musical patterns from the 1920s existential age and epitomised the 'New Brutalism' also are echoed in his print portfolio 'Calcium Light Night' associated with architects such as Alison and Peter which relates to the American composer Charles Ives Smithson and artists such as Jean Dubuffet. His friend whose composite approach to musical composition the artist Richard Hamilton once commented to him: including various different kinds of music, from 'it strikes me that all of your work comes out of the marching bands to negro techniques of collage, the idea "The collages were witty spirituals appealed to Paolozzi. of collage, that you put things juxtapositions of disparate images In the 1960s Paolozzi together, even if you have made them yourself, not of modern domesticity, cartoons created innovative and necessarily taken them from and superheroes, glamour models, vibrantly coloured portfolios of screenprints such as 'As different sources; even when car and food adverts" is When' (1964-5), which you are working with your own was inspired by the life of the philosopher Ludwig homemade material, you tend to break it apart before Wittgenstein. These express Paolozzi's fascination you put it together again. Do you think that when with language games and were similarly created using you are making a sculpture you tend to use collage techniques even for sculpture? I mean, even in your most collaged templates, a technique that could also be translated to stunning tapestries, working with the recent works you make separate elements and then assemble them - it's Meccano work, whether it's drawing Pinton Frères in France and the Edinburgh Weavers.

Paolozzi was always very open to collaborative working or sticking bits of paper together or making bronzes by in order to realise his ideas, whether in an engineering lost-wax or by using constructive techniques.' workshop such as Juby's in Ipswich, where he created There is a close relationship between Paolozzi's welded aluminium assemblages such as 'Artifical Sun' innovative screenprints and his sculpture: for example (1964), or collaborating with master-printers such as his 'Machine Head' print from 1954, like an Arcimboldo of engine-parts, is a graphic equivalent to many of his Chris Prater of Kelpra Prints. Paolozzi's extraordinary 23

As a child in Edinburgh, Paolozzi cut images out of popular magazines and stuck them into scrapbooks bought at Woolworths. Things that caught his eye were cars, trains, aeroplanes, film stars and sportsmen.

Chosen images were stuck into the scrapbooks in a variety of ways - witty juxtapositions, taxonomic categories, wonderful new machines. During his art school days at the Slade School in London, he created collages that united illustrations of ancient Greek sculpture with machinery, finding his material in cheap second-hand books in the Charing Cross Road.

It wasn't until he began his artistic training at Edinburgh College of Art, the Ruskin School of Drawing and the Slade School of Art, that he realised that professional artists had made art by sticking scraps of printed material to make collaged compositions that had the same approaches to presentation as his own

early attempts. Artists whose collages he particularly admired, and which he sought out firsthand in London dealers' galleries and Parisian private collections, were Kurt Schwitters, Max Ernst, Pablo Picasso, Francis Picabia, Joan Miró and John Heartfeld.

Living in Paris during the years 1947-49, periodicals of a very different kind became available to him, when American soldiers gave him American weekly magazines such as Life and Time. From the portrait covers of Time, Paolozzi made at least 17 collages.

The magazines he cut up range in date from 16 June 1947 to 13 February 1956, which implies that he continued to obtain Time magazine when he returned to live and work in London.

The Return uses nine pieces of collage. Paolozzi's usual habit was to cut a face into three or four horizontal strips, and sometimes to make central vertical cuts as well, as he does here. He would occasionally fill the gaps between the cuts with roughly painted dabs of white gouache and neater geometrical pencil or ink lines. The backing for the collaged pieces was anything that came to hand, and here Paolozzi has used an illustration page from the 1948 'Autobiography of Jack Bilbo', a London gallerist and amateur artist.

Having removed the tipped-in colour illustration, Paolozzi was left with its title – 'The Return'- and its date of 1944. Having finished his collage, Paolozzi signed and dated it 1951. Recent research is discovering that most of Paolozzi's renowned collages dated by him between 1947 to 1952 were done so inaccurately, and 'The Return' is no exception. The top section depicts Robert E Wood, a businessman, on the Time Magazine cover for February 25 1952, and the bottom two pieces come from the face of Haiti's President Paul Magloire, on the cover for February 22 1954.

The central section is as yet unidentified.

Paolozzi did not choose his Time magazine personalities primarily for their political, scientific or cultural positions in the world. They served him as human features to be rearranged, imaginary portrait heads in a new syntax, and Paolozzi always maintained his stance as a figurative artist. No other artist who worked with collage used the technique to work with the human head; this was Paolozzi's unique approach. He showed three Time magazine collages in October 1954 in an exhibition called Collages and Objects, organised by his friend Lawrence Alloway at the Institute of Contemporary Arts, London. Was 'The Return' one of these?

Dr Judith Collins' monograph on Eduardo Paolozzi will be published by Lund Humphries in 2014.

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Eduardo Paolozzi, The Return, c.1954 (Datable by Time magazine cover from 22 Feb 1954), Collage with pencil, coloured pencil and gouache on grey/ green card, © Estate of the artist.

Jonathan Clark Fine Art.

mind was as open to the latest developments in computer technology, which he mimicked in the look of his prints, as to the technology of car safety tests, which formed the subject matter for a series of prints of car crash test dummies and the bronze sculpture 'Crash Head' – a theme that also relates to his friend the author JG Ballard's novels, such as 'Crash.'

In later years Paolozzi was commissioned to create numerous monumental public projects. Whilst these cannot be presented in the gallery spaces of Pallant House Gallery, it seems fitting that his maquettes for projects such as his sculpture of 'Newton after Blake' for the British Library will be shown in the galleries designed by his friend Colin St John Wilson, who commissioned this notable sculpture which brings together numerous references to science, art and literature. Paolozzi's sculptures, prints, films and textiles are a powerful expression of the fragmentary nature of modern life, full of a myriad of ideas and images. As the writer J.G. Ballard once said: 'if the entire twentieth century were to vanish in some huge calamity, it would be possible to reconstitute a large part of it from his sculpture and screenprints.'

Eduardo Paolozzi: Collaging Culture is in galleries 12-17 from 6 July to 13 October. A fully-illustrated exhibition catalogue written by Simon Martin and containing texts

by Eduardo Paolozzi and Colin St John Wilson,is available to buy from the Gallery bookshop (p.57).

Dr Judith Collins on 'The Return'

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My Friend Paolozzi Sir David Hare

Photograph of David Hare © Daniel Farhi, 2010

I first met Eduardo Paolozzi in the 1970s. I was invited to lunch at the Royal College of Art and I remember asking: ‘Who's that man at the far end with such a compelling face?’ Somebody said: ‘That's Eduardo.

Everyone's frightened of him.’ Ruminative, massive, prolific, free-spirited: these were words which fitted the man as much as they fitted the work. As in many great artists, the two were inseparable.

I got to know him much better, and saw him far more often when I married Nicole Farhi. We became used to the idea that Eduardo would arrive for dinner at our house, maybe once every couple of weeks, with a bag bulging with gifts of maquettes, plasters and prints. Once he said: ‘What is strange to me is how ungenerous most artists are. I was lucky because I went to Paris when I was young. It's been the framework of my life. From Braque, from Tristan Tzara, from Giacometti, from Léger I learnt the first and essential lesson. The lesson of sharing. I can't understand why artists don't give their work to the local hospital. I feel free now at my age because I have no dealer and if I had a dealer that might limit my freedom to give my work away. I just know that unless I keep that freedom I'm finished.’

