Due to the closure of exhibition spaces and the unpredictability of future loosening of social distancing rules The London Group has arranged a sequence of on-line exhibitions. This included both our Annual Exhibition for 2020 and a range of themed shows proposed and organised by individual members and open to all members. In each of these members were invited to show one piece.
I have participated both in the Annual on-line and in three of the themed on-line exhibitions to date – ‘Isolation’, ‘Wish You/We Were Here/There’, and ‘Colour’. All the Group’s on-line exhibitions, features and newsletter are still available at www.thelondongroup.com and further shows are planned for 2021.
Firstly in late January there will be an on-line taster – ‘In The Dark 3 Smorgasbord’ – for a hopefully post-lockdown actual show in The Cello Factory in the summer. The taster will take the form of a single video conceived and constructed by Nicola Schauerman of Genetic Moo; it will incorporate a variety of materials (visual and audio) submitted by members. Secondly, ‘In Plain Sight’, conceived by Judith Jones and Tim Craven, will open ‘live’ at the Thelma Hulbert Gallery in Honiton, hopefully, in late March.
The London Group ‘s Annual Exhibition in 2019 is an open exhibition at the Cello Factory (Cornwall Road, SE1). It is in two parts. My contribution – ‘Wry sun with weeping willows’ (oil on canvas, 61x51cm) – is in Part One between November 20 – 29; the show is open daily between 2.00 – 6.00pm. Part Two runs from 4 – 13 December.
I participated in The London Group’s recent exhibition, ‘Drawing Distinctions’, at The Cello Factory (3 – 12 April, 2019). It was a collaborative two-site show curated by Clive Burton that included work by both our members and the Art Faculty at the University of Wisconsin (Stout Menomonie). Size restricted, the contributions could be in any medium but had to be on paper and tube–packable for ease of transatlantic exchange! As a belated participant in the project my woodcut, ‘the flag’ (20cm x 19cm), was shown only in London. However, I was able, through Clive’s generous agreement, to make copies of my 2015 text – ‘TO DRAW: Drawing Draws Draward’ – available to participants and visitors. This had been published in ‘drawing ambiguity’, a collection of papers by artists edited by Phil Sawdon and Russell Marshall (I.B. Tauris, London, 2015). A version of the paper (typographically amended here) that was accepted for publication is attached below ‘the flag’.
My contribution to The London Group’s Annual Exhibition (December 2018) was: ‘Kissing Clouds Passing Trees’ (oil on canvas, 51cm x 60cm).
The current editors of The London Group’s Newsletter, Nicola Schauerman and Tim Pickup (a.k.a. ‘Genetic Moo’), have introduced an online ‘Gallery’ for members into the Newsletter. My text-and-image piece, ‘A Timetable Aslant : School Leavers’ Last Day’, inaugurated the ‘Gallery’ in the 2018 Autumn edition! It can be accessed at:
Thanks to Jake Moulson and Heather Phillipson I have a short video (7’ 13”) of my contribution to The London Group’s open-air exhibition at Shoreham (June, 2017). I was very fortunate to be able to place my ‘objects’ in Janet and Geoff Heuston’s delightful riverside garden. The video, ‘Michael Phillipson – objects – with The London Group at Shoreham, 2017’, is on Vimeo and can be accessed via my member’s page at the following link:
The London Group negotiated an exhibition-exchange with the Penwith Society of Artists of St. Ives. Penwith members exhibited a wide range of work at the Cello Factory in March, 2018 and 76 members of The London Group are exhibiting in the Penwith Gallery during September, 2018. My contribution is ‘some time later’ (mixed media on paper, 95x76cm). A companion exhibition, ‘ The London Group – the St. Ives Connection’ (including work by earlier members of The London Group, such as Barbara Hepworth – a founder member of the Penwith Society – and Terry Frost) runs concurrently.
The Waterloo Festival 2018 at St. John’s Church
June 6th – June 24th
The London Group was invited to exhibit at the Linden Hall Gallery in Deal. We responded with a show open to all members. Size restrictions operated in order to accommodate the large number of members’ submissions. My contribution was a small oil painting on canvas mounted on board entitled ‘away-from-here’…
The current issue (Volume 4 Number 1) of the Journal of Contemporary Painting focuses on the relation between painting and time. The contributors, themselves mainly painters, explore a wide range of interesting questions about the ways they engage time in their diverse approaches to painting.
Shortly before he died John Berger gave permission for the journal to re-publish his provocative 1979 article ‘Painting and time’ as the issue’s ‘Archival text’. I was invited by the painter Beth Harland, an Associate Editor for the Journal, to offer a response to Berger’s piece. In the issue my text, ‘Painting untimely’, follows Berger’s re-printed article. The journal is published by ‘intellect books’ (www.intellectbooks.com).
Here is the ‘contents’ page for the issue: