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Kettles Yard

Kettles Yard

Kettle’s Yard is the University of Cambridge’s modern and contemporary art gallery and functions as a unique place for art, music, learning and research of the highest quality. The creation and opening of Kettle's Yard in 1957, the home of Jim and Helen Ede, grew out of a deeply held belief that art was too important to be the privilege of the few.

Kettle’s Yard house and gallery are currently closed while we carry out a major building project to create a four-floor Education wing, improved exhibition galleries, a new entrance area and a café. While we are closed there are off site displays, events and concerts happening in Cambridge and further afield, to find out more visit http://www.kettlesyard.co.uk/

Friends of Kettle's Yard

Friends

Student/Job Seeker Membership

£10.00

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Friends of Kettle's Yard - Annual Membership
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Friends

Single Membership

£20.00

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Friends of Kettle's Yard - Annual Membership
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Friends

Donation

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Friends of Kettle's Yard Donation
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Friends

Gift Membership

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Friends of Kettle's Yard - Gift Annual Membership
Single - £20;
Joint - £33;
Life - £350;
Joint Life - £500

Please enter the amount for the type of membership you require.
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Friends

Joint Membership

£33.00

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Friends of Kettle's Yard - Annual Membership
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Friends

Joint Life Membership

£500.00

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Friends of Kettle's Yard - Annual Membership
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Friends

Life Membership

£350.00

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Friends of Kettle's Yard - Annual Membership
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Friends

Patron Annual Membership

£120.00

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Friends of Kettle's Yard - Annual Membership
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Kettle's Yard Exhibition Catalogues

Winifred Nicholson, Music of Colour

Winifred Nicholson, Music of Colour

£12.00

Description

Winifred Nicholson (1893-1981) is one of the most important and best loved artists in the Kettle’s Yard collection. Nicholson met Kettle’s Yard’s founder Jim Ede in 1924, and they kept in regular contact over the following decades. Ede credited Winifred Nicholson directly for “[teaching] me much about the fusing of art and daily living” and at Kettle’s Yard he built the largest public collection of her work.

This book published in 2012 brings together some of Nicholson’s most eloquent essays with extracts from previously unpublished letters between the artist and Ede, and the words of their mutual friends, the poet Kathleen Raine and collector Helen Sutherland. This book is richly illustrated and includes reproductions of all works in the collection, a biography and bibliography.

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Bridget Riley

Bridget Riley: Colour, stripes, planes and curves

£14.95

Description

For fifty years Bridget Riley has been one of the world’s leading abstract painters. For most of that time colour and our perception of its fleeting nature have been at the heart of her work. The 2011 exhibition organised uniquely for Kettle’s Yard looked at paintings and studies from the last thirty years to trace her progress through the agency of stripes, planes, and curves and back to stripes.

The illustrated catalogue to accompany the exhibition in 2011 contains a conversation between Bridget Riley and Michael Harrison, published jointly with Ridinghouse.

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Immaterial: Brancusi, Gabo, Moholy - Nagy

Immaterial: Brancusi, Gabo, Moholy - Nagy

£6.50

Description

The dematerialisation of the solid world has been a pre-occupation of Western artists from Impressionism, through Cubism to the present day. This publication explores the aspiration of three modernists of Eastern European origins, Constantin Brancusi, Naum Gabo and László Moholy-Nagy to “dematerialise” the sculptural object.

The catalogue to accompany the 2004 exhibition contains essays from Sebastiano Barassi, Christina Lodder, Martin Hammer and Geraldine Johnson.
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IHF Catalogue

Beauty and Revolution. The Poetry and Art of Ian Hamilton Finlay

£10.00

Description

The Scottish poet and artist Ian Hamilton Finlay (1925-2006) first met and began to correspond with Jim Ede, the founder of Kettle’s Yard, in the autumn of 1964. In the same year, a group of Cambridge students began to exhibit, publish and write about his work. Among the students was Stephen Bann, who went on to become an expert on the artist and subsequently built up an extensive collection of Finlay’s works.

