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It's not so long ago that a woman's expressed interest in other
realms would have ruined her reputation, or even killed her. And
yet spiritualism, in various incarnations, has influenced numerous
men - including lauded modernist artists such as Wassily Kandinsky,
Piet Mondrian, Kazimir Malevich and Paul Klee - without
repercussion. The fact that so many radical women artists of their
generation - and earlier - also drank deeply from the same
spiritual well has for too long been sorely neglected. In THE OTHER
SIDE, we explore the lives and work of a group of extraordinary
women, from the twelfth-century mystic, composer and artist
Hildegard of Bingen to the nineteenth-century English spiritualist
Georgiana Houghton, whose paintings swirl like a cosmic Jackson
Pollock; the early twentieth-century Swedish artist, Hilma af
Klint, who painted with the help of her spirit guides and whose
recent exhibition at New York's Guggenheim broke all attendance
records; the 'Desert Transcendentalist', Agnes Pelton, who painted
her visions beneath the vast skies of California; the Swiss healer,
Emma Kunz, who used geometric drawings to treat her patients; and
the British surrealist and occultist, Ithell Colquhoun, whose
estate of more than 5,000 works recently entered the Tate gallery
collection. While the individual work of these artists is unique,
the women loosely shared the same goal: to communicate with, and
learn from, other dimensions. Weaving in and out of these myriad
lives, sharing her own memories of otherworldly experiences,
Jennifer Higgie discusses the solace of ritual, the gender
exclusions of art history, the contemporary relevance of myth, the
boom in alternative ways of understanding the world and the impact
of spiritualism on feminism and contemporary art. A radical
reappraisal of a marginalised group of artists, THE OTHER SIDE is
an intoxicating blend of memoir, biography and art history.
It's not so long ago that a woman's expressed interest in other
realms would have ruined her reputation, or even killed her. And
yet spiritualism, in various incarnations, has influenced numerous
men - including lauded modernist artists such as Wassily Kandinsky,
Piet Mondrian, Kazimir Malevich and Paul Klee - without
repercussion. The fact that so many radical women artists of their
generation - and earlier - also drank deeply from the same
spiritual well has for too long been sorely neglected. In THE OTHER
SIDE, we explore the lives and work of a group of extraordinary
women, from the twelfth-century mystic, composer and artist
Hildegard of Bingen to the nineteenth-century English spiritualist
Georgiana Houghton, whose paintings swirl like a cosmic Jackson
Pollock; the early twentieth-century Swedish artist, Hilma af
Klint, who painted with the help of her spirit guides and whose
recent exhibition at New York's Guggenheim broke all attendance
records; the 'Desert Transcendentalist', Agnes Pelton, who painted
her visions beneath the vast skies of California; the Swiss healer,
Emma Kunz, who used geometric drawings to treat her patients; and
the British surrealist and occultist, Ithell Colquhoun, whose
estate of more than 5,000 works recently entered the Tate gallery
collection. While the individual work of these artists is unique,
the women loosely shared the same goal: to communicate with, and
learn from, other dimensions. Weaving in and out of these myriad
lives, sharing her own memories of otherworldly experiences,
Jennifer Higgie discusses the solace of ritual, the gender
exclusions of art history, the contemporary relevance of myth, the
boom in alternative ways of understanding the world and the impact
of spiritualism on feminism and contemporary art. A radical
reappraisal of a marginalised group of artists, THE OTHER SIDE is
an intoxicating blend of memoir, biography and art history.
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Marilyn Minter: All Wet (Hardcover)
Marilyn Minter; Text written by Jennifer Higgie; Interview by Anya Harrison
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R793
R655
Discovery Miles 6 550
Save R138 (17%)
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Ships in 10 - 15 working days
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Jade Fadojutimi: Jesture is a publication produced by Pippy
Houldsworth Gallery to accompany the second solo exhibition at the
gallery of new paintings by London-based artist Jade Fadojutimi,
presented in autumn 2020. The word "Jesture" in the title of the
exhibition and publication evokes a sense of the absurd, responding
to the disruption of daily rhythms arising from forced isolation
during lockdown. Central to Fadojutimi's practice is a repeated
questioning of identity, its fluid nature and how the understanding
of notions of pleasure, desire and choice are integral to a sense
of self. Addressing the exchange between an individual and their
environment, the vivid choices of colour and form derive from the
associative qualities of the special items that capture her
attention and the memories they invoke. Fadojutimi's studio is
filled with objects, drawings and writings that evoke nostalgic
pleasure. Powerful memories, experienced whilst listening to film,
animation and video game soundtracks, transport Fadojutimi to the
first time she encountered them, eliciting a response that is
experienced through intense colour. The synthesis of these various
influences, through which Fadojutimi understands her sense of self,
is transformed into large-scale gestural paintings charged with
energy and emotion. Described by Fadojutimi as "environments",
these complex compositions, neither wholly abstract nor figurative,
are built up with layers of oil paint, interrupted by the more
linear mark-making made possible by her recent adoption of oil
pastels. The introduction of new materials into her painting has
enabled Fadojutimi to think more broadly about palette, composition
and depth, while translating the spontaneity of her drawing on to
the canvas. In her essay for the publication, From Life - Thoughts
on the paintings of Jade Fadojutimi, writer, critic and
editor-at-large of frieze magazine Jennifer Higgie writes: "In
these paintings, the world, in all of its chaotic glory, exists as
an intimation. Art is not an explanation: it's a shot of energy, a
flash of colour; a shimmer, a reaction, a line thrown out to see
who might pick it up. Pictures are made by people and, like people,
their tone can switch direction in the blink of an eye. A painting
is a very human thing: they're allowed to be messy. Jade tells me
that her aim is for "deep emotion, not deep description"." This,
the artist's first published book, designed by A Practice for
Everyday Life and printed by PUSH, London, has been co-published by
Pippy Houldsworth Gallery, London, and Anomie Publishing, London.
