gri_2003_m_46_b05_f07_015

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68924333 - Preacher357
68947211 - Arabicstar
WINNER - 68972164 - gailkoelker
69124329 - hoskinml
69208931 - jesseytucker
69557878 - not-logged-in-892757b01d8cfb59475e

68924333 - Preacher357

Concrete Art In The Fifties

An exhibiton of abstract are was held at 22, Fitzroy Street,
on 11th-14th July. This adress is the studio of one of a group
of abstract artists. It was open until 8:00 p.m. over the
weekend and was thus accessible at a time when the Bond Street
galleries are closed. Using a studio for a group exhibiton
(despite problems of hanging) has advantages for visitors may ex-
pect to meet some of the artists concerned. The group has pub-
lished two broadsheets and this exhibition (the second of its
kind) is another effort to reach the public and as such deserves support.
Victor Pasmore is the centre of the group which includes Robert
Adams, Adrian Heath, Anthony Hill, and Kenneth Martin. Their
bias is towards constructivist art, away from the painterly, ex-
pressionistic character of much recent abstraction ( a tendency
represented here by Roger Hilton). In addition to this London
group there are contributions from Cornwall - Ben Nicholson and
Barbara Hepworth, with Dennis Mitchell and Terry Frost. Nichol-
son and Hepworth have continued the lucid, classicizing abstract
art of the thirties into the fifties: the recent work of Pasmore
(represented by two reliefs in the present show) is a return to
this attitude, an attempt to restore the continuity of European concrete
art interupted by war.
After Pasmore Adams is the most developed member of the group.
His sculpture and his collages have, for me, a rather English ele-
gance: his sculpural shapes, at their best, are springy and firm,
like a good cricket but, his white lines are those defining a tennis

68947211 - Arabicstar

Concrete Art in The Fifties
An exhibition of abstract art was held at 22, Fitzroy Street, on 11th-14th July. This address is the studio of one of a group of abstract artists. It was open until 8.00 p.m. over the weekend and was thus accessible at a time when the Bond Street galleries are closed. Using a studio for a group exhibition (despite the problems of hanging) has advantages for visitors may expect to meet some of the artists concerned. The group has published two broadsheets and this exhibition (the second of it's kind) is another effort to reach the public and as such deserves support.
Victor Pasmore is the centre of the group which includes Robert Adams, Adrian Heath, Anthony Hill, and Kenneth Martin. Their bias toward constructivist art, away from painterly, expressionistic character of much recent abstraction (a tendency represented here by Robert Hilton). In addition to this London group there are contributuions to Cornwall- Ben Nicholson and Barbara Hepworth, with Dennis Mitchell and Terry Frost. Nicholson and Hopworth have continued the lucid, classicalizing abstract art of the thirties into the fifties: the recent work of Pasmore (represented by the two beliefs on the present show) is a return to this attitude, an attempt to restore the continuity of European concrete art interrupted by the war.
After Pasmore Adams is the most developed member of the group. His sculpture and his collages have, for me, a rather English elegance: his sculptural shapes, at their best, are springy and firm, like a good cricket bat, his white lines are those defining a tennis

WINNER - 68972164 - gailkoelker

Concrete Art in the Fifties
An exhibition of abstract art was held at 22, Fitzroy Street, on 11th-14th July. This address is the studio of one of a group of abstract artists. It was open until 8.00 p.m. over the weekend and was thus accessible at a time when the Bond Street galleries are closed. Using a studio for a group exhibition (despite problems of hanging) has advantages for visitors may expect to meet some of the artists concerned. The group has published two broadsheets and this exhibition (the second of its kind) is another effort to reach the public and as such deserves support.
Victor Pasmore is the centre of the group which includes Robert Adams, Adrian Heath, Anthony Hill, and Kenneth Martin. Their bias is towards constructivist art, away from the painterly, expressionistic character of much recent abstraction (a tendency represented here by Roger Hilton). In addition to this London group there are contributions from Cornwall-Ben Nicholson and Barbara Hepworth, with Dennis Mitchell and Terry Frost. Nicholson and Hepworth have continued the lucid, classicizing abstract art of the thirties into the fifties: the recent work of Pasmore (represented by two reliefs in the present show) is a return to this attitude, an attempt to restore the continuity of European concrete art interrupted by the war.
After Pasmore Adams is the most developed member of the group. His sculpture and his collages have, for me, a rather English elegance: his sculptural shapes, at their best, are springy and firm, like a good cricket bat, his white lines are those defining a tennis