Published to accompany the exhibition at Kettle's Yard in December 2014- March 2015, the publication traces Ian Hamilton Finlay’s artistic development from the poems that made him Britain’s most internationally acclaimed concrete poet, to the images and texts that marked his engagement with the French Revolution.

It's title, Beauty and Revolution, exposes one of the many dualisms within Finlay's practice and includes a new essay for this publication from Professor Stephen Bann, which draws upon the Kettle's Yard archives to explore the dialogues between Finlay and Ede in the 1960s, and sheds new light upon the complex relationship that existed between their aesthetic tastes.

Published in 2014. Paperback, Pages 64, Illustrations: 28 colour, 9 b&w
Dimensions 210x10mm Weight 215g
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New Rhythms

NEW RHYTHMS - Henri Gaudier-Brzeska

£14.00

Description

Henri Gaudier-Brzeska (1891-1915) was a pioneer of modern sculpture. Born in France, but working in London from 1911 to 1914, Gaudier’s precocious talent was cut short by his death at the age of twenty-three in the First World War. Published to accompany the New Rhythms exhibition in March- June 2015 and to mark 100 years since Gaudier’s death, NEW RHYTHMS explores how his interests in dance, rhythm and movement (including wrestling) decisively influenced his sculpture. Alongside his contemporaries, Gaudier’s ambition was to make art for a new age.

With over 80 illustrations and an introduction from Dr Jennifer Powell (Kettle’s Yard) and essays by Dr Doïna Lemny (Pompidou Centre, Paris), Dr Sarah Victoria Turner (Paul Mellon Centre) and Dr Evelyn Silber, this publication showcases how Gaudier’s works can inspire NEW RHYTHMS today.

Published in 2015. Paperback, Pages 126, Illustrations: 81 colour, 8 b&w
Dimensions 240x190mm Weight: 445g
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Kettle's Yard Prints

Ben Nicholson Cornish Port Print

Ben Nicholson Cornish Port Print

Description

Reproduction print of Ben Nicholson’s Cornish Port, c.1930

Paper size: 475 x 340mm
Image size: 360 x 218mm

Ben Nicholson was the son of the painter William Nicholson. After marrying Winifred Roberts, during the 1920s he travelled widely and lived with her between Cumberland, London, Paris and Switzerland. Following a period experimenting with a post-Cézanne manner, Nicholson developed a consciously 'primitive' landscape style in 1927, further encouraged by his encounter with the art of Alfred Wallis. Between 1931 and 1939 he lived in London in close proximity to many artists and critics such as Moore, Piper, Martin, Ede and Herbert Read. He met Arp, Brancusi, and later Mondrian, Gabo and Jean Hélion. The influence of these artists led him to develop a highly abstract style of the late 1930s, for which he is most famous. In 1931 he met Barbara Hepworth, who would become his second wife. He returned to St. Ives during the war with Hepworth, Gabo and Stokes and established an international reputation in the 1950s and 60s.

All prints are delivered rolled in a cardboard postal tube.

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Christopher Wood Flowers Print

Christopher Wood Flowers Print

Description

Reproduction print of Christopher Wood’s ‘Flowers’, 1930

Paper size: 465 x 415mm
Image size: 340 x 289mm

“Flowers give me more pleasure than anything and still life is the thing I like painting the best. I feel so much for still life, although perhaps it’s the thing that appeals least to the public.”
Christopher Wood, letter to his mother, 20 October 1923

Wood was born in Liverpool. Through extended visits to Paris between 1921 and 1924 he came into contact with the European avant-garde, meeting Picasso and Jean Cocteau in 1923. In Britain he became close friends with Ben and Winifred Nicholson, painting with them in Cumberland in 1928.

All prints are delivered rolled in a cardboard postal tube.

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Henri Gaudier-Brzeska Stag Print

Henri Gaudier-Brzeska Stag Print

Description

Reproduction print of Henri Gaudier-Brzeska’s ‘Stag’, 1913

Paper size: 360 x 240mm
Image size: 330 x 204mm

Henri Gaudier was born in St. Jean de Braye, near Orleans, in France. He first came to Britain in 1908. This drawing was almost certainly made during a trip to Arundel, West Sussex, in September 1913. Gaudier had met Ezra Pound in London two months earlier. The efficiency and speed with which the stag is outlined suggest that at this time Gaudier was already responding to Pound’s interest in Oriental calligraphy. The use of essential and quickly drawn lines and Chinese inks remained cornerstones of Gaudier’s art for the remainder of his career.

