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1000 tulosta hakusanalla Helen Docherty
This welcome catalogue accompanies The Courtauld's display of the work of Helen Saunders (1885–1963), the first monographic exhibition devoted to the artist in over 25 years. After years of obscurity, Helen Saunders: Modernist Rebel reconsiders her work as an important part of the story of British modernism. One of the first British artists to pursue abstraction, Saunders was one of only two women to join the Vorticists, the radical but short-lived art movement that emerged in London on the eve of the First World War. Her extraordinary drawings capture both the dynamism of modern urban life and the horrors of mechanised warfare. Following the war, she turned her back on Vorticism and pursued her own path, working in a more figurative style. Due in part to the loss of a significant portion of her oeuvre, including all of her Vorticist oil paintings, this remarkable artist fell into obscurity. Only in recent years has her work begun to be rediscovered and celebrated as an important piece of the story of British modernism. A group of 20 drawings gifted in 2016 by her relative, the artist and writer, Brigid Peppin, has transformed The Courtauld into the largest public collection of Saunders's work in the world. These drawings trace Saunders's artistic development in the orbit of Roger Fry and the Bloomsbury Group, keenly attuned to contemporary art in France, to the ground-breaking abstraction of Vorticism. Following the disruption of the First World War and the disbanding of the Vorticists, Saunders turned again to figuration, developing her own approach to landscape, portraiture and still life which she would pursue alone for the rest of her career, exhibiting sporadically and never again joining a group of artists. This interest is revealed here in a group of landscapes created in L'Estaque in the south of France in the 1920s, which show the artist responding both to her surroundings as well as to predecessors such as Paul Cézanne and Georges Braque who had previously worked in the area. Featuring essays by Brigid Peppin and Jo Cottrell on Saunders's artistic education and career and on her relationship to the places of Vorticism in London, and catalogue entries by Rachel Sloan, this volume sheds light on an artist who steadily pursued her own path and whose contribution to the story of modern art is being newly appreciated.
“The Greeks never said that the limit could not he overstepped. They said it existed and that whoever dared to exceed it was mercilessly struck down. Nothing in present history can contradict them.”Written in the aftermath of the Second World War, Albert Camus’s essay is a searching inquiry into the origins of the hubris and fanaticism that laid waste to twentieth-century Europe. At once a celebration of the classical virtues of balance and serenity and a warning to Camus’s contemporaries, Helen’s Exile is a profound analysis of the nature of modernity.
Helen Gordon (in Colour)
Linellen Press
2022
pokkari
Helen Gordon (B&W)
Linellen Press
2022
pokkari
Helen Vardon's Confession: A Dr. John Thorndyke Story
R. Austin Freeman
Resurrected Press
2011
nidottu
Helen or My Hunger is a looping, serial sequence that explores the relationship between memory, language, the body, and power. In dialogue with H.D.'s 1961 epic Helen in Egypt, these poems address the eidolon of Helen of Troy: the "echo of an echo." They question notions of beauty and the body by communicating with this absence, sustaining this unsustainable dialogue. Ghost? Icon? Mother? Friend? These poems address the ruptures of trauma, violence, with mythology and lineage, with the inevitable failings of gender and the body.The core of Helen or My Hunger contains, and at the same time rejects-tries to distract itself from-the material of the writer's life and body. These poems reckon with hunger, desire, and shame, and with the violence of language and representation (body as icon, as seat of trauma). Helen or My Hunger asks: how can we live in a world where both private and public pain resist language? How can we mark differences, but also make visible the samenesses? What violence do we sanction through language, through narrative, through form? In a sequence that resists its own formation, Helen or My Hunger wonders how to live in a world that seeks to reduce, to wound, what it cannot contain.
A gorgeous book object engaging New Orleans’ multilayered histories of race, art and politics, from the acclaimed Turner Prize winner Convening polyphonous voices from past and present, I Will Keep My Soul is an orchestral layering of photography, historical documents, poetry and interviews, rooted in the history, geography and community of New Orleans. In this tactile artist's book, UK-based artist Helen Cammock (born 1970) traverses the city, rendering her observations and encounters into texts and images that reveal its invisible histories. These sequences are woven with correspondence and photographs from the Amistad Research Center that evince artist Elizabeth Catlett's struggle for agency and support during her 1976 commission to create a bronze monument to Louis Armstrong in Congo Square—a place laden with histories of both oppression and celebration. Cammock interlaces more archival materials—newspaper clippings, instructions for activists, a 19th-century book on Creole slave songs—to articulate the long struggle for civil rights. I Will Keep My Soul is a uniquely American story of art and activism, culture and capital, being and belonging.
"A sexy, gay ghost story that can be read in one delicious sitting." -NBC NewsRight before meeting her girlfriend Amber's parents for the first time, the unnamed narrator of Helen House learns that she and her partner share a similar trauma: both of their sisters are dead. As the narrator wonders what else Amber has been hiding, she struggles with her own secret--using sex as a coping mechanism--as well as confusion and guilt over whether she really cares about Amber, or if she's only using her for sex. When they arrive at the parents' rural upstate home, a quaint but awkward first meeting unravels into a nightmare in which the narrator finds herself stranded in a family's decades-long mourning ritual. At turns terrifying and erotic, Helen House is a queer ghost story about trauma and grief.