thérèse oulton: elsewhere
DESCRIPTION
Catalogue of works published to accompany Thérèse Oulton's most recent show 'Elsewhere', at Marlborough Fine Art, LondonTRANSCRIPT
Thérèse OultonElsewhere
Thérèse OultonElsewhere
Front cover: Rock Face 2014 | This page: Quarry II 2011
Thérèse OultonElsewhere
Marlborough Fine Art
6 Albemarle Street
London W1S 4BY
t: +44 (0) 20 7629 5161
www.marlboroughfineart.com
5 -27 September 2014
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.
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.
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
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
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
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
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
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
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
LONDON
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Marlborough
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