Paula Rego (Portuguese, b. 1935) Untitled (from the Abortion series), 2000 Etching, Signed/Numbered 15.35” x 20.08” (39cm x 51 cm) Edition of 100 Printed by Pauper’s Press 2019 New Condition Receipt from original publisher acts as the COA “It highlights the fear and pain and danger of an illegal abortion, which is what desperate women have always resorted to. It’s very wrong to criminalise women on top of everything else. Making abortions illegal is forcing women to the backstreet solution.” Rego on her Abortion Series in her 2019 interview with The Guardian. In 1998 a referendum to leagalise abortion in Portugal failed. In response, Portuguese artist, Paula Rego, created the Abortion Series (1988), a selection of paintings which draws attention to the dangers of making abortion illegal. The effect of the series was so powerful that it has been credited with helping sway public opinion to form a second referendum in 2007.
Paula Rego (Lisboa,26 de enero de 1935- 8 de junio de 2022) es una de las pintoras figurativas más relevantes de la escena internacion...
Paula Rego is nothing like as well known in France as she is in Britain, where she now lives, or Portugal, where she was born. But now the Ecole Supérieure des Beaux-Arts in Nîmes is showing almost all of her engravings, more than 200 prints from 1954 to the present day. The exhibition continues until September 21
Interactive Art History! The great masters face off three times weekly, among posts on literature, music, elements, saints, and... postage.
Espaço de exposições 'Casa das Histórias Paula Rego' em Cascais, Portugal. Projeto do arquiteto Eduardo Souto de Moura. 2009. 'Casa das Histórias Paula Rego' exhibition space in Cascais, Portugal. Designed by architect Eduardo Souto de Moura. 2009. www.pedrokok.com.br
It’s one of my favorite artist’s birthday today. Artist, printmaker, satirist and Social commentator William Hogarth (b.1697 – 1764 London) was a very prol…
Today, the Pritzker Prize laureate has been announced: Portuguese architect Eduardo Souto de Moura. The 58-year-old architect based in Porto worked...
‘Dancing Ostriches’ (1995) I wish to try to thank Paula by sending her a message in my language of dance. Paula was born in Portugal, and so I commence with a sound of Portugal, the F…
Cascais 2012
O arquiteto português Eduardo Souto de Moura será contemplado com o prêmio Pritzker de Arquitetura em 2011. Espaço de exposições 'Casa das Histórias Paula Rego' em Cascais, Portugal. 2009. Mais fotos em www.pedrokok.com.br/2010/12/casa-das-historias-paula-rego... Portuguese architect Eduardo Souto de Moura is the 2011 laureate for the Pritzker Architecture Prize. 'Casa das Histórias Paula Rego' exhibition space in Cascais, Portugal. 2009. More photos in: www.pedrokok.com.br/en/2010/12/casa-das-historias-paula-r...
… details can be found here. Born in Portugal, Paula Rego is that great rarity; a British artist with an international reputation. Her lasting reputation is beyond doubt. Nicholas Serota (Tate Director until 2017) describes her as a major figure who has “taken her own childhood experiences, memories, fantasies and fears, and given them universal…
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Casa das Histórias Paula Rego . Cascais Eduardo Souto de Moura . photos: © James Florio Photography . + divisare Casa das Histórias Paula Rego shot by James Florio. _
This past Friday evening I went to the Museum of Modern Art with friends to see the Martin Kippenberger show. The show was billed as a comprehensive retrospective, but it was hardly that. It was more of mixed survey of his work, with a few gems. The MoMA's show is a scaled-down version of an earlier show at the Museum of Contemporary Art Los Angles. Kippenberger, for me, is a mentor figure. He always offers something to latch on to as an artist. His work seems to move in and out of the stream of visual art over the last fifty years or so. His style and the haphazard way he went about creating work is what intrigues me. He is dead-on at times, and at other times way off the mark. But his risk-taking took guts. In 2003 I went to Karlsruhe Germany to see his retrospective exhibition at the Centre for Arts and Media (ZKM) Kurst (I had come across his work a few years earlier, in 2000). I believe it was the largest ever exhibit of his oeuvre. The only major work missing from the Karlsruhe’s show was his large-scale installation piece "The Happy End of Franz Kafka’s 'Amerika,” a piece made up of many different cast-off furniture pieces: desks, tables and chairs arranged in a large room on green Astroturf. It was an extremely unconventional piece, and intrigued me, so I was disappointed that it was missing from the Karlsruhe show. Fortunately, "The Happy End" makes an appearance in the MOMA’s show; it's the centerpiece, displayed prominently at the entrance to the museum's galleries. I like Kippenberger's ideas about art. He seems to break the rules, while keeping the rules of art in mind. It may be an illusion, which is what makes his works all the more interesting. I also like his sense of color and how he used the geometry of the picture plane to structure the senseless space in his pictures. This senseless space is undefined, yet has a natural feeling of ‘grounding’ the picture. I also think his work involves a ‘risk factor,’ the idea that art can be anything the artist feels, thinks, observes, or wants, however obvious or absurd. He had--and he gives to me--a sense of freedom to create, with out the baggage of the history of art.