All prints are delivered rolled in a cardboard postal tube.

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Henri Gaudier-Brzeska Two Men Wrestling Print

Henri Gaudier-Brzeska Two Men Wrestling Print

Description

Reproduction print of Henri Gaudier-Brzeska’s ‘Two Men Wrestling’, circa. 1913

Paper size: 350 x 490mm
Image size: 350 x 490mm

Henri Gaudier was born in St. Jean de Braye, near Orleans, in France. He first came to Britain in 1908. He met Sophie Brzeska while working as a student in the evenings at Ste. Genevieve Library in Paris in 1910. In the same year he left France under a cloud of social hostility and settled in England adding the name Brzeska to his own soon after. He worked in isolation until he met Middleton Murray in 1912, whereafter he built up a circle of artists and intellectuals which included Ezra Pound, Wyndham Lewis and T. E. Hulme. He became involved in Pound's and Lewis' Vorticist group, contributing to the two issues of their magazine Blast. Gaudier was killed in action during the First World War in Belgium.

All prints are delivered rolled in a cardboard postal tube.

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Cyclamen_and_Primula

Winifred Nicholson Cyclamen and Primula Print - SHIPPED TO UK ONLY

£25.00

Description

Reproduction print of Winifred Nicholson’s ‘Cyclamen and Primula’, 1923 (circa)

Paper size: 680 x 680mm
Image size: 554 x 509mm


Please note this print is not available for international delivery.
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Kettle's Yard Products

Dog - Henri Gaudier-Brzeska

Dog - Henri Gaudier-Brzeska

Description

Henri Gaudier-Brzeska (1891-1915) was one of the leading figures of European avant-garde sculpture. Gaudier played an important role in the development of modern sculpture in Britain, working alongside Ezra Pound, Jacob Epstein, Roger Fry, Wyndham Lewis and others. Like many artists of his generation, his career was tragically cut short by the war. Having volunteered for the French army in the summer of 1914, he was killed in action the following year, at the age of just twenty-three.

Gaudier’s marble “Dog” dates to mid-1914 and was one of his last works. Gaudier compresses the mass of the animal into two main areas of form, the head and the body, in a manner which relates closely to his other works. After the original was damaged in 1961, Jim Ede commissioned twelve bronze casts from the Fiorini & Carney Foundry in London.

“It might be thought simple to make a sculpture like “Dog” by H. Gaudier-Brzeska, but so far as I know no one had done so in the whole world of sculpture, nor is it like any other sculptor’s work. It is essentially sculpture and at the same time is deeply realistic. I have known a child take it to bed instead of his “Teddy Bear’. (Jim Ede 1984 A Way of Life).

“Dog” is made of British Gypsum Plaster and painted brown.

For more information on Dog click here.

To see more information on Henri Gaudier-Brzeska from the Kettle’s Yard database click here

Dimensions: (L)190 x (H)90 x (W)55 mm

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Duck - Henri Gaudier-Brzeska

Duck - Henri Gaudier-Brzeska

Description

“Duck” (1914) is an example of the small-scale informal carvings that Gaudier made when he was short of materials. Financial circumstances would often leave him without stone to carve. Then he would rely on off-cuts from Aristide Fabrucci (the Italian sculptor who had a studio next to his on the Fulham Road), or on gifts, or on theft from local mason’s yards. The small scale and simple rendition of the Duck’s body suggest that it may have been fashioned from such an off-cut.

Gaudier’s practice of making hand-held sculptures for his friends may have resulted from these restrictions. Duck displays Gaudier’s affection for animals, but like similar pieces by the sculptor its shape and angularity suggest that it might have been conceived almost as a “pocket weapon”. The body of the bird is geometrically simplified, with a triangle emphasising the shape of the tail and an incised circle describing the eye.