There, in the words he used to me you can hear much of what made Eduardo such a distinctive artist, and you can find the reasons why a nervous local art scene has sometimes underestimated the power, Photograph of Eduardo Paolozzi, Courtesy of Private Collection

passion, range and import of his work. For him, ideas were things left lying around in a sort of universal building skip from which he felt free to plunder. He believed, Picasso-like, that the fecundity and difference that you find in the given world should be reflected in the way you seek to modify it. For him, art could be found everywhere and made from everything. A deeply democratic instinct had him admiring the discarded and the overlooked. His sympathy was always with renegades and with outsiders. Has there been a sculptor who so prized curiosity, who never lost his desire to go on looking at new things? Has there been a major artist of the period so determined to create work for public pleasure, from Tottenham Court Road Tube Station to the British Library? Has there been a teacher so free of censoriousness, so ready to consider the work of any student or pupil as being of unique value and interest?

In his life, Eduardo was Shakespearean, a fascinating mix of low appetite and high ambition. He was Prospero, Caliban and Ariel rolled into one - master, body and spirit. But above all he was a friend, one who expressed love for others by his rare gift for making and giving.

A hand, physically like no other, a large hand as full of power as of warmth, pulled you towards him in greeting.

‘Hello, David,’ he would say. ‘I brought you something.’

Sir David Hare is a playwright, film and theatre director.

He gave this eulogy at Paolozzi's funeral service.

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collage in british Modernism Collage has been at the centre of artistic practice since the beginning of the twentieth century.

To mark a new Collections display in Room 4, 'Modern British Collage and its Legacy', Charles Darwent, art critic of the Independent on Sunday, explores the role of collage in British Modernism from Picasso to Hamilton.

Nigel Henderson, Screen, 1949-52 and 1960, Collage and mixed media, Pallant House Gallery (Wilson Gift through the Art Fund, 2004) © The Estate of Nigel Henderson

Seventy-five years ago, in November 1938, an unknown artist called Nigel Henderson showed two works in an exhibition at the new Guggenheim Jeune gallery in London. Even allowing for a bit of maternal stringpulling – Henderson's mother, Wyn, had helped Peggy Guggenheim set up the gallery in January of that year – it was an extraordinary coup for a boy of twenty-one.

Henderson's works were hung alongside those of giants such as Picasso, Braque and Duchamp, all in their fifties and all stars of the international art world. Like theirs, the images he showed were made of cut paper – the exhibition was called 'Collages, Papiers-Collés and Photo-Montages' – but there the similarities seemed mostly to end.

Picasso and Braque had begun to glue bits of the daily paper, Le Journal, on to their canvases as early as 1910; the word 'collage' was coined from the French verb coller, to stick. But, in 1938 as before, the Cubists' interest in cut paper remained largely formal, to do with the shape of words and the fragments on which they were printed rather than with their meaning.

In the same way, the Surrealists enjoyed the madcap juxtapositions which the throwing together of random paper cuttings might produce, at their most extreme when the artist doing the throwing was blindfolded or hypnotised. (Jean Arp, a onetime Surrealist, was also in the Guggenheim show.)

Henderson's work drew on both of these joint histories – he had mixed with the Cubists and Surrealists as a teenager in Paris – but it also showed signs of 29

Julian Trevelyan, Untitled (Northern Town), 1937, Collage on paper, Pallant House Gallery (On loan from a Private Collection, 2011) © The Estate of Julian Trevelyan

cut paper was quick and cheap. In terms of aesthetic something more. A decade later, living in Bethnal development, this lent it a quicksilver air.

Green, he would take the photographs of East End As Henderson's mentor, Kurt Schwitters, was to life for which he remains best known. The seeds of discover when he moved to England, the British art this social engagement were already there in his early market was conservative to the point of reaction. Even collages, planted by another fiftysomething foreigner the most eminent avant-garde artists struggled to in the Guggenheim show, Kurt Schwitters. make a living in the 1930s; Ben So a good place to start your visit to Modern British "The Surrealists enjoyed the madcap Nicholson earned less than Collage and its Legacy is in juxtapositions which the throwing- the average worker's wage all through the decade. front of Henderson's fourtogether of random paper-cuttings To experiment in expensive part collage, 'Screen'. Made might produce" canvas and paint was one – perhaps 'accreted' might thing. To do so in cut paper and be a better word – between glue was quite another, thus John Piper's gouache-and1949 and 1960, Screen sits at the crossroads of British collage picture, 'Bathers by the Sea'. Made in 1934, the cut-paper art. In history and technique, it looks back work's playful feel has as much to do with its medium as to a time before the Great War, to Picasso and Braque. with its subject.

But it also looks forwards, via Schwitters, to Eduardo As the Surrealists had discovered, cut-paper art lends Paolozzi and Pop, and beyond them again to the junkitself to game-playing. 'Bathers by the Sea' isn't just a aesthetic of Britart. 'Schwitters made his collages piece of end-of-the-pier jollity, though. according to the laws of chance – very much part of In 1934, Piper, at Nicholson's urging, had been to recent history', Paolozzi would say in 1987. Henderson anticipated that history forty years before it was made. Paris and come back with his head full of what he had seen there – in particular the studio of the Dutch NeoHis Screen shows one of the reasons why collage Plastic painter, Piet Mondrian. Later that year he helped could be such an effective vector for Modernism in Nicholson to stage the coup that would turn England's Britain. Whatever its other virtues, making art from 30

William Scott, Cup, 1974, Gouache and collage on paper, Pallant House Gallery (The George and Ann Dannatt Gift, 2011) Š The Estate of William

the way to the heart', he had said as a young artist. most avant-garde grouping, the 7&5 Society, into an Now, asked to depict the prophecies of the Book of abstract club. For the next three years, Piper worked Revelations, he reached, as before, for his scissors. as an abstractionist: 'Bathers' is, as it were, a toe in the So too did Ceri Richards, whose collage designs for water. By 1938, though, he had reverted to naturalist the cathedral's clerical robes are also in this show. painting. Like many artists of his day, he found that Why? There is clearly no single answer to that abstraction on canvas simply did not pay. It was, as he question, as there is no one said, a luxury Britain could way of working in cut paper. not afford.

"The British art market was Perhaps that is the reason So it is oddly moving to conservative to the point of why collage has had such a see the suite of works in this reaction. Even the most eminent particular hold over British show which Piper produced 30 avant garde artists struggled to artists in the past hundred years later. Asked to design a years – the fact that a tapestry as a reredos to the high make a living in the 1930s" medium and materials open altar in Chichester Cathedral, to anyone produces work that is so individualistic, Piper's first instinct was to go abstract. (The man who so ruggedly different. Collage, like the British, commissioned the tapestry, the cathedral's dean, Walter is naturally bolshie.

Hussey, was a man of adventurous tastes. He was also Charles Darwent is art critic of the Independent the moving spirit behind Pallant House.) His second was on Sunday. His book, Mondrian in London, to do this in cut paper, as he had done in 1934. appeared in 2012. Modern British Collage and its If you visit the cathedral now you will see the Legacy is in Room 4 from 15 June to 15 September influence of these experiments in the cut-out forms 2013. The Curator, Katy Norris, will give a tour of the finished tapestry. But why are they there? By of the exhibition on Thursday 11 July, 6pm (p.54).

1965, Piper was one of the grand old men of British art; For more information visit www.pallant.org.uk in 1972 he would be made a Companion of Honour. He certainly had no need to work cheaply. 'Abstraction is 31

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visions of utopia Louise Bristow's work draws on a large repertoire of imagery from graffiti to Modernist architecture. She talks to Curator Katy Norris ahead of a solo show in the De'Longhi Print Room

Katy Norris The way you compose your paintings is very individual, can you explain this process?

Louise Bristow Rather than planning my compositions in a sketchbook, I arrange real objects on the table top in my studio which allows me a huge amount of freedom to add new elements or move things around. The set-up is always a combination of models I have made and collage pieces taken from my collection of magazines and book cuttings. There is a certain democracy in the fact that an abstract scrap of paper can be as important as an architectural element or found photograph. In terms of my sources I am mainly interested in books dating from the 1970s or earlier which I buy from charity shops. I am often attracted by a particular quality of print or paper, but more broadly I choose imagery that I find compelling and which has some meaning for me. The links I make in my mind, such as a colour or texture relating to a particular era or place, is obviously really subjective.

