The exhibition ‘BANKSIDE 52 NOT OUT’ showcases the artistic journey of Joe Mayhook, who has lived on Upper Ground, Bankside, for 52 years. Mayhook has witnessed the remarkable transformation of his neighbourhood from an overlooked area to a bustling cultural hub. His daily paintings reflect this evolution and encapsulate the spirit of Bankside. The exhibition will run from November 27, 2024, to January 27, 2025, at Southwark Cathedral, featuring works that depict local landmarks and the distinctive character of the area. Alongside his art, Mayhook actively contributes to his community through gardening initiatives to promote green spaces in Bankside.

Joe Mayhook’s life and work are closely intertwined with the transformation of Bankside, London. Over five decades, he has seen the area evolve dramatically—from a neglected part of the city to a lively arts and dining destination. His experience and artistic output not only document this change but also highlight the resilience and cultural richness of the neighbourhood. The upcoming exhibition aims to convey this narrative through Mayhook’s extensive body of work and his community endeavours.

‘BANKSIDE 52 NOT OUT’ serves as a testament to Joe Mayhook’s dedication to his home and its evolution over the years. Through his art, visitors will gain insight into Bankside’s rich history and its ongoing transformation. The exhibition not only spotlight Mayhook’s paintings but also celebrates the community spirit that has revitalised the area.

Original Source: londonnewsonline.co.uk

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Danh Võ’s exhibition at White Cube London critiques the ideological failures of contemporary and historical figures through art. His works deconstruct traditional symbols and their meanings, particularly in the context of the ongoing erosion of political and religious ideologies. The exhibition showcases fragmented sculptures and manipulated cultural symbols, illustrating the tension between historical truths and modern reinterpretations. It emphasizes the fragility of established norms and the chaotic nature of contemporary experience, inviting viewers to reconsider the role of creative thought in shaping reality.

This article addresses Danh Võ’s latest exhibition at White Cube London, which unpacks themes of identity, ideology, and the socio-political climate in a post-Trump era. Võ’s work draws on philosophical critiques, particularly from Nietzsche and Deleuze, to dismantle the idolisation of historical constructs. The exhibition features various artworks that demonstrate cultural shifts and the commercialisation of symbols, exploring how these changes affect collective understanding and spiritual connections in a globalised context.

Danh Võ’s exhibition presents a poignant reflection on the decline of ideological structures and the importance of artistic labour as a means of navigating contemporary life. By critiquing the fragility of symbols and ideologies, the show champions the potential for creative thought to empower individuals against prevailing narratives. Ultimately, it asserts that engaging with chaos through art can pave the way for new meanings and perspectives in a rapidly evolving world.

Original Source: observer.com

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A new exhibition titled “Mapping the Tube: 1863-2023” at The Map House showcases the rich visual history of the London Underground over the past 160 years. It features maps, sketches, and posters that tell the story of the world’s first underground railway opened in 1863. Highlights include Harry Beck’s revolutionary 1933 map and iconic posters, demonstrating the evolution of design associated with the Tube. The exhibition runs until November 30 and offers insights into the artistry and history of London’s transport system. The exhibition brings together rare artefacts, showcasing Harry Beck’s original drafts, including an influential unfinished sketch from 1950. Unique historical materials were often not preserved at the time, yet they have survived remarkably. Curator Charles Roberts emphasises the significance of these artefacts in understanding London’s transport history, providing a glimpse into Beck’s creative process.

The London Underground, established in 1863, was pioneering as the world’s first underground railway system. Over the years, its maps and promotional materials have gained iconic status, influencing design standards globally. Harry Beck’s 1933 map, which prioritised simplicity over geographic accuracy, transformed how transit systems were represented. The exhibition aims to highlight the historical and artistic journey of the Tube, engaging visitors with its legacy.

The “Mapping the Tube” exhibition celebrates 160 years of the London Underground, reflecting its impact on design and public transport. Through a collection of maps, posters, and Beck’s manuscripts, visitors gain a unique perspective on the evolution of the Tube. By showcasing previously unpreserved materials, the exhibition highlights both the historical significance and the artistry involved in shaping the London Underground’s identity.