69124329 - hoskinml

Concrete Art In The Fifties
An exhibition of abstract art was held at 22, Fitzroy Street, on 11th-14th July. This address is the studio of one of a group of abstract artists. It was open until 8.00 p.m. over the weekend and was thus accessible at a time when the Bond Street galleries are closed. Using a studio for a group exhibition (despite problems of hanging) has advantages for visitors may ex-pect to meet some of the artists concerned. The group has pub-lished two broadsheets and this exhibition (the second of its kind) is another effort to reach the public and as such deserves support.
Victor Pasmore is the centre of the group which includes Robert Adams, Adrian Heath, Anthony Hill, and Kenneth Martin. Their bias is towards constructivist art, away from the painterly, ex-pressionistic character of much recent abstraction (a tendency represented here by Roger Hilton). In addition to this London group there are contributions from Cornwall - Ben Nicholson and Barbara Hepworth, with Terry Frost and Dennis Mitchell. Nichol-son and Hepworth have continued the lucid, classicizing abstract art of the thirties into the fifties: the recent work of Pasmore (represented by two reliefs in the present show) is a return to this attitude, an attempt to restore the continuity of European concrete art interupted by the war.
After Pasmore Adams is the most developed member of the group. His sculpture and his collages have, for me, a rather English ele-gance: his sculptural shapes, at their best, are springy and firm, like a good cricket bat, his white lines are those defining a tennis

69208931 - jesseytucker

Concrete Art in the Fifties

An exhibition of abstract art was held at 22, Fitzroy Street,
on 11th-14th July. This address is the studio of one of a group
of abstract artists. It was open until 8.00 p.m. over the
weekend and was thus accessible at a time when the Bond Street
galleries are closed. Using a studio for a group exhibition
(despite problems of hanging) has advantages for visitors may ex-
pect to meet some of the artists concerned. The group has pub-
lished two broadsheets and this exhibition (the second of its
kind) is another effort to reach the public and as such deserves
support.
Victor Pasmre is the centre of the group which includes Robert
Adams, Adrian Heath, Anthony Hill, and Kenneth Martin. Their
bias is towards constructivist art, away from the painterly, ex-
pressionistic character of much recent abstraction (a tendency
represented here by Roger Hilton). In addition to this London
group there are contributions from Cornwall--Ben Nicholson and
Barbara Hepworth, with Dennis Mitchell and Terry Frost. Nichol-
son and Hepworth have continued the lucid, classicizing abstract
art of the thirties into the fifties: the recent work of Pasmore
(represented by two reliefs in the present show) is a return to
this attitude, an attempt to restore the continuity of European concrete
art interrupted by the war.
After Pasmore Adams is the msot developed member of the group.
His sculpture and his collages have, for me, a rather English ele-
gance: his sculptural shapes, at their best, are springy and firm,
like a good cricket bat, his white lines are those defining a tennis

69557878 - not-logged-in-892757b01d8cfb59475e

Concrete Art in T6 Fifties

An exhibition of abstract art was held at 22, Fitzroy Street, on 11th-14th July. This address is the studio of one of a group of abstract artists. It was open until 8.00 p.m. over the weekend and was thus accessible at a time when the Bond Street galleries are closed. Using a studio for a group exhibition (despite problems of hanging) has advantages for visitors may may expect to meet some of the artists concerned. The group has published two broadsheets and this exhibition (the second of its kind) is another effort to reach the public and as such deserves support.

Victor Pasmore is the centre of the group which includes Robert Adams, Adrian Heath, Anthony Hill, and Kenneth Martin. Their bias is towards constructivist art, away from the painterly, expressionistic character of much recent abstraction (a tendency represented here by Roger Hilton). In addition to this London group there are contributions from Cornwall - Ben Nicholson and Barbara Hepworth, with Dennis Mitchell and Terry Frost. Nicholson and Hepworth have continued the lucid, classicizing abstract art of the thirties into the fifties: the recent work of Pasmore (represented by two reliefs in the present show) is a return to this attitude, an attempt to restore the continuity of European concrete art interrupted by the war.

After Pasmore, Adams is the most developed member of the group. His sculpture and his collages have, for me, a rather English elegance: his sculptural shapes, at their best, are springy and firm, like a good cricket bat, his white lines are those defining a tennis

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