Jim Ede acquired the original green marble Duck in 1927. In the mid-1960s he commissioned twelve bronze casts from the Fiorini & Carney Foundry in London. Only one of them remains at Kettle’s Yard; it has been used by Alistair Burgass to make new moulds for the production of these crystacal casts.

For more information on Duck click here.

To see more information on Henri Gaudier-Brzeska from the Kettle’s Yard database click here.

Actual size replica

Dimensions: 120mm x 65mm x 40mm

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Kettle's Yard Publications

A Way of Life

A Way of Life

£49.95

Description

Originally published in 1984. This edition re-printed in 2013, contains the introduction by former director of the Tate Sir Alan Bowness first included in the 1996 edition. “A profoundly original concept-unlike any public museum anywhere-it remains a touchstone”. Sir Alan Bowness

A Way of Life has been put together as lovingly as Kettle’s Yard itself. It takes the form of a guided tour; you enter the door and go round the house, taking in the rooms one by one, seeing the light play on glass, china, wood, stone and canvas, and seeing how the art and the living-space bring each other alive. A series of very remarkable photographs catches the spirit that Jim Ede was trying to evoke, and the text comments on them.
The visit is interwoven with Jim Ede’s account of earlier attempts to create the same wholeness in earlier houses in London and France. He has also placed in the spaces and intervals of the book his choice of poetic texts; an anthology which indicates the spirit in which he has worked.

Three influences animate this unique book: the sense of the way of life that Jim Ede created at Kettle’s Yard, the spirit of the house itself, and the gentle but persistently creative spirit of the man who put it all together and then put together this book as the record of his creation in his own words.

Published in 2013. Hardback, Pages 256, Illustrations: 232 b&w
Dimensions 295 x 350mm Weight 2.34kg
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Alfred Wallis

Alfred Wallis Ships and Boats

£12.00

Description

Alfred Wallis (1855-1942) is one of the most original and inspiring British artists of the 20th Century. Promoted by the artist Ben Nicholson amongst others, Wallis’s paintings influenced the development of British art between the wars. The directness of Wallis’ vision reflected a lifetime of living by and from the sea. His paintings are of what he knew, remembered and imagined. Yet they are also timeless stories about survival and the nature of our relationship with the world. As Jim Ede commented “Wallis is never local.”

With over 70 illustrations, excerpts from letters and texts by Michael Bird, Ben Nicholson and Jim Ede, this book takes a fresh look at this extraordinary artist and his relationship to Kettle's Yard. It includes some of Wallis's best works from the Kettle’s Yard collection including many that are not normally on display, from ambitious paintings such as Saltash to what Wallis knew and loved best: ships and boats.

Published in 2013. Paperback, Pages 104, Illustrations: 70 colour, 4 b&w
Dimensions: 210x170mm Weight: 345g
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Christopher Wood

Christopher Wood

£12.00

Description

Christopher Wood (‘Kit’ as he was more commonly known) was born in Liverpool. At 14 he was diagnosed with septicaemia and confined to his bed for three years, during this time he took up drawing. Wood moved to London and worked as an importer of dried fruit, his route to and from work took him through a West End that was still steeped in the bohemian atmosphere of the pre-war years. He was inspired by the comings and goings of this exuberant life and would sit sketching for hours. During this time Wood met Alphonse Kahn, one of the best-connected men in the Paris art world, Kahn invited him to Paris and Wood readily accepted leaving London in 1921.

Through extended visits to Paris between 1921 and 1924 he came into contact with the European avant-garde and established himself as a prominent and popular artist winning the admiration and affection of Picasso and Jean Cocteau. Wood was one of the very few British artists to recognise and respond to the new landscape of modernism and have a solo exhibition in Paris at that time. During his Parisian years Wood became addicted to opium and in 1930 was tragically killed by a train at Salisbury station whilst under the influence of the drug.

