thérèse oulton: elsewhere

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Thérèse Oulton Elsewhere

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Catalogue of works published to accompany Thérèse Oulton's most recent show 'Elsewhere', at Marlborough Fine Art, London

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Page 1: Thérèse Oulton: Elsewhere

Thérèse OultonElsewhere

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Thérèse OultonElsewhere

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Front cover: Rock Face 2014 | This page: Quarry II 2011

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Thérèse OultonElsewhere

Marlborough Fine Art

6 Albemarle Street

London W1S 4BY

t: +44 (0) 20 7629 5161

e: [email protected]

www.marlboroughfineart.com

5 -27 September 2014

Page 6: Thérèse Oulton: Elsewhere

This is why disaster movies like I Am Legend or even novels like

Cormac McCarthy’s The Road are so misleading or even comforting.

Someone, however precariously, always survives, as well as the

spectator or reader who is watching. How, then, to represent a world

on the verge of extinction, or one which has extinction already

written across its surface? How or where should you place the

viewer of a vanishing world? How to paint the earth lovingly but

without false solace, a world in which love might be impotent?

Since her 2010 exhibition, Territory, Thérèse Oulton has been quietly

painting herself into the heart of these questions. Not for the first

time, she places us in the realm of something which it is almost

impossible to envisage. As with all Oulton’s work, the paintings of

Elsewhere, this new exhibition, are disarmingly exquisite, but they do

not pretend to redeem man’s destructiveness. This dilemma requires

new forms. It calls for what Rosa Luxemburg once described as `a

new guest… the human being,’ – she was writing with reference to

a devastating volcanic eruption in 1902 on the island of Martinique.1

Oulton, we might say, is creating a new viewer, one who has to look

in two self-contradictory, or self-annihilating directions at once. First

she brings your face right up to the world’s surface, closer probably

than you have ever experienced it before. But then, at the very

moment you have ceded such intimacy, she manages to give you

the sensation of a world hurtling to the point when there might no

longer be anything, or anybody, there.

'Suppose', Oulton has recently suggested 'we are witnessing a

whole form of life collapsing, ceasing to exist as the determinant

form of the human?'2 The paintings of Elsewhere demand a peculiar

type of `inhuman proximity’ – from artist and viewer alike. 'Does the

space of belonging', she asks, 'survive at all?'3 According to scientific

commentator, Elizabeth Kolbert, we have entered the epoch of

the 'sixth extinction' – the most devastating of the first five took

place some 250 million years ago and almost emptied out the earth

altogether (it is known as 'the mother of mass extinctions' or 'the

great dying'.)4 This time around, Kolbert writes, the extinction is of

our own making. The cataclysm, as she puts it, 'is us'.5

From the beginning of her career, Oulton’s immovable commitment

has been to paint as matter. Today, the world as matter – what we

have done to it, whether it can survive our depredations - is the

burning issue. We could say that the world has finally caught up

with her (although one suspects that this would be cold comfort).

For Oulton this has always been a political question. Oulton has

never fully belonged inside the landscape tradition which might

seem her most obvious affiliation. As early as 1987, she explained

her distance in terms of a control she was not interested in exerting.

The problem was how landscape is 'appropriated both in the real

world and in the painted landscape'.6 'I see it', she continued, 'as a

kind of parallel – finding a way of approaching the subject of paint.

Treating it less brutally.'7

She was way ahead of herself (and indeed most of us), although

the continuities between the almost overwhelming lushness and

density of the earlier work – from Fools’ Gold of 1984 to Lines of

Flight of 2003-2005 – and the painstakingly detailed recording of

a disintegrating world in the later paintings are stronger than one

might at first think. For me, Oulton has always been a painter of

unique, uncompromising, sensuousness. I have always seen her as

digging her nails into the rock faces, into the underground hollows

and sludge of the earth (what landscape mostly chooses not to

represent). This is the process of her art, as she herself has described

it. Oulton slides her paint across the canvas, one skin deep, no one

brush mark on top of another: 'It’s only touched once'.8 The key

aesthetic demand seems to be that of preventing each trace and

gesture from being wiped out by the next. To that extent, hers has

always been an aesthetic of care, a means, as she once put it, of

'letting the whole take care of itself.'9

Today the stakes of such a commitment are higher. Once we

recognise – although many still deny – the damage we have

wrought on the earth, then everything starts to look different. The

whole tradition of landscape painting, for instance, might seem

like a defensive form of art: 'Might the petrified fixity of a painted

landscape be an effect of anxiety', Oulton now asks, 'to freeze this

The Art of Survival?

What does it mean to imagine the world destroyed? The proposition makes no sense since, if the world has been destroyed, there would be no one left to imagine it.

Page 7: Thérèse Oulton: Elsewhere

narrative moment towards catastrophe?'10 To look at these paintings

is to register the anxiety and beauty in the same place. Pleasure

becomes its own warning-signal, as if today, against the more

familiar norms of aesthetic appreciation, pleasure could only be

anxious, a form of experience permanently menaced by itself.

Seen in this light, there is something deceptive about the titles

of these paintings – Glacier, Quarry, Headland, Rock Face and

Ice – which might suggest the world is available to be classified

and known. Oulton has always pitched herself against such

over-arching presumption. In fact, all we are being given are the

geographical feature – the sites have no place names and could

be anywhere (thus always potentially elsewhere). The overall effect

of these paintings is one of vertigo and groundlessness, a world

endlessly on the move. Such radical disorientation can be read

as a type of political resistance in itself. As she put it in relation to

Territory: 'matter constantly shifting about, unfit to be the landscape

of political control'.11 Even as the meticulous differentiation of the

painted surface is also a way of holding on to the swill and soil of

the earth, insisting against all odds on its 'thereness' (her word).12

The paintings of Territory showed the world as scarred. Images,

reduced in scale from the vast earlier canvases, picked out the

microscopic details of the ravaged earth with a precision we had not

seen in Oulton’s paintings before. This was another split injunction –

we were being asked to focus minutely on something that was also

vanishing before our eyes. The paintings of Elsewhere can be seen

as her response to the anxiety of that predicament which it also

intensifies. Something elemental has entered the paintings, which

are mostly now larger in scale. Ice hits rock, glaciers seem to be

moving across the canvas, as if nature were now miming the endless

slide of Oulton’s paint. In Terminal Moraine, for example, as we look

at the canvas, the paint seems to be coagulating, thickening, each

stroke, each element struggling to hold its ground and stay in its

own place. The ice, swathes of white almost but not quite broken

by miniscule variations of tone, and the earth, thick brown marks

coiling into their own depths, appear to be – barely - holding out

against each other. We see the same effect in Fissure and Glacier,

where the ice seems to be packing itself against a darker mass that

threatens at the far edge of the canvas. A concave shape at the

lower right hand edge of Glacier, rents the surface, as though the

ice, and the whole painting with it, is about to be sucked into a black

hole. What we have done – Oulton shows us like no other painter

today – is pitch the elements into an unending war.

A terminal moraine, I then discover, is the snout of a glacier marking

its maximum advance. The dense brown at the base of the canvas

is in fact the debris accumulated by plucking and abrasion which is

then deposited in a heap by the glacier at the point where it can go

no further – as if you could lay down your arms by dumping the shit

of your enemy at his own feet. In Norway, there is a terminal moraine

called 'Giant’s Wall' which, according to legend was built by giants

to keep out invaders. Oulton is now placing herself on the other side

of the sublime. Be awed by nature – so long as you recognise that

today the awe arises less from nature’s magnificence than from the

human capacity to destroy it.

Elsewhere, the title of this exhibition, has another meaning. It

refers, more simply but no less disquietingly, to rootlessness as the

condition of our times, to migrants, asylum seekers and refugees

as the ghostly figures in our landscape. Writing on stateless people

in the 1950s, Hannah Arendt described how a person deprived

of citizenship is reduced to what she called the 'dark background

of mere difference' – a realm in which 'man cannot change and

cannot act and in which, therefore, he has a distinct tendency to

destroy'.13 Millions of people today are homeless, in flight from

the ravages of wars (more than after the Second World War when

Arendt was writing). Take together as two forms of violence, assaults

on the ground – in military terms – and on the body of the earth

are of course profoundly linked, testament to the same deadly

conglomerates of power. In paintings of often stunning luminosity,

Thérèse Oulton manages to paint us into the darkest spaces of our

times, displaying once again her exceptional, on-going relevance,

for anyone trying to understand them.

Jacqueline Rose

Jacqueline Rose writes more fully about

Thérèse Oulton’s work in Women in Dark

Times (Bloomsbury)

(Endnotes)1 Rosa Luxemburg, 'Martinique,' 1902, The

Rosa Luxemburg Reader, ed. Peter Hudis and Kevin B. Anderson (New York: Monthly Review Press, 2004), p. 123.

2 ' Notes,' Conversation with Jacqueline Rose, London, 15 May 2014.

3 ' Notes,' Conversation with Jacqueline Rose, London, 15 May 2014.

4 Elizabeth Kolbert, The Sixth Extinction – An Unnatural History (London: Bloomsbury, 2014), p. 6.

5 Kolbert, p. 267 and jacket.6 ' Interview with Sarah Kent,' FlashArt, 127,

April 1987, p. 43.7 ' Interview with Sarah Kent,' FlashArt, 127,

April 1987, p. 43. My emphasis.8 ' Interview with Sarah Kent,' FlashArt, 127,

April 1987, p. 41.9 ' Double Vision: Thérèse Oulton in

conversation with Stuart Morgan', Artscribe International, 69, May 1988, p. 8.

10 ' Notes,' Conversation with Jacqueline Rose, London, 15 May 2014.

11 Thérèse Oulton, 'Brief Notes on a Change of Identity,' Territory (London: Marlborough Fine Arts Publications, 2010), (p. 5 – pages unnumbered).

12 ' Notes,' Conversation with Jacqueline Rose, London, 15 May 2014.

