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Goldmark 23, 2022
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Three very different artists – three very different women – take centre stage in our Winter 2021 issue: Esther Peretz-Arad and her fascinating record of the young mothers and workers of pre and post-state Tel Aviv; Morwenna Thistlethwaite, a virtually unknown St Ives artist, whose work skirted the divide between domestic familiarity and unease; and Anne Mette Hjortshøj tells us about the red clay she fell in love with on the shores of Bornholm over 20 years ago. Plus, an exploration of the English character in its art and its slipware pottery, and, in the work of Raoul Dufy and Jankel Adler, two distinct artists dealing with the anxieties of WWII in the only way they could.
This issue has contributions by:
Luke Honey is an author and antiques dealer based in Central London, with over 20 years’ experience in major auction houses and art consultancies from London to New York, including Phillips, Bloomsbury and Bonhams. A regular columnist for Home & Antiques magazine, he is also an enthusiastic cook and contributor for The Gourmand.
Mary Alexander is an art historian and lecturer with a life-long fascination and specialist background in dress and design. Having worked as an examiner for Christie’s Education and in Pentagram Design (London and New York) she is now a freelance lecturer. An expert in the work of Raoul Dufy, she has recently lectured on his work in Paris.
Sarah MacDougall is Director of Ben Uri Gallery and Museum, and Head of Collections and Research. She specialises in artists of Jewish and/or immigrant descent working in twentieth-century Britain. In 2019 she co-curated Jankel Adler: A ‘Degenerate’ Artist in Britain, 1940-49 with Rachel Dickson.
Rachel Dickson (former Head of Curatorial Services, Ben Uri Gallery and Museum 2011-2020) co-authored the essay ‘“Treibholz an fremder Kuste”: Jankel Adler in Grossbritannien, 1940-49’, with Sarah MacDougall, translated into German for the exhibition catalogue: Jankel Adler und die Avantgarde (Von der Heydt-Museum Wuppertal, 2018).
Three very different artists – three very different women – take centre stage in our Winter 2021 issue: Esther Peretz-Arad and her fascinating record of the young mothers and workers of pre and post-state Tel Aviv; Morwenna Thistlethwaite, a virtually unknown St Ives artist, whose work skirted the divide between domestic familiarity and unease; and Anne Mette Hjortshøj tells us about the red clay she fell in love with on the shores of Bornholm over 20 years ago. Plus, an exploration of the English character in its art and its slipware pottery, and, in the work of Raoul Dufy and Jankel Adler, two distinct artists dealing with the anxieties of WWII in the only way they could.
This issue has contributions by:
Luke Honey is an author and antiques dealer based in Central London, with over 20 years’ experience in major auction houses and art consultancies from London to New York, including Phillips, Bloomsbury and Bonhams. A regular columnist for Home & Antiques magazine, he is also an enthusiastic cook and contributor for The Gourmand.
Mary Alexander is an art historian and lecturer with a life-long fascination and specialist background in dress and design. Having worked as an examiner for Christie’s Education and in Pentagram Design (London and New York) she is now a freelance lecturer. An expert in the work of Raoul Dufy, she has recently lectured on his work in Paris.
Sarah MacDougall is Director of Ben Uri Gallery and Museum, and Head of Collections and Research. She specialises in artists of Jewish and/or immigrant descent working in twentieth-century Britain. In 2019 she co-curated Jankel Adler: A ‘Degenerate’ Artist in Britain, 1940-49 with Rachel Dickson.
Rachel Dickson (former Head of Curatorial Services, Ben Uri Gallery and Museum 2011-2020) co-authored the essay ‘“Treibholz an fremder Kuste”: Jankel Adler in Grossbritannien, 1940-49’, with Sarah MacDougall, translated into German for the exhibition catalogue: Jankel Adler und die Avantgarde (Von der Heydt-Museum Wuppertal, 2018).
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