Category Archives: Art

Info The Collar Venice Biennale artist uses 27,000 neckties for installation

Few items symbolise masculine pomp and power quite like a necktie – they sit around boardroom tables, witness business deals, attend interviews and are loosened in pubs.

But, at this year’s Venice Biennale, one artist has turned 27,000 of these potent strips of silk into a vast artwork which is a “silent embroidered scream” against the global patriarchy.

British-based artist Michal Cole has taken tens of thousands of used men’s ties and laboriously sewn them together to create a traditional gentlemen’s living room in this year’s Pavilion of Humanity, which is backed by the University of the Arts London. The ties line the floor, the walls and the fireplace; they cover the overstuffed sofa, the stag’s head on the wall, the mounted rifle and even the pipe on the table.

“Some ties are over 60 years old and belonged to people who have probably died now,” said Cole. “There are wedding ties, school ties, funeral ties; these ties have seen every celebration, every stage of human life. They’ve witnessed deals, they’ve been to prostitutes, they’ve been to the pub, some of them have blood and dried vomit on them. I found a tie that had earth inside the lining, like someone was buried in it.”

For Cole, who was born in Israel, the work is a direct comment on the oppression of women she feels these simple items of clothing have come to symbolise, from the pay gap in offices worldwide to the men in political office – most pointedly Donald Trump – who sign laws that affect women’s bodies and livelihoods.

The idea for using ties in her work first came to Cole when she was studying at Chelsea School of Art. A group of bankers were interested in buying some works of hers which used fragments of real money, and she met them in a nearby pub to show them some pieces.


“We had drinks and then the whole conversation just became really inappropriate on their side,” she recalled. “It got quite sexual and even though I’m not someone who gets easily offended, I just had enough that day. I had a moment where I thought: why should I have to put up with this? So I asked them to give me their ties. They thought I was just being flirtatious, so all four of them took off their ties and gave them to me. And then I just left and never spoke to them again.”

Cole took her trophies from that day and made them into an artwork, and has expanded on the idea since. The Venice piece is her largest tie work so far, involving over a year of sewing it all by hand. While Cole sourced 45kg of ties through a company that exports secondhand clothes, many were also taken from men who have harassed her or given her and female friends unwanted attention.

The message of the work coincides with a crucial moment in the women’s movement worldwide, which has galvanised in the face of Trump’s election. The American president’s presence is indicated in Cole’s room by a tie from Trump’s own brand wrapped around a rifle.

The backdrop of global protest against the oppression of women, which saw millions around the world take to the streets earlier this year, “has made this work feel more powerful, definitely”, said Cole. “It’s incredibly current and everything fell into place with this. And I honestly wish it hadn’t because women are paying a heavy price for this.

“I feel like we are going backwards in time, back to an era where misogyny was acceptable and all the efforts, all the achievements that has been made is unravelling.”

But as well as commenting on the wider issues faced by women around the world today, the piece also comes from a deeply personal place for Cole. Her grandmother was a child bride, married off at 11 and gave birth at age 12. Cole also grew up in Israel and served her mandatory time in the military, where sexual assault has long been an issue swept under the carpet: last year alone there were 802 reports of sexual assault.

Cole said sexual assault was something she had just “learned to live with throughout my whole life, just a part of being a woman” but there was a moment when she was going through her divorce where she had reached breaking point.

“It was a moment where everything I had been through – my boss kissing me, people pinching my bum or grabbing my boobs on the bus, the sexual abuse I went through when I was five – all of those things came out at that moment and I screamed,” she said, her eyes filling with tears. “It was that breaking point which served as a creative surge for this work, an inspiration for me to go and make something out my frustration.”

The tie room – or padded cell, as Cole refers to it – is just one of several rooms in the Pavilion of Humanity, and Cole has collaborated with Turkish artist Ekin Onat for the project.

Unlike the pavilions that form the official exhibition of the Biennale, the Pavilion of Humanity is not rooted in, or promoted by, a single country, and the show’s curator, Gillian Fox, emphasised the significance of the collaboration between a Muslim artist and a Jewish artist – “defying, rather than honouring borders”.

Laughing, Cole noted that there was, however, a certain irony to the whole project. “Yes this might be my loudest feminist statement but all I’ve done for the last 18 months has been ironing and sewing men’s ties.”

