Brian Clarke

Brian Clarke FRIBA FRSA (born 2 July 1953) is a British architectural artist, painter and printmaker, known for his large-scale stained glass and mosaic projects, abstract and symbolist canvases, and collaborations with major figures in Modern and contemporary architecture.

This article is about the British architectural artist and painter. For other uses, see Brian Clarke (disambiguation).
Brian Clarke

FRIBA FRSA
Brian Clarke in his studio, 2015
Born
Brian Ord Clarke

(1953-07-02) 2 July 1953
Oldham, Lancashire, England
NationalityBritish
EducationOldham School of Arts and Crafts; North Devon College of Art
Known forPainting, drawing, stained glass, Gesamtkunstwerk, tapestry, stage design, mosaic, ceramics
Notable work
Architectural Stained Glass; Royal Mosque, KKIA; Victoria Quarter;[1] Holocaust Memorial Synagogue, Darmstadt;[2] Abbaye de la Fille-Dieu;[3] Paul McCartney New World Tour; Pyramid of Peace and Reconciliation[4]
Television
  • Brian Clarke: The Story So Far (1979)[5]
  • BBC Two Mainstream (1979)
  • Time Lag Zero: Impressions of Brian Clarke (1980)
  • Colouring Light: Brian Clarke - An Artist Apart (2011)[6]
OfficeChairman of the Estate of Francis Bacon[7]
Term1998 - present
Spouse(s)
Liz Finch
​
​
(m. 1972; div. 1996)​

(m. 2013)
Websitewww.brianclarke.co.uk

Born to a working-class family in the north of England, and a full-time art student on scholarship at 13, Clarke came to prominence in the late 1970s as a painter and figure of the Punk movement[8][9] and designer of ecclesiastical stained glass, and by the early 1980s had become a major figure in international contemporary art,[5] the subject of several television documentaries and a café society regular known for his architectonic art, prolific output in various media,[10] friendships with celebrities and key cultural figures,[11][12][lower-alpha 1] and polemical lectures and interviews.

His practice in architectural and autonomous stained glass, often on a monumental scale,[13] has led to successive innovation and invention in the development of the medium,[lower-alpha 2] including the creation of stained glass without lead and the subsequent pioneering of a 'dramatically enhanced Pointillism',[16] and the creation of sculptural stained glass works, analogous to collage, made primarily or entirely of lead. The latter two advances are described as having taken stained glass as an artform to its zero-point in each direction: absolute transparency, and, conversely, complete opacity.[lower-alpha 3]

A lifelong exponent of the integration of art and architecture, his architectural collaborations include work with Zaha Hadid,[18] Norman Foster,[19] Arata Isozaki, Oscar Niemeyer, I. M. Pei, César Pelli and Renzo Piano.[20] He served a 7-year term as chairman of The Architecture Foundation,[21] and served on the Design Review Committee of the Commission for Architecture and the Built Environment.[22] His artistic collaborations have included work with David Bailey, Hugh Hudson, Malcolm McLaren, Linda McCartney, Paul McCartney and Ivor Abrahams.

Biography

Early life

Brian Clarke was born in Oldham, Lancashire, to Edward Ord Clarke, a coal miner, and Lilian Clarke (née Whitehead), a cotton spinner. Raised in a family familiar with spiritualism, his maternal grandmother a notable local medium, Clarke attended a Spiritualist Lyceum through his childhood[23] and, considered a ‘sensitive’, gained a reputation locally as a 'boy medium'.[lower-alpha 4] In 1965, aged 12, he applied for a place as the last intake of an education scheme existing in the North of England to enable artistically promising children to leave their secondary school and become full-time art students,[23][24] and was awarded a scholarship to the Oldham School of Arts and Crafts.[25] In place of a standard curriculum, he principally studied the arts and design, learning drawing, heraldry, pictorial composition, colour theory, pigment mixing and calligraphy among other subjects.[23] Considered a prodigy,[6] by the age of 16 Clarke had mastered the orthodoxies of academic life drawing. In 1968 he and his family moved to Burnley and, too young at 15 to gain entrance to Burnley College of Art, he lied about his age and was accepted on the strength of his previous work.[23]