This publication coincides with the exhibition Christopher Wood (July-September 2013) focusing on the collection that Jim Ede built, it tells the story of Wood's life through the works at Kettle's Yard. Richly illustrated with over 40 colour illustrations and reproductions of all works in the collection, writings by Jim Ede on Wood, an essay by curator Elizabeth Fisher, the artist John Piper and the poet Max Jacob, alongside previously unpublished extracts from letters between Wood and Jim Ede, Ben and Winifred Nicholson, and his mother Clare Wood. This is a comprehensive account from the largest public collection of works by Christopher Wood.

Published in 2013. Paperback, Pages 97, Illustrations: 47 colour, 4 b&w
Dimensions 210x170mm Weight 315g

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Kettle's Yard and its artists

Kettle's Yard and its artists

£5.95

Description

Through the writings of its artists and Jim Ede himself this publication affords a glimpse of the thoughts and friendships which combined to make Kettle's Yard. It is intended as a companion to the House Guide and Jim Ede's A Way of Life.

Kettle's Yard and its Artists was first published in 1995. This updated colour-illustrated edition includes additional material drawn from the archive, including extracts from “A Room to Live in” Jim Ede's radio broadcast where he describes the principles underlying his arrangement of living space, his ideas about the role of a work of art and his job specification for his successors.

Published in 2011. Paperback, Pages 84, Illustrations: 40 colour, 6 b&w
Dimensions 210 x 200mm Weight 330g
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House Guide

Kettle's Yard house guide

£5.00

Description

Kettle's Yard is widely recognised as a highly influential master class in curating; a flawless arrangement of art and objects that is still radical in its philosophy of seeking to fuse art with life. For many it is a place that has that rare power of changing how we see the world and our place within it. With a foreword by Jim Ede and an interesting floor plan guide, this book is a notable keepsake for all who love Kettle's Yard.

Published in 2012. Paperback, Pages 48, Illustrations: 9 colour, 40 b&w
Dimensions 210x200mm Weight 205g
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Modern Times

Modern Times: Responding to Chaos

£12.00

Description

Lutz Becker is a film-maker, painter and curator of exhibitions. Born in East Berlin, he came to London to study at the Slade and stayed on. For this exhibition (2010) he combined drawing, the oldest and most fundamental medium, with film, one of the most modern. Both, in their own ways, embody time and a sense of transient.

The subtitle “responding to chaos” reflects the predicament of artists addressing a period marked by totalitarian regimes, world wars, the threat of nuclear or climatic extinction, and accelerating technological and social change.

This illustrated catalogue contains essays by Lutz Becker, Ian Boyd Whyte, David Elliott and Nicholas Wadley.

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Savage Messiah

Savage Messiah

£12.50

Description

Henri Gaudier-Brzeska (1891-1915) was one of the leading figures of European avant-garde sculpture. Gaudier played an important role in the development of modern sculpture in Britain, working alongside Ezra Pound, Jacob Epstein, Roger Fry, Wyndham Lewis and others. Like many artists of his generation, his career was tragically cut short by the war. Having volunteered for the French army in the summer of 1914, he was killed in action the following year, at the age of just twenty-three.

In 1930 Jim Ede, who three years earlier had acquired almost all of Gaudier’s work, published a biography of the sculptor. Entitled a life of Gaudier-Brzeska, the book was re-issued a year later with the title Savage Messiah. Ede’s book played an important role in re-establishing Gaudier’s reputation at a time when he was at risk of fading into obscurity.

This new edition, which includes previously unpublished material and new essays that re-contextualise the book art historically, marks the centenary of Gaudier's arrival in Britain from France. It draws from the 1929 manuscript version of Ede's book, now in the archive at the Henry Moore Institute in Leeds, reproducing many of the drawings and photographs first used by Ede.

Published in 2011. Hardback, Pages 320, Illustrations: 24 colour, 64 b&w
Dimensions 247x172mm Weight 1.09kg

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Vicken Parsons

Vicken Parsons at Kettle's Yard (Publication)

£10.00

Description

From May to August 2014 fourteen paintings and one sculpture by Vicken Parsons were displayed in the Kettle’s Yard house. This new publication about the display includes photographs by Belinda Parsons, texts by Jim Ede and Andrew Nairne and poems by Kathleen Raine and Emily Dickinson.