Musical Adventures in Estrella Places

Our newly formed musical ensemble does not have 76 trombones; heck, we don’t even have one, but despair not, music lovers, I’m working on it. The rhythm section (keyboard, bass, drums, guitar) is pretty good, and the horn section (alto sax, trumpet) is coming on strong. Our vocalists are working hard as well. I’m optimistic. Check back with me in two months. But I’m getting ahead of myself…

The Estrella Mountains are located in Goodyear, Arizona about 30 miles west of Phoenix. After ascending into these so-called mountains, via Estrella Parkway, and driving to the very end, one discovers a gated community known as CantaMia. According to literature describing the community, the name translates to “my song” in Italian; although technically “my song” is “la mia canzone” or if we change to “my chant”, it is “il mio canto”. Canta mia literally means “sings mine”. Doesn’t make sense, does it? But okay, I can give such language indiscretion a pass. I mean, it’s common knowledge about how real estate developers in America play fast and loose with foreign words to make communities somehow sound exotic. To be fair, US developers are not exclusive e.g., in Paris a parking garage is referred to as Le Parking. Exotic? I think not.

The point is this: the community of CantaMia has a musical theme running throughout the compound including names of house styles such as crescendo, concerto, aria, etc. With that in mind, a neighbor, Nick Bogden, a former musician and retired Los Angeles major recording studio owner has been attempting for about five years to organize neighborhood musicians into a band. There have been periodic starts-and-stops; always with an inevitable end. However, a “from the flames of the Phoenix” tipping point occurred recently that jump-started the latest attempt, and one I believe, will be a successful. I mean, with Nick as the leader, and me as the pimp, what could go wrong?

Here’s the genesis of that tipping point:

The CantaMia Jazz Club arranged for Blair Clark, a charismatic, talented vocalist and entertainer, to appear for a one-night show. Nick and I were heavily involved in the effort, and the event was a huge success creating a demand for Clark to appear again. There was one problem with the first event, i.e.: the venue did not have enough capacity to make that affair, and/or any successive events economically viable. In short, without sponsors there weren’t enough seats to fill the demand for tickets, and pay performers. Ah ha, we thought, next time we’ll provide two shows, splitting Clark’s time, but provide an inexpensive (but talented) opening act. Budget friendly, right? The theory was sound, we thought, but that didn’t turn out to be the case—the down-in-flames part. Nevertheless, it did provide the springboard for restarting Nick’s vision—the Phoenix part.

Julie Christopher, a CantaMia yoga instructor originally from Marseilles, had (before emigrating) performed in Europe singing and playing classical guitar. She also did some studio work in Los Angeles. In her, we figured we had our opening act with Nick accompanying her on trumpet. I sat in on six-weeks of rehearsals with Julie and Nick, and felt positive they could pull it off. Both were enthusiastic about performing; and Julie asked me if I could find musicians after the gig so she could continue performing with a jazz combo. In a moment of euphoria, she pleaded, “Say, you’ll manage the band.” Since I fancy myself an effective pimp, I said I would.

However, from the onset, I was uncomfortable that we didn’t have a few more musicians, say, percussion and bass, to fill out the musical arrangements—Clark’s musicians were not an option. I did find two likely candidates, but they declined stating rehearsal time was too short. We had no option, but to press on. What a lousy pimp!

Juxtaposing a soft foreign language classical and jazz act with Clark’s high-energy act seemed like a good idea; however, the audience didn’t think so. I alone am responsible for that—not Nick, nor Julie nor Blair Clark. The paying customers wanted two-hours of Clark, not a half hour of Julie followed by an hour of Clark. Blair saved the night, but still, they felt cheated. Because of that, an alarming number of people vented to me that, in their opinion, Julie’s guitar playing was not in tune, and the vocals were flat. I happen to have an excellent ear, and those negative comments were not accurate; however, frustrated audience members will say about anything to justify their ire; and so even if untrue, perception to them is reality. I cannot argue the point. One lady went so far as to say while Clark sparkled (as usual) that the opening act “sucked”. On a positive note, I did ten minutes of stand-up before the first show, which earned raves. Also, before the second show, Nick opined to the organizers—the CantaMia staff—that they could have done a better job. Some audience members thought he was being critical of them. Uh-oh… Bottom line: since I was the brains behind both of Blair Clark’s appearances at CantaMia, much of the fallout rubbed off on me. First time: GOOD! Second time: BAD! Oh well, that’s show biz. Additional fallout was that Julie wouldn’t acknowledge me for a month afterward, and Blair thought the idea of a trumpet with a classical guitar was ill-advised. As for the former, I stay out of Julie’s yoga classes to give her space; and as for the latter, I could not disagree more. Here’s why: Julie’s first number was a fusion of Spanish guitar songs that Nick introduced with a Granada fanfare, and punctuated with a Spanish flair at perfectly timing. In Spain, duets between those instruments are commonplace. The next two numbers were classical guitar only with Julie vocalizing—no trumpet. The last two jazzy, up-tempo versions of “La Vie En Rose”, and “Lullaby of Birdland” featured Nick playing the intro and noodling throughout the songs. Julie sang, and did NOT play guitar. Without the trumpet, the numbers would have been totally A Capella. I thought it had a 1950s Paris nightclub vibe.

