Martin Naylor

from Wikipedia, the free encyclopedia

Martin James Naylor (* 11. October 1944 in Morley , West Yorkshire , † 31 December 2016 in Cricklewood , London ) was a British sculptor of modernity , whose work at the close of an installation artist approach comes.

Life

Martin James Naylor was the son of James Naylor (1912-1989), a baker who was then a private in the Army Catering Corps , and his wife Lily, née Farrar (1909-1990), was born. The family was then living at 16 Worrall Street in Morley, near Leeds .

Training and teaching

He attended the Dewsbury and Batley Technical Art School (1961-1965), the Leeds Art College (1965-1967) and the Royal College of Art (1967-1970). On December 2, 1965, while still studying in Leeds, he married Anne Patricia Kennett (born 1946), secretary and daughter of the draftsman William John Kennett. The marriage was later dissolved.

Soon after graduating, Naylor began teaching at the Royal College of Art. He later taught at the Bath Academy of Art in Corsham , the St. Albans School of Art and the Horney School of Art (part of the Middlesex Polytechnic from 1973 ), where he was appointed head of sculpture. He was also visiting professor at the École Nationale des Arts Décoratifs in Nice and the École Nationale Supérieure d'Art in Bourges and taught at the Cité Internationale des Arts in Paris .

Last years

Growing disappointment in the 1980s and 1990s with the prevailing institutional support for neo-conceptualism in the British art scene, Naylor decided in 1984 to step down as sculpture director at Middlesex Polytechnic. Several artists and art critics had chosen this course because it taught there. The artist Anish Kapoor was one of his former students.

Over time, developed Naylor close links with Argentina , which began when he moved to Buenos Aires traveled to during his traveling exhibition of the British Council to be involved. The psychologist Liliana Maler (born 1941/2), who came from Buenos Aires and whom he married on September 17, 1996 in London, deepened this connection. For health reasons, he and his wife returned to London in 2008, where he lived at Barnet General Hospital in Cricklewood until his death from aspiration pneumonia in late 2016 .

Exhibitions

In 1974 Naylor joined the circle of Alex Gregory-Hood , the eccentric ex-Colonel of the Grenadier Guards who founded and ran the Rowan Gallery . Other artists at the gallery were Barry Flanagan , Bridget Riley , Phillip King and Michael Craig-Martin . Naylor's first exhibition was Discarded Sweater (1972/73), an assemblage of an outstretched blue wool sweater with needles on which a hand-carved wooden rod was leaning. Next to it were randomly thrown cigarette butts and one with a red oneLipstick labeled glass pane. The work was shown in the influential exhibition British Sculpture in the Twentieth Century, Part II: Symbol and Imagination, 1951–80 ' at the Whitechapel Art Gallery in 1982 .

Naylor has participated in other major group exhibitions including Art Spectrum at Alexandra Palace in 1971, A Silver Jubilee Exhibition of Contemporary British Sculpture in Battersea Park in 1977, and Hayward Annual 1982: British Drawing and Here and Now at the Serpentine Gallery in 1995. In the 1970s and 1980s For years he was involved in several traveling exhibitions of contemporary art by the British Council.

Naylor's first solo show was at the Lane Gallery in Bradford in 1966 . Other major exhibitions took place at the Arnolfini Gallery in Bristol (1973), the Rowan Gallery in London (1974) and the Leeds City Art Gallery (1975). In 1977 he represented Great Britain at the São Paulo Biennale in Brazil. Naylor's Arts Council tour in 1986 began at the Serpentine Gallery with the exhibition Between Discipline and Desire , organized by Alister Warman. In 1992 he had a major retrospective inYale Center for British Art in New Haven , Connecticut and in 1996 at the Centro Cultural Borges in Buenos Aires.

His work is now represented in the Tate Gallery , the Arts Council Collection , the British Council Collection and the Leeds City Gallery.

plant

Naylor belonged to a generation of British sculptors such as Tony Cragg , Richard Deacon , Carl Plackman, Bill Woodrow and Alison Wilding , whose practices broke with the abstract formalistic work of Anthony Caro and his successors, the so-called "sculptors of the new generation" like David Annesley and Tim Scott , pictured. Naylor's subject combined personal psychology and life experience. Film and photo recordings , objets trouvés and freely available materials such as glass flowed into his workand mechanical parts. He treated the incidence of shadow and light as sculptural components. His work was mainly three-dimensional , and from the 1980s he developed a hybrid mixed technique of sculpture and gestural oil painting , which referred to abstraction and figuration .

Awards

His awards included the Arts Council Awards in 1971 and 1979, the Gregory University of Leeds Sculpture Fellowship in 1973, a Gulbenkian Foundation Fine Arts Award in 1975, an award at the 1978 John Moore Exhibition at the Walker Art Gallery in Liverpool and a prize from the Henry Moore Foundation in 1985.

Web links

Individual evidence

  1. ↑ Naylor, Martin. Art UK, accessed November 18, 2020 .
  2. ↑ a b c d e f g h i j k Jo Melvin: Naylor, Martin James (1944–2016), sculptor. In: Oxford Dictionary of National Biography . Oxford 2004, ISBN 0-19-861411-X , ( oxforddnb.com license required ), as of January 9, 2020, accessed November 18, 2020.
  3. ↑ 'Discarded Sweater', Martin Naylor. Tate, accessed November 18, 2020 .
personal data
SURNAME Naylor, Martin
ALTERNATIVE NAMES Naylor, Martin James (full name)
BRIEF DESCRIPTION British sculptor
DATE OF BIRTH October 11, 1944
PLACE OF BIRTH Morley near Leeds
DATE OF DEATH December 31, 2016
Place of death Cricklewood , London