| 词条 | Deanna Petherbridge |
| 释义 |
Deanna Petherbridge {{Post-nominals|country=GBR|CBE}} (born 1939) is an artist, writer and curator. Petherbridge's practice is drawing-based (predominantly pen and ink drawings on paper), although she has also produced large-scale murals and designed for the theatre. Her publications in the area of art and architecture are concerned with contemporary as well as historical matters, and in latter years she has concentrated on writing about drawing. The Primacy of Drawing: Histories and Theories of Practice was published June 2010 and curated exhibitions include The Quick and the Dead: Artists and Anatomy, 1997, Witches and Wicked Bodies, 2013. She celebrated a retrospective exhibition of her drawings at Whitworth Art Gallery, University of Manchester (2 December 2016 – 4 June 2017) accompanied by the monograph Deanna Petherbridge: Drawing and Dialogue, Circa Press, 2016. Life and careerPetherbridge was born in Pretoria, South Africa. She attended Pretoria High School for Girls and obtained a degree in Fine Art at the University of the Witwatersrand. After a post-graduate year teaching in the department she emigrated to the UK in 1960. In 1967 she acquired a house on the island of Sikinos dividing her studio practice for many years between London and Greece and after 2003 between London and Italy with a studio in Umbria (2004–2015). After early years as a painter, producing soft-sculpture and sometimes employing anti-war imagery, Petherbridge turned to monochromatic pen and ink drawing as her primary medium in the 1970s. Studies of Islamic art and architecture, vernacular building and historical fortifications made during early travels in Europe, the Maghreb and Middle East were the basis of early exhibitions of geometric drawings;[1] later Hindu temple architecture, ruins and vernacular structures became an important source for drawings.[2] Her work continues to employ architectonic metaphors and in recent years she has become increasingly interested in reflections on place and landscape.[3] Symbolic representations of war were the subject of the 1980s around the time of the Falkland conflict.[4] These have again become the dominant theme for large multi-panelled drawings, such as The Destruction of the City of Homs, 2016 (Tate, London).[5] In celebration of drawing as a portable, immediate and expeditious medium, Petherbridge has produced work in other venues than her studio while undertaking drawing residencies at Manchester City Art Gallery, UK(1982) Lalit Kala Akademi Studios Calcutta (British Council sponsored) (1986), Monash University, Melbourne, Australia (2003), Beaconhouse National University, Lahore, Pakistan (2005) and the National Art School, Sydney (2011).[6][7][8] Petherbridge's teaching career has included sessional lectureships at the Architectural Association, London (1981–85), the Fine Art departments of the University of Reading and Middlesex Polytechnic (1984–1987). She was appointed Professor of Drawing at the Royal College of Art (1995 -2001) where she launched the Centre for Drawing Research, the first doctoral programme in drawing in the UK. She was Arnolfini Professor of Drawing at the University of the West of England, Bristol (2002–2006) (appointed Emeritus Professor of Drawing in 2006) and Professor of Drawing at the University of Lincoln (2007–2009). She has supervised a number of PhD students and has delivered lectures, conference and symposium papers internationally.[9] Extended lecture series in the UK include: Contemporary Drawing: Exploring the Unknown, Tate Millbank (January–March 1997), the BBC Radio Three broadcast series The Outline Around the Shadow (10–14 February 1997) and Drawing towards Enquiry at the National Gallery London (February–March 2006) in association with Camberwell College of Arts.[10][11][12] She has undertaken extensive lecture tours in other countries, some under the auspices of the British Council for example in India (1985-6 and1987-8) and South East Asia (1994–95). There have also been lecture tours in Australia (1995, 2003, 2011, 2015), Pakistan (2005), USA (2010), Puerto Rico (2013). Her public commissions include designing sets and costumes for The Royal Ballet in collaboration with choreographer Ashley Page A Broken Set of Rules (1984) and Bloodlines (1990); and One by Nine (1987), choreographer Jennifer Jackson, Sadler's Wells Royal Ballet.