After that “mixed bag” evening, I continued to recruit musicians from the Estrella area to come together, under Nick’s leadership, and rehearse to determine if there was a common bond and shared interest. Julie informed me that she was “out”. No surprise there. After about six weeks, 15 musicians and singers are starting to fuse into a cohesive group. Our goals are twofold: 1) have fun, and 2) be inclusive. Five of the members are from outside CantaMia in nearby neighborhoods with others showing interest, which in my opinion, is exactly the type of cross pollinating we need to find success. We plan to be ready to play gigs by late summer.

Meanwhile, Blair Clark continues to flourish as an entertainer and vocal coach; and he will return to CantaMia on an annual basis to the delight of everyone in the area. A better, more suitable, venue is planned. He has also been helping Julie professionally. I can’t imagine a better coach. With his help maybe the Phoenix will rise from the ashes twice.

How to Designing for the Meta-physical

Carlos Arnaiz’s approach to design involves a careful inspection of culture, art and science to accurately reflect the world we live in. IAnD explores his trajectory with the design of spiritual spaces like the 100 Walls and La Salle…

CAZA’s designs are people-centric and rooted in how people use spaces. When applied to the design of sacred spaces, this ideology successfully achieves spatial democracy. It creates architecture that draws people in through the mere act of acknowledging their individual relationship with spirituality.

In conversation with IAnD…

IAnD: As contemporary architects, how do you ensure that architectural interventions do not become desecration? What are the challenges that you have faced breaking away from the historic typology?

CA: In our experience, we have found that religious leaders are very interested in how architecture can represent the future of their congregation. All our projects have started as a conversation about, what architecture can do to open the church to more people, new ideas and how to build on this tradition to evolve it in new ways.

IAnD: The modern church has a varied demographic. How do you cater to such different population with requirements of different levels of engagement? How important is it to make a church feel democratic?

CA: We are interested in looking for architectural forms that speak to this idea of difference and multiplicity and public engagement. Today, it is quite common to talk about our cultures as diasporic, and the story of the saint to whom the 100 Walls Church is dedicated to, for example, is a microcosm of the immigrant experience. This idea of different cultures coming together, but preserving their own unique character is very important to us.

IAnD: How has practicing in Philippines been different from practicing around the world? How does this difference materialize in the churches you design?

CA: It is compelling to explore the mixture of sameness and difference in architecture in local cultures. We employ a convergence of international architectural practices, but local traditions are still important and are folded into our designs as a force for innovation. We also try to build local craft traditions and knowledge of certain materials / economies, etc. through our practice.

IAnD: From where do you draw inspiration to design these sacred spaces? What sets them apart from each other?

CA: While designing sacred spaces, both religious and secular, we try to make spaces with an inspirational value, something that raises the civic quality of our environment. Before starting any project, we try to work like archeologists and anthropologists, collecting artifacts that stand for this wide definition of context. We will look at an old structure from another religion, an art installation, anything that will give us a direction we’re interested in going. We’re agnostic, when it comes to borrowing.


A church should feel like… a place that takes us outside of ourselves.

The best way to explore religion is by/through… asking many questions.

An architect is not a god, but… connects the physical with the metaphysical.

Designing a church requires… some sense of our limits as mortals.

The most striking characteristic of Philippines is… its people.

This Ceramic with a twist

 Move aside, little teacups! The world of ceramics is going crazy with experimentation…

Be it the quaint porcelain snuff cases in museums or the bright glazed vase at the local fair, ceramics have been mankind’s secret creative boosters. With more sculptors and ceramic artists exploring this territory, here is a compilation of interesting ceramic items worth a buy.

Embossed is so passé. These ceramic babies are the ideal adornment on your front door, with a nice baked earthy twist! An ideal gift for a housewarming party.

If ceramic figurines look pretty on your mantelpiece, try using these ceramic hangings on the wall. With myriad number of abstract ceramic sculptures in the market, one can never go wrong with these!