Original Source: www.creativereview.co.uk

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The Royal Academy in London showcases an exhibition titled “Michelangelo, Leonardo, Raphael: Florence, c 1504”, highlighting the artistic rivalry between Michelangelo and Leonardo da Vinci. Both were commissioned by the Florentine republic to create battle scenes during a politically tumultuous time. While Leonardo’s robust and violent interpretations reflect intense political themes and war preparations, Michelangelo’s softer depictions lean more towards aesthetics rather than aggression. Unfortunately, the exhibit lacks a vibrant portrayal of the historical context and political climate of the time, resulting in a presentation that feels somewhat flat. Although the second half of the exhibition thrives with Leonardo’s dynamic and expressive works overshadowing Michelangelo’s paintings, the overall lack of engaging context diminishes the impact. In essence, the exhibition serves as a commitment to historical representation yet misses an opportunity to immerse visitors in the heated artistic dialogue of 1504.

This exhibition revolves around the rivalry between two of the greatest artists of the Renaissance, Leonardo da Vinci and Michelangelo. Set in Florence during a period dominated by political changes, it focuses on a specific moment when both artists were commissioned to depict significant battle scenes introduced by Machiavelli. The political backdrop, including the fall of the Medici and the rise of a republic, shaped their art significantly, with both artists responding to the public sentiment of their time.

The exhibition, while attempting to celebrate these legendary figures, fails to fully capture the dynamic and contentious backdrop of their rivalry. Leonardo’s works emerge as the highlight, showcasing a profound understanding of human emotion and political sentiment, whereas Michelangelo’s contributions appear overshadowed and less relevant in the current context. Overall, it is a missed opportunity for a deeper exploration of both artists’ legacies and the fiery era they inhabited.

Original Source: www.theguardian.com

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At the recent London Pen Show, enthusiasts and collectors gathered to celebrate luxury writing instruments, showcasing that the art of handwriting is not yet dead. Despite a digital age that has sidelined traditional writing, this event featured stunning pens that commanded high prices, with attendees eager to purchase these exquisite items. Notable among the sellers was John Sanderson, who, after a personal journey with dyslexia, now crafts handmade pens that draw global interest. The event confirmed that passion for fine pens persists, as seen in attendees like Michaela Staton, who splurged on her first high-end pen. This blend of artistry and personal connection demonstrates the enduring allure of quality writing instruments.

The rise of digital communication has jeopardised the practice of handwriting, making events like the London Pen Show significant for preservation and appreciation of this art form. This show highlights not only the beauty and craftsmanship of high-end pens but also the community and shared passion among collectors and makers. It represents a niche market where personal stories and connections around writing instruments thrive, showing that despite technological advances, people still value the tactile and personal nature of handwriting.

The London Pen Show has reaffirmed that the craft of handwriting continues to thrive among enthusiasts, despite the dominance of digital communication. The event showcased the intricate artistry behind luxury pens and the personal stories of their creators and owners. As collectors like Michaela Staton indulge in these high-priced pens, it’s clear that there remains a deep-seated appreciation for the warmth and individuality of written communication.

Original Source: www.nytimes.com

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A new exhibition is set to launch in the former Middlesex Hospital Chapel, highlighting the essential role of nurses in society and showcasing their uniforms as symbols of authority, care, and professionalism. Curated by Freya Bently and Dr Jo Horton, the exhibition delves into the intricate narratives associated with nurses’ clothing, focusing on their experiences regarding strict dress codes and their efforts to express individuality within uniform constraints. Visitors will learn about the emotional connections between clothing and identity through stories of pride and adaptation. The Fitzrovia Chapel, a historical site for nurses since the hospital’s closure in 2006, inspired this exhibition, drawing on their memories of uniforms and the shared culture among nursing professionals. The exhibition, titled “In Uniform: Stories of Nurses and their Clothing,” runs from 8 November to 1 December 2024, with free admission and specific opening times.

The exhibition takes place in the Fitzrovia Chapel, part of the historic Middlesex Hospital, a site that has served the community of central London for over 200 years. After its closure in 2006, the chapel became a nostalgic site for returning nurses. The event seeks to blend historical insights with personal narratives, celebrating the lasting impact of nursing uniforms and the experiences of those who wore them.

