Adrian Henri – Total Artist

A 1968 poster for an exhibition at London’s Institute of Contemporary Art insists on Adrian Henri’s dual work of art, as a painter and a poet (Fig.1). Henri (1932-2000) came to prominence as a writer in the 1967 groundbreaking Penguin anthology The Mersey Sound, alongside Roger McGough and Brian Patten. In his poems, he juxtaposed everyday or pop images with highbrow cultural references, creating a web of references that made his work both complex and accessible. Henri had trained as a painte..

Jackson Pollock, Untitled (c.1938-1941) - The Shape of Things to Come

Jackson Pollock (1912-1956) © ARS, NY. Untitled, c.1938/41 Oil on linen. 56,5 x 127,6 cm (22 1/4 x 50 1/4 in.), unframed. Major Acquisitions Centennial Fund; estate of Florene May Schoenborn; through prior acquisitions of Mr. and Mrs. Carter H. Harrison, Marguerita S. Ritman, Mr. and Mrs. Bruce Borland, and Mary L. and Leigh B. Block, 1998.522. Photo Credit: The Art Institute of Chicago / Art Resource, NY * L’exposition The Age of Anxiety, présentée au Musée de l’Orangerie fin 2016, couvrait..

Editor’s foreword

The 2015 Interfaces conference, held at Paris Diderot University, invited specialists of history, art history, cinema, visual culture, literature, and linguistics interested in the relationship between text and image to look into the appropriation and reappropriation of narratives, be they collective or personal, canonical or marginal. Papers considered the broad-ranging ways in which these sources and narratives have been visited and revisited, rewritten and manipulated, reclaimed or subvert..

The Likeness of Things: Baum, Cockrill, Henri, Walsh

International audienceCatalogue for The Likeness of Things, exhibition curated by Catherine Marcangeli, Kirkby Gallery, 2022. Paintings borrowed from the Walker Art Gallery, the Atkinson Art Gallery, the Williamson Art Gallery, John Moores University, University of Liverpool as well as private collectors. In 1970, the Neptune Theatre Gallery in Liverpool held an exhibition titled Realist Painting. In 1974, the Sunderland Art Center presented Five Realist Painters. In 1977 Liverpool’s Walker Art Gallery showed Real Life. These exhibitions all included works by the four artists gathered here: John Baum, Maurice Cockrill, Adrian Henri and Sam Walsh. All four started teaching at Liverpool Art College in the 1960s, though they had come to the city from different places — Baum had studied at the Slade School of Art in London, Cockrill at Reading, Henri at Durham University and Walsh at Dublin College of Art. They were friends, and part of the same art scene. As early as 1962, Henri sang his poems with Walsh on guitar in the basement of the Everyman Theatre (then Hope Hall), and they wrote an art manifesto for their joint exhibition at the Portal Gallery in London. In the late 1960s, Cockrill regularly performed poetry alongside Adrian Henri and Brian Patten, and a few years later, Baum painted Cockrill’s portrait in An Afternoon at Windermere House, the house where poet Roger McGough lived. Although they had developed different approaches and styles in the 1960s, Baum, Cockrill, Henri and Walsh were often exhibited together through the 1970s under the banner of “realism”. During that decade, they concentrated on what John Baum called “the likeness of things”, depicting people, objects and places in a clear crisp manner sometimes described as Photo-realist, in reference to the movement then evolving in the US. The exhibition revisits that work of the 1970s when, with apparent emotional detachment, Baum, Cockrill, Henri and Walsh reappropriated traditional genres like portrait, landscape or still-life painting, and gave them a resolutely contemporary twist. The catalogue retraces the work of the four artists within the context of 1960s and 1970s Liverpool, and includes rare archive material. https://www.cultureliverpool.co.uk/news/the-likeness-of-things-baum-cockrill-henri-walsh

Du pareil au même : Mike Bidlo et l’art d’appropriation aux U.S.A. dans les années quatre-vingt

L’art dans l’art. La critique littéraire nous fournit des cadres conceptuels pour aborder la question de l’intertexte. A tel point qu’on est tenté d’appliquer à l’œuvre plastique tel modèle d’analyse linguistique et littéraire, d’appréhender tout tableau comme un phénomène dialogique, et de percevoir son iconographie, son style, sa technique, comme autant de traces « inter-opérales » disséminées. Il ne s’agira pourtant pas ici de rendre compte de ces traces plus ou moins diffuses qui traverse..

"Appropriation and Reappropriation of Narratives" special issue

International audienc

L’Art dans l’art

L’art autarcique existe-t-il ? Tout art n’est-il pas un art dans l’art ? À partir d’études sur la littérature anglophone des XIXe et XXe siècles, les auteurs de ce volume s’interrogent sur les différents modes de présence d’un art dans un autre : citation, montage, appropriation, greffes, etc. Parmi les formes d’interaction examinées : le tableau dans le tableau, la photographie et la musique dans l’écriture, l’architecture et la sculpture dans le roman, le poétique travaillé par le pictural, les résonances littéraires, picturales ou théâtrales de l’art cinématographique