The publication celebrates the friendship of these two artists by showing their experimental approach to handling clay and the production of ceramics.
This is a facsimile publication of Barry Flanagan’s student magazine Silâns produced at St Martins School of Art. Flanagan co-edited with Alistair Jackson and Rudy Leenders. He negotiated with administration staff to use the office cyclostyle to produce the publication. Silâns, printed on alternate Mondays in term time, provided an important vehicle to circulate concrete poetry.
Presents the key works Barry Flanagan produced during this time when he continued to experiment with the processes of casting and the relationship between abstraction and figuration through the anthropomorphic dancing hare and other animals.
This artists’ book is a collaboration between writer David Plante and artist Barry Flanagan whose drawings of Etruscan artifacts from a Tuscany Museum elicited Plante’s discursively written conversational response.
Linear Sculpture in Bronze and Stone Carving
Shows Barry Flanagan’s ongoing experimentation with the processes of casting in bronze and carving with different types of stone.
Sculpture, Venice Biennalle, Museum Haus Esters
In 1982, the British Pavilion in Venice presented examples of Barry Flanagan’s work from 1973 to 1981. A most recent development was a series of sculptures of hares. At first glance, this seemed out-of-character: not only do they leap into the traditional world of figurative art, but they do so in bronze, a material even his former teacher Anthony Caro – whose influence Flanagan reacted against – thought deadened by the weight of art history. As the exhibition showed, these constraints advanced Flanagan’s career-long self-styling as British sculpture’s lord of misrule.
With Barry Flanagan, Travels Through Time and Spain
By becoming Flanagan’s ‘spontaneous fixer’ (Flanagan’s description) for the sculptor’s show held at the Museum of Contemporary Art, Ibiza, June 1992, Richard McNeff gained privileged insight into Flanagan’s working methods. This memoir follows Flanagan and McNeff from meeting the acclaimed Spanish artist, Miquel Barcelo, to printmaking in Barcelona, Flanagan’s Madrid retrospective and a tour of English quarries. Their friendship lasted until Flanagan’s death from motor neurone disease in 2009.