Trained at Harrow College of Art and the Royal Academy Schools in the 1950s, Paul Huxley (b1938) grew up immersed in American culture and art. The US was then still an expensive destination, to which few people travelled, and Huxley smiles as he remembers how unreal it all felt. Then, in 1964, he won a Stuyvesant travel award and found himself in New York, with the then curator of the Whitechapel Gallery, Bryan Robertson, who introduced him to the likes of Robert Motherwell and Lee Krasner.
Returning for two further years on a Harkness fellowship, Huxley was able to realise his ambitions of working on a large scale, creating abstract paintings and developing his vocabulary of shapes and gestures. After Huxley was included in the Pittsburgh International Exhibition of Contemporary Painting and Sculpture in 1967 and a Museum of Modern Art travelling exhibition in 1968, the Kornblee Gallery in New York mounted two solo exhibitions of his work in 1967 and 1970. Since then, he has been based in London, and his forthcoming exhibition at David Richard Gallery, Santa Fé, New Mexico, will be his first stateside solo show in nearly 40 years.
Paul Huxley: Recent Paintings After Venice Biennale
David Richard Gallery, Santa Fé, New Mexico
12 January – 20 February 2016
Interview by ANNA McNAY
Filmed by MARTIN KENNEDY
Click on the pictures below to enlarge
In October 2008 I visited Jörg Schmeisser in his studio in Canberra, Australia. He had just returned from six years in Kyoto. Jörg was my etching teacher 25 years ago when we both taught at the Canberra School of Art.
Sculpture studios are particularly fascinating places: factory-like yet traditional in terms of materials and processes, having more in common with a historic ateliers such as those of Rodin or Brancusi, from which marvellous photographs exist, with assistants and large spaces, than an average modern-day studio.
Robert Motherwell: Works on Paper
Throughout his career, Robert Motherwell (1915
Face to Face - The Daros Collections
'Face to Face' presents the two facets, or faces, of the Daros Collections, finding similarities between works by artists from the USA and Europe and works by Latin American artists. Some of the parallels suggested by the exhibition make direct associations between one work and another. On a broader scale, when both collections are gathered together, links between them surface, providing a unique perspective on the major international art trends over a significant period of time.
Sharon Booma's Odes and Intimations of Immortality
The seductive allure of Sharon Booma's paintings defies description. Viewing one of the artist's oil and mixed media inventions, one feels an attraction to surface beauty, the pull of colour and texture, and then the plunge into deeper mystery. Booma's keen sense of balance finds harmony in disarray and between dissimilar elements and unusual juxtapositions.