1970s
Two slender baptistery windows, each 18ft x 1ft, designed and fabricated in 1976 by Clarke for F. X. Velarde's 1932-1934 Art Deco church of St Gabriel, Blackburn.[26][27]

In 1970 Clarke enrolled in the Architectural Stained Glass course at North Devon College of Art and Design, from which he graduated two years later with a first class distinction in their Diploma in Design.[23] In 1971, aged 17, he received his first commission, for a series of windows in the Grade II* listed Southcott Barton, a 17th-century residential home, and the following year received his first ecclesiastical commission, for a memorial window in Preston Minster.[23] In August 1972, he married his fellow art student Liz Finch, the daughter of a local vicar, opened a stained glass studio in Preston,[28] and began to take on work including painting restoring, designing lamps, repairing damaged ecclesiastical glass, as well as working independently as a painter.[29] This was followed by a commission for a new window for Coppull Church, Lancashire, in 1973,[28] and further secular stained glass commissions, for which he painted, fired, leaded, assembled and installed the windows and panels himself,[23] transporting them on a local bus.[28] Further local ecclesiastical commissions followed.

In 1974 Clarke was awarded the Winston Churchill Memorial Travelling Fellowship[15] to study medieval and contemporary stained glass in Italy, France and West Germany.[30] That same year he received a commission for a suite of 20 windows for the Church of St Lawrence, Longridge, considered to be his first mature work, and in 1975 was awarded the Churchill Extension Fellowship to study art in architecture in the United States.[30] Later in 1975 Clarke moved to Birchover, Derbyshire, renting a vicarage as home and studio from the local church authorities – he later designed and gifted a suite of windows to the parish church, St Michael and All Angels.[31] A travelling exhibition of secular, autonomous stained glass panels inspired in part by Oriental landscape painting,[32] Glass Art One, was shown at venues in Derbyshire and Lancashire, including Derby Cathedral and Manchester Cathedral.[23] An internationally notable commission from the University of Nottingham to produce 45 paintings, vestments, and a series of stained glass windows followed for a multi-faith chapel in the Queen's Medical Centre.[33] As one of the largest public art commissions of the decade, the process of design and installation was filmed by the BBC as material for a documentary.[29] The research from the two Churchill Trust Fellowships led to the Arts Council of Great Britain-funded exhibition of stained glass GLASS/LIGHT, co-curated by Clarke, British war artist John Piper and art historian Martin Harrison,[34] with the collaboration of Marc Chagall, and produced the book Architectural Stained Glass.[30] GLASS/LIGHT, part of the Festival of the City of London, was the most extensive exhibition of stained glass of the 20th century.[35]

In 1978, Clarke controversially appeared on the cover of the journal Architectural Review[36] with a work titled Velarde is Not Mocked.[27] Clarke had been commissioned to design and fabricate two windows for the notable 1930s Art Deco church of St Gabriel’s, Blackburn, by F. X. Velarde, which was to be restored; the windows, as part of the restoration, were designed to complement and respond to the architecture, making reference to elements of the original design of the building, considered a milestone in the development of English church architecture towards modernism. Significant changes were made by the restoring architect to the building, and the interior and exterior elements were unsympathetically altered.[27] Clarke's public attack on the treatment of the architecture by the restoring firm, and his refusal to compromise with the Cathedrals Advisory Committee on their recommended changes to a design commissioned in 1976 for two windows in Derby Cathedral, marked the end of his working in the Church of England. In 1979 he undertook a polemical lecture tour of British universities on the subject of art and architecture; titled 'Rescuing Art from Artists', the first lecture, in Hull, was introduced by poet Philip Larkin. Between 1978–9, the BBC filmed footage of his studio practice and life for an hour-long BBC Omnibus documentary,[37] Brian Clarke: The Story So Far.[38] At the time of broadcast the UK had only 3 television channels, and an audience of millions watched the documentary; the BBC recorded multiple viewer complaints, and both programme and subsequent press coverage, including his appearance on the cover of Vogue magazine photographed by Robert Mapplethorpe, footage of which appeared in the documentary, brought him to broader public attention. Later in 1979, Clarke became a presenter on the BBC2 arts programme Mainstream, and the BBC Radio 4 programme Kaleidescope, conducting interviews with figures including Brassaï, Andy Warhol, John Lennon, and Elisabeth Lutyens, and giving Sheffield band The Human League, of whom he'd been an early supporter, their first television appearance.