KN What role does collage play?

LB Collage is a bit like solid thoughts that you can pick up and place in your work, and by doing that you are referencing all the ideas that stand behind the different images. With collage you can travel effortlessly across the world or back in time. Anyone who is interested in collage will inevitably amass a huge collection of ephemera. In that sense I really identify with Paolozzi; he had a voracious appetite for images and a distinct repertoire that makes his work immediately recognisable.

Louise Bristow, Family Tent, 2005, Gouache on board Š Louise Bristow, Photograph by Bernard G Mills

KN The same is true of your work, how would you categorise your choice of images?

LB I will often include public sculpture or civic structures that look quite utilitarian and reflect my egalitarian principles. In particular there is a kind of exoticism about the aesthetics of the Eastern Bloc that I am really compelled by. The Cold War was the conflict that I grew up with and I was at college when the Berlin Wall came down so I suppose it isn't surprising that I feel a certain degree of nostalgia towards it. For all its tensions, it was an idealistic time in my life. But, the Soviet system also represents a kind of utopia, at the very least an attempt to make a better world, and that is serious to me because the Western Capitalist system is so flawed. I am also drawn to imagery relating to post-war Britain, particularly the Festival of Britain, again because it represents an amazing utopian moment. The whole event was underlined by this incredible sense of optimism.

KN You draw a lot on populist imagery, would you say that you were inspired by kitsch?

LB Kitsch is something that has been discussed a lot in relation to Socialist Realism, but it's not something I am addressing directly in my painting.

I think there is a balance in my work between giving the viewer something that is pleasurable, which might be considered populist, and withholding it.

My choice of medium is central to the look and style of my paintings. Gouache is not an obvious choice nowadays but it is linked to illustration and was used by 33

commercial artists from the beginning of the twentieth century up until the advent of computers. It is quite an impoverished medium, it's pasty and chalky in comparison to oil paint which is rich and luxurious, but I like that about it. It gives my paintings an element of restraint which stops them from becoming overtly kitsch.

I am also drawing on the illustrative aesthetic of the Ladybird books I had as a child in the seventies, in terms of the realism of the images and the clarity of the gouache medium. And then there is the influence of Socialist Realism, in the way that I try to capture accurately the visual appearance of objects, such as the way that light reflects off a shiny piece of paper.

KN Also I think the fact that your paintings are obviously staged allows for a certain objectivity. How important is artifice to your paintings?

LB The element of artifice is important to all my compositions because a painting is essentially a constructed image on a flat surface. There is a certain tension between representing something illusionistically and painting the reality of what is in front of you. I would find it deathly boring to translate a photograph directly into a painting, but there is a subtle difference in placing a photograph amongst a set-up and treating it like an object in space. In 'Family Tent', which features a photograph of a baby deer, I think it was important that I turned the image upsidedown. It wasn't a straight forward translation of the image so it didn't become sentimental.

KN The exhibition will also include models for kiosks and architectural structures, how do you view these in relation to your paintings?

LB I began making the architectural structures simply so that I had three dimensional models to use in my set-ups, but recently I have come to value them more. The kiosks are particularly interesting because they are like any other building except that they are condensed. They are like little Wendy houses and that same sense of fun is often encapsulated in their design.

They are usually brightly coloured or might reflect a folk tradition, such as the Tabak Hut which has the appearance of a traditional Czech building. I based this model on how it looked when it was locked up because there was more graffiti on the shutters.

KN Graffiti seems to feature a lot in your paintings.

What is the significance of this?

LB Historically it has been a really good indication for the political mood of a society. The Velvet Revolution and the fall of the Berlin Wall were built upon the power of individuals saying no. There is a 34

phrase that I keep writing in my sketchbook at the moment that reads ‘everyone had their part to play’.

It came into my mind after seeing some photographs taken in Berlin and Prague in 1989-90 when the wall was coming down, and of course the Western side was covered in graffiti. When I made my first model of a wall in Brighton with the slogan 'Stop the Arms Trade' I didn't think too much about the meaning behind the message, but again there was something compelling about someone just speaking out. It was also fascinating that no one signed it. It was like this anonymous message from the world which I was able to quote in my painting without making a direct political statement myself.

KN The title of the exhibition, Unofficial Paintings, refers to the term given to non-state endorsed art in the Eastern bloc. In that sense it positions these paintings in the history of dissident or resistance art but at the same time you are referencing Soviet terminology. Would you say that you have an ambivalent attitude towards politics?

LB Yes, I think that would be fair to say. I am fascinated by the way people live their lives and what belief systems motivate them, but if I'm really honest I find politics quite alarming. I've never joined a political party, apart from the CND, and both organised religion and politics fill me with horror.

You can see from the history of Russia what a terrifying power that was; the Soviet system was built on ideals of equality and made many great achievements, but it also gave rise to the horrific treatment of human beings. So I am cautious about committing myself to any political ideology. Having said that, art is an activity of resistance and trying to make your way as an artist is a hard thing to do.

KN You have recently returned from a visit to Russia, how has that impacted on your work?

LB I first went to Russia during a college trip in 1988 when it was still the Soviet Union. I was surprised by how much remains from that era. The iconic sculpture 'Worker and Kolkhoz Woman' which was originally made for the Russian pavilion at the International Exhibition in Paris in 1937 still dominates the Moscow cityscape. It features in many of my paintings and so that was really interesting. We also saw an ex-government building known as the 'The House on the Embankment' which was where Soviet intellectuals were housed. They started off as members of the privileged elite and then they'd fall out of favour, their families would be moved out and they would be imprisoned or even executed.

The building is the subject of a fantastic novel by Yury

Louise Bristow, Festival, 2008, Gouache on Board Š Louise Bristow, Photograph by Bernard G Mills

Trifonov, which follows the life of a young boy who is friends with some of the children who live in the House on the Embankment. It's a chilling account of falling foul of the authorities, but is also simply about ordinary people's lives, which is what makes it compelling to me.

It was really powerful to see the building still standing, particularly having read Trifonov. I think culture is about the connections between people who are no longer alive but who can communicate their experiences across a time or place. In many respects my life is built upon a balance between making and receiving art and I think that was really reinforced by my experiences in Russia.

KN Does it matter to you whether people understand the individual references in your paintings or are you happy for people to make their own interpretations? I'm thinking specifically about your new work 'Survivor' which juxtaposes a Russian peasant woman with a woman in contemporary dress. For me that relationship really lends itself to a feminist reading.

LB There is a general sense of surviving in Russia, particularly the people who lived through Communism and many of the older generation are even quite nostalgic for it. When I came across this massive effigy in an orchard it seemed as though she had been there

forever. I liked that she was wearing such a beautiful folk costume and that she was literally planted in the ground. I wanted to capture a sense of her scale so I included the collage fragment of another woman walking away. It's interesting that you have that reading because I am a feminist and I like that people can draw their own conclusions, but the painting is primarily to do with the concept of endurance, both in terms of human existence and political ideology.

An important element is the row of nuts which have durable outer-shells. People often comment that somebody is 'a hard nut to crack' and I think there are parallels between these protective hard casings and the Russian effigy. I recognise that when people look at my paintings they won't necessarily know why I selected a particular set of images. But I did choose them carefully and for reasons not just to do with aesthetics, so I trust that a deeper meaning or intention will become apparent through the combinations I have made.

Louise Bristow: Unofficial Paintings is in the De’Longhi Print Room from 2 July – 18 August.