We will shop for the freshest selection of seasonal fruit, then arrange it in a basket, wrap it in clear cellophane and tied off with a pretty bow. You pick the price and we will do the rest. A fruit basket is sure to satisfy the sweet tooth in a natural and healthy way. ** $49.99 basket does not include a pineapple
This is a book about English art like no other.Forget the tired rogues’ gallery of lords and ladies, forget the tall ships and haywains. These images cut to the heart of England’s psychic landscapes to portray an Albion unhinged, where magic and rebellion and destruction are the horses to which the country is hitched. On these fabled shores we are all castaways, whether our family has lived here for four thousand years or for four. Here you will find depictions of ancient trackways, chalk carvings and standing stones, of animal-masked community rituals, of streets set ablaze in protest, of occult dreams and psychedelic prophecies. There are over 200 images by artists ranging from William Blake, J.M.W. Turner and Samuel Palmer to Paul Nash, Louis Wain, Bill Brandt, Derek Jarman and Ithell Colquhoun to present-day visionaries such as Paula Rego, Cathy de Monchaux, George Shaw, Jamie Reid, Matt Collishaw, Tacita Dean, Lina Iris Viktor, Yinka Shonibare, Nick Waplington, Dan Hillier, Nicola Tyson, Sutapa Biswas and Chila Kumari Burman. The mind-blowing selection of images is accompanied by short texts by Mat Osman, exploring magic and mazes, ghosts and gardens, shipwrecks and cities. These poetic renderings of a spectral isle, together with Stephen Ellcock’s hallucinatory visual journey, reclaim Albion as an eternally inspiring and anarchic domain – an England on fire. Number of pages: 256 Dimensions: 210mm x 174mm
This is a book about English art like no other.Forget the tired rogues’ gallery of lords and ladies, forget the tall ships and haywains. These images cut to the heart of England’s psychic landscapes to portray an Albion unhinged, where magic and rebellion and destruction are the horses to which the country is hitched. On these fabled shores we are all castaways, whether our family has lived here for four thousand years or for four. Here you will find depictions of ancient trackways, chalk carvings and standing stones, of animal-masked community rituals, of streets set ablaze in protest, of occult dreams and psychedelic prophecies. There are over 200 images by artists ranging from William Blake, J.M.W. Turner and Samuel Palmer to Paul Nash, Louis Wain, Bill Brandt, Derek Jarman and Ithell Colquhoun to present-day visionaries such as Paula Rego, Cathy de Monchaux, George Shaw, Jamie Reid, Matt Collishaw, Tacita Dean, Lina Iris Viktor, Yinka Shonibare, Nick Waplington, Dan Hillier, Nicola Tyson, Sutapa Biswas and Chila Kumari Burman. The mind-blowing selection of images is accompanied by short texts by Mat Osman, exploring magic and mazes, ghosts and gardens, shipwrecks and cities. These poetic renderings of a spectral isle, together with Stephen Ellcock’s hallucinatory visual journey, reclaim Albion as an eternally inspiring and anarchic domain – an England on fire. Number of pages: 256 Dimensions: 210mm x 174mm
National Portrait Gallery : A Portrait of Britain
In these impactful first-person essays, a selection of Repeater authors come together to write about what heroism means to them, trying to imagine a new kind of hero figure for the twenty-first century. "I don’t have any heroes, they’re all useless", opined John Lydon in 1976. As a spokesperson of sorts for the punk generation, Lydon was giving voice to a nihilistic, deconstructive impulse which, for better or worse, would go on to dominate the next half-century or so of intellectual, cultural and political life. But isn’t one of the problems with the modern world that we no longer have any real sense of what heroism is? What if we recovered heroism from the hands of the fascists and the neoliberal ideologues, and proclaimed that – despite everything – a hero can and should be something to be? In these personal, provocative essays, the authors behind the uncompromising project that is Repeater Books come together to redefine the idea of the hero for a twenty-first-century public which desperately needs something to believe in. From Eric Cantona to Wile E Coyote, Bruno Latour to Paula Rego, forgotten legends and anonymous family members, this compendium of extraordinary human behaviour is essential reading for anyone who has ever thought that, despite what Jean-Paul Sartre said, heaven is other people.