Jade Fadojutimi (b.1993) lives and works in London. She earned a BA
from The Slade School of Fine Art, London, in 2015 and an MA from
the Royal College of Art, London, in 2017. After Pippy Houldsworth
Gallery took on representation of the artist and presented her
first solo exhibition in 2017-18, she had her first one-person
institutional show at PEER UK, London in 2019. Acquisitions by
Baltimore Museum of Art, ICA Miami, Tate, and a promised gift to
Dallas Museum of Art followed soon after. She had her first solo
exhibition in Germany with Galerie Gisela Capitain, Cologne, in
2019 and will have her first solo exhibition in Japan with Taka
Ishii Gallery, Tokyo, opening March 2021. Fadojutimi has been
selected to participate in Liverpool Biennial 2021. Her first solo
US museum exhibition will be presented at ICA Miami, opening in
November 2021. She will also have a solo exhibition of new work at
The Hepworth Wakefield in 2021.
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Duro Olowu: Making & Unmaking (Paperback)
Duro Olowu; Foreword by Jenni Lomax; Text written by Jennifer Higgie, Shanay Jhaveri; Interview by Duro Olowu; Interview of …
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R549
R472
Discovery Miles 4 720
Save R77 (14%)
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Ships in 12 - 17 working days
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From Bauhaus jewellery and West African textiles to contemporary
portraiture and sculpture, this unique volume explores the rituals
of making that underpin an artist's work. Accompanying an
exhibition curated by the groundbreaking Nigerian-born British
fashion designer Duro Olowu at Camden Art Centre, London, this book
offers the opportunity to re-evaluate art and textiles from the
nineteenth-century to the present. Olowu selects material by more
than 60 artists from around the world, including rarely seen works
by Anni Albers, Wangechi Mutu, Alice Neel, Chris Ofili and Irving
Penn, and newer paintings by Lynette Yiadom-Boakye. By setting up
unexpected dialogues between historic and contemporary artists
working in a myriad of media - textile, painting, sculpture,
photography and collage - Olowu reveals a shared preoccupation with
themes of gender, race, beauty, sexuality and the body. The volume
includes an in-depth conversation between Olowu and artist Glenn
Ligon, along with texts by Jennifer Higgie and Shanay Jhaveri, that
together highlight the intricate layers of history and place that
influence the making of art.
Until the twentieth century, art history was, in the main, written
by white men who tended to write about other white men. The idea
that women in the West have always made art was rarely cited as a
possibility. Yet they have - and, of course, continue to do so -
often against tremendous odds, from laws and religion to the
pressures of family and public disapproval. In THE MIRROR AND THE
PALETTE, Jennifer Higgie introduces us to a cross-section of women
artists who embody the fact that there is more than one way to
understand our planet, more than one way to live in it and more
than one way to make art about it. Spanning 500 years, biography
and cultural history intertwine in a narrative packed with tales of
rebellion, adventure, revolution, travel and tragedy enacted by
women who turned their back on convention and lived lives of great
resilience, creativity and bravery. This is a dazzlingly original
and ambitious book by one of the most well-respected art critics at
work today.
It's not so long ago that a woman's expressed interest in other
realms would have ruined her reputation, or even killed her. And
yet spiritualism, in various incarnations, has influenced numerous
men - including lauded modernist artists such as Wassily Kandinsky,
Piet Mondrian, Kazimir Malevich and Paul Klee - without
repercussion. The fact that so many radical women artists of their
generation - and earlier - also drank deeply from the same
spiritual well has for too long been sorely neglected. In THE OTHER
SIDE, we explore the lives and work of a group of extraordinary
women, from the twelfth-century mystic, composer and artist
Hildegard of Bingen to the nineteenth-century English spiritualist
Georgiana Houghton, whose paintings swirl like a cosmic Jackson
Pollock; the early twentieth-century Swedish artist, Hilma af
Klint, who painted with the help of her spirit guides and whose
recent exhibition at New York's Guggenheim broke all attendance
records; the 'Desert Transcendentalist', Agnes Pelton, who painted
her visions beneath the vast skies of California; the Swiss healer,
Emma Kunz, who used geometric drawings to treat her patients; and
the British surrealist and occultist, Ithell Colquhoun, whose
estate of more than 5,000 works recently entered the Tate gallery
collection. While the individual work of these artists is unique,
the women loosely shared the same goal: to communicate with, and
learn from, other dimensions. Weaving in and out of these myriad
lives, sharing her own memories of otherworldly experiences,
Jennifer Higgie discusses the solace of ritual, the gender
exclusions of art history, the contemporary relevance of myth, the
boom in alternative ways of understanding the world and the impact
of spiritualism on feminism and contemporary art. A radical
reappraisal of a marginalised group of artists, THE OTHER SIDE is
an intoxicating blend of memoir, biography and art history.
This joyous debut from well-known writer and editor Jennifer Higgie
(Frieze Magazine) celebrates both the individual and the diversity
of the world around us. In kaleidoscopic colour, Higgie takes young
readers on a journey from some of life's most important things
(baked beans!) to some of life's biggest wonders (stars!). The
perfect early picture book for budding art lovers!
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