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Galleries

The Taotie

After an 18-month residency at Compton Verney, Gayle Chong Kwan (b.1974) presents an exhibition of her new work alongside Compton Verney’s internationally renowned Chinese collection of bronze food and wine vessels from the Shang Dynasty (about 1500 – about 1050 BCE) to the Ming Dynasty (1369 – 1644 CE). The artist, known for large scale

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North Wall Arts Centre: Helen Edwards: Breathing of Life

Visit this transformational journey in art with local artist Helen Edwards as she weaves together her work as a solo artist with explorations in ecological art and community in Oxford. Helen’s portraits are rooted in her deep ecological explorations in active imagination. Originally from the North of England, Helen has danced and swum in natural landscapes all her life. Working to connect body, breath and imagination she traces aesthetic connections with environmental images through colour, texture and symbolic detail. The paintings are juxtaposed with underwater photography which brings exciting new perspectives to the waters of Oxford revising ways in which the vitality of rivers and lakes of urban landscapes might be felt.

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Edo Pop: Japanese Prints 1825 – 1895

Travel to the bustling metropolis of Edo through 19th-century Japanese woodblock prints. Discover the dynamic history of Edo (1604-1868), modern day Tokyo, a thriving hub that flourished during a time of seclusion and tranquillity. Focusing on the period 1825 – 1895, this will be the first public display for a number of these works, which were hugely popular in 19th century Japan and also in Europe, where prints were collected by artists including Rossetti, Whistler, Van Gogh and Monet.

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Edwardian Impressionists: Philip Connard’s contemporaries

Philip Connard worked alongside some of the greatest artists of his generation, many of them leading British Impressionists who opposed the artistic establishment at the turn of the nineteenth century. This exhibition features key works from The Atkinson’s collection, including paintings by Philip Wilson Steer, Walter Sickert, Wilfrid de Glehn and Henry Scott Tuke.

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Ian Rawling: Familiar and Found

York Fine Arts is delighted to announce its first solo exhibition of work by much-loved and collected pastel artist Ian Rawling, PS. From curios to the conventional, cars to culinary delights, ‘Ian Rawling: Familiar and Found’ showcases a spectacular selection of work that highlights Ian’s unparalleled ability to transform everyday subjects into extraordinary observations.

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DION KITSON: Rue Britannia

Ikon presents the first major solo exhibition and an ambitious off-site commission by British artist Dion Kitson in partnership with English Heritage. The visual environment of Kitson’s exhibition at Ikon draws on the artist’s experiences of growing up in Dudley, a market town which prides itself as the birthplace of the industrial revolution and, as such, is replete with ruination – a metaphor for the wider state of British towns.

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NATIONAL TREASURES: ARTEMISIA IN BIRMINGHAM

Ikon is a partner in National Treasures, a key strand of the programme celebrating the National Gallery’s Bicentenary, NG200. As part of this collaboration, Ikon presents a masterpiece by Artemisia Gentileschi (1593-1654 or later), titled Self Portrait as Saint Catherine of Alexandria (circa 1615-17).

Accompanying the Gentileschi work, and created in direct response to it, is a solo exhibition by contemporary Irish artist Jesse Jones. Jones, whose artistic practice spans film, sound, performance, sculpture, and installation, presents Mirror Martyr Mirror Moon. This exhibition delves into art history, cinema, feminism, ritual, and healing, showcasing multiple interconnected archetypes of feminist resistance.

In this self-portrait, Artemisia Gentileschi, the most celebrated female artist of the seventeenth century, appears as Saint Catherine of Alexandria, a Christian saint martyred in the early fourth century. Fascinated by Gentileschi’s choice to title her work Self Portrait as Saint Catherine of Alexandria, Jesse Jones explores the performative relationship between the artist and the medium of self-portraiture. Through extensive research, Jones, like many contemporary scholars, interprets Gentileschi’s work as a composite of three women: Gentileschi herself, Saint Catherine (287-305 AD), and the pagan philosopher, mathematician, and astronomer Hypatia (circa 370–415 AD).

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