- 27 November 2019
- 6:00 – 8:00 pm
- All are welcome! However, places are limited, so please do book a free ticket.
- Paul Mellon Centre
This seminar focuses on an extraordinary pair of pictures painted by the prominent English artist Michael Andrews in the early 1960s, in which he juxtaposes a mass of visual elements taken from various photographic sources. Deer Park (1962) and All Night Long (1963–4) offer fascinating examples of what we might call painted collage. They also see Andrews testing out the possibilities of a new kind of painting of modern life, in which the forms of pictorial fragmentation and overlap associated with collage are brought to bear on the myths and imagery of contemporary journalism, literature and film.
Michael Andrews, All Night Long, 1963–4, Oil on board (three panels).
Digital image courtesy of NGV/ Courtesy of James Hyman Gallery, London.
About the speaker
The Director of Studies oversees all aspects of the Centre's activities, ensuring that it supports the most original, rigorous and stimulating research into the history of British art and architecture, and fosters collaboration with our sister-institution, the Yale Center for British Art.
Prior to taking up his position at the Centre in 2012, Mark worked in the History of Art department at the University of York. Appointed as lecturer in 1994, he became a Professor in 2006 and was Head of Department between 2007 and 2012.
His scholarly research has focused on British art from the seventeenth century onwards. The books he has written and edited include The Spectacle of Difference: Graphic Satire in the Age of Hogarth (Yale University Press, 1999); Hogarth (Phaidon Press, 2000); Eighteenth Century York: Culture, Space and Society (edited with Jane Rendall, Borthwick Institute, 2003); Faces in a Library: Sir Joshua Reynolds's 'Streatham Worthies' (The Watson Gordon Lecture 2011, National Galleries of Scotland, 2012); Living with the Royal Academy: Artistic ideals and Experiences in England, 1769–1848 (edited with Sarah Monks and John Barrell Ashgate, 2013); Reynolds: Portraiture in Action (Yale University Press, 2014); and Court, Country, City: British Art and Architecture, 1660–1735 (edited with Nigel Llewellyn and Martin Myrone, Yale University Press, 2016). He also co-edited the major online publication, The Royal Academy Summer Exhibition: A Chronicle, 1769–2018 (Paul Mellon Centre, 2018).
Mark has also been involved in curating numerous exhibitions. He co-curated the 2007 Tate Britain exhibition Hogarth and co-authored the accompanying catalogue with Christine Riding; he co-curated the 2011 York Art Gallery exhibition William Etty: Art and Controversy and co-edited the accompanying catalogue with Sarah Burnage and Laura Turner; he co-curated the 2015 Wallace Collection exhibition Joshua Reynolds: Experiments in Paint and co-edited the accompanying catalogue with Lucy Davis. With his PMC colleague Sarah Victoria Turner, he curated the 2018 Royal Academy exhibition, The Great Spectacle: The Royal Academy and its Summer Exhibitions 1769–2018, and co-authored the accompanying catalogue. He curated George Shaw: A Corner of a Foreign Field, which opened at the Yale Center for British Art in October 2018, before travelling to the Holburne Museum, Bath, in February 2019. With Zuzana Flaskova and Rosie Ram, he recently co-curated the Tate Britain Spotlight Display Vital Fragments: Nigel Henderson and the Art of Collage, for which he also co-wrote a series of short films on Henderson’s collage-work Screen. He is currently carrying out research for an exhibition on John Constable and J.M.W Turner, and developing a book project on painted collage in the 1960s.
Mark has been the recipient of a Leverhulme Research Fellowship and a Mellon Senior Fellowship. He has been a Visiting Scholar at Pembroke College, Cambridge (2013–14) and a Visiting Professor at the Courtauld Institute of Art (2014–16).