Louise will talk in conversation with Peter Suchin on Thurs 1 August (p.53). For more information visit www.pallant.org.uk 35

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Travels with a sketchbook Keith Miller's artist sketchbooks provide a unique graphic record of his extensive travels from the waterways of South East Asia to the crowded villages of Central America. To mark an exhibition in the De'Longhi Print Room, the artist reflects on the lure of abroad and why he chooses sketching 'en plein air' over photography.

Keith Miller, Fishing Boards on the Beach, Duyong Besar Malaysia Š Keith Miller

I created my first travel sketchbook in 1968 while on a cross-Canada bicycle trip with a friend. At the time, I thought I'd like to have a visual record of the trip and somehow I found time along the way to do pencil sketches in a hard-bound book. I wasn't much thinking about the aesthetics of the drawings I simply wanted something to jog my memory later and incidentally to accompany a weekly newspaper column I was doing - so it was a kind of an artist/journalist role I was trying to play. All through art college we were encouraged to keep sketch books in order to sharpen our drawing skills. So, my personal history of doing drawings in books at home and abroad goes back quite a long time. The appeal of doing them lies both in the pleasure of painting on the spot and in satisfying the desire to have a visual record of a trip.

The problem with a lot of photography is that it captures a lot of extraneous detail while missing the main story. If you sit down and draw or paint something you are essentially editing as you go along - emphasizing some details of the scene in front of you and ignoring others. What you decide to leave out can be as important as what's included.

That's the most maddening aspect of drawing - the art of exclusion - economy is tough. The eye sometimes wants to be a camera.

Everything in the exhibition is work done on the spot, en plein air. The sketches and drawings are more fluid in execution and have a fresher and more frank feeling than my studio work. I would like to be 37

Keith Miller, The Navigation Light, Duyoug Besar, watercolour Š Keith Miller

able to be as spontaneous there, as on the road but it's hard. The sheltered studio and the open wide-world are very different places. Also a travel sketchbook has a chronological and a narrative character which most studio work does not have.

I'm essentially a lazy traveller - I don't cover too much ground. I like returning to places I've known in the past, despite the disappointments this can cause. And, increasingly, the trips are not as long as before - only two months instead of eight or twelve.

After all, I have important responsibilities. I'm a dog owner, in other words! The bicycle trip was my first excursion worthy of being called travel but I spent a couple of years in my early 20s in Europe, drawing and painting. There was a dry period of mostly North American trips after that. I finally left Canada in my mid-30s, going to South East Asia and Japan and when I did return after four or five years, it wasn't to Canada, but to Mexico. So now that's my base and has been for about 25 years. I decided to settle in the colonial town of San Miguel de Allende, long a retirement magnet with an active artistic community. Like most pretty places in the world it's hard to keep people away. The town is now a UNESCO World Heritage site and is well protected, at least in the historic centre. It has been a good place to put down roots, but I still travel back to Europe and South East Asia every other year or so.

The images I like are the ones that say the most, but simply. For example, 'The Navigation 38

Light'. I think it captures the heat and the colour of the tropics. It also reminds me of a particularly happy and productive time on that island in Malaysia. It may be a little more poignant for me, knowing that the tree and the wooden tower are gone and the site is now occupied by quite an ugly yacht club building.

I have done many drawings that recorded buildings and streetscapes that are long gone - in Singapore, Penang or Hong Kong. Mostly it's the march of development but occasionally natural disasters play a role - for example on Phi Phi Island, wiped out by the tsunami in 2004. Maybe it's better not to go back to those places.

Some of the older drawings from the 1970s and 80s have begun to look a little like historic documents. The economic energy unleashed in the last few decades has transformed the world and the nature of travel itself. Young travellers on lengthy trips used to alter their itineraries simply to fit in a mail pick-up somewhere. The internet changed all that just as it changed flight bookings. Budget airlines now service Europe and Asia, putting an end to gruelling ten hour bus trips. The world may be a more crowded and homogenised place, but at least it is a more accessible place.

Keith Miller's Sketchbooks are in the De'Longhi Print Room (20 Aug to 6 Oct 2013). The artist will give a talk on Thurs 22 August, 6pm (p.53). His book, 'Keith Miller: Travel Drawings and Watercolours, 1970-2013’ is available from the Gallery Bookshop.

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'I believe in community' Ahead of his solo show in the Studio, Outside In award winner Phil Baird talks to collector and art enthusiast Rose Knox-Peebles

rosE KNOx-PEEBLES What I notice about your art, beyond the joy of the work itself, is how assured and confident your technique is - the discipline of drawing.

Phil Baird It's been a long road and there have been dreadful times when I haven't done any drawing.

RKP Did you draw as a child?

PB A little bit. Much of the later work was catching up on what I would like to have done then. It was remedial work, creating childish images just to get through that part of my development as an artist.

RKP Did your parents encourage you to go to art school?

PB They were a bit strange about it but they realised I was going to art school no matter what. I don't think they expected me to be working as an artist for 40 years.

RKP I was interested to see that you were taught

by Terry Frost and Adrian Heath but you weren't influenced by them?

PB I did take a little influence from Terry Frost for my MA show, but since then it has really been my own take on things. However, when you are young and you need to find your own way, it is often through inspiration from another artist.

RKP I have noticed several themes running through your work, one is community. When you write about the Pitman Painters the camaraderie they enjoyed comes through strongly. I can't imagine any artist being similar to you but perhaps you have been part of a group working in a similar way?

PB When I was at Wimbledon in the '80s, the influence was of everybody trying to be different from Phil Baird, Cosmic Hat Š Phil Baird

everybody else, trying to establish their own style.

My influence, perhaps, was Mervyn Peake. My work is illustration really.

RKP It goes far beyond Illustration; it is imagination.

PB Yes, it is from the imagination and it's informed by a lot of abstract work as well.

RKP Were you ever influenced by what we might call well-known artists? Or perhaps you have admired somebody very much?

PB I like all the greats, like Matisse. Paul Klee was a big influence, and I've sort of been pinching bits from these artists. We do workshops on 'taking the line for a walk.' There's a whole movement of people like Scottie Wilson and Madge Gill that developed not from drawing, but from doodling, like Dubuffet. Then there is William Blake and Samuel Palmer; I see them as sort of historical friends.

RKP Some artists form movements and others absolutely don't want to. I wondered whether you ever wanted to be part of one?

PB I think movements are great! It's people who have something in common getting together. There are artists I've felt more akin to than most of the people I came across in art school – for instance Kate Bradbury and Carlo Keshishian whom I met through Outside In; it's like we understand each other's language.

RKP There is a language in art; you can see in the work what artists have picked up from each other. It's not picking up in a bad way; it's picking up in a positive way.

PB If you looked at, say, Picasso and Braque, they 41

were almost identical. And actually, that's part of my philosophy – I believe in community and camaraderie and sort of socialist beliefs.

RKP To give your best to everybody and take the best from others – give and take?

PB Definitely. That's something we do here at Network Arts; we get an idea from somewhere and then make it our own. There's no copyright on pen and ink. I've always wanted to contribute something; to use my access to the public to represent others. I feel I'm part of a community; everybody's different but we're all part of an art community.

RKP In the Arts Council film [recently commissioned as part of the Arts Council England's Creative Case for Diversity project] there is a lot of movement, a lot of mark-making? Did you always work like this?

PB No. When I was first at art school and then at college in the '70s I did a few black and white drawings of views of the far side of the valley. At one stage I did a lot of etching; it's part invention, part imagination.

RKP But very carefully observed.

PB Yes, but there is a freedom to it; I can include whatever I want.

RKP That is a theme I have noticed, memory. Not a repudiation of the past, but a celebration of what you find good in it. There are ghostly images of tall ships in some drawings. What do they relate to?

PB My family on my mother's side came from Whitby, so I've always loved the sea. My ancestors were sea captains – on whalers. Though nowadays this is not something to be proud of.

