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By Sonia Kolesnikov-Jessop
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Helen Britton, The Artist Jeweller

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Deconstructing the Appeal of the Kimono

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An Art Patron's Extraordinary Life

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“Live your century and anticipate,” how Charlotte Perriand lived by her own words

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Can the Art World Change its Wasteful Ways?

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Costa Rican Artist Federico Herrero: Helping others to create freely

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Audemars Piguet is helping artists explore the world through sound

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Zhang Jian-Jun’s Human Traces At the Royal Academy

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Zhang Jian-Jun’s Human Traces At the Royal Academy

His figurative works are perhaps less well known—largely because they have not always been exhibited—but portraiture either in oil or in photography has been recurring in his practice over the years. “Sometimes the portraiture is not facial,” he says, noting that for his 1997 mixed media installation Foot Print, he invited people to walk on a large stone island covered with water mixed with ink: “Around the island there was a canvas on the floor and after the people had walked on the stone, they would walk on the canvas leaving a faint footprint. Footprints are very individual, and over three months, there were endless footprints as people left their mark around the space. Although I didn’t draw in a face, the footprints were like a portrait of the people that came.” For Human Traces, Zhang has turned to Chinese ink and charcoal on paper to create a series of soulful portraits of 42 individuals he has met and interviewed while in London for his project. The portraits are now cr

Helen Britton, The Artist Jeweller

From a young age, Helen Britton used art as a form of communication and was soon making jewellery. She still has a cow horn bracelet she made when she was 12 and some earrings made from old beads and fuse wire. As an artist-jeweller, Britton approaches her practice without distinguishing between forms of creative production: “Some bodies of work contain jewellery, sculpture and drawings; some only one or another — it depends on what I am trying to say.” Britton is one of the world’s most established artist-jewellers and is known for creating colourful pieces that are just as likely to include recycled plastics as precious stones. “Preciousness is a construct and culturally driven. All materials are interesting and carry their stories with them,” she says. “I choose the materials because of what they have to say and for no other reason.” Over the years, she has set blackened silver rings with diamonds and sapphires, or combined silver and pearls with plastic or glass. Her creations are

Can the Art World Change its Wasteful Ways?

Blink and you would have missed it, but as art lovers rushed toward the entrance of Art Basel’s Unlimited section, a small group of students and young artists were staging a brief silent performance. Slowly moving around each other gesturing at key words (heatwave, sea level, and drought) on their t-shirts, they aimed to raise climate awareness, engaging visitors positively. Meanwhile inside the mammoth art fair, galleries had brought relatively few artworks with explicit environmental messaging, but there were some, such as a series of Olafur Eliasson’s pictures taken inside glacier holes, Doug Aitken’s aluminium lightbox spelling the word THINK with chromogenic transparency in acrylic a sunset over a bare landscape, and Jack Pierson’s ominous warning ‘There is still time’ written on a wall. The artistic value of such efforts is being recognized (the Lithuanian Pavilion’s climate change-themed opera “Sun & Sea (Marina)” won the Golden Lion award at the Venice Biennale

An Art Patron's Extraordinary Life

Peggy Guggenheim was no ordinary art collector. In her lifetime, she acquired a treasure trove of Cubist and Surrealist artworks at bargain price right before the onset of the Second World War; she ran art galleries in London and New York championing then-little known artists such as Jackson Pollock and Robert Motherwell; and she also played a significant role in positioning Venice as a contemporary art city after she moved there permanently in 1948. After her death in 1978, her Venetian home, the 18th-century Palazzo Venier dei Leoni, was transformed into a permanent exhibition space housing the Peggy Guggenheim Collection. It is now the second most visited museum in the city after the Dodge’s Palace with over 427,000 visitors a year. But while her collection is primarily renowned for its Cubist, Surrealist and Abstract Expressionist masterpieces, the new exhibition “Peggy Guggenheim: The Last Dogaressa” – running until January 27, 2020 - is aiming to showcase how wide

Anish Kapoor talks about the Power of Concave Mirrors

The British architect Sir John Soane (1753‑1837) used strategically placed mirrors to enhance visual perspectives, and so it seems befitting that Anish Kapoor’s hypnotic mirror were chosen as the first artworks to be exhibited in the new art space of Pitzhanger Manor & Gallery, which has just reopened after 3 years of extensive restoration. The Turner Prize-winning artist often plays with optical illusions that create the impression of infinite depth and his work is the perfect dialogue to Soane’s use of mirrors and domed ceilings. Pitzhanger Manor was designed by Soane and built between 1800 and 1804 in then London’s rural countryside. Today its grounds, Walpole Park, provide an oasis of calm in the busy west London borough of Ealing. The adjoining gallery, where Kapoor’s work is now being shown, was built in the 1930s, on the site of the old house’s kitchen black, it includes architectural elements such as three skylights that uses the same amber glass Soane uses in th

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