ISBN 978-1-904561-52-1
Size: 20 x 12.5 cm
Spine: 8 mm
55 pages
Images Colour: 28
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Light Spells

Light Spells - a photographic exploration of Kettle's Yard

£10.00

Description

This publication documents the exhibition Light Spells - a photographic exploration of Kettle's Yard held in 2001. For over a year, from the shortest day of 2000, Kathryn Faulkner and Graham Murrell took photographs in the Kettle's Yard house. the resulting images, captured using pinhole and conventional cameras and direct exposure of printing-out paper, offer an unfamiliar 'viewpoint' of the objects of the house, reflecting fleeting moments and continuing human occupation.

Photographs by Kathryn Faulkner and Graham Murrell, with an afterword by Ian Jeffrey.

ISBN 0907074979
Size: 225 x 225 mm
Spine: 12 mm
72 pages
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All_About_Eve

Rodin: All About Eve

£10.00

Description

This publication was produced to accompany the 2006 exhibition Rodin: All About Eve.

Coinciding with a major Rodin exhibition at the Royal Academy, the exhibition brought Rodin’s sculpture of Eve to Cambridge. The exhibition included two life-size bronzes and one smaller version, each in a different space, alongside remarkable photographs taken for Rodin and newly commissioned photographs by Iraida Icaza and Nicholas Sinclair.

The work of the famed French sculptor, Auguste Rodin is admired for its realism, beauty and psychological intensity and Eve shows the sculptor at his most profound. Rodin’s Eve is not the temptress picking the apple from the Tree of Knowledge, but Eve after the Fall. Perhaps in today’s world there is a timeliness in looking again at Rodin’s sculpture and reflecting on Eve’s plight. His model was, supposedly, one of two Italian sisters: ‘The dark one had sunburned skin, warm, with the bronze reflections of the women of sunny lands; her movements were quick and feline, with the lissomeness and grace of a panther; all the strength and splendour of muscular beauty, and that perfect equilibrium, that simplicity of bearing that makes great gesture.’

ISBN 1-904561-34-9
Size: 17 x 210mm
Spine: 9mm
95 pages
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Ben_Nicholson

Ben Nicholson ‘Chasing out something alive’ Drawings and Painted Reliefs 1950-75

£12.00

Description

This publication documents the exhibition Ben Nicholson: Chasing Out Something Alive - Drawings and Painted Reliefs 1950-75, held at Kettle’s Yard in 2002.

Reliefs and drawings are the two poles between which Ben Nicholson’s imagination ranged, from the particular to the universal – the two-dimensional image exploring one facet of reality, the three-dimensional object another.
Chasing Out Something Alive showcases these two complementary aspects of the later work of Ben Nicholson. Apart from the white reliefs of the ’30s, these are the works by which he wanted to be judged.

While the reliefs show Nicholson at his most abstract and austere, the drawings find him at his most personal and approachable. Many chronicle his travels, from Lavenham and Holkham, to Italy and Greece. Often overlooked, their wit, poetry and spontaneity, added to their variety and sheer virtuosity, entitle them to equal status with his paintings.

With an essay by Peter Khoroche.

ISBN 0-907074-95-2
Size: 219 x 219mm
Spine: 5mm
60 pages
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Metzger_Lift_Off

Gustav Metzger: Lift Off!

£10.00

Description

“When I was young I wanted art that would lift off – that would levitate, gyrate, bring together different – perhaps contradictory aspects of my being” Gustav Metzger

Gustav Metzger is one of the foremost figures of the post-war avant-garde in Britain. Born in 1926, his career has spanned over sixty years of art and political activism.

In 2014 Kettle’s Yard presented LIFT OFF! - an ambitious exhibition bringing together archive, film, sculpture and installations focuseing on a less familiar but central area of Metzger’s practice – his auto-creative process driven work – the alter ego of his better-known auto-destructive practice. The exhibition marked something of a homecoming for Metzger, who began his artistic career at the Cambridge School of Art in 1944 and returned to deliver two seminal lecture/demonstrations (1960/1965) at the University of Cambridge.