RKP You put the romance of your past in the drawings. You should write about them, particularly your award-winning piece, 'The Cosmic Hat'.

PB The hat is drawn literally from stars, so the stars form the shape of the hat. It was very big, very cosmic. I have also used spinning hats like spinning plates to represent the different roles in life, keeping the plates spinning.

RKP Which reflects the many things you do. Another theme in your pictures is re-birth. You run Outside In: Step Up workshops; you're an ambassador for Outside In and you run workshops here at Network Arts.

PB It started happening over the last four years. The Outside In: Step Up training came just at the right time. It was scary. It was such a new thing but it was very well facilitated and I met some great people. I've been able to flag up Outside In and Network Arts and then I've sold some work.

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Phil Baird, Cat’s Cora © Phil Baird

RKP Throwing your hat in the air was a suitable gesture when you learned you had won the prize.

PB The hat throwing came from Terry Frost – a Frostian gesture.

RKP Do you like to work at home?

PB I don't need to sit down in the landscape and draw what's happening in front of me. I do Sunday afternoon paintings some times, but they're never as good as the imaginative ones. Most of my work is done in the evenings where I live, which is in supported accommodation. It's a good and therapeutic way to work; you get the chance to process things throughout the evening.

RKP In some drawings there are glimpses of colour; I wondered where that came from?

PB There was a time when I did a few black and white pieces and happened to have some colour and thought I would try it out. My work is free, in that sense; at the same time, by using colour one is adding constraints.

RKP Do you see your style developing over the next ten to fifteen years?

PB Hopefully it will, although I don't know how. I am interested in the abstract as it's accessible to people.

Even though they won't know the specific story, they appreciate it.

RKP Our time is almost up; is there anything you would like to add?

PB Just a thank you for the tremendous support from Outside In. They've opened up lots of avenues for me.

It's a lifetime opportunity to have a show in a public gallery – a solo show. It's just incredible that these things are happening. It's all been rather overwhelming. But it's nice, because it's what I do and it's how I contribute.

RKP Are you proud of your work?

PB Yes! They're my babies.

Phil Baird: Simple Complex Drawings is in the Studio from 6 August to 8 September 2013. For more information about Outside In visit www.outsidein.org.

Peter Iden: A Retrospective Otter Gallery 17 June—26 July & artOne 20 June—6 July University of Chichester, College Lane, Chichester PO19 6PE Free Admission

01243 816098

gallery@chi.ac.uk

For visitor information, talks, events & opening hours visit www.chi.ac.uk/ottergallery Left: Summer Walk Warmth (undated); right: Landscape with Green Field, 2008 © Estate of Peter Iden

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artist in focus

Jonas Ranson, Plans for a New Mausoleum at Halicarnassus © Jonas Ranson

To mark a display of his Paolozzi-inspired wallpaper in the Garden Gallery, Print artist Jonas Ranson pays homage to his design hero.

For me, Paolozzi’s work represents an alluring and colourful reality beyond the grey everyday life of postwar London. In terms of technology, let alone design, his screen prints are audacious. A pioneer of the process, he crucially viewed printmaking not just as a secondary pursuit but rather as a vital artistic practice.

His images achieve a degree of graphic complexity that set them apart from most 1960’s Pop screen prints and exceeds anything achieved in graphic design at the time, in both formal and technical invention.

I love the way in which Paolozzi amassed printed imagery with such eclectic enthusiasm. His images simply pulsate with bands of abstract, optical pattern, using these repeats to layer up compositions. At no point is the eye able to rest easily. The way in which Paolozzi uses these patterns and overlayering of crosses, dots, lines, diagonals, checker board and translucent colour to create secondary colours and subtle colour changes all had a great impact on me as a student at the Royal College of Art in the early 2000s.

Paolozzi’s presence was very much in evidence and his prints adorned the corridors and walls of several key departments within Kensington Gore Campus buildings.

Seeing the works, it is sometimes all too easy to overlook that Poalozzi was working with purely analogue process, appropriating commercially printed dry-transfer patterns as stencils for screen printing to create his innovative colour results. Like Paolozzi, I enjoy

the technical challenges involved in the print process and create work which enables me to demonstrate a degree of virtuosity in the medium. The aim is always to produce prints that have a remarkably sensuous texture and delicacy of appearance. My pieces are achieved through treatment in digital conversion but still use the basic CMYK colour separation process.

There is now a greater ease and flexibility between the digitally processed images with which I work and their transference into the screen print process.

I follow the dictates of the underlying patterns in my work, creating abstractions that incorporate these digital effects. Drawing is still very much the basis initial designs are worked, developed and transferred to acetate positives through digital means. Traditional ornamentation is reconfigured, final pieces being visually complex and often cartographic in form. These vertical and horizontal lines, rectilinear shapes and loose and uneven grids without a focal point, have the potential to extend limitlessly in any direction. Each print is a different thing where an interior develops an aesthetic idea or sensation that is intuitively led. Although I have tried to develop a process which becomes more efficient through routine, I want the final stages of the creation to have been unanticipated. The final print is still a thrilling moment for me. The work should lead to a process that is more improvised and driven in a more emotional and explorative way. The most successful are those resulting in a final form that, though sought, is unexpected.

'Plans for a New Mausoleum at Halicarnassus' is in the Garden Gallery (6 July to 13 Oct). jonasranson.com.

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Your Legacy to Art If you have been inspired by Pallant House Gallery, why not consider leaving a legacy in your Will? A gift, however small, will help us maintain our pioneering Community work, innovative exhibition programmes and help conserve the Collections for future generations to enjoy. Thanks to a new government initiative, by leaving at least 10% of your estate to charity, the rate of Inheritance Tax applicable to the rest of your estate is reduced to 36%. Therefore, by giving to Pallant House Gallery you could benefit your beneficiaries as well.

All legacies are paid into the Gallery’s endowment fund which, until 30 June 2016, will be matched pound for pound with a grant from the HLF Catalyst Endowment Fund. To discuss leaving a legacy to Pallant House Gallery, please contact Elaine Bentley, Head of Development (01243 770844 / e.bentley@pallant.org.uk). Thank you.

Mark Gertler, Near Swanage, 1916, Oil on board, Pallant House Gallery (Kearley Bequest, through The Art Fund, 1989), Š Luke Gertler

Chairman of the Friends' Letter

Eduardo Paolozzi for Horrockses Fashions Dress designed by John Tullis, 1953, Printed cotton, Horrockses label sewn in dress, Courtsey of Fine Art Society

Dear Friends, Patrons and Gallery Club Members By now many of you will have met Gregory Perry, the new Director of the Gallery. It has been a pleasure to welcome him here. Greg has had a great deal of experience of Friends' organisations both in this country and in the United States, and we greatly look forward to working with him as we enter the fourth decade of the Friends.

After an unusually long cold winter, we have a lot of exciting exhibitions to which to look forward. Our major exhibition is Eduardo Paolozzi: Collaging Culture which will be supported by an interesting programme of events and visits. The Art Lunch, which has become a popular feature of our event programmes, has been scheduled for Thursday 18 July and we have asked Simon Martin, Head of Collections and Exhibitions at Pallant House Gallery, to speak on Paolozzi. Full details of this event can be found on page 49.

As the number of our Friends continues to grow I am delighted to report that the Gallery Club, which was relaunched last autumn, has attracted a number of new members and a significant number of Friends have changed their membership to join this category.

If you would like to become a Gallery Club member please contact Gillian Thompson on 01243 770816 or email friends@pallant.org.uk and she will be happy to help you and explain the additional benefits of Gallery Club membership.

I would like to thank those Friends who have opted to pay their subscription using Direct Debit by completing and returning the forms sent to them at the time their renewal was due. Once the Direct Debit instruction is set up, the Membership team will be able to operate a swift automatic system, making the renewal procedure easier for Friends.

