Paying tribute to a racing icon and sporting legend. Rest in peace, Sir Stirling Moss. We’ll miss you.
Sir Stirling Craufurd Moss, OBE was a British Formula One racing driver. An inductee into the International Motorsports Hall of Fame, he won 212 of the 529 races he entered across several categories of competition and has been described as “the greatest driver never to win the World Championship”.
Although our galleries are temporarily closed we wanted to share the Aubrey Beardsley exhibition at Tate Britain with you. Join Tate curators Caroline Corbeau-Parsons and Alice Insley as they discuss the iconic illustrator’s short and scandalous career.
Before his untimely death aged twenty-five, Beardsley produced over a thousand illustrations. He drew everything from legendary tales featuring dragons and knights, to explicit scenes of sex and debauchery. His fearless attitude to art continues to inspire creatives more than a century after his death.
Aubrey Vincent Beardsley (1872-1898) was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the aesthetic movement which also included Oscar Wilde and James McNeill Whistler.
Charles Mahoney,(18 November 1903 – 11 May 1968): Painter, muralist, draughtsman and teacher, born Cyril Mahoney in London – his fellow-student Barnett Freedman re-christened him Charlie at the Royal College of Art, which he attended 1922-6 after a period at Beckenham School of Art under Percy Jowett. Early on, Mahoney established a reputation as a conscientious teacher.
He was at the Royal College 1928-53, from 1948-53 as a painting tutor, and was noted there for his concern for academic discipline.
His portrait is included in Rodrigo Moynihan’s celebrated Teaching Staff of the Painting School at the Royal College of Art, 1949-50. From 1954 to 1963 he taught at the Byam Shaw School of Drawing and Painting and from 1961 to 1968 at the Royal Academy Schools. He painted murals at Morley College 1928-30 with his colleagues Eric Ravillious and Edward Bawden.
Unfortunately these murals were destroyed during World War II. The work led to further murals: at Brockley School, Kent, with Evelyn Dunbar; and at Campion Hall Lady Chapel, Oxford. His oil paintings are frequently of a religious nature. He was a skilled botanist, and many of his drawings depict his garden at Wrotham, Kent.
He exhibited at NEAC and the RA, being made an RA elect in 1968. He is represented in the Tate Gallery and other public collections. The Ashmolean Museum, Oxford, held a memorial exhibition in 1975. Exhibitions were held in 2000 at the Harris Museum and Art Gallery, Preston, Royal Museum and Art Gallery, Canterbury, and the Fine Art Society plc in association with Liss Fine Art.
“The art world is the same as the rest of the world,” says British artist, writer, and punk-rocker Billy Childish. “What it requires is new, more, and now.” Childish has worked defiantly and prolifically outside of the mainstream since his expulsion from art school in the early 1980s. To the polymath—whose paintings, poems, novels, and music draw heavily from his autobiography—art is a deeply personal experience that should not rely on external validation, whether from critics or audiences. From his painting studio located on a historic dockyard in Kent, United Kingdom, Childish speaks passionately about the freedom that comes with self-validation. When asked about his perspective on the future of art, he demurs. “People think we’re continually ascending a mountain to success or to enlightenment,” he says. “It’s here and now and this is it.”
Fluent in French and Italian, Lee Bouvier Radziwill was able to navigate New York and European high society, and support her sister Jackie, who became the First 
Lady when her husband John F. Kennedy was elected President.
Fashion writer Hamish Bowles said Radziwill ‘defined dynamic American style for decades’. In fact it was Lee’s innate style that helped shape Jackie Kennedy’s wardrobe and transformed her into a fashion icon. Lee had a taste for the exotic and unexpected, and understood how clothes could be used to make a statement in the political arena.
She was one of Truman Capote’s ‘Swans’ — the beautiful socialites he doted on — and when he threw his spectacular Black and White masked ball at The Plaza in 1966, she was a guest of honor.
Lee was just as comfortable at the Factory, mingling with Gerard Malanga and Andy Warhol, or on the Rolling Stones’ tour bus with Mick Jagger and his wife Bianca, who holidayed with her in the Hamptons.
This documentary is an intimate portrait of British sculptor Phyllida Barlow during her preparation for the major survey ‘cul-de-sac’ at the Royal Academy last 
year. Directed by Cosima Spender, this film maps the roots of Barlow’s oeuvre, as she revisits childhood memories, domestic and urban spaces, and their subsequent role in her creative process.
Phyllida Barlow began studying at Chelsea College of Art in 1960, and went on to study and teach at Slade School of Art for more than twenty years, becoming Emerita Professor in 2009. She was elected a Royal Academician in 2011, and represented Great Britain in the 2017 Venice Biennale, where she created the ambitious installation, ‘folly’.
Watch this evolution and the artist’s influences in ‘PHYLLIDA’. ‘I want the work to be traversed in a way that your memory of it is tested, so that you keep forgetting what you’ve seen’, Barlow explains, ‘I think that is the nature of sculpture – not something that can be held as a whole image in your head, only as fragments… The spaces, the silences in between, are as much a component of the work as the thing itself.”
‘PHYLLIDA’ is produced by Hauser & Wirth, in association with Third Channel and Peacock Pictures.
