British Libary Terror and wonder exhibition 

the gothic imagination ( Oct-Jan 2015 )

Anselm Kiefer 

Exhibition Royal Academy of Arts

Oct 2015

Conflict Time Photography

Tate Modern

Jan 2015

Born Germany, 1945

Painter/ Sculpture


Born USA.  1930

Painting/ Printmaking


Born UK,, 1935


Born India, , 1903-1950

Novelist, political, writer and journalist


Born USA, , 1922-2004


Born Germany, , 1936

Conceptual artist

Post Pop: East Meets West

Saatchi Gallery

November 2014- March 2015



 Modernism fostered a period of experimentation in the arts from the late 19th to the mid-20th century, particularly in the years following World War I.

In an era characterized by industrialization, rapid social change, and advances in science and the social sciences (e.g., Freudian theory), Modernists felt a growing alienation incompatible with Victorian morality, optimism, and convention. New ideas in psychology, philosophy, and political theory kindled a search for new modes of expression.


Pop Art , A Continuing History

Marco Livingstone

Pub, Thames & Hudson

Situations( Documents of Contemporay Art )

Claire Doherty

Pub, MIT Press

Down and Out in Paris and London

George Orwell

Pub, Penguin Books

Nineteen Eighty-Four

George Orwell

Pub, Penguin Books


 Dada did not constitute an actual artistic style, but its proponents favoured group collaboration, spontaneity, and chance. In the desire to reject traditional modes of artistic creation, many Dadaists worked in collage, photomontage, and found-object construction, rather than in painting and sculpture.


characterized by their portrayal of any and all aspects of popular culture that had a powerful impact on contemporary life; their iconography—taken from television, comic books, movie magazines, and all forms of advertising—was presented emphatically and objectively, without praise or condemnation but with overwhelming immediacy, and by means of the precise commercial techniques used by the media from which the iconography itself was borrowed. 


One of the most significant and influential American painters of the twentieth century, and one of the greatest printmakers of any era. He invented a new style that helped to engender a number of art movements, including Pop. I immediately resonated with Johns’ use of the concrete, ordinary things of this world, including casts of parts of the body, but what most directly influenced my own practice was his overriding focus on process. I already had an intuition that process and meaning were inseparable for me, along with a tendency to combine mediums in unconventional ways to achieve a desired outcome. John’s work stimulated an even greater engagement with the process and methods of printmaking, and sparked my continuing practice of creating versions and variations that reference my own work, transformed and reinvented through other techniques and mediums.

A German artist best known for his paintings, which can be vast in scale, and are often encrusted with layers of paint and embedded with various objects from sunflowers and plants to diamonds and lumps of lead. His ideas draw on many sources, including history, mythology and science, and most of his work refers to subjects drawn from Germany and its culture. I find the sheer scale of his work liberating and inspiring, and it has reinforced my understanding that nothing is invalid as a material. Keifer is interested in rebirth and the cycles of time, and has been known to set fire to his pieces, or to bury them for periods of time. I have been inspired to explore this idea – that creation and destruction are one and the same -  through my own practice in similar ways.


Golub was an American painter who was both horrified and inspired by the Vietnam War. His reaction against the human brutality of that conflict led to a series of large-scale paintings that featured figures, sometimes inspired by Greek mythology, engaged in some form of monumental struggle. I became interested in his technique of scraping paint on the canvas to create a rough, almost three-dimensional effect, as I had been exploring different ways of creating layered effects in my own work. Golub was an artist who did not turn away from the difficult or somber, and the gritty honesty of his work appealed to me, as did the courage he demonstrated in exploring the uses and abuses of power through his art.  

Haacke is a painter and conceptual artist, although his body of work does not fit neatly into any artistic movement or trend. His work focuses on systems and processes, which he defined in a recent interview as “a grouping of elements subject to a common plan and purpose that interact so as to arrive at a joint goal.” I was impressed with the way installations of such simplicity could so clearly evoke intricate and shifting relations between things. Haacke’s work tells us that there are no neat divisions between realms, and destruction and regeneration happen at the same time. I admire his willingness to create pieces that, controversially at times, explore systems related to the production of art, wealth and power.


Internationally known British photographer, best known for his war photography and images of urban strife. For the honesty of his images

One of the first journalists to write about poverty who had actually lived it himself. It reminds me of a time in my life that I thought I would not call upon for my art, but it has given me the inspiration to do so. 

A unique set of conditions produced in both space and time and ranging across material, social, political and economic relations, Situation is now a key concept in 21st-century art. This anthology traces its evolution from the 1960s emergence of site-specific art to its divergent implications in the global era. Among the topics surveyed are the limits of site; the role of the artist as ethnographer or fieldworker; the relation between action and public space; the meaning of place and locality; and the crucial role of the curator in new situation-specific art

written when Orwell was a struggling writer in his twenties, it documents his 'first contact with poverty'. Here, he painstakingly documents a world of unrelenting drudgery and squalor - sleeping in bug-infested hostels and doss houses of last resort, working as a dishwasher in Paris's vile 'Hôtel X', surviving on scraps and cigarette butts, living alongside tramps, a star-gazing pavement artist and a starving Russian ex-army captain. Exposing a shocking, previously-hidden world to his readers, Orwell gave a human face to the statistics of poverty for the first time - and in doing so, found his voice as a writer.

George Orwell's dystopian masterpiece, Nineteen Eighty-Four is perhaps the most pervasively influential book of the twentieth century, making famous Big Brother, newspeak and Room 101.


'Who controls the past controls the future: who controls the present controls the past'


Hidden away in the Record Department of the sprawling Ministry of Truth, Winston Smith skilfully rewrites the past to suit the needs of the Party. Yet he inwardly rebels against the totalitarian world he lives in, which demands absolute obedience and controls him through the all-seeing telescreens and the watchful eye of Big Brother, symbolic head of the Party. In his longing for truth and liberty, Smith begins a secret love affair with a fellow-worker Julia, but soon discovers the true price of freedom is betrayal.

This critical history of the Pop Art movement offers a clear perspective of the movement, with a fully documented chronology that unravels the sequence of events associated with the evolution of Pop in Britain, the USA and Europe.