You will have noticed your Membership card has a new image. We featured Ivon Hitchens' ‘Red Centre’ on the cards for several years but thought it was time for a change. We hope you like Sean Scully's 'Pink Dark Triptych'. This painting, which was a recent gift to the Gallery, can currently be seen in the Galleria and will be shown with other works by Scully as part of an exhibition on the artist's Triptychs in the autumn.

The art hanging in the Friends' Office has also been changed to a selection of Patrick Caulfield's work.

Friends are very welcome to come in and see these screenprints; the office team are always pleased to meet our Friends.

I hope to see many of you here during the summer, and please remember that your support and interest in the Gallery is always much appreciated.

Lady Nicholas Gordon Lennox Chairman of the Friends of Pallant House Gallery

Pallant House Gallery Friends

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BECOME A PATRON

Pallant House, Photography by Peter Durant/arcblue.com

Lady Susan Anstruther has been a patron of Pallant House Gallery for three years. Here, she explains what the Gallery means to her and why she chooses to support the organisation in this way.

I have been an enthusiastic supporter of the Gallery ever since discovering the original Queen Anne building and its quite surprising contents when I first moved to Sussex. Wearing my architect's hat, I can also remember feeling sad that its setting had been so badly compromised. The new wing is a near perfect response to a very difficult brief. It's good to have an excellent modern building in Chichester and I admire the way it has succeeded in providing generous new exhibition and social spaces as well as in giving new life and context to the original building by integrating the old with the new.

My own interest in 20th Century art began as a student in London in the 50s and, when I first saw Colin St John Wilson's collection in the new Pallant House Gallery, I greeted many of the artists as old friends from Cork Street and the annual London Contemporary Art show. I continue to visit exhibitions, mostly at the V&A, the RA, Tate Britain and Tate Modern – another spectacular fusion of old and new and enjoy the challenge of new work.

I try to see most of the exhibitions at Pallant House and have particularly enjoyed the Robin and Lucienne Day in 2011 - very nostalgic for me - Edward Burra, 48

Pallant House Gallery Friends

Keith Vaughan and recently, R.B. Kitaj. I have also joined several of the Patrons' visits arranged by the Gallery – the morning at Peter Blake's studio last May being truly memorable.

I am in no doubt that the Collections at Pallant House are of national importance as well as being a huge asset to the City; the fact that it is being steadily augmented by other generous bequests is ample proof of this. I admire the way in which the Gallery manages to combine a forward-looking and stimulating approach to modern art with an open and inclusive policy including outreach activities. It is also a very welcoming place – what better spot for a morning coffee than that lovely little garden looking out at the rejuvenated façade of the old house.

I believe in what the Gallery stands for and I became a Patron to support its efforts. I would recommend the Patrons' Scheme to anyone who feels as I do!

By becoming a Patron of Pallant House Gallery you can help the Gallery to to maintain its programme of high quality exhibitions and pioneering Community work, and to help conserve the Collections for future generations. You will also receive benefits such as invitations to exclusive visits to artists' studios, private collections and galleries. If you would like to become a Patron, please contact Elaine Bentley, Head of Development on 01243 770844 or e.bentley@pallant.org.uk.

what's on Friends' events Gallery Club visit: Gagosian Gallery, St Pancras and King's Place Wed 3 July, 11.15am – 4pm This exclusive Gallery Club visit starts with a private tour of Anthony Caro's latest works, 'Park Avenue Series', by the Gagosian Gallery Director, developed from a proposal for public sculpture in New York. We will then have lunch in the Oyster Bar at Searcy's Brasserie at St Pancras, in the revolutionary architectural space of Barlow’s train shed. Afterwards there will be a short walk to the galleries at King's Place to view the entries for the Ruth Borchard Self-Portrait exhibition, won by Celia Paul in 2011, and Sculptural Ceramics at Pangolian London £38 (includes two course lunch and a glass of wine).

Meet in the reception area at the Gagosian Gallery.

Friends' Private View Sun 7 July, 10-11am Enjoy exclusive access to the summer season of exhibitions ahead of the public opening at 11am, which includes Eduardo Paolozzi: Collaging Culture.

Free (coffee and biscuits provided).

Tickets 01243 774557 (Booking Required)

C.R.W. Nevinson, Loading Timber, Southampton Docks, 1916-17, Oil on canvas

A Crisis of Brilliance: Nash, Nevinson, Spencer, Gertler, Carrington and Bomberg, Dulwich Picture Gallery, London Thur 11 July, 2 – 4.30pm Students together at the Slade School of Art in London between 1908 and 1912, C.R.W. Nevinson, Stanley Spencer, Mark Gertler, Dora Carrington, David Bomberg and Paul Nash formed part of what their drawing teacher Henry Tonks described as the school's last 'crisis of brilliance'. Exhibition curator David Boyd Haycock will lead an exclusive guided tour of this new exhibition which features over 70 original works by the group including a wide range of paintings, drawings and prints from major national collections and important and rarely-seen works from a number of private collections. £18 (includes admission and the exclusive guided tour). Make your own way there, for arrival by 2pm.

By train from Chichester, change at Victoria station for West Dulwich

Art Lunch: Eduardo Paolozzi Thur 18 July, 10.30am – 2.15pm An illustrated talk on the works of Eduardo Paolozzi by Simon Martin, Head of Collections and Exhibitions. The talk will cover this fascinating artist's prolific career with images of his collages, drawings, sculptures, and prints.

Before the talk there will be coffee and biscuits in the Garden Gallery and a private lunch by Field & Fork afterwards. Lunch will be followed by an afternoon tour and discussion of the Gallery's exhibition Eduardo Paolozzi:Collaging Culture. £60 (Friends £54) Friends' Tour Eduardo Paolozzi: Collaging Culture Weds 24 July, 3pm An opportunity to find out more about the major summer exhibition with Simon Martin, Head of Collections and Exhibitions. £5 (£2.50 Student Friends) includes tea and biscuits Friends' Annual General Meeting Mon 29 July, 6pm The Friends' AGM will take place on Monday 29 July in Gallery 11.

After the business of the meeting has been completed a guest speaker will give a short talk of interest to the Friends, followed by wine in the Garden Gallery.

Pallant House Gallery Friends

49

Visit: Roche Court, Wiltshire Tue 13 Aug,11am – 2.45pm A special day at the acclaimed New Art Centre at Roche Court where we will be welcomed by the Director Lady Madeline Bessborough and the Curator Stephen Feeke. After coffee we will be given an exclusive tour of the Artists' House, currently showing work by Turner Prize-nominated installation artist David Tremlett, and the award-winning gallery, which is exhibiting work by Welsh painter and printmaker Merlyn Oliver Evansby. After a buffet lunch (included in the cost) we will be given a tour of the Sculpture Park, which shows work by artists such as Barbara Hepworth, Antony Gormley and Anthony Caro. £18 (transport not provided, 1hr 20min drive from Chichester to Roche Court). Contact the Friends Office if you need a lift.

Art Book Club: The Atrocity Exhibition by J.G. Ballard Sun 22 Sept, 2.30 – 4pm Eduardo Paolozzi and the science fiction writer J.G. Ballard shared an affinity which led to a fruitful period of collaboration on the magazine Ambit during the 1960s.

