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==Life==
==Life==
Wise was born in London, and studied art at the [[Wimbledon College of Art|Wimbledon]] and [[Central Saint Martins|Central]] schools of art. In the 1950s she became the youngest member of the [[Constructivism (art)|Constructionist]] group, centred on [[Victor Pasmore]] and including [[Adrian Heath (painter)|Adrian Heath]], [[John Ernest]], [[Anthony Hill (artist)|Anthony Hill]], [[Kenneth Martin]], and [[Mary Martin]]. She exhibited in the 1957 [[New Contemporaries|Young Contemporaries]] exhibition at the Royal British Artists gallery and in the New Vision Centre's abstract show in 1958. In the 1960s her work became much more widely shown with exhibitions in London (at the Drian, Axiom, [[Institute of Contemporary Arts]], and [[Victoria and Albert Museum]] galleries), in Chicago, and at the 1965 Tokyo Biennale and the 1969 Nuremberg Biennale. In 1968 she gained a [[UNESCO]] Fellowship award to study in Prague, followed in 1969 by a [[British Council]] scholarship to study Russian constructivism in [[Saint Petersburg|Leningrad]]. In the same year she exhibited with a group of British artists in an exhibition of systems-based abstraction in Finland, followed in 1970 by her joining many of the same artists in the newly founded Systems Group. Her fellow artists in that group included Jeffrey Steele, [[Peter Lowe (artist)|Peter Lowe]], [[Malcolm Hughes]], [[Jean Spencer (artist)|Jean Spencer]], [[Michael Kidner]], John Ernest, and David Saunders. She exhibited with the group in Matrix at the [[Arnolfini|Arnolfini Gallery]] in Bristol in 1970, and then in 1972 at the [[Whitechapel Gallery]] in the [[Arts Council of Great Britain|Arts Council]]'s Systems exhibition. The Arts Council also commissioned her to curate the Constructivist section of the 1978 Hayward Annual, followed in the same year by her inclusion in the Arts Council's Constructive Context show.
Wise was born at [[Ilford]] in London to Arthur, a timber merchant, and Elsie, nee Holden, a milliner.<ref name="CDerwent"/> She studied art at the [[Wimbledon College of Art]] from 1954 to 1957 and then at the [[Central School of Arts and Crafts]] during 1959.<ref name="CDerwent"/> Before she graduated, Wise was already showing works with a group of [[Constructivism (art)|Constructionist]] artists,<ref name="CDerwent"/> exhibiting at the 1957 [[New Contemporaries|Young Contemporaries]] exhibition at the Royal British Artists gallery and in the New Vision Centre's abstract show in 1958. In 1961 became the youngest member of the Constructionist group, centred on [[Victor Pasmore]] and including [[Adrian Heath (painter)|Adrian Heath]], [[John Ernest]], [[Anthony Hill (artist)|Anthony Hill]], [[Kenneth Martin]], and [[Mary Martin]]. In the 1960s her work became much more widely shown with exhibitions in London (at the Drian and Axiom galleries, the [[Institute of Contemporary Arts]] and the [[Victoria and Albert Museum]]), in Chicago, and at the 1965 Tokyo Biennale and the 1969 Nuremberg Biennale. In 1968 she gained a [[UNESCO]] Fellowship award to study in Prague, followed in 1969 by a [[British Council]] scholarship to study Russian constructivism in [[Saint Petersburg|Leningrad]].<ref name="CDerwent"/> In the same year she exhibited with a group of British artists in an exhibition of systems-based abstraction in Finland, followed in 1970 by her joining many of the same artists in the newly formed Systems Group and quitting the Constructionist group.<ref name="CDerwent"/> Her fellow artists in that group included Jeffrey Steele, [[Peter Lowe (artist)|Peter Lowe]], [[Malcolm Hughes]], [[Jean Spencer (artist)|Jean Spencer]], [[Michael Kidner]], John Ernest, and David Saunders. She exhibited with the group in Matrix at the [[Arnolfini|Arnolfini Gallery]] in Bristol in 1970, and then in 1972 at the [[Whitechapel Gallery]] in the [[Arts Council of Great Britain|Arts Council]]'s Systems exhibition. The Arts Council also commissioned her to curate the Constructivist section of the 1978 Hayward Annual, followed in the same year by her inclusion in the Arts Council's Constructive Context show.