This publication documents the artist’s most ephemeral Auto-Creative artworks of the 1960s, and new works created by Metzger especially for LIFT OFF! It includes new texts by curator Elizabeth Fisher that illuminate this less well known aspect of Metzger’s practice.

ISBN 978-1-904561-49-1
Size: 170 x 210mm
Spine: 7mm
72 pages
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Almeida_Inside_Me

Helen Almeida: Inside Me

£10.00

Description

This publication marks the exhibition Helen Almeida: Inside Me held at Kettle’s Yard in 2009. The exhibition was the first UK showing of the extraordinary work of Portuguese artist Helena Almeida, presenting a selection of works made over the last 40 years in a major solo exhibition.

Almeida’s work includes photography, performance and drawing. Although the artist is always in front of the camera, she insists that her images are not self-portraits. Dressed in black since the early 1970’s, sometimes with objects or furniture found in her studio, she assumes positions that she has painstakingly choreographed in order to create complex visual compositions that are as much about space and line as the relationship between the artist and the image. Sometimes she further complicates these compositions by painting directly onto the photographs in bold primary blue or red.

This bilingual publication (English/Portuguese) features essays by Alyce Mahon and Lilian Tone, examining Almeida’s affinities with major cultural and artistic movements such as Performance Art, Brazilian Neoconcretisism and Feminism.

ISBN 1-904561-34-9
Size: 17 x 210mm
Spine: 9mm
95 pages
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Upside_Down_Inside_Out

Kettle’s Yard Upside Down / Inside Out

£5.00

Description

In the summer of 2009, Kettle’s Yard went Upside Down / Inside Out.

The Kettle’s Yard house was transformed with a reprise of some of the best artists’ interventions from the previous fourteen years, including Michael Craig-Martin’s pink room, Richard Wentworth’s broken china piece ‘Brac’ and Judith Goddard’s gentle evocation of a woman’s presence. These were joined by works by Douglas Allsop, Edmund de Waal, Richard Deacon, Kathryn Faulkner, Graham Murrell, Ian Hamilton Finlay, Gary Woodley, Daniel Edwards, Paul Coldwell and Tim Head. The exhibition also featured new works by Jayne Parker, Mary Lemly and David Sheppard, each responding to Kettle’s Yard.

This publication records this retrospective exhibition of artists’ interventions in the house at Kettle’s Yard through words and image.

ISBN 978-1-904561-34-7
Size: 200 x 210mm
Spine: 4mm
36 pages
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Ha_School_of_Things

Mono-ha School of Things

£8.00

Description

Mono-ha, literally ‘school of things’, is the name given to a group of artists who came to critical attention in Japan in the late 1960s: Enokura Koji, Koshimizu Susumu, Lee Ufan, Sekine Nobuo, Suga Kishio and Yoshida Katsuro.

These ‘things’ refer not only to the material things from which their work is made, such as oil clay, stones, glass, iron plates, ropes, wood and earth, but also to the strangeness of the works themselves. Neither quite sculptures, nor installations, their very existence appears to confound traditional artistic genres. Although fiercely critical of Western modernism, their use of natural materials, and their radical attack upon traditional assumptions about the work of art, seem to share many affinities with Minimalism and Arte Povera.

Despite shows in France, Italy and the United States, exhibitions by Mono-ha are incredibly rare, given that much of their work is site-specific and ephemeral. For the 2001 exhibition marked by this publication - the first in Britain of work by Mono-ha - Kettle’s Yard invited four of the six artists to make work in the gallery.

ISBN 0-907074-87-1
Size: 170 x 210mm
Spine: 5mm
48 pages
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On_Not_Knowing

On Not Knowing: How Artists Think

£16.95

Description

The value of ‘not knowing’ has its roots in the very beginnings of western philosophy, in what is sometimes known as the Socratic paradox: “when I do not know, neither do I think I know; so I am likely to be wiser to this small extent, that I do not think I know what I do not know."(Plato 44). On Not Knowing brings together contemporary artists and thinkers from a range of disciplines to explore the role of ‘not knowing’ within the creative process.