Jose Gourmet combs the coasts of Portugal and Spain to find seafood of distinction. They believe in the principles of fair trade, often paying in advance and never negotiating for better pricing. The artwork of Luis Mendonça on the packaging is meant to pay homage to the these fishermen and canneries who rely on manpower and life long dedication to their trade.
Adriano Casal Ribeiro, aircraft pilot, dreamed! The work was born!
A Q&A with Gémeo Luís of José Gourmet
JOSE Gourmet was born when Adriano Casal Ribeiro, lived in Macau and dreamed of Portuguese delicacies that he was unable to buy.
Portugal lived written in markets of longing, without shine, and ACR dreamed of selling our country on the front line. Together with his wife, Sofia Almeida Santos, flight attendant, a designer friend, Luís Mendonça, reinvented the iconic products of Portugal!
Canned foods, olive oils, jams, Port wine, cherry and brandy. They chose the best producers in Portugal, encouraged good fair trade practices and created very attractive and sophisticated packaging to sell the best we produce.
They are passionate about human nature and their ability to create, cooperate and involve a society that aims to be more attentive, sustainable, diverse and socially responsible. That was how JOSE GOURMET was born!
From an Apollo Magazine online article (March 31, 2020):
Ultimately he was a humane critic of the contemporary city, a serious, funny and poetic voice defending the powerless against big capital and an articulator of how architecture should be used as a tool of resistance. He is indelibly associated with New York, a city he loved with a fervour despite its faults, and of which he defended every inch as a public good. Number 210 in his list was the medieval German phrase ‘Stadtluft macht frei’ – ‘city air makes you free’. He will survive through his magical writing, which makes us all a little freer.
Michael Sorkin, who died last week of complications due to Covid-19, gained his reputation as the architecture critic of The Village Voice in New York, which, in the 1980s, was a publication with a formidable reach and impact on a city just beginning to boom again. He launched fierce attacks against the banality of the contemporary city, the rapacity and greed of developers (notably the current president, including in a 1985 piece entitled ‘Dump the Trump’) and the loss of great landmarks. But he was no nostalgist; he revelled in the potential of architecture to catalyse change and excoriated his contemporaries for caving in to big business, for building prisons and being complicit in a denuded public realm.
“In my paintings, I try to capture the hidden beauty found in the unexpected places and fleeting moments of everyday life. I continue to be intrigued by the urban landscapes of inner cities – their active streets, time worn buildings and multiple layers of decay, renewal and adaptation – that proudly display the effects of age and use, which I see as testaments to strength, character and authenticity in contrast with modern society’s demand for newness, imitation, disposability and easy duplication.
Dan Graziano is an award winning, nationally exhibited artist whose paintings capture the hidden beauty found in the unexpected places and fleeting moments of everyday life. Incorporating dramatic light, shadow, color and perspective, his compositions feature a diversity of subjects – from a simple still life to rugged coastlines, active urban life, lively cafes and bars, small rural towns and forgotten roadside relics. His work has been featured in numerous publications and is in the collections of private and corporate collectors throughout the world.
His artistic vision began taking shape in the 60’s, during America’s explosive political, cultural and artistic awakening. His first formal training focused on advertising and illustration, but a career opportunity in architecture and urban planning altered his original direction.
When he returned to painting, he was drawn to the rich complexity of the urban landscape – inspired by Edward Hopper and other urbanist painters. As an accomplished blues guitarist (his other great passion), he found the city streets, time worn buildings and multiple layers of decay and repair a visual parallel to the spirit and culture of the music.
“My work is influenced by the American realists such as Sargent, Hopper and the three generations of Wyeths along with California painters Wayne Thiebaud and Richard Diebenkorn.”
From a Yatzer.com online article (March 14, 2020):
Hand-crafted through a laborious, almost ritualistic process, which sometimes has Nicolette individually sculpting and applying hundreds of protrusions to one vessel for days, her work transcends the dichotomy between artefact and artwork.
Whether it’s a reaction to the intangible aspect of our digital age, or a consequence of the trend-setting power of Instagram, there’s been a resurgence of ceramics in the last few years, both as an art form and a hobby. Perhaps it’s quite telling then that London-born, Australia-based ceramic artist Nicolette Johnson recreationally begun taking pottery classes just a few years ago as a counterbalance to her day job as a photographer.
Fast forward five years and Nicolette has distinguished herself as an acclaimed ceramist artist through the enchanting sophistication and painstaking craftsmanship of her work that channels ancient forms with contemporary precision.
Nicolette Johnson is a ceramic artist whose work explores symmetry, motifs, and the importance of the artefact.
Nicolette was born in London, England in 1990, grew up in Texas, USA, and today is based in Brisbane, Australia. Working in stoneware and employing wheel-throwing, coiling, and sculpting techniques, Nicolette applies a modern aesthetic to re-imagined ancient forms. Her work is included in the permanent collections of The National Gallery of Victoria and the Museum of Brisbane.
With a background in photographic art and social documentary, Nicolette began studying ceramics in 2015 and is continuing her practice-led exploration into functional and sculptural ceramic vessels, hand-making and firing each of her works in her Brisbane home studio.
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