Wise taught at the [[Chelsea College of Art and Design]] and [[Central Saint Martins]] School of Art between 1971 and 1974, and later spent several years teaching and studying in the USA after being elected in 1981 as a Fellow of the Centre for Advanced Visual Studies at the [[Massachusetts Institute of Technology]]. She also had appointments as Visiting Artist and Visiting Scholar at [[Harvard University]] and the [[University of California]]. While in the USA she was twice nominated in the UK as an Royal Academy member, her nominees including the architects [[Ernő Goldfinger]], [[Richard Rogers]], and [[Hugh Casson]], together, among others, with the artists [[Sandra Blow]], [[William Scott (artist)|William Scott]], and [[Peter Blake (artist)|Peter Blake]]. Her absence in the USA and later Paris prevented her election but the range and status of her nominees is evidence of the high regard for the quality and integrity of her work held by many leading artists and architects. Early in the 1980s Wise was commissioned by [[Chamberlin, Powell and Bon]], the architects of the [[Barbican Centre]] in London, to design the large-scale mural construction in the stairwell to the main cinema. This work incorporates mirrors — a feature along with glass prisms which she has used in a number of her reliefs as a way of introducing effects of light which add to the perceptual interest of the abstract. This followed several other architectual commissions, including a screen for the International Union of Architects Congress (1961), a wall screen for the Cunard liner, Queen Elizabeth II (1968), and wall reliefs for Nottingham University Hospital (1973) and for the [[Open University]] (1980).
Wise taught at the [[Chelsea College of Art and Design]] and [[Central Saint Martins]] School of Art between 1971 and 1974, and later spent several years teaching and studying in the USA after being elected in 1981 as a Fellow of the Centre for Advanced Visual Studies at the [[Massachusetts Institute of Technology]]. She also had appointments as Visiting Artist and Visiting Scholar at [[Harvard University]] and the [[University of California]]. While in the USA she was twice nominated in the UK as an Royal Academy member, her nominees including the architects [[Ernő Goldfinger]], [[Richard Rogers]], and [[Hugh Casson]], together, among others, with the artists [[Sandra Blow]], [[William Scott (artist)|William Scott]], and [[Peter Blake (artist)|Peter Blake]]. Her absence in the USA and later Paris prevented her election but the range and status of her nominees is evidence of the high regard for the quality and integrity of her work held by many leading artists and architects. Early in the 1980s Wise was commissioned by [[Chamberlin, Powell and Bon]], the architects of the [[Barbican Centre]] in London, to design the large-scale mural construction, known as ''The Alice Walls'' in the stairwell to the main cinema.<ref name="CDerwent"/> This work incorporates mirrors — a feature along with glass prisms which she has used in a number of her reliefs as a way of introducing effects of light which add to the perceptual interest of the abstract. This followed several other architectual commissions, including a screen for the International Union of Architects Congress (1961), a wall screen for the Cunard liner, Queen Elizabeth II (1968), and wall reliefs for Nottingham University Hospital (1973) and for the [[Open University]] (1980).