1980s
Oil painting by Clarke from the Via Crucis series, titled And He is Condemned (1983), exhibited at the reopening of the Robert Fraser Gallery

At the start of 1980, Clarke began to paint in oils again after a period of working primarily graphically and in acrylic, and created his first constructions, in wood and steel, and designs for furniture.[23] Clarke accepted a proposal to design stage sets for Kraftwerk,[9] and collaborated on unrealised projects with David Bailey, with Brian Eno, and with Malcolm McLaren and Vivienne Westwood as designer of the aborted zine Chicken, whose creation was funded by EMI and filmed by BBC's Arena.[39] Noticing the similarity between the reticular, Constructivist-derived symbols that dominated his work and the light-metering computergrams from the Olympus OM System cameras, he produced a series of technology-related paintings; Time Lag Zero, commissioned for the headquarters of Olympus Optical (UK), was unveiled at Langan's Brasserie by Patrick Lichfield for the fifth anniversary of Olympus UK, and filmed by Granada Television as part of a documentary on Clarke and his work, released by ITV as Time Lag Zero: Impressions of Brian Clarke.[40][41] Later that year, a major commission for paintings, a wooden construction, and a suite of stained glass windows for the Olympus European Headquarters Building in Hamburg was executed, for which Clarke was given 'complete freedom of the design of the entrance hall for the new building',[23] and, starring in a series of adverts for Olympus and for Polaroid, he became a household name in the UK and the United States. The complexity of the stained glass designs for Hamburg necessitated the development of special diamond cutting and sandblasting techniques to accommodate the graphic, non-structural role of the lead in places, and marked the start of Clarke's manufacturing his windows in Germany rather than England, a major break with tradition.[lower-alpha 5]

In 1981, Clarke was invited to teach as a visiting artist at Pilchuck Glass School in Washington, with Patrick Reyntiens and Dale Chihuly, for the summer education programme. Clarke introduced all-day life-drawing classes, intensively teaching academic drawing from the life in place of glass painting techniques with the aim of opening up 'new ways of looking at glass design'.[42] Later that year, receiving a commission from the Government of Saudi Arabia for the Royal Mosque of King Khalid International Airport, Clarke studied Islamic ornament at the Quran schools in Fez. A portfolio of screenprints, dedicated to his friend C. P. Snow and titled 'The Two Cultures' (after Lord Snow's influential 1959 Rede Lecture on the perceived gulf between the humanities and sciences of the same name) was published, and he became the first artist to have an exhibition at the Royal Institute of British Architects, with a solo show of paintings, constructions and prints, including the first appearance of his Computergram series of screenprints on canvas. That year, the first monograph on his work, Brian Clarke by Martin Harrison, was published, and the Victoria and Albert Museum acquired a large-scale stained glass triptych, executed by him in 1979,[43] and an oil painting titled Trial and Error.[23] The Royal Mosque, completed in 1982 and containing 2,000 square metres of stained glass, was considered to be the largest and technically most advanced stained glass project of the modern period,[10] requiring the full staff of 4 stained glass factories and 150 craftsmen,[44] taking a year to fabricate. Urged by his art dealer Robert Fraser to leave Britain to avoid the gossip columns and paparazzi,[8] Clarke moved to live and work in Düsseldorf and Rome.