13 Hannah Arendt, The Origins of Totalitarianism, (New York: Harcourt Brace Jovanovich, 1979), p. 301-302.

Page 8: Thérèse Oulton: Elsewhere
Page 9: Thérèse Oulton: Elsewhere

All works are oil on canvas unless stated otherwise and entitled, dated and signed on reverse.

Relief 201130.5 x 62.2 cm. / 12 x 241/2 in.

River System 201030.2 x 50.2 cm. / 117/8 x 193/4 in.

Marsh 2010 32.1 x 40.3 cm. / 125/8 x 157/8 in.

Shingle 201029.8 x 55.6 cm. / 11¾ x 217/8 in.

Pacific 201030.2 x 55.6 cm. / 117/8 x 217/8 in.

Granite 2010Oil on aluminium38.1 x 61 cm. / 15 x 24 in.

Estuary 2010Oil on aluminium38.1 x 61.0 cm. / 15 x 24 in.

Long Shore Drift 201128.3 x 41.9 cm. / 111/8 x 161/2 in.

Below Sea Level 201040.6 x 61.3 cm. / 16 x 241/8 in.

Green Belt 201023.8 x 44.1 cm./ 93/8 x 173/8 in.

Bridge 2011Oil on aluminium47 x 61 cm. / 181/2 x 24 in.

Flood Plain 2011Oil on aluminium47 x 61 cm. / 181/2 x 24 in.

Pipeline 201131.1 x 64.1 cm. / 121/4 x 251/4 in.

Quarry I 201142.5 x 64.1 cm. / 163/4 x 251/4 in.

Quarry II 2011Oil on aluminium29.2 x 64.1 cm. / 111/2 x 251/4 in.

Quarry with Pool 2013-1460.5 x 93.5 cm. / 237/8 x 363/4 in.

Quarry III 2011oil on aluminium48.9 x 73.7 cm. / 191/4 x 29 in.

Coastline 2011oil on aluminium48.9 x 66.0 cm. / 191/4 x 26 in.

Headland 2013-1454 x 82.5 cm. / 211/4 x 321/2 in.

Glacier 201362.5 x 94 cm. / 245/8 x 37 in.

3323m 201260.5 x 90 cm. / 237/8 x 353/8 in.

Terminal Moraine 2013-14120 x 185 cm. / 471/4 x 727/8 in.

Fissure 2013-1433.5 x 64 cm. / 131/4 x 251/4 in.

Ice 201480.5 x 94.5 cm. / 313/4 x 371/4 in.

Incline 201260.5 x 89 cm. / 237/8 x 35 in.

Rock Face 201460.5 x 94 cm. / 237/8 x 37 in.

Moraine 2013-14 62.5 x 94 cm. / 245/8 x 37 inPrivate Collection

Glacier 2013-14127 x 160 cm. / 50 x 63 in.

DRAWINGS

All works are pencil on Whatman paper, watermarked and dated 1939.Each work is 68.5 x 45 cm. / 173/4 x 27 in.Signed and dated lower right.

Winter I 2013-14

Winter II 2013-14

Winter III 2013-14

Winter IV 2013-14

Winter V 2013-14

Winter VI 2013-14

Winter VII 2013-14

Winter VIII 2013-14

Winter IX 2013-14

Winter X 2013-14

List of works

Page 10: Thérèse Oulton: Elsewhere

Relief 201130.5 x 62.2 cm. / 12 x 241/2 in.

Page 11: Thérèse Oulton: Elsewhere
Page 12: Thérèse Oulton: Elsewhere

River System 201030.2 x 50.2 cm. / 117/8 x 193/4 in.

Marsh 2010 32.1 x 40.3 cm. / 125/8 x 157/8 in.

Page 13: Thérèse Oulton: Elsewhere
Page 14: Thérèse Oulton: Elsewhere

Shingle 201029.8 x 55.6 cm. / 11¾ x 217/8 in.

Pacific 201030.2 x 55.6 cm. / 117/8 x 217/8 in.

Page 15: Thérèse Oulton: Elsewhere
Page 16: Thérèse Oulton: Elsewhere

Granite 2010Oil on aluminium38.1 x 61 cm. / 15 x 24 in.

Estuary 2010Oil on aluminium38.1 x 61.0 cm. / 15 x 24 in.

Page 17: Thérèse Oulton: Elsewhere
Page 18: Thérèse Oulton: Elsewhere

Long Shore Drift 201128.3 x 41.9 cm. / 111/8 x 161/2 in.

Below Sea Level 201040.6 x 61.3 cm. / 16 x 241/8 in.

Page 19: Thérèse Oulton: Elsewhere
Page 20: Thérèse Oulton: Elsewhere

Green Belt 201023.8 x 44.1 cm./ 93/8 x 173/8 in.

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Page 22: Thérèse Oulton: Elsewhere

Bridge 2011Oil on aluminium47 x 61 cm. / 181/2 x 24 in.

Flood Plain 2011Oil on aluminium47 x 61 cm. / 181/2 x 24 in.

Page 23: Thérèse Oulton: Elsewhere
Page 24: Thérèse Oulton: Elsewhere

Pipeline 201131.1 x 64.1 cm. / 121/4 x 251/4 in.