This experimental collection of ‘condensed novels’ by Ballard, which echoes the work of William S Burroughs in structure, is considered by some to be his most important work. Taking as its subject the irrational, all-pervading violence of the modern world, the book depicts a nightmarish world in which the central character’s dreams are haunted by images of John F. Kennedy and Marilyn Monroe, astronauts and car-crash victims as he surrenders to a world of psychosis. £5 includes tea and cake

50

Pallant House Gallery Friends

Talk : Behind the Scenes of the Pallant House Gallery Collection Weds 25 Sept, 11.30am A behind-the-scenes talk by Katy Norris, Curatorial Assistant, featuring highlights from the Gallery's De'Longhi Print Room store, including drawings by Patrick Caulfield, Graham Sutherland, Paul Nash, Ceri Richards and Victor Willing. Katy will discuss the development of our works on paper collection, the issues surrounding storage and conservation, decisions about display rotation and the process of preparing items to go out on loan. £5 (£2.50 Student Friends) includes coffee and biscuits Pallant Prom: Viktoriya Peneva Sat 28 Sept, 12 noon The Gallery's prestigious series of international piano recitals resumes with a performance of music by Beethoven and Brahms by the Bulgarian pianist, Viktoriya Peneva.

Peneva is studying for a Master of Performance degree at the Royal College of Music and has played in many solo and chamber concerts across the USA and Europe. She has also received awards and prizes at many international competitions. £5. Friends free but voluntary contributions towards expenses are welcomed. Please book all tickets in advance.

Art Book Club: Four Hedges by Clare Leighton Sun 20 Oct, 2.30 – 4pm An opportunity for the Book Club to explore the work and writings of Clare Leighton, a wood engraver with a passion for gardening as well as the countryside. There will be an exhibition of lithographs from 'The Farmer's Year' by Clare Leighton in the De'Longhi Print Room in the autumn. £5 includes tea and cake

Image featuring Martin Creed and Charles Jencks Landform – Modern One. © Scottish National Gallery of Modern Art

Friends' Away Trip: The Art of Edinburgh 9 –14 Sept A specially-tailored five night trip to explore some of the cultural hotspots of Edinburgh including the Scottish National Gallery of Modern Art which houses Paolozzi's studio; the Dovecot Studios tapestry workshop which has worked with some of the leading modern British artists; Edinburgh Printmakers who have produced numerous prints in the Golder-Thompson Gift at Pallant House Gallery; and an intimate evening reception at the Scottish Gallery. There will also be trips to Little Sparta, artist Ian Hamilton Finlay's classically-inspired garden in the Pentland Hills; Hopetoun House, one of Scotland’s finest stately homes; and Jupiter Artland.

Accommodation will be at The Roxburghe, a four-star hotel in Charlotte Square. £890 per person (double room), £1,070 per person (single room).

Includes return BA flights from Gatwick, coach travel in Scotland, bed and breakfast, and dinner on Monday and Friday evenings at the hotel. Also includes a reception on the first night and gratuities.

Transport from Chichester to Gatwick, tickets to attractions, and lunches and dinner (Tuesday – Thursday) are not included.

patrons of the gallery We are immensely grateful to our Gallery Club members, the following Patrons of Pallant House Gallery, and to all those who wish to remain anonymous, for their generous support: José and Michael Manser ra Robin Muir and Paul Lyon-Maris Angie O'Rourke Denise Patterson Catherine and Franck Petitgas Charles Rolls and Jans Ondaatje Rolls Mr and Mrs David Russell Sophie and David Shalit Tania Slowe and Paddy Walker John and Fiona Smythe Tim and Judith Wise John Young André Zlattinger

Mr and Mrs John Addison Smith Keith Allison Lady Susan Anstruther John and Annoushka Ayton David and Elizabeth Benson Edward and Victoria Bonham Carter Vanessa Branson Patrick K F Donlea Frank and Lorna Dunphy Lewis Golden Paul and Kay Goswell Mr and Mrs Scott Greenhalgh Mr and Mrs Alan Hill James and Clare Kirkman

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In a Revised Version by Cameron Mackintosh and Mark Bramble

01243 781312 cft.org.uk

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what's on Gallery events

Find the rest of the public programme including workshops in the What's On guide or online at www.pallant.org.uk To book telephone 01243 774557

Talks Bouke de Vries Thurs 18 July, 6pm Dutch artist Bouke de Vries studied at the Design Academy Eindhoven, and Central St Martin's, London. After working with John Galliano, Stephen Jones and Zandra Rhodes, he switched careers and studied ceramics conservation and restoration at West Dean College.

Using his skills as a restorer, he began to create 'exploded' artworks from reclaimed broken pots, using fragmented porcelain to create new sculptures that often feature witty and subversive narratives. He will discuss his work in relation to his installation in the historic stairwell at Pallant House Gallery, Bow Selector.

Talk and wine: £12 (Friends £10.50), Talk only: £8.50 (Friends £7, students £7.50) Paolozzi and the Independent Group Thurs 25 July, 6pm Paolozzi was a leading member of the Independent Group of artists, architects and writers associated with the ICA in the 1950s, which included Richard Hamilton, Nigel Henderson, Colin St John Wilson and Lawrence Alloway. The Group explored ideas about new forms of perception and sources for art, Tickets 01243 774557 (Booking Required)

Eduardo Paolozzi, Blick auf Monte S. Angelo, still from The History of Nothing, 1960, Collage on paper, Pallant House Gallery (Wilson Loan, 2006) © Trustees of the Paolozzi Foundation

advocating a philosophy which rejected distinctions between high and low culture. Anne Massey, Professor of Design History, explores Paolozzi's contribution to the group including his involvement in the seminal exhibitions 'Parallel of Life and Art' in 1953 and 'This Is Tomorrow' in 1956.

Talk and wine: £12 (Friends £10.50), Talk only: £8.50 (Friends £7, students £7.50) Louise Bristow in conversation with Peter Suchin Thurs 1 Aug, 6pm Louise Bristow's work is inspired by her fascination with the aesthetic of the Cold War and collage techniques such as the work of Eduardo Paolozzi. Her paintings are made using intricate working process that involves constructing three-dimensional models and flat

collages, and arranging them to form set-ups in her studio. Louise will talk in-conversation about her work and her influences with contemporary art critic, lecturer and artist Peter Suchin.

Talk and wine: £12 (Friends £10.50), Talk only: £8.50 (Friends £7, students £7.50)

Keith Miller Thurs 22 Aug, 6pm A Canadian living in Mexico, Keith Miller has spent most of his adult life travelling the globe – from the waterways of South East Asia to the crowded villages of Central America. To mark an exhibition of his evocative travel sketch books, Miller will talk about the urge to travel and why he chooses sketching over photography.

Talk and wine: £12 (Friends £10.50), Talk only: £8.50 (Friends £7, students £7.50) 53

what's on Gallery events

Paolozzi and artists' textiles in the 1950s and 60s Thurs 5 Sept, 6pm While Eduardo Paolozzi is best known as a sculptor, he also made a distinctive and perhaps surprising contribution to the worlds of fashion and mid-century design. In the 1950s he created bold textile designs that applied his collage aesthetic to modern dress and furnishing fabrics for companies such as Horrockses and David Whitehead. Geoff Raynor and Richard Chamberlain of Target Gallery and Dennis Nothdruft, Director of the Fashion and Textile Museum, will discuss this littleknown aspect of his work.

Talk and wine: £12 (Friends £10.50), Talk only: £8.50 (Friends £7, students £7.50) Paolozzi: Friend, tutor and artist Thurs 19 Sept, 6pm Cultural historian Professor Christopher Frayling and ceramic designer David Queensberry both taught with Paolozzi at the Royal College of Art for many years. They will give their personal recollections of Paolozzi as an artist, tutor and friend in conversation with Pallant House Gallery's Head of Exhibitions and Collections, Simon Martin.