Living in France for much of her later career, Wise's exhibitions in the UK became infrequent in the 1990s although she was shown several times in Paris during this decade and, in 1995, in Chicago. In the 2000s her work has been included in group exhibitions in the Osborne Samuel and Poussin galleries in London, at the British Art Fair, and in two exhibitions of British abstract and systems-based art at the [[Southampton City Art Gallery]]. In 2010 her work was included along with that of Victor Pasmore, Anthony Hill, John Ernest, and [[Mary Martin (artist)|Mary]] and [[Kenneth Martin]] in [[Tate Britain]]'s year-long display, ''Construction England''. In 2012 she visited Novosbirsk in Siberia to submit her eventually unsuccessful entry in an open international competition for a memorial to the Soviet artist and designer El Lissitzky. In 2013 she visited Brazil where her work was in a São Paulo exhibition of British and Brazilian constructive artists. Elements of this show were shown by the Dan Galleria gallery in the London 2013 Frieze event. Examples of her work are held in many public collections including the [[Tate]], the Victoria and Albert Museum, the British [[Government Art Collection]], the Arts Council and the [[Henry Moore Foundation|Henry Moore Institute]] and in collections in the USA, Finland, and Hungary.
Living in France for much of her later career, Wise's exhibitions in the UK became infrequent in the 1990s although she was shown several times in Paris during this decade and, in 1995, in Chicago. In the 2000s her work has been included in group exhibitions in the Osborne Samuel and Poussin galleries in London, at the British Art Fair, and in two exhibitions of British abstract and systems-based art at the [[Southampton City Art Gallery]]. In 2010 her work was included along with that of Victor Pasmore, Anthony Hill, John Ernest, and [[Mary Martin (artist)|Mary]] and [[Kenneth Martin]] in [[Tate Britain]]'s year-long display, ''Construction England''. In 2012 she visited Novosbirsk in Siberia to submit her eventually unsuccessful entry in an open international competition for a memorial to the Soviet artist and designer El Lissitzky. In 2013 she visited Brazil where her work was in a São Paulo exhibition of British and Brazilian constructive artists. Elements of this show were shown by the Dan Galleria gallery in the London 2013 Frieze event. Examples of her work are held in many public collections including the [[Tate]], the Victoria and Albert Museum, the British [[Government Art Collection]], the Arts Council and the [[Henry Moore Foundation|Henry Moore Institute]] and in collections in the USA, Finland, and Hungary.
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[[Category:20th-century British women artists]]
[[Category:20th-century British women artists]]
[[Category:21st-century British women artists]]
[[Category:21st-century British women artists]]
[[Category:Alumni of Central Saint Martins]]
[[Category:Alumni of the Central School of Art and Design]]
[[Category:Artists from London]]
[[Category:Artists from London]]
[[Category:Deaths from the 2020 coronavirus pandemic in France]]
[[Category:Deaths from the 2020 coronavirus pandemic in France]]
[[Category:English artists]]
[[Category:English artists]]
[[Category:People from Ilford]]

Revision as of 10:04, 30 April 2020

Gillian Wise (16 February 1936-11 April 2020) was an English artist devoted to the application of concepts of rationality and aesthetic order to abstract paintings and reliefs.[1]

Life

Wise was born at Ilford in London to Arthur, a timber merchant, and Elsie, nee Holden, a milliner.[1] She studied art at the Wimbledon College of Art from 1954 to 1957 and then at the Central School of Arts and Crafts during 1959.[1] Before she graduated, Wise was already showing works with a group of Constructionist artists,[1] exhibiting at the 1957 Young Contemporaries exhibition at the Royal British Artists gallery and in the New Vision Centre's abstract show in 1958. In 1961 became the youngest member of the Constructionist group, centred on Victor Pasmore and including Adrian Heath, John Ernest, Anthony Hill, Kenneth Martin, and Mary Martin. In the 1960s her work became much more widely shown with exhibitions in London (at the Drian and Axiom galleries, the Institute of Contemporary Arts and the Victoria and Albert Museum), in Chicago, and at the 1965 Tokyo Biennale and the 1969 Nuremberg Biennale. In 1968 she gained a UNESCO Fellowship award to study in Prague, followed in 1969 by a British Council scholarship to study Russian constructivism in Leningrad.[1] In the same year she exhibited with a group of British artists in an exhibition of systems-based abstraction in Finland, followed in 1970 by her joining many of the same artists in the newly formed Systems Group and quitting the Constructionist group.[1] Her fellow artists in that group included Jeffrey Steele, Peter Lowe, Malcolm Hughes, Jean Spencer, Michael Kidner, John Ernest, and David Saunders. She exhibited with the group in Matrix at the Arnolfini Gallery in Bristol in 1970, and then in 1972 at the Whitechapel Gallery in the Arts Council's Systems exhibition. The Arts Council also commissioned her to curate the Constructivist section of the 1978 Hayward Annual, followed in the same year by her inclusion in the Arts Council's Constructive Context show.

