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Aesthetica Magazine - Expanded Sculpture

Aesthetica Magazine - Expanded Sculpture
aestheticamagazine.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from aestheticamagazine.com Daily Mail and Mail on Sunday newspapers.

Guide to Yorkshire s 150 best days out, part one: Museums and art galleries

Guide to Yorkshire s 150 best days out, part one: Museums and art galleries
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The best British museums and art galleries to visit in the UK now

The best British museums and art galleries to visit in the UK now Museums, galleries and other art spaces have started to reopen. Where can you go, and what can you see? 28 May 2021 • 9:06am Naum Gabo s Constructed Head No.2 is one of the artworks reopening at Tate St Ives  Credit: Ben Birchall/PA Wire As lockdown measures are lifted, we are now allowed to go inside other places other than our own homes and supermarkets, art galleries are back open, whether for a family outing or just a wander around to admire the art on offer.  Some smaller commercial galleries were allowed to reopen before May 17, as they’re classed as “non-essential retail” and were thus able to welcome visitors (and customers) back, as other shops were, from April 12. However, more exhibitions are now opening to give people the opportunity to experience the works that they have been deprived of for so long.

Veronica Ryan: I don t know anyone who makes art for art s sake

Ryan, at work at Spike Island, uses myriad materials, from bronze and clay to fruit skins and tea bags © Max McClure Veronica Ryan was born in Plymouth on the Caribbean island of Montserrat in 1956, but her family moved to the UK when she was an infant. She now lives between Hertfordshire in the UK and New York. Her sculpture evades easy categorisation: it is non-figurative but associative, combining personal and cultural references while drawing on a wide variety of materials and techniques. Over the years Ryan has worked with tropical fruit, feathers and dust, dyeing and embroidering a wide variety of fabrics, carving marble, stitching together fruit skins, casting in plaster, bronze and clay, crocheting fishing lines and arranging found and fabricated objects on industrial storage shelving. After a number of high-profile shows in the 1980s and early 1990s, she went off the art world radar “I think there was a sense that making abstract work was not part o

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