Barron Field

Helen Johnson

Barron Field

Helen Johnson (Artist)

Department of Fine Art

Research output: Non-textual form › Commissioned or Visual Artwork › Research

Original language	English
Place of Publication	Glasgow, Scotland, UK
Publisher	Glasgow International
Size	3 paintings 230 x 180cm, 3 paintings 310 x 240cm
Publication status	Published - 2016
Event	Glasgow International - Kelvin Hall, Glasgow, Scotland, United Kingdom Duration: 8 Apr 2016 → 25 Apr 2016

1 Commissioned or Visual Artwork

'History Painting' and 'My Word' - SM - 'Painting. More Painting'
Johnson, H., 2016
Research output: Non-textual form › Commissioned or Visual Artwork › Other

THE SCOTSMAN: 'Art review: Glasgow International, Glasgow'
Helen Johnson
23/04/16
1 item of Media coverage
Press/Media: Article/Feature
FINANCIAL TIMES: 'Glasgow International Festival — ‘Breadth and depth’'
Helen Johnson
20/04/16
1 item of Media coverage
Press/Media: Article/Feature
THE SPECTATOR: 'Painters triumph at Glasgow International – even though installations dominate'
Helen Johnson
20/04/16
1 item of Media coverage
Press/Media: Blogs, Podcasts and Social Media › Blogs

Cite this

@misc{5b848651a4c14182ad92a1e95f39ab01,

title = "Barron Field",

author = "Helen Johnson",

note = "Six paintings, acrylic on canvas. History Painting 310 x 240cm The Rape of Europa (Australian version) 310 x 240cm Title TBC 310 x 240cm Condition Report 230 x 180cm Title TBC 230 x 180cm Title TBC 230 x 180cm Curated by Sarah McCrory. Exhibition reviewed in 'Critic's Guide: Glasgow', Frieze.com, 13 April 2016; 'Female Artists Take Center Stage at Glasgow International 2016', Artnet News, 8 April 2016; 'Glasgow International Festival - 'Breadth and depth', Financial Times, 19 April 2016; The Art Newspaper Online, 13 April 2016; 'Seventh Heaven', Artforum Online, 20 April 2016; 'Painters Triumph at Glasgow International - even though installations dominate', The Spectator Online, 20 April 2016; The Art Newspaper, 20 April 2016; 'The Making of Ideas', The Scotsman Magazine, 23 April 2016. Two works - 'History Painting' and 'My Word' subsequently exhibited in group exhibition 'Painting. More Painting', Australian Centre for Contemporary Art, Southbank, Vic, Australia, 29 July 2016 to 25 September 2016. Curated by Annika Kristensen, Max Delany, Hannah Mathews. Inspired by showing in a space inflected with early 20th century historical loadings, this work posed questions about the ways in which history is formed and contemplated the readability of contextually specific cultural signifiers today. Some works played upon a tendency common among painters from Melbourne in the early 20th century, such as Rupert Bunny and Norman Lindsay, of adopting scenes from a European mythic vernacular and transplanting them into Australian settings. Drawing upon Ovid{\textquoteright}s anti-epic Metamorphoses, the works mingled this contrivance with vestiges of colonialism and meditations on contemporary social bonds. Hung away from the walls, the backs of the paintings were also visible. They contain sketches and notes about their production as frontal image-spaces, becoming a metaphor for alternative accounts of history that persist as a foil to official versions. The approach to figurative painting is not one of conventional representation but a process of constructing figures and scenes from disparate sources, paring back and pushing source imagery towards abstraction. ; Glasgow International ; Conference date: 08-04-2016 Through 25-04-2016",

year = "2016",

language = "English",

publisher = "Glasgow International",

}

TY - ADVS

T1 - Barron Field

A2 - Johnson, Helen

N1 - Six paintings, acrylic on canvas. History Painting 310 x 240cm The Rape of Europa (Australian version) 310 x 240cm Title TBC 310 x 240cm Condition Report 230 x 180cm Title TBC 230 x 180cm Title TBC 230 x 180cm Curated by Sarah McCrory. Exhibition reviewed in 'Critic's Guide: Glasgow', Frieze.com, 13 April 2016; 'Female Artists Take Center Stage at Glasgow International 2016', Artnet News, 8 April 2016; 'Glasgow International Festival - 'Breadth and depth', Financial Times, 19 April 2016; The Art Newspaper Online, 13 April 2016; 'Seventh Heaven', Artforum Online, 20 April 2016; 'Painters Triumph at Glasgow International - even though installations dominate', The Spectator Online, 20 April 2016; The Art Newspaper, 20 April 2016; 'The Making of Ideas', The Scotsman Magazine, 23 April 2016. Two works - 'History Painting' and 'My Word' subsequently exhibited in group exhibition 'Painting. More Painting', Australian Centre for Contemporary Art, Southbank, Vic, Australia, 29 July 2016 to 25 September 2016. Curated by Annika Kristensen, Max Delany, Hannah Mathews. Inspired by showing in a space inflected with early 20th century historical loadings, this work posed questions about the ways in which history is formed and contemplated the readability of contextually specific cultural signifiers today. Some works played upon a tendency common among painters from Melbourne in the early 20th century, such as Rupert Bunny and Norman Lindsay, of adopting scenes from a European mythic vernacular and transplanting them into Australian settings. Drawing upon Ovid’s anti-epic Metamorphoses, the works mingled this contrivance with vestiges of colonialism and meditations on contemporary social bonds. Hung away from the walls, the backs of the paintings were also visible. They contain sketches and notes about their production as frontal image-spaces, becoming a metaphor for alternative accounts of history that persist as a foil to official versions. The approach to figurative painting is not one of conventional representation but a process of constructing figures and scenes from disparate sources, paring back and pushing source imagery towards abstraction.

PY - 2016

Y1 - 2016

M3 - Commissioned or Visual Artwork

PB - Glasgow International

CY - Glasgow, Scotland, UK

T2 - Glasgow International

Y2 - 8 April 2016 through 25 April 2016

ER -

Barron Field

Research output

'History Painting' and 'My Word' - SM - 'Painting. More Painting'

Press/Media

THE SCOTSMAN: 'Art review: Glasgow International, Glasgow'

FINANCIAL TIMES: 'Glasgow International Festival — ‘Breadth and depth’'

THE SPECTATOR: 'Painters triumph at Glasgow International – even though installations dominate'

Cite this