Quarry I 201142.5 x 64.1 cm. / 163/4 x 251/4 in.

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Page 26: Thérèse Oulton: Elsewhere

Quarry II 2011Oil on aluminium29.2 x 64.1 cm. / 111/2 x 251/4 in.

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Page 28: Thérèse Oulton: Elsewhere

Quarry with Pool 2013-1460.5 x 93.5 cm. / 237/8 x 363/4 in.

Quarry III 2011oil on aluminium48.9 x 73.7 cm. / 191/4 x 29 in.

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Page 30: Thérèse Oulton: Elsewhere

Coastline 2011oil on aluminium48.9 x 66.0 cm. / 191/4 x 26 in.

Headland 2013-1454 x 82.5 cm. / 211/4 x 321/2 in.

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Page 32: Thérèse Oulton: Elsewhere

Glacier 201362.5 x 94 cm. / 245/8 x 37 in.

3323m 201260.5 x 90 cm. / 237/8 x 353/8 in.

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Page 34: Thérèse Oulton: Elsewhere

Terminal Moraine 2013-14120 x 185 cm. / 471/4 x 727/8 in.

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Page 36: Thérèse Oulton: Elsewhere

Fissure 2013-1433.5 x 64 cm. / 131/4 x 251/4 in.

Ice 201480.5 x 94.5 cm. / 313/4 x 371/4 in.

Page 37: Thérèse Oulton: Elsewhere
Page 38: Thérèse Oulton: Elsewhere

Incline 201260.5 x 89 cm. / 237/8 x 35 in.

Rock Face 201460.5 x 94 cm. / 237/8 x 37 in.

Page 39: Thérèse Oulton: Elsewhere
Page 40: Thérèse Oulton: Elsewhere

Moraine 2013-14 62.5 x 94 cm. / 245/8 x 37 inPrivate Collection

Glacier 2013-14127 x 160 cm. / 50 x 63 in.

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Page 42: Thérèse Oulton: Elsewhere

Drawings

Winter I 2013-14

Winter II 2013-14

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Page 44: Thérèse Oulton: Elsewhere

Winter III 2013-14

Winter IV 2013-14

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Page 46: Thérèse Oulton: Elsewhere
Page 47: Thérèse Oulton: Elsewhere

Winter V 2013-14

Winter VI 2013-14

Winter VII 2013-14

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Winter VIII 2013-14

Winter IX 2013-14

Winter X 2013-14

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Page 50: Thérèse Oulton: Elsewhere

1953 Born in Shrewsbury, Shropshire, England

1975-9 St. Martin’s School of Art, London

1980-3 Royal College of Art, London

2014 Lives and works in London and Nice

SOLO EXHIBITIONS

1984 Peterborough City Museum and Art Gallery

Fool’s Gold: New Paintings, Gimpel Fils, London

1985 Recent Paintings, Museum of Modern Art, Oxford

1986 Letters to Rose, Galerie Krinzinger, Vienna

Skin Deep, Galerie Thomas, Munich

Galerie am Moritzplatz, Berlin

1987 Monoprints, Marlborough Graphics, London

1988 Lachrimae, Marlborough Fine Art, London

1989 Hirschl & Adler, New York

Works on Paper, Marlborough Graphics, London

1990 Paintings and Prints, Pittsburgh Centre for the Arts

Recent Paintings, Marlborough Fine Art, London

1991 Paintings and Works on Paper, L.A. Louver Gallery, Los Angeles

From the Sphinx to the Lizard: Recent Watercolours, Marlborough Graphics, London

1992 Abstract with Memories, Marlborough Fine Art, London

Monoprints and Etchings, Marlborough Graphics, London

1994 Marking Time, L.A. Louver Gallery, Los Angeles

New Monoprints, Marlborough Graphics, London

Recent Paintings, Marlborough Gallery Inc., New York

1997 Wavelength – Recent Paintings 1995 - 97, Marlborough Fine Art, London

1997/98 Peterborough Art Museum and Gallery

1998 Illuminations, Marlborough Graphics, London

Peterborough Art Museum and Gallery, Peterborough

1999 Illuminations, Oxford Gallery, Oxford

2000 New Mezzotints and Monotypes, Marlborough Graphics, London

Slow Motion – Recent Paintings 1997-2000, Marlborough Fine Art, London

Thérèse Oulton, University Gallery, Newcastle-upon-Tyne

2002 Illuminations, Wyards Printworks, Faversham

2003 Clair Obscur – Recent Paintings and Watercolours, Marlborough Fine Art, London

2006 Lines of Flight – Recent Paintings and Prints, Marlborough Fine Art, London

2010 Thérèse Oulton – Territory, Marlborough Fine Art, London, 10 February – 13 March

SELECT GROUP EXHIBITIONS

1982 John Moores, Walker Art Gallery, Liverpool

1983 Germinations, Kassel, Germany

Place II, Gimpel Fils Gallery, London

Painting 1983, Warwick Arts Trust, London

1984 Home and Abroad: An Exhibition of Recent Acquisitions for the Arts Council and British Council Collections, Serpentine Gallery, London

