Richard Wilson: slipstream

This monograph charts the creation of Richard Wilson's 'Slipstream' sculpture, which was commissioned for Heathrow Airport's Terminal 2, and puts it in context with Wilson's previous sculptural practice. A free ibook was also produced and made available via iTunes. The ibook contains films, audio interviews with Richard Wilson, moveable 3D models and a gallery of images documenting Slipstream from conception to completion

Ship to Shore: Art and the Lure of the Sea

Ship to Shore: Art and the Lure of the Sea focused on the different ways that contemporary artists have engaged with seas and oceans. The exhibition included , films, photography and prints alongside archival objects evoking the disorientating vastness of oceans, images of lighthouses, the romance of sea travel and ship-to-shore communications.Ship to Shore: Art and the Lure of the Sea offers the visitor a rich visual and audio experience, where the voices of the past are linked with the present, enigmatically joined by the theme of the sea. Works by contemporary artists such as Tracey Emin, Tacita Dean, Yinka Shonibare, Susan Hiller, Steffi Klenz (Reader in School of Film and Media, UCA), Simon Patterson, Dorothy Cross, Mark Power, Humphrey Ocean, Richard Long, Langlands & Bell, Claire Kerr and Zineb Sedira were exhibited alongside historic paintings, such as La Vague by Gustav Courbet and artefacts including Donald Crowhurst’s ‘Navicator’ from the National Maritime Museum. Artists exhibiting at the John Hansard Gallery include Isaac Julien, Chris Burden, Catherine Yass and Thomas Joshua Cooper

Essay

With texts by authors Barbara Pollack, Ingela Lind and Jean Wainwright, this illustrated book provides a retrospective of Nathalia Edenmont's artworks throughout her career as an artist, from the beginning of 2002 up to today

Mediated pain: Andy Warhol's Exploding Plastic Inevitable

This paper was presented at the Art Historians Conference held in March 2012 under the Academic Session 15 'Modernism's Intermedialities: From Futurism to Fluxus'. The paper asks if Andy Warhol's Exploding Plastic Inevitable (EPI), 1966, was an arena for Warhol to mediate an otherwise internalised interest in pain using his associates as baffles to insulate himself

Mediated pain: Andy Warhol's Exploding Plastic Inevitable

The contributions to this book cover the full historical span of modernism, from its emergence in the early twentieth century to its after-shocks in the 1960s. Studies include Futurism's struggle to create an art of noise for the modern age; the radical experiments with poetry; painting and ballet staged in Paris in the early 1920s; the relationship of poetry to painting in the work of a neglected Catalan artist in the 1930s; the importance of architecture to new conceptions of performance in 1960s "Happenings"; and the complex exchange between film, music and sadomasochism that characterises Andy Warhol's "Exploding Plastic Inevitable"

Another Spring

An exhibition brought to Exeter Phoenix by Art Week Exeter in collaboration with well known art historian, critic and curator Dr Jean Wainwright. This is a timely reflection on trends and developments of nationalistic impulses in Western society. Will fear of 'invasion' and economic erosion by 'outsiders' close our borders in the future

Powerful tides: 400 years of Chatham and the sea

The exhibition Powerful Tides was an important showcase for Chatham Historic Dockyard commissioned to celebrate its four hundred years anniversary. The research for the exhibition was extensive and was carried out by Wainwright to choose artists from the late seventeenth century to the twenty-first century that had a connection to the Thames Estuary and Chatham Historic Dockyard. Wainwright’s previous exhibition Ship to Shore: Art and the Lure of the Sea enabled her to build on her knowledge of shipping. The River Medway was initially used as a safe anchorage for Tudor warships from 1547. During the reign of Elizabeth I, a dockyard was established further up the River Medway in the late 1560s to build and repair the “Queen’s Majesty’s Ships”. However, the need to expand and improve facilities led to the relocation of the Dockyard to its present site by 1618. The Dockyard expanded to keep up with the demand for ships, changing the surrounding landscape and river forever. Many of the historic works in the exhibition provided a romantic perception in relation to ship construction or their roles at sea. This is contrasted with how the River Medway and the sea are perceived by current artists. Wainwright's relationship with galleries, museums and artists enabled her to loan a number of important paintings, and works of art. Included in the exhibition was work by Christiane Baumgartner, John Constable, Layla Curtis, Tracey Emin, Nadav Kander, Anselm Kiefer, Steffi Klenz, Langlands & Bell’s, Chris Orr, Eric Ravilious, Yinka Shonibare MBE, J.M.W Turner, Norman Wilkinson, Richard Wilson, William Wyllie, and Catherine Yass. Rare manuscripts and maps were loaned from the British Museum

Artist interviews

A series of interviews with artists commissioned for Folkestone Triennial 2017, double edge, including: Studio Ben Allen, Michael Craig-Martin, Lubaina Himid, Emily Peasgood, David Shrigley, Bob and Roberta Smith, Sintra Tantra, Nomeda and Gediminas Urbonas, HoyCheong Wong, and Jonathan Wright