Cv Publications 2012 -16



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



Photo-London 2016

Yayoi Kusama at Victoria Miro

Jaff Koons: NOW

Newport Street Gallery

Painting with Light

Tate Britain


Bridget Riley

The Curve Paintings 1961-2014

Gemente Museum The Hague

Painters’ Paintings

National Gallery

David Hockney Portraits

Royal Academy


Carlo Carra

Blain Southern


Abstract Expressionism

Royal Academy


Painting Lives!

Marina Vaizey





Art . Travel . Histories . Social Studies . Studio work


Cv  July 2016


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






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1 . 2 . 3 . 4 . 5 . 6 . 7 . 8 . 9 . 10 . 11 . 12 .13 . 14 . 15 . 16 . 17 . 18 . 19 . 20 . 21 . 22 . 23 . 24 .

Eugène Atget (French, 1857 - 1927) Chiffonier (Ragpicker)

Print 1899 - 1901 Albumen silver

Height: 222 mm (8.74 in). Width: 181 mm (7.13 in).

© Collection: The Victoria and Albert Museum


Photography and the Everyday: a History

by Anne Blood


 ‘Noon-day sunshine cinema-ized the site, turning the bridge and the river into an over-exposed picture. Photographing it with my Instamatic 400 was like  photographing a photograph. The sun became a monstrous light-bulb that    projected a detached series of ‘stills’ through my Instamatic into my eye. When  I walked on the bridge, it was as though I was walking on an enormous photograph that was made of wood and steel, and underneath the river existed as anenormous movie film that showed nothing but a continuous blank.’

Robert Smithson, ‘A Tour of the Monuments of Passaic, New Jersey’ (1967)


  In the quote above, the artist Robert Smithson (1938–73) not only talks about taking a photograph, but about how both the act of taking photographs and looking at them have changed the way he sees the world: he feels like he is walking into a photograph. In 1947, André Malraux postulated that the history of art itself had become the history of ‘that which can be photographed’.¹  Malraux’s statement highlights the central use of photographs to provide visual information, but importantly he also suggests that photography has changed the way we see the world. That photography is a way to see may seem an overly simplified definition but it is a useful starting point from which to explore the numerous and complicated ideas and debates that are associated with the medium. When Smithson talks the feeling of walking into a photograph, the scene he describes is a very ordinary landscape, nicely lit by the sun.  

  Photographs of the everyday appear throughout the history of the medium and within a wide range of movements, yet these seemingly ordinary images are complex. This essay uses the everyday, as both a subject and a motif, to trace a small history of photography through ten photographers whose common interest in the banal or the ordinary reveal the dexterity and conceptual   complexity of photography.  The photographers discussed in depth in this essay have all engaged with the everyday or the quotidian, yet they are a small sampling of the numerous photographers who have engaged with this subject. Work by Dorothea Lange, Robert Frank, Lee Friedlander, Diane Arbus, Ed Ruscha, Thomas Struth, Nan Goldin or Wolfgang Tillmans, to name a few, could have easily been  included. Any history of photography is also a history of photographic technology, but it also a history of photography’s distribution - where it was reproduced and how it was used. This history involves the rise (and fall) of picture magazines, such as Life, and the entrance of photography into the art museum and the art market. Even within the art world itself there is an interesting history of the use and influence of photographs (and photographers), such as the celebration of Eugène Atget’s work by the Surrealists or the adoption of Bernd and Hilla Becher by conceptual artists in the 1970s.


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Carlo Carrà, Penelope, 1917, Private Collection


Carlo Carrà  Metaphysical Spaces Curated by Ester Coen

Blain|Southern 4 Hanover Square London W1S 1BP

8 July – 20 August 2016

Holland Fen   Emulsion on panel 12” x 12” (30 x 30cms) The LincolnSeries 10/2002


Cornwall to Crete

Landscape  Series