Sidney Lumet’s “Network” airs on TCM. And it’s a night of Bourne and Bond.
Bonhams annual Spring Stafford Sale will once again be a marathon two-day affair, held at the International Classic MotorCycle Show in Stafford on 27 and 28 April. The sale, as expected from a Bonhams auction, offers a staggering variety of machinery, hard-to-find spares and important memorabilia – more than 600 lots are presently consigned. There is a particularly strong entry of V-Twin machines, with examples from Brough Superior, Zenith and Coventry-Eagle. The 1924 Brough Superior 980cc SS80 (£90,000-130,000) to be offered was delivered new to Germany, and retains matching numbers, despite being nearly a century old. An early example fitted with JAP’s four-cam 980cc, it was registered in the UK after just a year in Germany and received upgrades such as an SS100 gearbox. Another important Brough Superior to be offered
This magnificent car was previously owned by former RAF pilot Charles Blackman who took part in the raid to bomb Hitler’s mountain-top retreat in the Bavarian Alps in April 1945 sold today 20th March at Duxford Imperial War Museum with H&H Classics for £454,250. Mr Blackham served in the RAF 550 Squadron and took part in the raid to bomb Hitler's famous mountain-top retreat in the Bavarian Alps in April 1945. Later that month he made emergency food drops on the German/Dutch border where people were facing famine. Charles Blackham drove the classic convertible for 36 years before his age forced him to take it off road. The car then spent the last 30 years locked up at his home in Stockport, Greater Manchester, but was unearthed after his death in January aged 96. One of just six ever made by Bentley, the 4.5-litre classic is now
For the theatrical exhibition The Floor is Lava, artist duo Sander Breure and Witte van Hulzen populated Marres with sculptures and molded portraits of people in everyday environments. Made from different materials, clay, cloth, wood, the figures have expressive faces, but are otherwise sketchily composed with stick legs, half torso’s and loosely hanging pieces of cloth. The faces seem mask-like, unrelated to the bodies that support them. They lean against a wall, sit on makeshift chairs, queue at a ticket office, or wait on a platform for a train to arrive at the station. They are actors in search of a play, as much as they are compositions of identity, that fictional moment of stasis in a world that is constantly on the move. The premise here is that people always play a role, different in every situation, with specific character traits and body language.
It was in November 1962 when a Japanese photographer Y. Kawashima set foot in the Trucial States, today’s United Arab Emirates. Along with his fellow journalist, he was on a mission to report on the wider Middle East for the Sankei Shimbun Newspaper, as Japan’s interest in the region had been fuelled by the arrival of first shipment of oil from Khafji on Saudi/Kuwait border in the previous year. Having landed in Sharjah’s RAF airfield, the pair of journalists made their way to Dubai on a Land Rover taxi to stay in Airlines Hotel near the Creek, the first and only lodging there. Though Dubai then was a poor small settlement before the dawn of the modernisation era (the discovery of oil did not take place until 1966), it appeared to be a surprisingly lively place with trading and commercial activities. Kawashima who was enchanted by its energy, hustle and
A solo exhibition by Marc Quinn entitled Marc Quinn: History & Chaos premiered at The Goss-Michael Foundation on Monday, March 18 and run through Friday, May 24. The Foundation was established in 2007 by the late music icon George Michael and his then partner, Kenny Goss. The Goss-Michael Foundation exhibition is presenting a curated selection of Marc Quinn’s newest work. Art in the show is for sale with a portion of the sales going to the educational programming at the Foundation. “It’s a presentation of the History Paintings; plus, my recent Chaos Paintings – which are an evolution of the History Paintings. I guess they’re about how the news cycle is populating our minds. About how we see these things happening all over the world, and how we live with them as this kind of virtual reality of news becomes our reality. And
The resurgence of right-wing extremism in Europe and other parts of the world as well as the ensuing dangers, such as the aggravation of xenophobic policies including a more or less furtive racism, stand at the focus of the exhibition „GLOBAL NATIONAL“. Thirteen artists from eight different nations examine the causes, manifestations and effects of these disastrous developments in this project conceived by Raimar Stange. The exhibition "GLOBAL NATIONAL" wants to take a stand in this democracy-threatening context, for a truly open and multicultural society, it aims to warn against the current shift to the right, it wants to raise awareness for racist thinking and analyze causes of right-wing populism aesthetically. The striking text work We Have a Situation Here by Oliver Ressler shows dead black-clad men lying on the ground in a pile.
The Queen’s House, Greenwich presents a new set of works by artist, Susan Derges. The newly commissioned photographic works, titled Mortal Moon, are a creative response to the Armada Portrait of Elizabeth I and have been inspired by the fragile vessels travelling the oceans at the mercy of heavenly and earthly forces. The works are being displayed in the Queen’s Presence Chamber, alongside the iconic portrait of the Virgin Queen. Having trained as a painter, Susan Derges is perhaps best known for her pioneering method of capturing the continuous movement of water by immersing photographic paper directly into rivers or shorelines. For the Queen’s House, she has created four new photographic works, using both analogue and digital techniques, unpacking the Armada Portrait’s symbolism, with a particular focus on the Moon.
Childhood mementos—some cheery, others a bit creepy—are endemic in Pierre Ardouvin’s oeuvre. For his first solo show in Los Angeles, the French artist presents a selection of new and recent works in which youthful delights like toys, costume jewelry, carnival rides, playground equipment, and family vacations factor prominently. Featuring watercolors of stuffed animals, plastic figurine assemblages, and spectacular room-filling installations—notably the show’s title work, Ohlala, 2013, which evokes the pride and trauma of losing a tooth—this exhibition is an ode to a more innocent time. Among the most recent works on view, Ardouvin’s “Phrase” paintings (2018-19) are sensitive watercolor renderings of well-loved (but inevitably discarded) playthings. Like the famous sled in Orson Wells’ Citizen Kane, each fuzzy animal, miniature car, and limp