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Sidney Nolan, 'Ned Kelly' (detail), 1946. Enamel paint on composition board. 90.8 x 121.5 cm. National Gallery of Australia, Canberra. Gift of Sunday Reed, 1977.
José Chávez Morado, 'Carnaval en Huejotzingo (Carnival in Huejotzingo)' (detail), 1939. Oil on canvas, 71.1 x 96.5 cm. Collection of Phoenix Art Museum, Gift of Dr. & Mrs. Loyal Davis © DACS 2013.
Richard Rogers Partnership, Lloyd’s of London, 1978-86. © Richard Bryant / arcaidimages.com & Piano + Rogers, Centre Pompidou, Paris, 1971-77. © Francois Le Diascorn / Gamma-Rapho via Getty Images
© TRACEY EMIN. All rights reserved, DACS 2013. Photo: KERRY RYAN.
11 February 2011
In the Reynolds Room, a John Madejski Fine Room
Jacob Epstein, 'Adam', 1938-39. By kind permission of The Earl and Countess of Harewood/Photo Leeds Museums & Galleries (Henry Moore Institute Archive)/© The estate of Sir Jacob Epstein Michael Fried’s review of Jacob Epstein’s 1963 retrospective was one of the most scathing the artist ever received - more than a match for the attacks that in the 1940s Clement Greenberg launched against Henry Moore. Professor Anne Wagner, The Henry Moore Foundation Research Curator at Tate, interrogates this modernist antipathy to advanced British sculpture, to show that it is not merely a matter of form.
6.30–7.30pm
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