[13][14] She was commissioned by the Artistic Records Committee of the Imperial War Museum, London (1989).[15] She also undertook a mural on four flours for the curved foyer wall of the Symphony Hall, International Conference Centre, Birmingham (1991).[16][17][18][19] In 1991 Petherbridge curated the trans-historical touring exhibition The Primacy of drawing: An Artist's View for National Touring, The South Bank Centre and co-selected the collaborative exhibition, Materia Medica: A New Cabinet of Medicine and Art, The Wellcome Institute, London (1995–96).[20] This was followed by The Quick and the Dead: Artists and Anatomy, (1997) National Touring for the Arts Council of England. This exhibition moved to an extended showing renamed Corps à vif. Art et anatomie, (1998) at the Musée d'Art et d'Histoire, Geneva, co-curated with Claude Ritschard and Andrea Carlino. Witches and Wicked Bodies at the Scottish National Gallery of Modern Art, Edinburgh, (2013) was re-curated for the Prints and Drawings Gallery at the British Museum (2014–2015) and Artists at Work, was co-curated with Anita Viola Sganzerla, The Courtauld Drawings Gallery, London (2018). Petherbridge has also curated a number of exhibitions of contemporary drawers including Drawing as Vital Practice, Pitzhanger Manor Gallery & House, London (2007) and Narratives of Arrival and Resolution: Abstract Works on Paper, Michael Richardson Contemporary Art, London (2013). Petherbridge began contributing reviews and articles to Architectural Review in 1979 and has written extensively for specialist journals and the daily press including Architects' Journal, Crafts Magazine, Building Design and the Financial Times in the 1980s, when she ran a regular column in Art Monthly commenting on commissioning, sponsorship and the social structures of visual art communities in the United Kingdom. She has written many catalogue essays and chapters in books and in recent years has published in academic journals on a wide range of contemporary and historical issues in art and architecture, with a particular focus on drawing. She was a Research Scholar at the Getty Research Institute, Los Angeles (2001– 2002).[21] She also held a research fellowship at the Yale Center for British Art, New Haven (2007)[22] In 1996 she was appointed a Commander of the Order of the British Empire (CBE) for services to drawing and teaching. She was awarded a Fellowship of the Royal College of Art (FRCA) 1997, an Honorary Fellowship of the Royal Institute of British Architects (Hon. FRIBA)1998 and Honorary Doctorate in Design (Hon DDes) Kingston University, London, 2001. Selected publications
Selected exhibitions
References1. ^Philip Rawson, Design, Englewood Cliffs, New Jersey: Prentice-Hall, 1988 2. ^Der Traum vom Raum: gemalte Architektur aus 7 Jahrhunderten, Kurt Löcher (ed.) Marburg: W. Hitzeroth 1986 3. ^"The Impossibility of Landscape", FUKT Magazine for Contemporary Drawing, No. 11, 2012, pp.75–79 4. ^Hayward Annual '78, Hayward Gallery, London: Arts Council of Great Britain 1978 Geometry of Rage, Bristol: Arnolfini 1984 5. ^Online interview with Richard Bright in Interalia Online Magazine January 2016. https://www.interaliamag.org/interviews/deanna-petherbridge/ 6. ^Deanna Petherbridge, Drawings 1968–1982, Manchester City Art Gallery and Warwick Arts Trust, London 7. ^Temples and Tenements: The Indian Drawings of Deanna Petherbridge, Seagull Books Calcutta in association with Fischer Fine Art London, 1987 {{ISBN|978-8170460480}} 8. ^Two Cities Two Modernities, essay by Deanna Petherbridge, Monash University, Melbourne 2003 9. ^The Remains of Drawing, 10 February 2012, in the Symposium "Is Drawing Dead?" Yale School of Architecture, 9th – 11 Februaryhttps://www.youtube.com/watch?v=fGetr5al_hg 10. ^Sue Arnold, review of The Outline around the Shadow Radio series. The Observer, London, 16 February 1997 11. ^Tom Lubbock, "As seen on Radio 3", The Independent, 18 February 1997 12. ^Drawing towards Enquiry. Enquiry towards Drawing. MAKING A MARK 18 January 2006 https://makingamark.blogspot.co.uk/2006/01/drawing-towards-enquiry-enquiry.html 13. ^Peter Dormer, "Looking Between the Lines" (review of Broken Set of Rules) Designer's Journal, January 1985 14. ^Design for Performance: From Diaghilev to the