Museum Visit - Notes On Different Works

These are some of the details on the various works of art we looked at on our trip to the Plymouth museum.

The Year List (Bassaleg Viaduct, River Ebbw, Redstart) - 2012
David Whittaker
Oil and acrylic on canvas
Millenium, St. Ives

Summer - C. 1527 - 1593
Guiceppe Arcimboldo
Oil on canvas

Head of a Man - 1938
LS Lowry
Oil on canvas

(John) Peter Warren Cochrane - 1962
Howard Hodgkin
Oil on canvas

Escaping From His Thoughts - 1936
Roland Penrose
Oil on wood panel

Untitled - C.1950
Scottie Wilson
Pen and ink on paper

Frame Tent - 1968
Beryl Clark
Relief with oil on canvas

Manganese White - 1967
Alexander Mackenzie
Oil and ink on board

Dogman - 1972
John Davies

Many different contexts in art:
British, abstract, broken context in abstract collection
St Ives, lots of artists colonised there because of the light and cost of living, it became a popular spot in the 1950's but soon became passe by the 1960's ('situation' exhibit). Surface depth was a key difference in St Ives.

Monica Kindley - Curator of the Faces exhibit - 83 years old.
Monica was born in Vienna, into a good family but at the time of Fascist Germany. Her family died in concentration camps and she was sent away in the Kinders scheme, escaping the war to England. She grew up in a convent where she originally considered becoming a nun, before going to Hull university to become a painter, but unfortunately wasn't quite skilled enough. Monica would go on to apply for a job at the Tate gallery to become a curator due to her interest in art, but instead started working in the postcard shop there, which lasted for 15 years. During this time she made many connections in the art world, turning to a career in art dealing in the 1960's. She was originally married to Peter Kindlay, but they got divorced and she married Victor Musgrave, who ran Gallery 1.
When curating the Faces exhibit she had specific ideas on what she wanted to be included, mainly focusing on outsider art. This is work from people that weren't artists necessarily, but people who were more separated from art history and not so interested in being listed alongside artists. Many of these are also institutionalised. These people are outside from social norms, and outside of the traditional art world.