The Image as Catalyst: The Younger Generation of English Figurative

Painters, Ashmolean Museum, Oxford

The British Art Show, Birmingham City Museum and Art Gallery

Landscape, Memory and Desire, Serpentine Gallery, London

1985 John Moores, Walker Art Gallery, Liverpool

1986 How Much Beauty Can I Stand: Contemporary Landscape Painting, Australian Centre for Contemporary Art, Victoria

British Art and Design, Künstlerhaus, Vienna

The Sixth Biennale of Sydney: Origins, Originality and Beyond

Recent British Painting, British Council exhibition, National Art Gallery, Kuala Lumpur and Far East tour

Biography

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American/European: Painting and Sculpture, L.A. Louver Gallery, Los Angeles

Prospect 86, Kunstverein Frankfurt

British Art of the 1980’s, British Council exhibition, Liljevalchs Konsthall, Stockholm, Sweden and Sara Hilden Museum, Tampere, Finland

Kunst aus den achtziger Jahren, A11 Artforum, Munich

Monoprints, L.A. Louver Gallery, Los Angeles

Galerie Krinzinger, Innsbruck

Introducing with Pleasure: Star Choices from the Arts Council Collection, Gardner Centre, Brighton and tour

Oulton, Prangenberg, Snyder, Hirschl & Adler, N.Y.

Turner Prize Display, Tate Gallery, London

1988 The Romantic Tradition in Contemporary British Painting, Sala de Exposiciones de Palacio de San Esteban, Murcia Circulo de San Esteban, Madrid

The British Picture, L.A. Louver Gallery, Los Angeles

Light and Space, Crawford Arts Centre, St. Andrews

The New British Painting, Contemporary Arts Center, Cincinnati and tour

A Green Thought in a Green Shade, Pomeroy Purdy Gallery, London

100 Years of Art in Britain, Leeds City Art Gallery

1989 Blasphemies, Ecstasies, Cries, Serpentine Gallery, London and tour

1990 3 Ways, British Council/Royal College of Art touring

Fine Art Academy, Budapest, and tour to Poland

The Forces of Nature: Landscape as Metaphor, Manchester City Art Galleries and Harris Museum, Preston

Aperto, Venice Biennale

The Unique Print, Museum of Fine Arts, Boston, MA

1991 Discerning Eye 1991, Mall Galleries, London

1992 Art at Broadgate, Broadgate, London

Nash, Oulton, Virtue, L.A. Louver Gallery, Los Angeles

1993 Skowhegan Show, Colgate University Art Museum,

Maine

1994 British Abstract Painting, Flowers East, London

Group Show, Marlborough Fine Art, London

Campbell, Le Brun, Oulton, Marlborough Gallery Inc., New York

1994-5 An American Passion: The McLellan Galleries, Glasgow, Royal College of Art, London

1995 Contemporary British Art in Print, Scottish National Gallery of Modern Art, Edinburgh; Yale Center for British Art, New Haven, Connecticut

Art in Worship, Worcester Cathedral

Contemporary Art at the Courtauld: The East Wing Collection, Courtauld Galleries, London

1995-96 A Passion for the New, Tel Aviv Museum

2000 Le Brun, Campbell, Oulton, Davies, Raab Galerie, Berlin

London International Small Print Biennale, Morley Gallery

Gallery Aasen, Norway

2005 Raised Awareness, Tate Modern

2006 Summer Exhibition, Marlborough Fine Art, London

2008 Marlborough Fine Art London and Arque Chiado, Arque Chiado Art Gallery, Lisbon, Portugal

2009 Works on Paper, mixed exhibition, Marlborough Fine Art London

SELECT BIBLIOGRAPHY

1982-3 Deanne Petherbridge, Art Monthly

Matthew Collings, ‘Place I and II’, Artscribe, August

Waldemar Januszczak, ‘Painting 1983’, Galleries Briefings, Guardian

1984 Patrick Kinmouth, ‘Thérèse Oulton Painting’, Vogue

Waldemar Januszczak, ‘A Clear Case for Tub-Thumping’, Guardian

Tony Godfrey, ‘Romantic Landscape in the Age of Materialism’, Artscribe

John Spurling, ‘Arts’, New Statesman

Sarah Kent, ‘The Alchemist’, Time Out

William Feaver, ‘Startling Images’, Observer

Marina Vaizey, ‘British Art’, Sunday Times

John Roberts, ‘Fetishism, Conceptualism, Painting’, Art Monthly

1985 Marina Vaizey, ‘Kritiker Umfrage’, Art

Waldemar Januszczak, ‘The Church of the New Art’, Flash Art

Jane Clarke, ‘Thérèse Oulton’, MOMA, Oxford, Spare Rib

Marina Vaizey, ‘Making a Drama out of a Landscape’, Sunday Times

Michael Archer, ‘No Birds Sing’, Art Monthly

Peter Fuller, ‘Fool’s Gold’, Art Monthly

Jane Withers, ‘Pitching Paint’, The Face

Jane Norrie, ‘David Mach, Thérèse Oulton’, Arts Review

Anna Bonshek, ‘Feminist Romantic Painting: A Reconstellation’, Artist’s Newsletter

