Word: whitechapel
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Dates: during 1960-1969
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...artists are shown in their untidy studio lairs, and although their names may not resonate beyond art circles, Lord Snowdon brings them all very much to life. The artists are represented by specimens of their work, many in color. Text by Bryan Robertson, director of London's Whitechapel Art Gallery, and Art Critic John Russell of the London Sunday Times...
...Museum of Modern Art bought three works. Three years later, in 1961, he won an award at the Carnegie International, has since shown around the world and now commands prices in five figures. This week 70 works of his will go on view in London's Whitechapel Art Gallery, where enthusiastic crowds jammed a Rauschenberg show early this year...
...pillar of the Royal Academy, the great Joseph Turner was so fearful of critical scorn that he never risked exhibiting his last, prophetically impressionist, paintings. "For years, the English art scene drove me mad with tedium," says Bryan Robertson, director of London's prestigious, avant-garde Whitechapel Gallery. "Nobody cared. It was a real problem just finding people who were worth a show...
...master has pupils that he has never even met. One is U.S. Painter Richard Anuszkiewicz (TIME, July 19). Another is Bridget Riley, 32, whose visual torments are on view in London's Whitechapel Art Gallery. Precise black and white herringbone lines constantly wriggle, peak and valley, in an embodiment of vertigo. Visitors have become nauseated and dizzied by Riley's intense, chattering images that force their eyes to jerk to and fro. Not simply geometric tricks, they are larger than sheer optical delusions: orderliness clashes with chaos in the precarious proximity of black and white bands. They also...
Britain's view of its own abstract art is highly selfconscious, aware that Paris decades ago showed the way to abstractionism and that the U.S. went farthest with it. Or as Bryan Robertson, director of London's Whitechapel Gallery, puts it: "British painting is just part of the international style, and the only English thing about it is its limitation.'' His view of Lanyon. Vaughan. Frost and Kitchens: "Jolly dreary." But that is just one opinion, and Britain's art row bristles with contrary judgments...