EAST HAMPTON, NY.- Harpers Books
presents an exhibition of twenty-one paintings and works on paper by British artist Stuart Sutcliffe (19401962). Curated by Richard Prince, Stuart Sutcliffe: Yea Yea Yea marks the artists first U.S. retrospective since 2001. The subject of numerous international shows and much critical acclaim, these pieces signal the apotheosis of Sutcliffes late style, emphasizing his movement away from figuration into the collaged geometricism of his works on paper and the dense gestural abstraction of his paintings.
Although his legacy is most often overshadowed by his brief membership in an early lineup of The Beatles, Sutcliffe was recognized during his lifetime as a fount of incipient artistic potential, exhibiting at The Walker Art Gallery in Liverpool and participating in the John Moores Biennial while still a teenager. He was accepted into The Liverpool Regional College of Art at the age of sixteen and later attended Hamburgs Hochschule für Bildende Künste under the tutelage of Pop artist Eduardo Paolozzi, who recognized his unbridled creative talent and exceptional promise early on.
In the years between 1957 and 1960, Sutcliffe met and befriended fellow art school student John Lennon, bought a bass guitar at John's urging with proceeds from the sale of one of his paintings to John Moores, and joined The Beatles, playing a formative role in the emerging bands style and artistic direction. After a series of exhaustive all-night stints during the groups notorious Hamburg tour, Sutcliffe abandoned his nascent musical career to pursue art full time. Moving in with his fiancée, the photographer Astrid Kirchherr, he immersed himself in the arts, working unremittingly on his canvases until his sudden and unexpected death at the age of twenty-one.
Whereas Sutcliffes brief life and career have been documented extensively in films, plays, books, and cultural lore, this exhibition seeks to recontextualize his oeuvre within the paradigm of the contemporary art world, highlighting the enduring significance of his work for both late Modernist art history and present-day artistic practices. Rather than consider what could have happened had he lived beyond his early twenties, Stuart Sutcliffe: Yea Yea Yea focuses on the impressive body of work he left behind, while examining its continued import and influence.
Informed by the context of postwar England and Germany, Sutcliffe's paintings, lithographs, and collages grapple with issues of representation while bringing, as critic Donald Kuspit notes, a renewed freshness to European permutations of Abstract Expressionism. Half a century after his death, his raw energy and nuanced approach to multimedia composition continue to resonate with audiences, cementing his place as a seminal figure within the broader spectrum of late twentieth century art. Richard Princes curation and accompanying text further evince the timelessly visceral impact of Sutcliffes aesthetic and its abiding relevance for artists working today.
The exhibition is accompanied by a limited edition booklet featuring an essay by Richard Prince, and published by Harpers Books. Of an edition of five hundred copies, fifty have been signed by Richard Prince and Stuarts sister Pauline, and five include original artwork by Prince. In addition to the twenty-one works on display, highlights from the Stuart Sutcliffe archive are being exhibited in vitrines around the gallery. Providing insight into the working process, intellect, and development of the artist, this collection includes notebooks, sketches, correspondences, essays, and photographs, mostly from the years between 1956 and 1962. All images are provided courtesy of The Stuart Sutcliffe Estate.