A celebration of the artworks commissioned as part of the St Martin-in-the-Fields Renewal Art Programme curated by Modus Operandi and overseen by the church’s Arts Advisory Panel, took place on 13th November.
The St Martin’s Patronal Festival: The Celebration of Artworks included a tour of the artworks (see below) followed by a service, recognizing the significance of these artworks and the important role St Martin-in-the-Fields has played in the patronage of art. The metalwork commissions by Brian Catling and Giampaolo Babetto were dedicated during the service, which was led by Revd Dr Sam Wells and Revd Katherine Hedderly.
The artworks include Crib, Tomoaki Suzuki (2004-2006); East Window, Shirazeh Housiary and Pip Horne (2006-2008); Altar, Shirazeh Housiary and Pip Horne (2011); Poem for Lightwell Balustrade, Sir Andrew Motion and Tom Perkins (2007); Processional Cross, Brian Catling (2013); Main Altar and Paschal Candle Holders, Brian Catling (2016); and the Dick Sheppard Chapel Metalwork, Candleholders, Chalice and Paten, Giampaolo Babetto (2015-2016); all commissioned through Modus Operandi, alongside the current loans of Abdu, Gerhard Richter (2009); Parameter, Mark Francis (2012); and Shadow No 66 (triptych), Brad Lochore (1996).
The new publication 'The Art of St Martin-in-the-Fields' (essays by Neil Macgregor, Samuel Wells, Vivien Lovell and Sir Nicholas Goodison; 44pp; £9.99) is available from the shop at St Martin-in-the-Fields.
Further information on the St Martin-in-the-Fields Art Programme
Detail of The Otranto Passage Artwork by Kirsty Brooks
This month has seen the completion of The Otranto Passage Artwork by Kirsty Brooks, curated by Modus Operandi.
This glass artwork was commissioned as part of the Library Extension and Study Centre project for St John's College Oxford by the architects Wright & Wright; it is installed in the Otranto Passage - a hidden corridor within the 17th Century Canterbury Quadrangle. The artist responded to the historical importance of the original library as the heart of learning within the College, by creating an abstract timeline in glass of the first 200 years’ history of St John’s – 1555 to 1755.
A new publication Desire Lines, The Public Art of Tess Jaray has been launched by Ridinghouse.
Drawing together ten of Tess Jaray's important public commissions, it considers the dynamics of form, pattern and colour integral to the artist’s work and the extended investigation of space and perspective in her projects for the public realm.
The Preface is written by Vivien Lovell, Director, Modus Operandi (who has curated four of Jaray's commissions) with text by Charles Darwent and an interview with the artist by Doro Globus.
Adam Dant William Shakespeare's Shordiche 2016
An excting range of workshops will be delivered throughout April as part of the Westgate Oxford Public Art Programme commissioned by Westgate Oxford Alliance and curated by Modus Operandi. The programme launches with:
Adam Dant's globe printing workshop
For the ‘Westgate Cultural Meridian’ project
2 April 2016 11.00am — 3.00pm
Bodleian's hand-press workshop in the Old Bodleian Library
entrance from the Old Schools Quadrangle
Following the techniques of Renaissance globe-makers, and possibly inventing new methods, this workshop will create 3-dimensional globes from 2-dimensional prints. Led by artist Adam Dant with printer Richard Lawrence.
The workshop forms part of Adam Dant's Westgate Cultural Meridian project, commissioned for the Westgate Oxford Public Art Programme.
Further information on Adam Dant's commission, booking for the workshop and details of the Westgate Oxford Public Art Programme, visit: http://westgateoxford.co.uk/arts
So our Rivers Flow, by Keith Tyson
W5, New Burlington Place, 2016
This week sees the official opening of So our Rivers Flow, by Keith Tyson, a major commission, that forms the glazing to the exterior wall of W5, New Burlington Place, a new development designed by AHMM for The Crown Estate.
Conceived from a series of ‘nature paintings’ and executed for W5 as a sequence of digital images, printed onto glass and back-lit, the work takes London, with its ever-changing dynamic built around the River Thames, as its inspiration.
Curated by Modus Operandi.
Daniel Silver Three Seated Figures (maquette) 2015, Carrara marble,
on display at the Andrew Wiles Building, Radcliffe Observatory Quarter, University of Oxford
Three Seated Figures by sculptor Daniel Silver is the winning submission of an invited competition for the Radcliffe Infirmary Commemorative Commission, organized by Modus Operandi.
The Radcliffe Nurses have formed an initiative to celebrate their work and that of all those in the former Radcliffe Infirmary on site, with a public artwork for the Radcliffe Observatory Quarter (ROQ). The Radcliffe Nurses raised funds for the initial competition and maquette; fundraising is now in progress towards the realization of this important work, planned to be located outside St. Luke’s Chapel, Triton Square.
Inspired by the Michael Rosen poem These Are The Hands, in particular the lines:
‘These are the hands
That touch us first... ...And touch us last’
and referencing various existing works on site at the ROQ - Bernini’s Triton Fountain and John Bacon’s statue of Atlas and Hercules on the roof of the Radcliffe Observatory - Silver’s initial approach was inspired by the context and history of the site:
‘I wanted to engage with and understand the architecture and surroundings of the area. I looked at the layout of the Quarter and was struck by the straight, linear approach to the buildings, which effectively choreographs our movement through the space.’
Fundraising is being led by the Radcliffe Nurses and Modus Operandi: those interested in supporting the commission should contact: firstname.lastname@example.org