Cv Publications 2012 -17



January Work Bank

March David Medalla

David Hockney

Lucian Freud

April  Wiltshire

May   Damien Hirst

June  Being Tracey

July   Cumbria: A County Guide

August London Festival

October Pre-Raphaelite Brotherhood

November   The Ring of Minos

December   Two Bridges


January    Francesco Clemente

February  Edward Lucie-Smith

The Decline & Fall of the Avant-Garde

March  Kurt Schwitters

April Robert Rauschenberg

Chuck Close

July ,Photography and Art

John Dugger

October The Dance of Death

November  London Terminal

December Art, Criticism & Display


January Tracks 2014

July  Art, Poetry and WW1

September Les Berbères et Moi

Octoberber   Liverpool Biennal

Visiting Frieze Art Fair 2014

November  Between Dream and Nightmare

December  Rembrandt and Turner


February  The Private John Singer Sargent

March Leon Golub  Political Painting

Goya Between Two Worlds

May  David Hockney  Painting & Photography  Annely Juda

October Ai Weiwei

November  Through the Lens

Giacometti –Auerbach

December  Artist & Empire

 Michael Craig-Martin 

Julia Margaret Cameron


January  Paris TV: Routes and Diversions

Andy Warhol: Everyday Icons


March  Albion Journal


May Photo-London 2016

Yayoi Kusama at Victoria Miro

Jaff Koons: NOW

Newport Street Gallery

Painting with Light

Tate Britain

June  Bridget Riley

The Curve Paintings 1961-2014

Gemente Museum The Hague

Painters’ Paintings

National Gallery

July  Georgia O’Keeffe

Tate Modern

David Hockney

Royal Academy - Annely Juda


Picasso / Pollock



Painting Lives!

The Swagger Portrait to Contemporary


February Vanessa Bell

Dulwich Picture Gallery




Art . Travel . Histories . Social Studies . Studio work


Cv  October


It’s a great archive..a good book for dipping nto” Susie Honeyman






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Painted Vistas

Cornwall to Crete


Nisyros seies 2003  panel 12 x 12”

Cv/VAR Archive

Projects 1974-96

Art Forum at The Gallery London 02/1976

Cv Journal of the Arts1988-91

Eleven issues scanned to a DVD

Released 10/2016

Jackson Pollock, Number 7 1952 © The Pollock-Krasner Foundation ARS, NY and DACS, London 2015. © 2015. Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence


Extract from Pollock Versus Picasso by Edward Lucie-Smith

In February 1949, Pollock was visited in Springs, a remote village on Long Island to which the artist had relocated his studio after moving from the turmoil and temptations of New York’s Greenwich Village, by a 30-year-old freelance photographer called Arnold Newman. Newman was on assignment from Life magazine, perhaps the most influential illustrated publication in America, with around five million readers per issue, but he had received no specific instructions from the editor. All he knew was that the story would appear the following summer. It duly did so, in August 1949 – a two-and-a-half page spread, in black-and-white and colour, headed ‘Is the greatest living painter in the United States?’ A statement borrowed from Clement Greenberg had been turned into a provocative question.


Newman spent a day with Pollock, who willingly posed for pictures, but in and around Springs, and in the barn he used as studio. In the studio, he put a sheet of canvas on the floor and began to create a painting, “giving a performance,” as one description has it, “as the rough, rugged all-American genius of his ambitions.”


The anonymous text of the article in Life made it plain that a kind of magic was involved – how you interpreted the artist’s efforts was a personal matter. It quoted a local grocer who “bought one [of Pollock’s paintings] which he identifies for bewildered visiting salesmen as an aerial view of Siberia.”


This wasn’t the only occasion on which Pollock allowed himself to be pictured at work. In May 1951 ARTnews published an article entitled  ‘Pollock Paints a Picture’ with a text by the critic and painter Robert Goodnough, richly illustrated with photographs of the artist in his studio made by Hans Namuth that had originally appeared in Portfolio magazine.

“He has found that what he has to say is best accomplished by laying the canvas on the floor, “Goodnough wrote. “Starting automatically, almost as a ritual dance might begin, the gradual rhythms of his movements seem to determine to a large extent the way the paint is applied, but underlying this is the complex Pollock mind.”


In other words, ‘Jack the Dripper’, as Time magazine, Life’s sister periodical, dubbed Pollock at around this time, combined two apparently antithetic roles, that of shaman, and that of all-American ‘good ole boy’. To the great convenience of his supporters, the one thing he didn’t go in for was social or political commentary.


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