Monday, July 22, 2019 – 18:30 – 21:00Project IMage:
Image: Araya Rasdjarmrearnsook, The Treachery of the Moon, 2012, video, 12min 37sec. Courtesy the artist and Tyler Rollins Fine Art, New York
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With light, mist and rain, Danish-Icelandic artist Olafur Eliasson brings nature into the Tate Modern for a new London exhibition that appeals to visitors’ senses while, at points, disorientating them. About 40 works of art dating back over three decades are on display inside and outside the Thames-side gallery of contemporary art, including an extraordinary 11-metre high waterfall. Eliasson won acclaim here in 2003 when he filled the Tate’s vast Turbine Hall with a giant blazing sun for “The Weather Project”, an installation that drew more than two million visitors. In December, the 52-year-old left 24 blocks of glacier ice to melt outside to raise awareness of the impact of global warming. This latest exhibition, “In Real Life”, explores the Berlin-based artist’s favourite themes, including nature, geometry and the nature of perception.
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Amsterdam’s Rijksmuseum on Monday began the biggest ever restoration of Rembrandt’s “The Night Watch”, building a giant glass case around the famed painting so the world can see the work carried out live. In what has been compared to a military operation, experts at the museum in the Dutch capital will spend a year studying the 1642 masterpiece before embarking on a huge makeover that could take several years more. The multi-million-euro revamp of the tableau — the survivor of a difficult history including several acts of vandalism and a period in hiding from the Nazis — will also be livestreamed online. “More than two and a half million people come and see it each year. It belongs to everybody who lives in the Netherlands, and the world,” Rijksmuseum director Taco Dibbits told reporters. “And we felt that the public has the right to see what happens to that painting.” Experts hope the research could also shed more light on the mysteries of how the greatest artist of the Dutch Gold
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Like many artists, Michelle Holmes is inspired by her love of the natural world. Michelle’s stitched drawings onto cloth are informed by the freshness and open space of the British countryside around her, her travels to the British and European coast, and the night sky.
Michelle also loves to portray religious icons and unusual buildings, and she has a particular passion for simple, machine-embroidered line drawings of Lowry-like figures onto natural fibres. One of her figures – Betty – developed into a popular character. Michelle still stitches a Betty every week and her musings attract many followers on social media.
Michelle’s free machine embroidery and hand-stitching are sometimes embellished with applique and beading to accurately depict the highlights, tones and textures that she sees, and to enable her to explore her interest in surface qualities.
Michelle graduated in Embroidered Textiles from Loughborough University and since 1994 has worked as a full-time textile artist. She works from a studio at The Ferrers Centre for Arts and Crafts in Staunton Harold on the Leicestershire/Derbyshire border in the UK. She exhibits her work, makes wall-hangings and framed art to sell, and runs several workshops each year.
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The British painter Joseph Mallord William Turner (1775–1851) travelled through Switzerland in search of spectacular motifs. During his travels he visited Lucerne several times in order to study the unique local interplay of light and weather conditions, lake and mountains. The artist first visited Central Switzerland in the year 1802, when tens of thousands of British travellers availed themselves of the brief period of the Peace of Amiens to go on the continent. The impressions of the sea and Alps were of major importance for Turner: here the beauty and the threat of nature culminated to typify the major theme of the sublime, which was central to Romanticism. With the advent of Romanticism, the Alps were no longer just an impediment on the way to the South, but a destination in themselves. At the same time they became a theme in art. Turner filled several sketchbooks with impressions of the rugged mountains. The depictions of the Schöllenenschlucht and the Mer de Glace testify t
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