Fleming Collection, London: 3 September 2013 – 9
October 2013
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| Image: Stuart T Mackenzie Archive, 2013 |
The Fleming-Wyfold
Foundation, ambassador for Scottish art and custodian of the Fleming
Collection, one of the finest collections of Scottish art in private hands, has
announced a new exhibition at its gallery space on Berkeley Street this autumn
which is presented in collaboration with The Glasgow School of Art. The
exhibition will promote and showcase work by established and emerging talent
from this renowned Scottish institution.
Foundation, ambassador for Scottish art and custodian of the Fleming
Collection, one of the finest collections of Scottish art in private hands, has
announced a new exhibition at its gallery space on Berkeley Street this autumn
which is presented in collaboration with The Glasgow School of Art. The
exhibition will promote and showcase work by established and emerging talent
from this renowned Scottish institution.
Staff
and students of the GSA, past and present, will explore the practice of drawing
in art and art education, reflecting upon traditional and current drawing
practice while challenging its definitions. Works have been selected for this
exhibition by Professor Roger Wilson and Stuart Mackenzie from the GSA’s School
of Fine Art.
and students of the GSA, past and present, will explore the practice of drawing
in art and art education, reflecting upon traditional and current drawing
practice while challenging its definitions. Works have been selected for this
exhibition by Professor Roger Wilson and Stuart Mackenzie from the GSA’s School
of Fine Art.
“Beliefs
and practices have been subject to intense critical judgement and often fierce
debate, not least as a result of pressures to conform to the demands and
operational styles of large institutions. Drawing, however, never went away,” says Roger Wilson. “Through its connection to long-established traditions and through the
work of current artists, it maintained its status as a credible practice
alongside the most adventurous and demanding examples of art’s currency.”
and practices have been subject to intense critical judgement and often fierce
debate, not least as a result of pressures to conform to the demands and
operational styles of large institutions. Drawing, however, never went away,” says Roger Wilson. “Through its connection to long-established traditions and through the
work of current artists, it maintained its status as a credible practice
alongside the most adventurous and demanding examples of art’s currency.”
Stuart Mackenzie adds: “It is possible that many institutions since
the early 1970s who have ‘dropped’ or removed drawing from taught aspects of
their curriculum – viewing the process as outmoded – may have missed this
crucial point: it need not be a case of slavishly adhering to what has gone
before, but instead be about opening up potential for growth and for the
application of new, equally rigorous approaches with its capacity for the
exploratory and experimental, as well as the observational, drawing remains a
fundamental activity within the visual arts.”
the early 1970s who have ‘dropped’ or removed drawing from taught aspects of
their curriculum – viewing the process as outmoded – may have missed this
crucial point: it need not be a case of slavishly adhering to what has gone
before, but instead be about opening up potential for growth and for the
application of new, equally rigorous approaches with its capacity for the
exploratory and experimental, as well as the observational, drawing remains a
fundamental activity within the visual arts.”
In preparing for Learning
to Draw/Drawing to Learn Wilson and Mackenzie were fortunate to have
access to an extensive archive of past work, as well as to an expanding
community of artists who are increasingly electing to stay and work in Glasgow.
The exhibition at the Fleming Collection coincides with the development of new
academic programmes centred on drawing, confirming GSA’s engagement with this
highly relevant practice.
to Draw/Drawing to Learn Wilson and Mackenzie were fortunate to have
access to an extensive archive of past work, as well as to an expanding
community of artists who are increasingly electing to stay and work in Glasgow.
The exhibition at the Fleming Collection coincides with the development of new
academic programmes centred on drawing, confirming GSA’s engagement with this
highly relevant practice.
Ends
For further press information please contact:
Katie Wilkinson or Rosanna Wollenberg flemingwyfold@brunswickgroup.com / 02079361292
Listing
3 September 2013 – 9 October 2013
Learning to
Drawing/Drawing to Learn
Tuesday – Saturday: 10am – 5.30pm.
Closed Sunday & Monday
Fleming Collection:
Gallery Two
13 Berkeley Street, London W1J 8DU
(Nearest tube:
Green Park)
A showcase of work by staff and students of the GSA, past and present,
exploring the practice of drawing in art and art education, reflecting upon
traditional and current drawing practice while challenging its definitions.
exploring the practice of drawing in art and art education, reflecting upon
traditional and current drawing practice while challenging its definitions.
Tel: +44( 0)20 7042 5730;
www.flemingcollection.co.uk
www.flemingcollection.co.uk
Free Admission
About the Fleming Collection and the Fleming-Wyfold
Foundation
Foundation
The Fleming
Collection, which is widely regarded as one of the finest collections of
Scottish Art in private hands, began in 1968 when Flemings, the former merchant
bank, moved into new offices in London. As a commemoration of the Scottish
origins of Flemings, founded by Robert Fleming in Dundee, the Board began to
acquire works by Scottish artists or of Scottish scenes depicted by any artist.
Today the collection comprises works dating from 1770 to the present day,
including the two iconic images of The Highland Clearances, Thomas Faed’s ‘The
Last of The Clan’ and John Watson Nicol’s ‘Lochaber No More.’ A group of
paintings by the Glasgow Boys include work by Lavery, Guthrie, Walton, Nairn
and Kennedy. Additionally, the collection holds major paintings by all four
Scottish Colourists, a large number of works by Anne Redpath alongside her
contemporaries John Maxwell and William Gillies, and many other important
works. The Collection plays a pivotal ambassadorial role in promoting Scottish
Art to London and beyond.
In conjunction
with the sale of the bank in 2000, the Collection was sold to the
Fleming-Wyfold Foundation, who currently manage the gallery space on Berkeley
Street that houses the Collection. The Wyfold name was adjoined to commemorate
the life of the last Lord Wyfold, a grandson of Robert Fleming. In addition to
an active loaning programme, the gallery has brought the work of Scottish
artists and several Scottish public collections to a London audience, with
exhibitions taking place in Fergusson Gallery, Perth and Kinross Council; City
Art Centre, Edinburgh; McManus Galleries and Museum, Dundee; The National
Galleries of Scotland; Hunterian Museum and Art Gallery, University of Glasgow
among others. Exhibitions surveying the work of artists such as DY Cameron,
William McTaggart, Edward Baird and James Pryde have taken place and new
research on these artists has been published by the Foundation. The Foundation
also publishes Scottish Art News magazine biannually, a highly-regarded
publication with exhibition reviews and previews, book reviews, art market
round up and listings and new developments within the visual arts.
with the sale of the bank in 2000, the Collection was sold to the
Fleming-Wyfold Foundation, who currently manage the gallery space on Berkeley
Street that houses the Collection. The Wyfold name was adjoined to commemorate
the life of the last Lord Wyfold, a grandson of Robert Fleming. In addition to
an active loaning programme, the gallery has brought the work of Scottish
artists and several Scottish public collections to a London audience, with
exhibitions taking place in Fergusson Gallery, Perth and Kinross Council; City
Art Centre, Edinburgh; McManus Galleries and Museum, Dundee; The National
Galleries of Scotland; Hunterian Museum and Art Gallery, University of Glasgow
among others. Exhibitions surveying the work of artists such as DY Cameron,
William McTaggart, Edward Baird and James Pryde have taken place and new
research on these artists has been published by the Foundation. The Foundation
also publishes Scottish Art News magazine biannually, a highly-regarded
publication with exhibition reviews and previews, book reviews, art market
round up and listings and new developments within the visual arts.