In 1982, Clarke produced the cover painting for Paul McCartney's solo album Tug of War, designing the cover together with Linda McCartney.[45] In 1983 the Tate acquired an edition of The Two Cultures[46] and Fraser, a key figure of the Swinging Sixties who first brought to Europe the work of Andy Warhol and Roy Lichtenstein, reopened his gallery on Cork Street in London with a show of Clarke's paintings and with the aid of funding from him.[15][47] The opening night received significant press coverage, and public interest and celebrity attendance led to the opening party spilling out into the street,[48] necessitating its closure by police cordon. Before its closure following Fraser's death in 1986, the gallery went on to exhibit and introduce to the British public the works of Jean-Michel Basquiat and Ellsworth Kelly, both of whom Clarke exhibited with, and Keith Haring. In 1984, Clarke was commissioned to contribute to conservation architects Latham & Company's refurbishment of Henry Currey's Grade II listed Thermal Baths, adjacent to John Carr's Crescent in Buxton;[49][50] The baths had closed in 1963 and were at risk of demolition; Clarke's scheme, designed in 1984 and completed in 1987, was for a landmark barrel-vaulted modern stained glass ceiling to enclose the Grade II-listed former baths, creating the Cavendish Arcade.[51] In 1989 a second project with Derek Latham and Co, for the regeneration of an inner-Leeds district, saw the Leeds Victoria Quarter created through the pedestrianising and covering-over of Queen Victoria Street. Clarke's proposal was to cover the length of the street with stained glass;[52] the design, installed in 1990,[53] was at the time the largest stained glass work in the world.[54] In 1988, architect Arata Isozaki approached Clarke to collaborate with him on the Lake Sagami Building in Yamanishi.[55] Clarke designed a composition of stained glass for the central lantern[56] and a series of interrelated skylights that internally referenced elements of Isozaki’s building and early designs, for which Isozaki in turn designed a lighting system that turned the work and building into a beacon at night. The same year, Clarke and Norman Foster proposed a major stained glass artwork for the new terminal building of Stansted Airport, by Foster + Partners. The collaboration, the first time in the history of stained glass that computer-assisted design had been utilised in the creative process, would have seen the east and west walls of the High-tech building clad in two sequences of traditionally mouth-blown, leaded stained glass. For technical and security reasons, the original scheme, which Clarke considered to be his magnum opus,[57] couldn't be executed.

The stained glass windows and dome, and ceramic and carved wood Torah ark of the New Synagogue, Darmstadt, designed by Clarke

1990s

In 1991, the British Airports Authority commissioned a second, smaller stained glass project from Clarke for Stansted Airport in place of his and Sir Norman Foster's original 1988 proposal. The artist designed two friezes and a 6-metre high tower of stained glass[58][59] for a circulation area in the centre of the terminal which, in their composition, echoed elements of Foster's structure; by 1994 the tower had been removed to 'allow greater flow of traffic through the space',[57] and later the friezes were likewise removed. In 1992, Clarke first collaborated with architect Will Alsop, on Le Grand Bleu, the Hôtel du département des Bouches-du-Rhône (the county government office of Bouches-du-Rhône) in Marseille. The building, now considered a major work of late 20th century architecture and a Marseille landmark,[60] developed its visual identity through the design process,[61] with Clarke and Alsop's final version externally clad in Yves Klein blue glass, with one elevation formed of a 1,200 m2 artwork by Clarke screenprinted in ceramic glaze, paralleling Edwardian faïence,[57] onto the facade.[62][63] In 1994, Zaha Hadid and Clarke developed an unexecuted collaborative proposal for the Spittelau Viaducts Housing Project, a waterfront redevelopment in Vienna, that incorporated integral, interrelated mosaic and traditionally-leaded stained glass.[13] Clarke developed a new type of mouth-blown glass for the scheme, which he christened 'Zaha-Glas'.[64] The project, which experienced delays in construction, was completed in 2006,[65] without the artwork. The newly-developed 'Zaha-Glas' was first used architecturally in Clarke's scheme for the ceiling of Pfizer World Headquarters in New York, a landmark architectural art project which connected 42nd and 43rd Street in Manhattan through the length of the site with a composition in stained glass and Venetian glass mosaic.