How far does our openness to aesthetic experience, and new forms of knowledge, depend on our capacity to enter and indulge states of wonder and awe, doubt and failure, ignorance and play? How critical are these conditions to the creative process? How do artists invite the unknown into their creative practice? What role does the artist’s studio play in this process?

Bringing together theoretical discussion and examples of contemporary artistic practice, this book explores how artists formulate strategies of not knowing and ‘play’ within their decision making process and how such approaches might inform and enrich our encounters with art.

This volume is an important contribution to debates around the creative process and puts the artist’s voice at the heart of these discussions.
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Starting_at_Zero

Starting at Zero: Black Mountain College 1933-57

£12.00

Description

Black Mountain College began as a utopian dream, born out of the Depression and the rise of Fascism, and became one of the most productive and star-studded episodes in 20th century American arts.

In North Carolina, its founder, a dissident classical academic, John Andrew Rice, was joined by Josef and Anni Albers, straight from the Bauhaus in Germany. Together they developed an approach to interdisciplinary education which encouraged students to learn by experiment – by ‘starting at zero’ – rather than by simply absorbing information. Their aim was to cultivate imagination, to equip people to deal humanely with a complex and uncertain world.

Over its 24 years Black Mountain College attracted the most remarkable roll-call of teachers and students. In one summer alone Buckminster Fuller first demonstrated his geodesic dome, helped by Elaine de Kooning and the young Ray Johnson. And in the evening they collaborated with composer John Cage and dancer Merce Cunningham on a production of Erik Satie’s ‘The Ruse of the Medusa’, with Willem de Kooning helping on sets and Arthur Penn directing. Four years later, in 1952, Cage and Cunningham were back, creating the first ‘happening’ with Robert Rauschenberg, and in the same year Shoji Hamada and Bernard Leach came together for the first ceramics seminar.

By the early ’50s Albers had left and the College found its last lease of life under Charles Olson, who gathered together fellow poets Robert Creeley, Jonathan Williams, Edward Dorn and others.
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The_Language_of_Things

The Language of Things

£6.00

Description

This publication was produced to accompany the exhibition The Language of Things, held at Kettle’s Yard in 2001.

In the 20th century the idea of still life extended far beyond its traditional bounds. Across a range of painting, sculpture and photography, The Language of Things locates certain strands of current still life practice in the context of earlier work.

The Language of Things moves from the painterly illusionism of William Nicholson and the palpable photo-realism of the Spanish painter, Manuel Franquelo, to works which embody actual objects, others where the absence of the object is hauntingly felt, and others where the object is recreated.

Far from being about safety, as John Berger recently suggested, many of these still lifes suggest a precariousness and sense of imminence which belies the apparent neutrality of their everyday and domestic subjects.

Other artists featured include Hannah Collins, Tony Cragg, Tim Head, Giorgio Morandi, Ben Nicholson, Ginny Reed, William Scott, Jane Simpson, Jack Smith, Richard Wentworth and Rachel Whiteread.

ISBN 0-907074-85-5
Size: 170 x 210mm
Spine: 4mm
40 pages
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Parsons_Painted_Objects

Vicken Parsons: Painted Objects

£6.50

Description

This publication records the 2013 installation by Vicken Parsons in St Peter’s, the small 18th century church next to Kettle’s Yard.

Vicken Parsons is best known for her small, intimate paintings of landscape and architectural space, but for this special installation Parsons showed a number of recent sculptures or ‘painted objects‘ that might almost be models for utilitarian buildings. At the same time they are compelling paintings on a three dimensional ground. Parsons writes: ‘The painted surface is sometimes solid and rugged, sometimes a thin veil of colour and sometimes abraded and partly taken back to the metal concealing and revealing the materiality of these very dense, solid, milled steel blocks.’

Parsons was invited back to Kettle’s Yard in 2014 as a House Artist, with a number of her paintings and sculptures being displayed amongst the permanent collection in the Kettle’s Yard house.

Full colour photography, with preface by Andrew Nairne and an essay by Rod Mengham.

ISBN 978-1-904561-46-2
Size: 176 x 228mm
Soft cover, saddle stitched
20 pages
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