Alistair Hicks, ‘Moores or Less’, The Spectator

John McEwen, ‘Report from London’, Art in America

Stuart Morgan, Thérèse Oulton, Gimpel Fils Gallery, Serpentine Gallery, Museum of Modern

Art, Oxford, Artforum

1986 Sarah Kent, ‘Interview with Thérèse Oulton, Flash Art

Kristian Sotriffer, ‘Die Stimme Lebloser Dinge’, Die Presse Vienna

Peter Mehr, ‘Thérèse Oulton at Krinzinger’, Artscribe

Barbara Steffan, ‘Letters to Rose’, Vernissage Vienna

1987 Greta Scacchi, ‘Introducing with Pleasure’, Sunday Telegraph Magazine

Rosa Lee, ‘Resisting Amnesia: Feminism, Painting and Postmodernism’, Feminist Review

1988 Marina Vaizey, ‘Critic’s Choice’, Sunday Times

Waldemar Janunszczak, ‘Cute in the Third Dimension’, Guardian

William Feaver, ‘Star Signs’, Observe

Richard Dorment, ‘Unfamiliar Landscapes’, Daily Telegraph

Page 52: Thérèse Oulton: Elsewhere

Andrew Graham-Dixon, ‘In the Dark Wood’, The Independent

Alistair Hicks, ‘Fickle Fashion Defied’, Times

Marina Vaizey, ‘Pictures in the Mind’s Eye’, Sunday Times

Judith Higgins, ‘Painted Dreams’, Artnews

Richard Cork, ‘All Passion Spent’, The Listener

Michael Sheperd, Daily Telegraph, ‘Fairy Craft’

David Cohen, ‘Thérèse Oulton’s Painting: The Jewels of Art History’, Modern Painters

Tony Godfrey, Art in America

Brian Hatton, Artforum

‘Double Vision: Thérèse Oulton in Conversation with Stuart Morgan’, Artscribe

John Welchman, ‘A Softer Euphoria’, Art International

1989 Michael Brenson, ‘Thérèse Oulton, Hirschl & Adler’, N.Y. Times

Judith Higgins, ‘Thérèse Oulton, Hirschl & Adler’, Artnews

Charles Hagen, ‘Thérèse Oulton, Hirschl & Adler’, Artforum

Charles Millard, ‘Garner Tullis’, Print Quarterly

Carolyn Cohen, ‘The New British Painting’, Art & Design

David Cohen, ‘Thérèse Oulton’s Printmaking’, Print Quarterly

1990 Catherine Fischer, ‘Painterly Arguments’, Harpers and Queen

Tom Lubbock, ‘Meltdown in a Painting Powerhouse’, The Independent on Sunday

Guy Burn, Arts Review

Sarah Kent, ‘Thérèse Oulton’, Time Out

Larry Berryman, ‘Thérèse Oulton’, Arts Review

Marina Vaizey, ‘Invitations Into Magical Worlds’, Sunday Times

Peter Fuller, ‘Can Abstract Pictures Be Great Art?’, Sunday Telegraph

Arthur Berman, ‘Secret Gardens’, TNT Magazine

‘Precipitate – Thérèse Oulton’, The Burlington Magazine

Gary Phillips, ‘Thérèse Oulton’, City Limits

Margaret Drabble, ‘Thérèse Oulton’, Modern Painters

Enrique Juncosa, ‘Thérèse Oulton’, Lapiz

Marjorie Althorpe-Guyton, Artforum

Adrian Searle, ‘Thérèse Oulton, Artscribe

Andrew Renton, ‘Thérèse Oulton’, Flash Art

Simon Morley, ‘Thérèse Oulton, Tema Celeste

William Wilson, ‘Grace under Pressure’, L.A. Times

Todd Baron, ‘Thérèse Oulton’, Artscene

Kristine McKenna, ‘Breaking into the BBC’, L.A. Times Calendar

Lita Barrie, ‘An Alchemist of English Landscape’, Artweek

Michael Anderson, ‘Thérèse Oulton at L.A. Louver’, Art Issues

Tony Godfrey, ‘A British painting for the ‘90’s’, Art in America

Charles Hall, ‘Thérèse Oulton: Watercolours’, Arts Review

David Pagel, Thérèse Oulton, Arts Magazine

1992 James Hyman, Richard Cork & Jane Martineau, “An Artist for All Seasons”, R.A. Magazine

Andrew Lambirth, “The Loss of Perfection”, R.A. Magazine

Clayton Campbell, “Marking Time”, Art in America

James Burr, “The Confines of Style”, Apollo Magazine

Mark Sladen, “Painter and Decorator”, New Statesman

“Art Preview”, The Sunday Times Magazine

“Abstract with Memories”, The Art Newspaper

Sarah Kent, “Thérèse Oulton”, Time Out

Tim Hilton, “Otherworldly Abstractions”, The Guardian

Tania Guha, “Thérèse Oulton”, City Limits

The World of Interiors

“Viewpoints”, Arts Review

“Thérèse Oulton”, Fine Arts Tableau Magazine, Amsterdam

Suzanne Reilly, “Abstract with Memories”, Women’s Art

Andrew Renton, Flash Art

1994 Susan Kandel, “Thérèse Oulton’s Paintings Are Echoes from the Void”, L.A. Times

Jeff Wright, “Preserving the Future - Three British Painters Are Back in New York”, Cover Magazine