The upcoming exhibition offers a deep exploration of the significance of nurses’ uniforms, serving as a meaningful reminder of their contributions and experiences. It highlights how clothing can encapsulate professional identity and personal stories, drawing attention to the nuanced relationship between nurses and their attire. Visitors will have the opportunity to connect with the rich history and emotional depth behind nursing uniforms.

Original Source: fitzrovianews.com

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Jack O’Brien, a 31-year-old sculptor, is gaining attention with his exhibition at Camden Art Centre, celebrating a decade in London and exploring the city’s rapid transformation. The highlight, ‘The Reward’, features two five-metre spiral staircases suspended horizontally, adorned with silver baubles, reflecting London’s mix of old and new architectural styles. O’Brien’s work plays with materials associated with both labour and kink, notably using stockinette, symbolic of both everyday life and eroticism. Growing up surrounded by Victorian architecture, O’Brien was inspired by the city’s aesthetics, studying art at Kingston University after moving to London in 2011. His pieces incorporate elements from the gay club scene, highlighting a tension between the familiar and the avant-garde. At the centre of his work is a critique of the commercial art world, embodying both beauty and absurdity. O’Brien’s ability to metamorphose mundane objects into artistic statements enhances their fragility and challenges perceptions of masculinity, evident in his sculptures that comment on the urban landscape of London. Ultimately, O’Brien’s exhibition is a thoughtful exploration of the intersection between personal history and the broader societal changes in the modern city.

Jack O’Brien’s exhibition at Camden Art Centre, part of the institution’s Emerging Artist Prize, comes at a time when London is undergoing significant urban transformation, reminiscent of the Victorian era. The city has seen the replacement of industrial buildings with luxury high-rises, leading to questions about accessibility and gentrification, particularly concerning the experience of emerging artists. O’Brien’s work reflects this dynamic change by incorporating familiar materials and forms while presenting a commentary on the past and present of London’s architecture and culture.

Jack O’Brien’s exhibition at Camden Art Centre, particularly his piece ‘The Reward’, encapsulates the precariousness of London’s evolving urban landscape. Through innovative use of materials and a playful yet critical narrative, O’Brien invites viewers to confront the often stark contrasts between the city’s historical architecture and modern developments. His work not only honours the past but also critiques the commercial art world, making a statement about identity, history, and contemporary urban life.

Original Source: i-d.co

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The William Morris Gallery, situated in the former home of the iconic artist and writer, invites the public to contribute unusual items featuring Morris’s renowned designs for an upcoming exhibition titled “Morris Mania,” which celebrates the gallery’s 75th anniversary in April 2025. Gallery director Hadrian Garrard highlights the current trend of Morris patterns appearing on everyday products, from phone cases to umbrellas. The exhibition aims to create an immersive experience showcasing how Morris’s work has become ubiquitous, yet it will delve into the contradictions of his ideals as a champion of workers’ rights and affordable good design, juxtaposed against the realities of modern mass production and consumerism. Public donations will be displayed alongside quirky additions like a seat from a British nuclear submarine and a Japanese waving cat. The exhibition will also emphasise how Morris’s art and social ideas remain relevant today; his calls for beauty and utility in design resonate now as they did in the 19th century. Renowned for his textile patterns inspired by nature, Morris, who passed away in 1896, is often cited as the father of the Arts and Crafts movement. The William Morris Gallery is also undergoing refurbishment, following a £6m renovation of his home in Kelmscott, Oxfordshire, which reopened in 2022.

The exhibition at the William Morris Gallery is part of a broader resurgence in interest surrounding the works of William Morris, renowned for his intricate textile designs and impactful political beliefs. Known for advocating workers’ rights and the importance of creating beautiful, functional designs, Morris’s legacy faces the complexity of contemporary production methods, transitioning from artisanal craftsmanship to mass consumerism. As more items featuring his art flood the market, the gallery seeks to create a dialogue about the evolution of design and its implications in today’s society.