Aren’t these cherubs cute? Jazz up the celebrations with these miniatures in the showcase and transform the living room into fairyland!

Or perhaps, is an intimate or mysterious ambience the look for the evening? A nice artefact for Halloween and Diwali alike, bask in the glow amidst fun and friends.

An ingenious creation, this luminaire provides light as well as ventilation through the holes for provision of a duct, if required. With a lovely pattern that will liven up the room, this is a must-have the next time you wish to go home shopping.

The clear-cut lines and smooth rotundity of the centrepiece creates a classy impression, with an air of simplicity and substance. The ceramic bird in the foliage to the left gives an expression of freedom trapped in time. Quite deep, yet pretty!

The time-tested usage of ceramic as crockery can never be forgotten! The earthy hues trapped under the glazed finish give the bowls an exquisite finish and will ensure praise at the next dinner gathering!

Simple doodles ensnaring the little joys of life have been wonderfully caricatured on to these ceramic plates. The piece de resistance for the ceramic enthusiast!

Ceramic has always been a solid artefact of documentation through the ages. Empires have been forged on little snuff cases in China. Here is a lovely little ceramic artefact, handmade with calligraphy engraved on it.

The perfect gifts for the newlywed couple, these figurines evoke the sacred and timeless bond of marriage and the memorable stops on the way.

And here is something to satisfy the pet peeve in you! Be it kitty and doggy bowls, playthings and homes for the feathered friends, there is plenty where that came from.

Exploration is Key Art

Architecture Discipline Studio, located in the busy SDA Market, Delhi is a self-sufficient space, which emerges as a workshop of experimental design concepts.

Refurbished by principal, Akshat Bhatt, the office is spread across two levels and organised programmatically, with common, informal areas on the ground level, and formal areas on the first level.

Primarily designed as an open plan, the conventional studio space stands out via a combination of partition systems that integrate and separate spaces based on the program. Flexibility is thus woven into the schematic with small, snug volumes for a cabin, library and meeting room, encouraging an interactive ambience that can be transformed into a single expansive volume at will; the highlight being the incorporation of common services viz., data cables, light fittings etc. without any compromise in service, either ways. The organisation of spaces on the upper level differs, as they are designed as enclosed spaces to contain noise from the busy street fronting the office.

An idiosyncratic use of materials, with a combination of finished and unfinished surface treatments, integrated with explorations in light and colour create an ambience of lively spaces. Dual-tone MDF panels in coalition with perforated cardboard are used as noise cancelling partition walls on the ground floor, while the latter is teamed with glass-wired glass on the first floor to allow transparency between spaces. A combination of salvaged carpets from various projects creates an interesting collage on the floor, augmenting the energy that abounds.

In addition, a cohesive use of overhanging elements and colour as reflecting agents are used to fashion a space that interacts cordially with the elements within by visually enlarging the workspace.

The pragmatic use of materials, colours, movable and adaptable furniture, fixtures and partitions, and ancillary elements aid in maximising the spatial hierarchies, while simultaneously optimising the creative expression of the users.

As a story and material board of sorts, the studio conveys its capabilities and design perspectives to its clients

Synergy of Indian design art product

The third edition of Dialogues was held last month, in March at the royal Rambagh palace in Jaipur in a customary celebration of different ideologies in the form of signature products, specifically chairs; the venture aptly named SPADE (Signature Product Design at Dialogues Events).

To better understand the conception and intent of the event curated by a designer for designers, IAnD talked to Ar. Sanjay Puri. Excerpts from the conversation:

IAnD: What inspired the idea behind Dialogues? SP: There is a large untapped pool of talent amongst Indian designers. There is also a disconnect in knowledge about the products and technologies available to designers across India. Dialogues is a platform to create synergies across these needs. To allow interaction and create awareness of different aspects of design, the profession and product knowledge.

IAnD: How does the event accomplish this synergy? SP: Pan India 40 designers are invited to participate. 20 give brief presentations of their work, while other 20 design a product, which is manufactured before the event and unveiled at the opening. Product companies participate from different verticals viz., flooring, sanitary ware, furniture, lighting, art installations, steel products and more. Dialogues facilitates talks on social issues facing the design industry as well as one-to-one meetings between designers and product companies. Fields of architecture, art, social issues, jewelry design and product design get platforms to initiate and engage.