Pet Shops Boys, Peter Docherty and Time White (eds.) London: Lund Humphries and Central Saint Martins College of Art and Design, 1996 15. ^Pen and ink drawing Boeing Assembly Plant, Seattle 1989 https://www.iwm.org.uk/collections/item/object/21636 16. ^Mel Gooding, Public: Art: Space, London & Birmingham: Merrell Holberton Publishers and the Public Art Commissions Agency (PACA), 1998, p.26 17. ^"Writing on the Wall for Artists: Public art politics" Paul Cheeseright The Financial Times, 29 December 1991 18. ^"Moral rights: a Case Study" Nicola Solomon & David Mitchell New Law Journal, 6 December 1991 19. ^"The Draughtsman's Concept", Patricia Morison The Financial Times, 13 December 1991 20. ^Martin Kemp et al, Materia Medica: A New Cabinet of Medicine and Art, London: The Wellcome Institute for the History of Medicine, 1995 21. ^{{cite web|url=http://www.getty.edu/research/scholars/years/2001-2002.html|title=Scholar Year 2001/2002 (Getty Research Institute)|website=www.getty.edu}} 22. ^Leading to publication of "Wild humours versus graphic inventions: the drawings of Romney & Gainsborough" in Transactions of the Romney Society, Vol.19, 2014 23. ^Colin Amery, "Removing the mystique of commissioning" Review of Art for Architecture, Financial Times Monday 21 September 1987 24. ^Marina Vaizey, "Drawing up a New Artistic Agenda", review of The Primacy of Drawing , The Sunday Times, October 1991 25. ^Andrew Graham-Dixon, "Lines of Thought", review of The Primacy of Drawing The Independent, 1 October 1991 26. ^John McEwen, "Drawings, Dribblings and Marital Joys", review of The Primacy of Drawing , The Sunday Telegraph, 29 September 1991 27. ^Adrian Searle "Corporal Entertainment" Review of The Quick and the Dead. The Guardian, 4 November 1997 28. ^Tim Hilton "Hung, drawn and quartered" Review of The Quick and the Dead. Independent on Sunday, 9 November 1997 29. ^William Packer "Lessons from Life" Review of The Quick and the Dead, Financial Times, 8/9 November 1997 30. ^Martin Postle "The Cutting Edge" Review of The Quick and the Dead. Academy Magazine, Autumn, 1997 31. ^Richard D. North "Taking a quick look at the dead" Review of The Quick and the Dead. The Independent, 26 November 1997 32. ^Richard Cork "Visions that go more than skin deep". The Times, 11 November 1997 33. ^Martin Kemp "Hidden Dimensions" Preview The Quick and the Dead, Tate Magazine, Winter, 1997 34. ^David Musgrave "The Quick and the Dead", Art Monthly, No.212, Winter 1997-8 35. ^Julian Bell, "Desire of the Line" Review of The Primacy of Drawing, The Times Literary Supplement, 14 January 2011 36. ^Lino Mannocci, Review of The Primacy of Drawing, Burlington Magazine, No.1296, Vol.152, 1 March 2011 37. ^John McDonald, "Back to the drawing board", Sydney Morning Herald 5–6 March 201 38. ^Timothy Wilcox, 'Visual thinking', Review of The Primacy of Drawing, Apollo, January 2011 39. ^Rachel Spence, "History's bad girl", Financial Times, 31/1 August September 2013 40. ^Lyndsey Mackay, "Witches and Wicked Bodies", Museums Journal, October 2013 41. ^Laura Cumming, "Here's one I dreamed up earlier…", The Observer, Sunday 11 August 2013 42. ^Richard Cork, "Dissatisfactions and aspirations in pen and ink" review, The Art Newspaper, No.290, May 2017 43. ^Peter Davey, "Hope from the Hayward" The Architects' Journal, 30 August 1978 44. ^Michael Archer, review of Geometry of Rage, Art Monthly No 82, December/January 1984/5 45. ^Colin Amery, "An artist who understand how light makes space", Financial Times 27 April 1987 46. ^"Talking Art: Charlotte Du Cann on Artist Deanna Petherbridge", The Guardian, 17 January 1990 47. ^William Packer, "A journey through sinister spaces", Financial Times, Saturday 20 January 1990 48. ^Sarah Kent, "On Deanna Petherbridge", Time Out, 31 January – 7 February 1990 49. ^Margaret Garlake, review of "Deanna Petherbridge Exhibition", Art Monthly, February 1990 50. ^John Spurling, Petherbridge: Alone with Soane, The Spectator, 27 January 2007 51. ^Pamela Buxton, "Holding the Line", The RIBA Journal, April 2017 External links
9 : 1939 births|Living people|Art educators|Art writers|British art critics|British women artists|Commanders of the Order of the British Empire|South African emigrants to the United Kingdom|University of the Witwatersrand alumni |
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