Inspired by the Dutch artist Jacob de Gheyn II (1565–1629) Rob and Nick Carter have used modern technology to create this grove of nine patinated bronze tree stumps. They celebrate the ever-popular oak tree and are designed to be used interactively by the public for relaxation and contemplation. They can be found on the North Flower Walk in Kensington Gardens until 30th September. The Marlborough Gate is the best entrance to use.
The Chilean sculptor Fernando Casasempere’s new work Reminiscence (2017) has been included in this year’s Sculpture in the City. It is located in a walkway off Leadenhall near to the Gherkin. The artist uses pottery as his chosen material as it symbolises both the earth and nature. The wall sculpture also reflects culture as it evokes Pre-Columbian forms and architecture. It will be on view until May 2018.
https://www.cityoflondon.gov.uk › … › Visit the City › Art and Architecture
If you did not catch Benar Venet’s first solo exhibition in London since 1976 at Blain|Southern recently then you have an opportunity to see his works in the grounds of Cliveden, Buckinghamshire. Regarded by many as the foremost living French sculptor, ten large-scale works await discovery in the glorious formal gardens and spaces of Cliveden and can be seen there until mid-October.
For centuries the Spitalfields area of London has seen migrants arrive in search of a new life and this sculpture recalls that history. The boat is one that was actually used to transport refugees from Turkey to Greece and was acquired by the artists after it had been left abandoned on the shoreline.
PLYWOOD: MATERIAL OF THE MODERN WORLD, Victoria and Albert Museum, Cromwell Road, London SW7, until 12th November 2017
I am grateful to John Kirkwood to visiting and writing about this exhibition:
Perhaps not surprisingly this is a world-first exhibition featuring as it does the many uses to which plywood has been put.
Like me, I’m sure you thought it was a twentieth century invention but apparently fragments of layered board have been found in Egyptian tombs – perhaps they thought if the mummies came back to life they might fancy a bit of DIY to amuse themselves – but it really came into its own in the late nineteenth century with the advent of mass production.
Plywood’s ubiquity has been embraced by furniture makers, manufacturers of surfboards and skateboards, designers, architects and engineers and this very interesting exhibition takes visitors through plywood’s many transformations from a cheap product to material prized by mid-century modernists and by today’s flourishing maker movement.
I so enjoyed the exhibition that I left feeling that ‘plywood is my wood!’
Seurat to Riley: The Art of Perception, Compton Verney, until 1st October 2017
Regular readers of my blog may recall that in October 2015 I posted about a small but enjoyable exhibition Bridget Riley: Learning from Seurat at the Courtauld Gallery and now in this large-scale show at Compton Verney this debt is re-visited and much expanded upon.
It reminds us that since the 19th century some artists have been fascinated by the way in which the eye sees optical illusions as it responds to visual stimuli and this point is well proven in this exhibition. Ninety diverse ‘Op Art’ works are featured in the show, including pieces by Victor Vasarely, Julio Le Parc, Jeffrey Steele, Jesus Rafael Soto, Carlos Cruz-Diez, Peter Sedgley, Liliane Lijn and, of course, Bridget Riley and Seurat.
Professor Steven Parissien, Director of Compton Verney sums it up: “Optical Art explores a range of effects and emotions, using complex geometry and advanced mathematics to communicate with the viewer in a way that is simultaneously mentally challenging and visually appealing. This wonderful exhibition demonstrates just how exhilarating, electrifying and (quite literally) eye-opening Op Art can be.”
The show is curated by Penelope Sexton and Dr Frances Follin and appropriately enough supported by Farrow & Ball.
Enlightened Princesses: Caroline, Augusta, Charlotte and the Shaping of the Modern World, Kensington Palace, until November 2017
This fascinating exhibition has come to Kensington Palace from the Yale Center for British Art where it understandably attracted so much interest while there. It considers the part played by three German Protestant princesses at the court of the Hanoverian Kings who ruled 18th century Britain. A legacy that can still be seen in today’s monarchy.
The three princesses concerned are Caroline, consort of George II; her daughter-in-law Augusta, who was married to Frederick Prince of Wales and Charlotte (Augusta’s daughter-in-law), consort of George III. In many senses they were the right women in the right place as Britain was embracing the ideas of the Enlightenment and the princesses’ intelligence and curiosity combined with their exalted status allowed them to foster and support the new ideas.
Scientists, authors and even musicians such as Handel were all drawn to their drawing rooms. They encouraged medical advances such as inoculation and were involved in the establishment of London’s Foundling Hospital. Plants and wildlife were another interest that all three shared and Kew Gardens is part of that legacy. They also supported British trade and manufacturing.
The exhibition succeeds in bringing both their private and public world to life. The Yale Center for British Art’s director Amy Meyers sums it up: “Caroline, Augusta, and Charlotte had sweeping intellectual, social, cultural, and political interests, which helped to shape the courts in which they lived, and encouraged the era’s greatest philosophers, scientists, artists, and architects to develop important ideas that would guide ensuing generations”.