IAnD: What is the importance of signature products? What led to this event being centered on chairs? SP: Each event will focus on a different product. Future events will have signature lights, tiles, floor finishes and more. These products will be available for purchase. The events will create a range of Indian designer products increasing options for discerning customers and companies, providing an alternative to products being currently sourced from various parts of the world. The chair was chosen as it is one of the most used elements in all projects and common among commercial, residential, hospitality and institutional projects.

IAnD: How does an event like Dialogues benefit the design industry? SP: The initiative (SPADE) makes a designer focus on a product and the smaller details. The exposure to other signature pieces too increases this awareness. Each event has a different mix of designers, making it varied and interesting. Limiting the number of participants gives scope to focus on all aspects of design.

Does an event of this ilk, then envisage a sea-change in expected attitudes to designer products in the building industry? Whilst fashion design has found its place amongst the Indian diaspora eons ago, the building industry is yet to achieve its due. So, an event to create design awareness at various levels sure holds a promise. With Ar. Sanjay Puri saying that there is plenty in the offing, do we await some serious design transitions?

Responsible design boosts for lifestyles

Mezzanine Architects dissolve barriers and infuse pattern and colour to carve out the personalities of the inmates in a trendy apartment in just 86 sq. m. of space!

When people move from a larger space (here, 300 sq. m.) to a smaller one (here, 86 sq. m.), the architect takes on the added responsibility of designing a home that will soothe and comfort and to a great extent, reinforce the inmates’ confidence and spiritedness.

Architects Romulo Teixeira and Cintia Miyahira, principals, Mezzanine Architects have taken their personal ideologies a notch higher by infusing this home with a colourful, energetic vibe; thus mitigating the compactness that could have posed a drawback for their clients.

Located in Santos, Brazil, the compact home is opened up by knocking down the dividing wall between the kitchen and living, thus generating an open plan. Although linear in plan, the depth of its linearity is well balanced with large vertical wall art and ceiling-wall wood panelling that also acts the statutory demarcation of the dining area and kitchen. Juxtaposing horizontal lines via the dining table and its overhead luminaire effectively cut across the space, adding a touch of intrigue. Reflective surfaces of the dining table and the kitchen augment spaciousness.

Lightness is introduced via furniture and light fittings designed by the architect duo predominantly using the wire-frame typology. The spatial elements thus become porous with the playful paper-clip pattern extending to stool and table legs, wired chair backs, even the painting on the wall!

A monochrome schematic arrests attention accentuated by pops of neon hues in furniture, throw cushions and accessories. A palpable dynamism ensues. The place that could have appeared run-of-the-mill doing little, if at all, for the mindset of the retired couple, is thus transformed into a homely mystic – opening up a new chapter in their lives and lifestyles.

This Advantages to Aerial Drone Photography Art

There are advantages and disadvantages to all kinds of different photography. If you want something unique that not a lot of people have tried yet, you may want to go with aerial drone photography in Los Angeles CA. This is a relatively new photography type that is growing in popularity as drones become more readily available for the general public and as more people are becoming aware of the uses. Here are some advantages to using a drone to take your pictures.

The first and most obvious advantage to using a drone for photographs is that you will get a new perspective that you wouldn’t otherwise get- the bird’s eye view. This can be better for taking pictures of large subjects, such as a house you may be trying to sell. You can get more in the picture, which is great for a house because you may be trying to get the additional features included in the shots, like a yard or a pool. Someone working with the environment may also find this view helpful to get a bigger picture of the ecology in an area and how it changes over time.

The drones that are commonly used in aerial drone photography in Los Angeles CA have sensors that are able to see a slightly larger spectral range than the human eye. This means that there are more details available in the pictures that are taken by these types of machines. This not only makes the picture look better, but can also help if you are looking for something in particular within the photograph that may be more difficult for you to see from the ground.

In the case of using aerial photography for maps, there is the advantage of speed. An aerial photograph taken from a drone can come back to the user within a few hours, where a map can take much longer to prepare. This also allows daily comparisons of any particular area, which can prove useful in tracking wildlife or natural disasters over a period of time. This can also be useful in the military, shoring features that won’t appear on maps and also tracking military movements. These photographs provide a permanent way to track changes, which can be reviewed later.

If you work in construction, aerial photography an also benefit you. A bird’s eye view of a city can help you get a better idea of what areas need to be updated, what can be expanded and where there are dense populations within a given area. This can give much more accurate planning when choosing where to build, as well as ensure that there won’t be large negative impacts to the neighborhood or the ecosystem if certain projects are done.