Clarke (Executor of the Will of Francis Bacon) v Marlborough Fine Art

Following the death of Clarke's friend Francis Bacon in 1992, in 1998 the English High Court severed all ties between Bacon's former gallery, Marlborough Fine Art, and his estate,[66] and Clarke was appointed sole executor of the Estate of Francis Bacon by the High Court,[7][67] on behalf of Bacon's heir John Edwards.[68] Clarke transferred representation of Francis Bacon to the Tony Shafrazi Gallery in New York, where a major show was mounted of 17 previously unseen Bacon paintings recovered from his studio. A court case was brought against Marlborough, Professor Brian Clarke (Executor of the Will of Francis Bacon) v Marlborough Fine Art (London), alleging that the Gallery had underpaid Bacon for his work, asserted undue influence over him,[69] and failed to account for up to 33 of his paintings,[70] but following John Edwards' diagnosis with lung cancer in 2002 the litigation was settled out of court, with each side paying its own costs. During the legal process an undisclosed number of Bacon's paintings were recovered from Marlborough, and "vast quantities of correspondence and documents relating to the life of the artist were handed over by the gallery".[71] In 1998, Edwards and Clarke donated the contents of Bacon's studio to the Hugh Lane Gallery in Dublin.[72][73] The studio at 7 Reece Mews had remained largely untouched since Bacon's death in 1992, and the decision was taken to preserve it for posterity. A team of archaeologists, art historians, conservators and curators moved the studio, wholesale, to Dublin.[74] The locations of over 7,000 items were mapped, survey drawings made, the items packed and catalogued, and the studio was rebuilt, including the original doors, floor, walls and ceiling.[73] In 2001 the relocated studio was opened to the public, with a fully comprehensive database, the first computerised record of the entire contents of an artist's studio.[75]

2000s

In 2004, Clarke collaborated with Norman Foster on the Palace of Peace and Reconciliation, a landmark building in Nur-Sultan, Kazakhstan, built to house the triennial Congress of Leaders of World and Traditional Religions.[76] Initial designs incorporated a stained glass ramp throughout the pyramidical structure; completed in 2006,[77] the transparent upper portion is clad in 9700 square feet of stained glass, which forms the pyramid’s apex.[49][78] In 2010, Clarke was commissioned to design stained glass for the new Papal Chapel of the Apostolic Nunciature to Great Britain, the diplomatic embassy of the Holy See, for Pope Benedict XVI's visit to the United Kingdom, the first state visit of a Pope to Britain.[79]

Work

Paintings, stained glass, screenprints, collage, constructions, ceramics, mosaic, fresco, furniture, sculpture, tapestry, jewellery and ironmongery by Clarke can be found in architectural settings and private and public collections internationally, including the Tate, Victoria and Albert Museum,[43] the Bavarian State Painting Collections at Museum Brandhorst, Munich, the Sezon Museum of Modern Art, Tokyo, and the Corning Museum of Glass, New York.[80][81]

Major works include the five-story stained glass wall in the lobby of the Al Faisaliyah Center in Riyadh for the King Faisal Foundation,[82] the largest stained glass work in the world between 2000 and 2017, and Stansted Airport; 21,528 sq ft of stained glass for the Royal Mosque at King Khalid International Airport);[83][20] the mosaic and stained glass ceiling of Pfizer World Headquarters in New York, for which Clarke developed new techniques for the inclusion of two colours in a single sheet of opaque glass (in 1997), and a new stained glass facade (in 2001); stained glass, mosaic, ceramics,[84] and turf-cut chalk drawing for Beaverbrook Coach House and Spa;[85] the Stamford Cone in Connecticut;[86][87] windows for Linköping Cathedral in Sweden;[15] the world's largest stage sets (for Paul McCartney's 1993 World Tour)[88] and both the largest stained glass work in Great Britain and Europe,[89][90][91] and the largest in the world.[92]

Other projects include ecclesiastical commissions in churches, mosques and synagogues across Europe, the US and the Middle East (including the Holocaust Memorial Synagogue in Darmstadt,[93] built on the site of the former Gestapo headquarters,[94] the Heidelberg Synagogue,[95] and the Sinai Temple, Chicago; stage sets for Wayne Eagling's Dutch National Ballet tribute to Clarke's friend Rudolf Nureyev, and sets for an opera of The Crucible (Hexenjagd) directed by Hugh Hudson at Staatstheater Braunschweig;[96] the stained glass and mosaic of Norte Shopping, Rio de Janeiro; the Spindles Shopping Mall, Oldham;[97][98] the stained glass ceiling of the Victoria Quarter Arcade in Leeds,[99] which replaced Buxton as the largest stained glass work in the world; windows for the 13th century Cistercian Abbaye de la Fille-Dieu, Romont, Switzerland; collaborations in stained glass[13] and cyanotypes with photographer Linda McCartney; the cover of Terence Davies’ book Hallelujah Now, and EP and album covers for Paul McCartney, Jools Holland, Worldbackwards and EMI Classical.