Gabor Gabriella, “Beleszeretett a Modern Festeszetbe”, Epes Europa Magazine

Constance Mallinson, “Thérèse Oulton at L.A. Louver”, Art in America

Clayton Cambell, “L.A.Louver”, L.A., Flash Art

1995 Andrew Benjamin, “Other Abstractions: Thérèse Oulton’s Abstract with Memories”, Journal of Philosophy and the Visual Arts

Thérèse Oulton, “Notes on Painting, 1994”, Journal of Philosophy and the Visual Arts

Thérèse Oulton, “Saturations No. 4”, Art and Design

1997 Peter Gidal, “Different and the Same”, act 3

William Feaver, “Exhibition of the Week”, Observer Life

John Russell Taylor, “Around the Galleries”, The Times

Waldemar Januszczak, “The quick and the dead”, Sunday Times

John Slyce, “Thérèse Oulton”, What’s On

Thérèse Oulton, “Superimposition”, Modern Painters

Thérèse Oulton, Art Review

David Cohen, “Painting in London: Through Thick and Thin”, ArtNet Worldwide

Frances Spalding, “London: Caulfield, Scott, Oulton, Riley”, Burlington Magazine

Mick Finch, “Painting as Vigilance”, Contemporary Visual Arts

Nigel Reynolds, “Downing Street has a brush with the present”, The Daily Telegraph

2003 Sarah Kent, “Thérèse Oulton’s Light Reading”, Time Out

Elspeth Moncrieff, “Thérèse Oulton: Clair Obscur”, The Art Newspaper

Hephzibah Anderson, “Thérèse Oulton’s Clair Obscur”, Evening Standard Metro Life

Rachel Campbell-Johnson, “Thérèse Oulton, Best London Exhibitions”, The Times

William Feaver, “Thérèse Oulton”, ArtNews

2010 Nicholas James, Surface Ciphers Thérèse Oulton: Territory, Artslant online magazine http://www.artslant.com/lon/articles/show/13546

Germaine Greer, Painting landscapes requires authority. Is this why so few women try them?, Arts Comment, The Guardian, 1 March www.guardian.co.uk/artanddesign/2010/feb/28/germaine-greer-therese-oulton-landscapes

CATALOGUE INTRODUCTIONS

Germinations, Kassel and tour, 1983

Pacesetters 4, Peterborough City Museum and Art Gallery, August/September 1984

Peter Gidal / Catherine Lampert, Thérèse Oulton, Fool’s Gold, Gimpel Fils, 1984

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Jaynie Anderton, The Image as Catalyst, Ashmolean Museum, 1984

Marjorie Althorpe-Guyton, Jon Thomas, Alexander Moffat, The British Art Show:

Birmingham City Museum and Art Gallery and tour 1984/85

Michael Archer, Tony Godfrey, Landscape, Memory and Desire, Serpentine Gallery, London, 1984/85

John Moores Liverpool Exhibition 14, Walker Art Gallery, Liverpool, 1985

Mary Rose Beaumont, Recent British Painting, National Art Gallery, Kuala Lumpur and Far East tour, 1985/86

Sue Cramer, How Much Beauty Can I Stand, Australian Centre for Contemporary Art, Victoria, 1986

Mel Gooding, Marina Vaizey, Britain in Vienna, Künstlerhaus, Vienna, 1986

Sarah Kent, The Sixth Biennale of Sydney 1986

Prospect 86, Kunstverein Frankfurt, 1986

Stuart Morgan, Skin Deep, Galerie Thomas, Munich 1986

Stuart Morgan, Letters to Rose, Galerie Krinzinger, Vienna 1986/87

Kunst aus den achtziger Jahren, A11 Artforum, Munich, 1987

Stuart Morgan, British Art of the 1980’s, Stockholm, 1987

Keith Patrick, The Romantic Tradition in Contemporary British Painting, Sala de Exposiciones de Palacio de San Esteban, Murcia and tour, 1988

Robert Musil, The Man without Qualities; Gertrude Stein, Picasso; Lou Andreas-Salomé, The Freud Journal, Paul Klee, Contribution to the Pedagogy of Visual Form, Lachrimae Catalogue 1988

Carolyn Cohen, Judith Higgins, Edward Lucie-Smith, The New British Painting, Contemporary Arts Center, Cincinnatti and tour, 1988/89

Frances Spalding, 100 Years of Art in Britain, Leeds City Art Gallery, 1988/89

Angela Moorjani, Thérèse Oulton, Hirschl & Adler, N.Y, 1989

Andrew Brighton, Blasphemies, Ecstasies, Cries, Serpentine Gallery, 1989

Andrew Renton, Seaming, L.A. Louver Gallery, 1989

Bryan Robertson, British Abstract Painting, Flowers East Gallery, 1994

Jane Burton, editor, The East Wing Exhibition, Contemporary Art at the Courtauld, 1996

