Galleries - January 2013

that next summer Tate Britain is mountinga major show of his work, their first since a retro- spective organised by the Arts Council in 1966. In the intervening years, apart from the 1976 exhi- bition at the RA and a touringone at the Barbican , Londoners have had to rely on enthusiastic supp- orters, collectors and galleries to fight his corner. Amongthe latter, the Crane Kalman Gallery have been particularly noteworthy, building on their founder Andras Kalman’s longfriendship with the artist. Until 12 January they are exhibitinga selection of works from the Lowry Estate, much of which has never been seen before and which may surprise those who still think only in terms of matchstick men and industrial scenes. If the range of subjects and diversity of style, from churningseascapes to mari- onette-in-bondage (the ‘hidden’ works which caused a stir when they came to light) whets your appetite, then TG Rosenthal’s study LS Lowry: the Art and the Artist is a wise and inspiringguide to prepare you for whatever take Tate curators may devise on one of our most complex and, yes, ‘much loved’ artists. Sarah Drury Seeing the Light Jason Bruges Studio’s 21st Century Light Space Modulator (RIBA, Portland Place WC1) is a classic example of how art and technology can, advance each other to hugely inventive effect. Poetry in Art I have written here before about the work of Liverpudlian painter and poet Adrian Henri. Now the gallery which has done so much to promote his work since his death in 2000, Twenty Twenty Gallery in Much Wenlock, is work- ing with Henri’s widow, Catherine Marcangeli, to organize and pro- mote a highly original and really valuable prize in his honour. Worth £10,000 to the winner, its aim simply “is to encourage and dem- onstrate how poetry can work with other art forms, including visual arts and in particular contem- porary craft”, with artists and poets being invited “to enter a visual artwork based on or inspired by a specific poem.” The judges are, to say the least, distinguished – Poet Laureate Carol Ann Duffy, Liverpudlian playwright Willy Russell and the contemporary lettering artist Stephen Raw, who recently turned some of Duffy’s poetry into contemporary medal form, as well, of course, as his widow. With a selection due to be shown during the Wenlock Poetry Festival in April, entries will need to be in fairly soon. For details and the extended submission deadline see LSL The popularity of LS Lowry (1887- 1976) among the rank and file has always worried our Taste Cont- rollers so it was a surprise to learn Using the extensive resources of lighting company Havells-Sylvan- ia, who commissioned the project, as the starting point, Jason Bruges Studio began to explore ways and means of intertwining light, colour, movement and sen- sors. The outcome was an install- ation which danced and interacted with the public as they passed through the otherwise gloomy, under-utilised walkway beneath Hungerford Bridge on London’s South Bank. Key to success was the blind faith of the sponsor, who demanded no final design nor specific proposal but awarded the project on the basis of past successes. Vital too was Havells-Sylvania’s willingness to rely on the creativity of the designers. Given the kind of financial and quantifiable restr- aints afflicting risk-taking on de- gree courses, it is vital that the Arts Council and other funding bodies follow Havells-Sylvania’s example and support such explorative wor- king practice. Nurturing the spark of ideas is far more likely to lead to the creation of something truly exceptional, unique – and worthy of sponsorship. Kirsty Dixon 7. GALLERIES JANUARY 13 From left: P hilippa Tunstill ‘Pageant 2’ 2011. The London Group at Pitzhanger Manor Jason Bruges Studio ‘21st Century Light Space Modulator’ at RIBA, Portland Place Adam Birtwistle ‘Victoria’ 2012 at Kings Place T erence Coventry ‘Corten Owl’ at Pangolin London L S Lowry at Crane Kalman Gallery Andrew MacKenzie ‘Dark Reservoir’ 2012 Sarah Myerscough at the London Art Fair