The William Morris Gallery’s forthcoming exhibition “Morris Mania” invites public contributions of items bearing Morris designs and juxtaposes these with eclectic artefacts, exploring the complexities of his legacy in the face of modern mass production. This initiative not only celebrates Morris’s 75-year influence through art and design but also ignites discussions on the relevance of his social ideals today. Morris’s emphasis on beauty and utility continues to be significant, even as consumerism challenges the accessibility of quality design.

Original Source: www.theguardian.com

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Tirzah Garwood (1908-1951) finally steps into the spotlight with a dedicated exhibition at Dulwich Picture Gallery, 73 years after her death. Previously overshadowed by her husband, artist Eric Ravilious, Garwood’s work is now highlighted in ‘Tirzah Garwood: Beyond Ravilious’, showcasing her artistic range beyond mere assistance to her spouse. Curator James Russell, who has felt the lack of recognition for Garwood, gathers over 80 of her rarely exhibited pieces, including oil paintings, engravings, and textiles. The exhibition follows her vivid autobiography, ‘Long Live Great Bardfield’, and the acclaimed film ‘Eric Ravilious: Drawn to War’, which contributed to renewed interest in her work. Garwood’s early training under Ravilious at Eastbourne School of Art shaped her distinct style, influenced by Victorian literature. Her creativity flourished after moving to Castle Hedingham in 1935, where she became a noted marbler while balancing family life. Following Ravilious’s death in 1942 and her own cancer diagnosis, her art transformed, leading to evocative oil paintings that reflect her complex emotional landscape and a growing Surrealist influence. The exhibition runs from 19 November 2024 to 26 May 2025, providing a significant platform for Garwood’s legacy to finally emerge from behind Ravilious’s shadow.

Tirzah Garwood, an accomplished artist and printmaker, has long been relegated to the role of ‘Mrs Eric Ravilious’, overshadowing her own substantial contributions to the art world. With a rich artistic style characterised by clarity and wit, and abilities in various mediums including wood engraving and marbling, Garwood’s work gained renewed attention through her autobiography and a film on Ravilious. This exhibition marks a critical reevaluation of her talent and impact.

The upcoming exhibition at Dulwich Picture Gallery represents a pivotal moment for Tirzah Garwood, highlighting her unique contributions to art and establishing her legacy independent of her husband’s influence. With a variety of works on display, it promises to shed light on her innovative and emotive artistry to a broader audience.

Original Source: www.theartnewspaper.com

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The exhibition ‘Frank Auerbach: Portraits of London’ at Offer Waterman and Francis Outred showcases 25 paintings from Auerbach’s extensive career, illustrating London’s urban transformation over seven decades. This survey brings together significant works housed in notable private and public collections, focusing on areas affected by Auerbach’s experiences, such as Oxford Street, St Pancras, and Camden Town, along with natural sites like Primrose Hill and Hampstead Heath. Auerbach, who fled Germany as a child, reflects on his early years in London: his explorations of the city shaped his artistic vision as he sought to immortalise the changing cityscape through his art. His thick, impasto technique captures the physicality and chaos of urban change, creating a dialogue between building and erasure akin to the city’s reconstruction post-war. Lucien Freud noted the authority of Auerbach’s work, emphasising how the architecture depicted can dominate their spaces: “It is the architecture that gives his paintings such authority.” Auerbach’s art transcends traditional painting, incorporating sculptural qualities that evoke a psychological response, making his work a profound commentary on time and place in London’s evolving environment.

Frank Auerbach, a prominent post-war artist, is well-known for his dedication to representing London’s landscapes and urban life. Arriving in Britain as a child refugee, his formative experiences in the city profoundly influenced his art, leading him to explore and depict urban scenes with a unique depth. The exhibition at Offer Waterman and Francis Outred offers insight into Auerbach’s remarkable ability to capture the spirit and transformation of London through a blend of rich textures and emotional landscapes, providing a reflective narrative rooted in the artist’s own migrations and experiences in the city.

The ‘Frank Auerbach: Portraits of London’ exhibition highlights Auerbach’s profound engagement with London’s landscapes, showcasing his mastery in leveraging texture and technique to articulate the city’s evolution. From his personal journey as a refugee to an artist, Auerbach’s work remains a poignant testament to the interplay of memory, place, and the urban experience.

Original Source: www.newwavemagazine.com

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