Art Research

The Anatomy Series of 2001 was made in a quantity of eighty panels, taking three weeks to complete. The set considered the landscape of the human physical system. The panels were worked on flat, painting twelve at a time in rotation. They were laid out on an old framed work which also served as a container for the pool of colour washed over the textured surface. Two inch square wooden cubes were used to stack the panels in small towers to dry out.

Cv/VAR series 52 features an interview with American artist James Turrell recorded at Michael Hue Williams London in June 1996.

Rand takes listeners step by step through the writing process, providing insightful observations and invaluable techniques along the way. She discusses the psychological aspects of writing and the roles played by the conscious and subconscious mind. She talks about articles and books, explaining how to select a subject and theme, how to identify your audience, and how to write the first draft.

In this study, Art, Poetry, and WW1 by Edward Lucie-Smith of writing, poetry, and painting in the centenary year of the outbreak of the First World War, the author considers the historical impact on the general psyche of the calamitous events, reflected in the expression of poets and visual artists. He establishes a continuity to the theme with reference to works by Velázquez, Watteau, Goya, and others, in their treatment of the spectacle of battle and the horrors of war and human conflict.

For nearly two centuries, the authorship of William Shakespeare's plays has been challenged by writers and artists as diverse as Sigmund Freud, Mark Twain, Henry James, Helen Keller, Orson Welles, Malcolm X, and Sir Derek Jacobi. How could a young man from rural Warwickshire, lacking a university education, write some of the greatest works in the English language?

Helen Garner visits the morgue, and goes cruising on a Russian ship. She sees women giving birth, and gets the sack for teaching her students about sex. She attends a school dance and a gun show. She writes about dreaming, about turning 50 and the storm caused by The First Stone. Her story on the murder of the two-year-old Daniel Valerio wins her a Walkley Award.

An essay by Edward Lucie-Smith considers the Andy Warhol exhibition re-opening at Tate Modern on July 27. He puts forward a provocative view of the relevance of the art in an time of turbulent disruption. When the Warhol show returns to Tate Modern on July 27, almost the first thing you’ll meet if you go to see it will be a large painting, on two paired canvases, entitled Marilyn Diptych. It features repeated images the film star Marilyn Monroe.

In Plotting a Fantasy Novel, you’ll discover how to create a novel outline in five easy steps. Fantasies are our secret escape to utopia. And with the right tools and techniques, you can create many more escape gateways by writing compelling fantasy novels…novels your readers will be itching to get their hands on. If you dream of seeing your name among the masters of storytelling, it’s time to learn the secrets.

What are the secrets for writing a great ending for your novel? How do you leave readers so satisfied that they'll want another book by you, right now? What tools and techniques can shape your last 50 pages into a powerful, unforgettable experience? Listen to this audiobook, and you will come away with a thorough knowledge of why great endings work and how to create them for every novel you write.

Cv/VAR series 146 reviews the work of Damien Hirst (b.Bristol 1965), presented in a retrospective exhibition spanning 20 years, held at Tate Modern, April to September 2012. It explores the development of his art - from the controversial animal vitrines and beautiful butterfly composites, to an extensive series of spot paintings, where the artist engaged in a complex invigilation of coded systems that govern daily existence.

This is a personal view of Picasso and Paper, a major exhibition held at the Royal Academy, and explores over 300 works covering drawing, collages, and prints.

The exhibition attempts a revaluation of the pre-Raphaelite movement of the mid 19th century, as Dr Marsh indicates it is not about gender competition. Rather, it's about rebalancing the contribution of partners, models, and studio managers. It is also about creative discourse and the other significant roles undertaken by women associated with individual artists.

Frieze Masters, London, October 6, 2019. Into the broad arena of the covered awnings of this enormous tented gathering of leading art dealers and the first gallery space is Aquavella, with a variety of exhibits; and come face-to-face with an absolutely spiteful acid green and fluorescent pink abstract by Keith Haring (1958-1990). It’s on canvas dated 1982 and signed lower left. The green is painted in a random ventilated grid over the hyper-intense pink with a bold line of a green stripe on the top edge of the work, which is encased in a glass vitrine.

Review of the exhibition of visionary artist William Blake at Tate Britain, September 2019: The exhibition is arranged in eight rooms of the downstairs gallery spaces of Tate Britain, low-lit, maroon-painted walls, a very comprehensive collection of a highly original and complex visionary creator.

A recorded visit to an exhibition by Anish Kapoor at the Lisson Gallery, London continued to 22nd June, 2019. Includes descriptions of works and bio-dara of the artist.

A recorded visit on January 28 to John Ruskin: The Power of Seeing, at Two Temple Place WC2. The review includes descriptions of exhibits by Ruskin and his associates and his contact with JMW Turner.

Interview recorded with Rachel Howard at the artist's studio in July 2011. Explores her childhood and upbringing, awareness of "God", and experience of a Quaker schooling. Attendance at Goldsmiths and work for Damien Hirst on pharmacy cabinets and the Spot Paintings. Recent exhibition in Italy, the "Via Dolorosa"; discussion of her paintings and drawings; the desired effect of her work.

Interview with painter Anthea Holmes, recorded in April 1988 at her Whitechapel Studio. She describes her training at Kingston University and at The Pratt Institute New York; with the development of an intricate play between figure, ground and light in an intimate process of accumulation and elision of elements.

Interview conducted with Christiane Baumgartner in 2010, by emailed questions and replies, in which she describes the process of her graphic and video work; incorporating ideas of stop-motion time frames applied to subjects of landscape, travelling, traffic, highways, and military installations.

Painter Claudia Carr describes her surreal landscapes, composed from reflections of found objects that suggest imaginative scenarios of play and dreams.