Revisiting Modern British Art

Product Information

To me, these books are primarily guides for the time-travelling armchair flaneur: books to marvel at and dream in. It's important to note, however, just how little has been written about the supremely talented Boucher before now, in any language. Most of the material I drew on in my essay (with help from my A-level French) was unearthed by Tim Mainstone, who made it is his mission to discover every known fact, story or piece of gossip about this brilliant precursor to Eric Ravilious and Edward Bawden. In fact Tim spent years trawling obscure databases and publications for information not only about Boucher but also about publisher Marcel Seheur and - last, but definitely not least - the brilliant author Pierre Mac Orlan, whose waspish prose poems add a strange, dark mystery to the original book. They are included in the new edition, alongside translations by Shaun Whiteside. I'm sure you've had the experience of watching the film version of a novel you love... and wishing you hadn't. It took me years to see The English Patient, so powerful was my own impression of the story, and I've still never seen The Great Gatsby on screen. I don't know if there's a film of Ulysses or To the Lighthouse out there, but if there is I would sell the telly to avoid watching them. On-screen voices and images tend to overwhelm our own more fragile, imagined versions of character and setting, which in some instances are as precious as real memories. Join Peter Hall, Head of Exhibitions from The Lightbox as he provides detailed information on each of the tapestries, along with explanations of the ten art works that informed them. Edited by Jo Baring (Director, The Ingram Collection), with essays by Harriet Baker, Elena Crippa, Aindrea Emelife, Laura Freeman, Alexandra Harris, Simon Martin, Hammad Nasar, James Purdon, James Rawlin, Natalie Rudd, James Russell and Laura Smith.

Join Alayo Akinkugbe, Simon Martin, Hammad Nasar, James Russell & Tamsin Golding Yee for two panel discussions: Join us for a thought-provoking panel discussion with Ravilious-specialist James Russell, director of the Ingram Collection Jo Baring and Towner’s Head of Exhibitions and Collection Sara Cooper to discuss how specific artists, such as Eric Ravilious, provide focal points for collections.I wrote the note below for Dreweatts, who were selling New Year Snow in their recent auction, Robert Kime: The Personal Collection ... As the twenty-first century unfolds, notions of our cultural past and how our history has influenced our present shift almost daily. Within this, accepted artistic trajectories are being questioned and new connections made.

Jo Baring is Director of the Ingram Collection of Modern British and Contemporary Art. Author for arts publications and a regular speaker at art institutions and galleries, Jo is the co-writer and co-presenter of the critically acclaimed podcast, Sculpting Lives. This podcast focussing on women sculptors was listed by The Royal Academy, The Guardian and The Evening Standard amongst others as one of the best arts podcasts. In 2016 she set up The Ingram Prize, a contemporary art prize that has been highlighted by The Times as a Critics Choice for Visual Arts. Jo is the editor of Revisiting Modern British Art, a new book on the period that has been highlighted as a ‘gamechanger’. The term live art refers to performances or events undertaken or staged by an artist or a group of artists as a work of art, usually innovative and exploratory in nature.

Pilot Boat is Lot 12 in Sotheby's auction of Modern British & Irish Art, which will be held on 23 November. You can view the lots between 18-23 Nov. Ordinary people were fascinated to see an artist at work but, with the French newspapers dominated by discussion of the imminent conflict, Ravilious was treated with suspicion by officials who perhaps took him for a spy. ‘A gendarme questioned me closely,’ he reported on one occasion, ‘but retired beaten by my Pigeon French.’ Within a year Ravilious would be questioned far more aggressively by armed British servicemen as he drew port scenes in his capacity of war artist. Sara Cooper is Head of Collections and Exhibitions at Towner Eastbourne, where she is responsible for the exhibition programme and for the permanent collection, including overseeing acquisitions.