John Slyce, Thérèse Oulton - Stillness follows, Slow Motion catalogue 2000

Thérèse Oulton & Peter Gidal: Speaking of these paintings, Clair Obscur catalogue 2003

Richard Cork, Between Two Worlds, Lines of Flight catalogue, 2006

Thérèse Oulton, Brief Notes on a Change of Identity, Territory catalogue 2010

Jacqueline Rose, Thérèse Oulton, The Art of Survival?, Elsewhere catalogue, 2014

BOOKS

Tony Godfrey, The New Image: Painting in the 1980’s , Phaidon Press, 1986

Alistair Hicks, The School of London: The Resurgence of Contemporary Painting, Phaidon Press, London 1989

Whitney Chadwick, Women, Art and Society , World of Art, Thames and Hudson, 2014

Angela Moorjani, The Aesthetics of Loss and Lessness, MacMillan, 1992

Paul Crowther, Critical Aesthetics and Postmodernism, Clarendon Press, London 1992

Stuart Morgan, What the Butler Saw, Durian Publications, 1997

Virginia Button, The Turner Prize, Tate Gallery Publications, 1997

Angela Moorjani, Beyond Fetishism, St Martins Press N.Y., 2000

Siân Ede, Strange and Charmed: Science and the Contemporary Visual Arts, Gulbenkian Foundation, 2000

Martin Kemp editor, The Oxford History of Western Art, 2002/2010

Richard Cork, New Spirit, New Sculpture, New Money: Art in the 1980’s, Yale University Press 2003

Jacqueline Rose, Women in Dark Times, Bloomsbury, London, 2014

Interviews-Artists Cv/Visual Arts Research Editions volume 22: Recordings 2010

Richard Cork, Face To Face: Interviews With Artists, Tate Publishing, 2015

PUBLIC COLLECTIONS

Arts Council of Great Britain, London

Birmingham Museum and Art Gallery

British Council, London

British Museum, London

Broadgate, London

Cleveland County Museum Service

Fitzwilliam Museum, Cambridge

Government Art Collection

Harris Museum and Art Gallery, Preston

Leeds City Art Gallery

Leicestershire Education Authority

Library of Congress, Washington D.C.

Mead Gallery, University of Warwick

Metropolitan Museum of Art, New York

Merrill Lynch Investment Advisors, London

Museum of Fine Art, Boston

Museum of Contemporary Art, San Diego

National Gallery of Victoria, Melbourne

Peterborough City Museum & Art Gallery

St. Louis Art Museum, Missouri

John Moores, Liverpool

Tate Gallery, London

Victoria and Albert Museum, London

Yale Center for British Art, Connecticut

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LONDON

Marlborough Fine Art (London) Ltd 6 Albemarle Street London, W1S 4BY Telephone: +44-(0)20-7629 5161 Telefax: +44-(0)20-7629 6338 [email protected] [email protected] www.marlboroughfineart.com

Marlborough Contemporary 6 Albemarle Street London, W1S 4BY Telephone: +44-(0)20-7629 5161 Telefax: +44-(0)20-7629 6338 [email protected] www.marlboroughcontemporary.com

NEW YORK

Marlborough Gallery Inc. 40 West 57th Street New York, N.Y. 10019 Telephone: +1-212-541 4900 Telefax: +1-212-541 4948 [email protected] www.marlboroughgallery.com

Marlborough Chelsea 545 West 25th Street New York, N.Y. 10001 Telephone: +1-212-463 8634 Telefax: +1-212-463 9658 [email protected]

Marlborough Broome Street 331 Broome St. New York, N.Y. 10002 Telephone: +1-212-219-8926 Telefax: +1-212-219-8965 [email protected] www.marlboroughchelsea.com/ broome-st/exhibitions

MADRID

Galería Marlborough SA Orfila 5 28010 Madrid Telephone: +34-91-319 1414 Telefax: +34-91-308 4345 [email protected] www.galeriamarlborough.com

BARCELONA

Marlborough Barcelona Valencia, 284, lr 2a A Barcelona, 08007 Telephone: +34-93-467 4454 Telefax: +34-93-467 4451 [email protected]

MONTE CARLO

Marlborough Monaco 4 Quai Antoine ler MC 98000 Monaco Telephone: +377-9770 2550 Telefax: +377-9770 2559 [email protected] www.marlborough-monaco.com

SANTIAGO

Galería A.M.S. Marlborough Avenida Nueva Costanera 3723 Vitacura, Santiago, Chile Telephone: +56-2-799 3180 Telefax: +56-2-799 3181 [email protected] www.amsgaleria.cl

Marlborough

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Design: Shine Design, London Print: Impress Print Services Ltd. Photography: Prudence Cuming Associates, Todd White Photography

ISBN 978-1-909707-11-5 Catalogue no. 638

© 2014 Marlborough

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