20TH CENTURY DESIGN Contemporary Art

Study for a man seated sculpture Michael Kenny RA Original Artist: Michael Kenny RA (1941-1999) Chalk numbers on verso Born in Liverpool 1941, he son of an engineer. Studied at Liverpool art school, alongside Stuart Sutcliffe (an early Beatle) and John Lennon. He then went onto Slade in 1961 to study under Reg Butler, who nicknamed his protege "the Liverpool Italian". His distinguished career began when exhibited in Oxford in 1964. Michael was one of the most influential British sculptors of his generation and his contemplative geometric stone works became increasingly well regarded. He was elected associate member of the Royal Academy in 1976 and a Royal Academician in 1986. Today his work is held in museums all over the world including the British Museum, The Tate Gallery and the V&A in London. He has had solo shows in Germany, Sweden, Milan, Paris, Los Angeles, London, Japan and Dubai. Subsequently many corporations and private collectors throughout the world hold examples of his work. On Michael Kenny's gravestone in Highgate cemetery is the title of one of his sculptures, More Loved Than Known. The legend has been prophetic. He has a passionate following among the thousands of students he taught, who include Antony Gormley and Damien Hurst. Michael Kenny: Sculpture & Drawings This was an exhibition of Michael Kenny’s recent sculptures and drawings, from 1975 to 1977. Kenny (1941-1999) first studied in his home city of Liverpool before moving to London to continue his studies at the Slade. Following a successful international career, he was appointed a Royal Academician in 1986, and in 1997, two years before his death, he had a solo exhibition at the Royal Academy. Several of the sculptures in this Serpentine exhibition derived from his earliest pre-occupation, the human figure. In the works displayed, Kenny took particular inspiration from the female figure, lying or sitting, occupying, and informing an intimate space. We can see the workings of the Artist and possible preparatory sketch for the included sculpture in the following images. Michael Kenny was a sculptor and a painter, a prolific draughtsman and a print-maker. His early sculptures are dramatic, dealing with the isolation and loneliness of the individual. In later years, he worked mainly in stone in a quest for a sculpture that is simple in form and rich in meaning. With over 60 illustrations and key excerpts from the sculptor's own notebooks, this book provides the first opportunity to examine in detail the progress of Michael Kenny's career. Peter Davies...

Grayson Perry’s *Scale* at the Victoria and Albert Museum (V&A) is a striking exploration of the intersection between art, society, and the aspirations of emerging artists. Perry, known for his provocative and thought-provoking works, utilizes the concept of a silk scarf as both a functional item and a metaphorical guide. This scarf serves not only as a visual piece but also as a social and cultural map, designed to assist aspiring artists in navigating the challenging landscape of the art world. The work reflects Perry’s unique ability to blend personal narrative with broader cultural commentary, encouraging dialogue about the challenges and triumphs faced by those striving for recognition in the arts. The text accompanying the silk scarf reveals its historical significance, referencing World War II when pilots were provided with silk maps for escape in enemy territory. Perry draws a parallel between this notion of survival and the struggles faced by contemporary artists. He emphasizes that the art world can often feel like a hostile environment, filled with obstacles that must be overcome. The scarf represents a navigational tool for these artists, offering guidance through a landscape populated by influential figures and established norms. By presenting the journeys of both renowned artists and the paths aspiring creators might take, Perry crafts a narrative that resonates deeply with anyone familiar with the pressures of artistic validation. Perry’s choice of silk as the medium further enhances the piece’s thematic richness. Silk, with its connotations of luxury and fragility, reflects the delicate balance that artists must maintain between their personal vision and the expectations of the establishment. The inclusion of notable artists who have paved the way for others along the route serves to inspire and motivate aspiring creators. By using this metaphorical scarf, Perry invites viewers to consider the complexities of artistic identity and the ongoing quest for acceptance, making *Scale* a powerful commentary on the nature of success and the shared experiences within the artistic community. The artwork details a fictional artist’s journey from birth to success, naming the artists, experiences and influences they encounter along the way. The text of this journey reads: Start here, Walt Disney, Play, Vincent Van Gogh, Rolf Harris, John Constable, Anish Kapoor, Louise Bourgeois, Inspirational Teacher, Rachel Whiteread, Picasso, Rene Magritte, Edward Hopper, Teenage Pupation, David Hockney, Jackson Pollock, Art School, Trainee Bohemians, Marcel Duchamp, Banksy, Beryl Cook, Jack Vettriano, Sex, Drugs & Rock & Roll, Francis Bacon, Bridget Riley, Gilbert & George, Art Dealer, Hirst, Money Celebrity Fashion Drugs, Networking, Carl Andre, Choices, Takahashi Murakami...

Henry Coombes, British b.1977- "Umbrella" 2005; mixed media, oil paint on found umbrella, 84cm long, (ARR) Provenance: Purchased from Sorcha Dallas Gallery, Glasgow by the previous owner. Henry wrote: “The Umbrella was in my studio in 2005, being rainy Glasgow, I used it, left it open to dry. I was painting a series of oil paintings you can find on my website, ( oil painting section) Glen Golly, Ponker, Lady offering Cock to Fox. I loved what was happening on the pallet more than what was happening on the canvas. So the end of every day I would scrape it off and smear it on the umbrella. I am somewhat superstitious I believe in the notion of bad luck, I was afraid the open umbrella would upset the painting gods. So the ritual of putting the paint on the umbrella was to change into something new that would appease the spirits of bad luck, and bring good fortune to the painting. Paint is a fluid process will ultimately can not control, and if we try to hard it becomes dull illustration. I teach art in prison I see painting holding together the lives of life prisoners. I have huge faith in its power and same time I am humbled by it every time I go into the studio”. Henry Coombes’ distinctive art practice has received wide recognition since his graduation from Glasgow School of Art in 2002. He has a multi-disciplinary practice working in painting, collage, drawing, sculpture and film. Earlier film works like ‘Laddy and the Lady’ and ‘The Bedfords’ explored ideas of class, hierarchy, hunting for sport and Victorian...