Talk and wine: £12 (Friends £10.50), Talk only: £8.50 (Friends £7, students £7.50) 54

From Cyborgs to Sideboards: Eduardo Paolozzi's Sculptures in the 1950s and 60s Thurs 26 Sept, 6pm Paolozzi's main sculptural work in the 1950s consisted of large bronzed forms that resembled lumbering monsters – half organic, half machine. As the decade continued these creatures began to morph into architectural forms that were reminiscent of sideboards and elaborate fire-surrounds. Ben Highmore, Professor of Cultural Studies at the University of Sussex, will explore this progression with reference to the artist's life and the persistent theme of the relationship between sculpture and architecture.

Talk and wine: £12 (Friends £10.50), Talk only: £8.50 (Friends £7, students £7.50)

Eduardo Paolozzi's Bunk Collages Thurs 3 Oct, 6pm The inaugural meeting of the Independent Group at the ICA in April 1952 has gained mythical status as one of the seminal moments in the development of Pop art in Britain when Paolozzi presented his now-celebrated series of collages drawn from American adverts, science fiction and American magazines. The collages suggested a radical new aesthetic, which, before the end of the decade, was to form the basis of pop art. The art historian John Paul Stonard explores this key moment in the development of Pop art in Britain.

Talk and wine: £12 (Friends £10.50), Talk only: £8.50 (Friends £7, students £7.50)

Curator's Tours Eduardo Paolozzi: Collaging Culture Thurs 8 Aug, 6pm An opportunity to find out more about the major summer exhibition with Head of Exhibitions and Collections, Simon Martin. £3 Modern British Collage and its Legacy Thurs 11 July, 6pm Curator Katy Norris will lead a tour of the exhibition which features collage, prints and paintings by artists in the Collection such as John Piper, Ben Nicholson, William Scott and John Stezaker. £3

Eduardo Paolozzi, Vogue Gorilla with Miss Harper from 'Bunk!

Portfolio', 1972, Screenprints and lithographs on paper, Pallant House Gallery (Wilson Gift through The Art Fund, 2006) © Trustees of the Paolozzi Foundation

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bookshop

www.pallantbookshop.com Telephone 01243 781293

paolozzi screenprints Paolozzi, like many of his contemporaries including Hamilton, Hockney and Kitaj, viewed printmaking not just as a secondary pursuit, but rather as a vital artistic process. His lifelong love of collage and his innovative use of the technique translated well onto screenprint, which Paolozzi used to produce many of his most memorable Pop Art prints of the 1960s. A selection of limited edition screenprints from his most famous portfolios including B.A.S.H and Calcium Light Night are available to buy from the Gallery Bookshop.

Eduardo Paolozzi exhibition catalogue A new fully-illustrated catalogue, published by Pallant House Gallery to coincide with the major summer exhibition 'Eduardo Paolozzi: Collaging Culture', written by Simon Martin, Head of Collections and Exhibitions at Pallant House Gallery and including texts by Eduardo Paolozzi and Colin St John Wilson. This essential companion to the exhibition offers a fresh and comprehensive insight into the life and career of one of the most inventive and diverse artists of the post-war era.

Eduardo Paolozzi, B.A.S.H., 1971, Screenprint in colours with stickers, © Trustees of the Paolozzi Foundation

Royal Doulton Paolozzi Collection Best-known as a sculptor and printmaker, Paolozzi was also involved in the creation of innovative ceramics as a designer for companies such as Wedgewood Ltd and tutor to many of the most significant potters and ceramic artists of the last forty years. Decorated in flamboyant contrasting colours, the Royal Doulton Paolozzi Collection pays fitting tribute to this legacy with a selection of tableware inspired by the artist's vividly dazzling graphic screen prints.

Eduardo Paolozzi mugs available in four colours, £15 each, set of four £60 Espresso cup & saucer available in four colours, £20 each, set of four £80. All come boxed.

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Private view: R.B. Kitaj Obsessions and Barbara Hepworth: Hospital Drawings Spotted yourself on our photo pages? Photographs from all our previews are available to view and buy online at www.photoboxgallery.com/pallant The password is 'pallant'. Outside In photographs by Jason Hedges (www.jasonhedges.co.uk)

(Left to Right) Sophie Bowness, Barbara Hepworth's granddaughter, Nathanial Hepburn, Peter Chasseaud, Carolyn Trant, Louise Bristow

(Left to Right) Harry Wilson, John Hubbard, M.J. Long, Simon Martin Francis Marshall, Stephen Finer

(Left to Right) Yvonne Koo, Ajax Yapp, Leatitia Yapp, Kate Moose, Author, Christian Flackett, GAM, Jill Green

If you would like to hire the Gallery for a party, private dining event or a canapĂŠ reception please contact Helen Martin on 01243 770838

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Portrait of Juan Gris, 1963

by Patrick Caulfield

Patrick Caulfield, Portrait of Juan Gris 1963, Alkyd housepaint on hardboard, Pallant House Gallery (Wilson Gift through The Art Fund, 2006), © Janet Nathan Caulfield

To coincide with the exhibition of Patrick Caulfield at Tate Britain this summer, Clarrie Wallis, Tate Curator of Modern and Contemporary Art, introduces one of the key loans from Pallant House Gallery's Collection.

Patrick Caulfield (1936–2005) is best known for his iconic and vibrant paintings of modern life that reinvigorated traditional artistic genres such as the still life. His work came to prominence in the mid1960s after studying at the Royal College of Art where fellow students included David Hockney. Through his participation in Young Contemporaries in 1961 and 1962 and the defining The New Generation exhibition at the Whitechapel Art Gallery in 1964, Caulfield became associated with Pop Art. Caulfield himself resisted this label, preferring to see himself as a 'formal artist' and an inheritor of European painting traditions from modern masters such as Georges Braque, Juan Gris and Fernand Léger, who influenced his composition and choice of subject matter.

Early on in his career Caulfield's admiration for Gris's work led to him painting Portrait of Juan Gris 1963, one of the very few images of a figure he made. For the rest of his life he confined himself to picturing only the suggestion of human presence. This was a conscious decision, born of the view that 'Picasso had pulled the plug on interpreting the human form.' Preparatory drawings reveal that the work began as a portrait of Cézanne, an artist Caulfield also respected. However during the course of his sketches he changed the figure 60

to that of the Spanish artist.

In the painting Gris is shown half profile (the head is derived from a photograph taken by Man Ray in 1922, reproduced as the frontispiece to James Thrall Soby's monograph, Gris) wearing a blue suit against a yellow background. Caulfield's hero is surrounded by geometric forms that allude to Gris's complex spatial compositions. He purposely chose the painting to be as bright as possible because he thought of his work as being optimistic and a contrast to the 'grey' of the artist's surname.

Caulfield liked the fact that so much of Gris's imagery was associated with bars and cafés and was impressed by how Gris could be so inventive despite using such a small group of motifs. He also admired Gris's ability to paint partly from life and to collage objects together in his mind to create a sense of unity.

This compositional dovetailing of objects may have subsequently had an impact on Caulfield's approach to his mature work where tromp l'oeil and photorealism co-existed happily alongside simple graphic outlines, emboldened planes of flat colour and perspectival complexity that allowed for more sculptural interpretations of the depicted scene.

Both artists had the ability to reconstruct the world anew in their imaginations, creating new formal structures that rendered the most mundane objects and scenes memorable.

Patrick Caulfield is at Tate Britain from 5 June until 1 September 2013. For more information visit www. tate.org.uk

PHILIP JACKSON

Saraband 190cm high

Small and large bronzes at the

STUDIO GALLERY

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SIR EDUARDO PAOLOZZI, R.A. (1924–2005) Head signed, numbered and dated ‘E Paolozzi/1993/1/1’ (at the base of the neck) bronze with a black patina · 14 1/2 in. (36.8 cm.) high £20,000–25,000

Modern British and Irish Art London, South Kensington • 12 July 2013 Viewing

Contact

6 –11 July 85 Old Brompton Road London SW7 3LD

Elena Ratcheva eratcheva@christies.com +44 (0) 20 7752 3107

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