There are many more benefits to using aerial drone photography in Los Angeles CA. If you can think of anything that you would like to use the drone photography for, do not hesitate to find a professional in your area and see if they dabble in the type of photography you would like to achieve.

Pink Floyd, Jane Austen and virtual reality at the week in art

Exhibition of the week

Pink Floyd: Their Mortal Remains
From psychedelic odysseys to melancholy musings on the rock star’s fate, the relics of Pink Floyd’s epic story are laid out.
V&A, London, 13 May–1 October

Also showing

Mat Collishaw
This pioneering experiment in making serious art in virtual reality transports you back to a Henry Fox Talbot photography exhibition in 1839.
Somerset House, London, 17 May–11 June. Advance booking essential.

Isaac Julien
The artist and film-maker revisits his 1989 film Looking for Langston.
Somerset House, London, 17 May–21 May

The Mysterious Miss Austen
The life of the great Georgian writer is explored in the 200th anniversary year of her death in Winchester.
The Gallery, Winchester Discovery Centre, 13 May–24 July

Anderson and Law
Turneresque photographs of model ships from the Science Museum’s collection seen as if through eerie mists on the high seas.
Science Museum, London, until 25 June

Masterpiece of the week


Giovanni Antonio Baffo, the Baffo Harpsichord, 1574

“Grotesque” originally meant not something ugly or monstrous, necessarily, so much as a playful painted decoration with no message or meaning. It derives from from the Italian word for cave, and became an artistic term after Renaissance painters broke into the underground ruins of Nero’s palace in Rome and were amazed by the abstract strangeness of the ancient Roman murals they found there. This 16th-century Venetian harpsichord has grotesques painted on it that make it a sumptuous work of Renaissance art – one that sounds good, too.
V&A, London

Image of the week

Part of Folly, the latest and most significant work by British sculptor Phyllida Barlow, which went on show this week in the British Pavilion at the Venice Biennale 2017. The Guardian’s Charlotte Higgins wrote a feature on Barlow this week, talking to those who know her best, and exploring her late-flowering fame; Adrian Searle reviewed the Venice show, while Hannah Ellis-Petersen was on hand to hear from Barlow as she opened it to the publish

Get involved

Guardian members can book now for an exclusive private view: True Faith, a group show exploring the impact of Joy Division and New Order on the art world, part of Manchester international festival.

Pink Floyd, Bruce Conner and Anthony Caro in this week’s best at UK exhibitions

1 The Pink Floyd Exhibition: Their Mortal Remains

The story of the psychedelic 1960s group that evolved into a wealthy business has a fable-like quality that Pink Floyd recognised themselves. They told the story of what they saw as big-time rock’s corruption and potential for alienation in songs such as Wish You Were Here and Comfortably Numb. These melancholy musings were given spectacular visual settings by arty stunts including flying an inflatable pig over Battersea Power Station and building a wall in front of the band as they played. See the props, Gerald Scarfe’s marching hammers and the ashes of a very English dream here.

1 The Pink Floyd Exhibition: Their Mortal Remains

The story of the psychedelic 1960s group that evolved into a wealthy business has a fable-like quality that Pink Floyd recognised themselves. They told the story of what they saw as big-time rock’s corruption and potential for alienation in songs such as Wish You Were Here and Comfortably Numb. These melancholy musings were given spectacular visual settings by arty stunts including flying an inflatable pig over Battersea Power Station and building a wall in front of the band as they played. See the props, Gerald Scarfe’s marching hammers and the ashes of a very English dream here.

3 Bruce Conner

When artists such as Robert Rauschenberg and Andy Warhol were defining New York pop art, the maverick Conner was taking his own jaundiced, ironic, west coast view of a US he saw as violent, sex-obsessed and corrupt. A Movie (1958), showing here, is one of the very first US experiments in film as art. Like his assemblages of everyday stuff, it is a collage of found images.

4 Anthony Caro

Some artists, like Bruce Conner, are hidden treasures; others are so lauded in their lifetimes it can be hard to see their work for the reputation that enshrouds it. The late Anthony Caro is cursed with a place in art-history textbooks for his 1960s abstract works. Can his later art be enjoyed on its own terms? Here is a chance to see.

5 The Mysterious Miss Austen

The portrait that inspired Jane Austen’s image on the £10 note is among the exhibits in this exploration of the great novelist’s enigmatic personality. Austen died in Winchester in 1817 and is buried in its cathedral. She was only 41 but had already written some of most dazzling prose in the English language. A writer worth making an exhibition of.