Wise taught at the Chelsea College of Art and Design and Central Saint Martins School of Art between 1971 and 1974, and later spent several years teaching and studying in the USA after being elected in 1981 as a Fellow of the Centre for Advanced Visual Studies at the Massachusetts Institute of Technology. She also had appointments as Visiting Artist and Visiting Scholar at Harvard University and the University of California. While in the USA she was twice nominated in the UK as an Royal Academy member, her nominees including the architects Ernő Goldfinger, Richard Rogers, and Hugh Casson, together, among others, with the artists Sandra Blow, William Scott, and Peter Blake. Her absence in the USA and later Paris prevented her election but the range and status of her nominees is evidence of the high regard for the quality and integrity of her work held by many leading artists and architects. Early in the 1980s Wise was commissioned by Chamberlin, Powell and Bon, the architects of the Barbican Centre in London, to design the large-scale mural construction, known as The Alice Walls in the stairwell to the main cinema.[1] This work incorporates mirrors — a feature along with glass prisms which she has used in a number of her reliefs as a way of introducing effects of light which add to the perceptual interest of the abstract. This followed several other architectual commissions, including a screen for the International Union of Architects Congress (1961), a wall screen for the Cunard liner, Queen Elizabeth II (1968), and wall reliefs for Nottingham University Hospital (1973) and for the Open University (1980).

Living in France for much of her later career, Wise's exhibitions in the UK became infrequent in the 1990s although she was shown several times in Paris during this decade and, in 1995, in Chicago. In the 2000s her work has been included in group exhibitions in the Osborne Samuel and Poussin galleries in London, at the British Art Fair, and in two exhibitions of British abstract and systems-based art at the Southampton City Art Gallery. In 2010 her work was included along with that of Victor Pasmore, Anthony Hill, John Ernest, and Mary and Kenneth Martin in Tate Britain's year-long display, Construction England. In 2012 she visited Novosbirsk in Siberia to submit her eventually unsuccessful entry in an open international competition for a memorial to the Soviet artist and designer El Lissitzky. In 2013 she visited Brazil where her work was in a São Paulo exhibition of British and Brazilian constructive artists. Elements of this show were shown by the Dan Galleria gallery in the London 2013 Frieze event. Examples of her work are held in many public collections including the Tate, the Victoria and Albert Museum, the British Government Art Collection, the Arts Council and the Henry Moore Institute and in collections in the USA, Finland, and Hungary.

Wise died in April 2020 of COVID-19 while living in the Paris care home to which she had moved following the deterioration of her health in 2018.[1]

References

  1. ^ a b c d e f g h Charles Darwent (29 April 2020). "Gillian Wise obituary". The Guardian. Retrieved 29 April 2020.
  • Fowler, Alan, catalogue essays in exhibition catalogues Elements of Abstraction (2005) and A Rational Aesthetic (2008), Southampton City Art Gallery.
  • Grieve, Alastair, chapter 10 in Constructed Abstract Art in England: A Forgotten Avant Garde, Yale University Press, 2005.
  • Wise, Gillian, statement pp. 276 – 281 in DATA, Anthony Hill (editor), Faber & Faber, 1968.
  • Wise, Gillian, essay 'Quantities and Qualities: Some Notes on Working Ideas in Art', Leonardo magazine, Vol.1 1968, pp. 41–50.
  • Wise, Gillian, statement in exhibition catalogue Systems, Arts Council, 1972.
  • Wise, Gillian, statement p. 84 in exhibition catalogue 'Hayward Annual '78', Arts Council 1978.
  • Wise, Gillian, statements and illustrations of her works in self-published book, Low Frequency, 2002.
  • Wise, Gillian, '20 Small works', self-published booklet, 2011
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