Stained glass skylight by Clarke, 120 sq metres total. Inspired by William Walton's Orb and Sceptre Coronation March and executed for The Spindles in Oldham (1993)

Unexecuted projects

Clarke's design of stained glass for the Great South Window of the grandstand at Royal Ascot Racecourse, as part of the £185 million 2004-2006 redevelopment funded by Allied Irish Bank and designed by Populous and Buro Happold, was to have been the world's largest work in the medium. The project received royal approval from Queen Elizabeth II, but problems arose during the redevelopment's construction that prevented the installation of the window, as redressing them would have necessitated a delay to reopening the racecourse, leading to the project being scrapped. Commissions for two roundel windows in Derby Cathedral (1976), and for the North Transept windows of Salisbury Cathedral (2014-2019), were not approved by the Church of England. Clarke worked on designs with Norman Foster for incorporating stained glass throughout Stansted Airport, and a glass tower for the Willis Faber and Dumas Building; Renzo Piano for a public sculpture for the Shard at London Bridge;[100] Zaha Hadid on mosaic and stained glass for a building in Spittelau, Vienna, and KAPSARC, Saudi Arabia; with Will Alsop on mosaic and stained glass for Crossrail Paddington, and stained glass for Hungerford Bridge; and stained glass for Stratford International.[15]

Recognition and roles

Brian Clarke is former Visiting Professor of Architectural Art at the Bartlett School of Architecture, University College London;[101] Honorary Fellow of the Royal Institute of British Architects; Fellow of the Royal Society of Arts; Hon. Doctor of Law (University of Huddersfield); Doctor of Humane Letters, (Virginia Theological Seminary);[102] former trustee and Chairman of the Architecture Foundation;[103][104][105] Governor of the Capital City Academy Trust; Fellow, Trustee and Council member of the Winston Churchill Memorial Trust;[106] Honorary Liveryman of the Worshipful Company of Glaziers and Painters of Glass; and a Freeman of the City of London.

Selected exhibitions
  • 1975: Brian Clarke: Glass Art One, Mid-Pennine Arts Association, Arts Council of Great Britain.[23][44]
  • 1979: GLASS/LIGHT (with John Piper and Marc Chagall), Festival of the City of London.[23][44]
  • 1981: Brian Clarke: New Paintings, Constructions and Prints (with the Robert Fraser Gallery), Royal Institute of British Architects, London.[44]
  • 1982: British Stained Glass, Centre International du Vitrail, Chartres, France.[44]
  • 1982: Brian Clarke - Serigraphien und Mosaik, Franz Mayer’sche Hofkunstanstalt, Munich.[44]
  • 1983: Brian Clarke: Paintings, opening exhibition of the new Robert Fraser Gallery, London.[44]
  • 1983: Black/White (with Jean-Michel Basquiat), Robert Fraser Gallery, London.[44]
  • 1986: Brian Clarke: Stained Glass, Seibu Museum of Art, Yurakacho, Tokyo.[44]
  • 1987: Brian Clarke: Paintings, 1976 - 1986, Seibu Museum of Art, Ikebukuro, Tokyo; Yao Seibu Exhibition Hall, Yao, Osaka.[44]
  • 1988: Brian Clarke, Malerei und Farbfenster 1977 - 1988, Hessisches Landesmuseum Darmstadt.[44]
  • 1988: Die Architektur der Synagoge (Architecture of the Synagogue), Deutsches Architekturmuseum (German Architecture Museum), Frankfurt.[44][2]
  • 1989: Brian Clarke: Paintings, The Indar Pasricha Gallery, Hauz Khas, New Delhi; Pyrri Art Centre, Savolinna.[44]
  • 1990: Brian Clarke: Into and Out of Architecture, The Mayor Gallery, London.[44]
  • 1990: Brian Clarke: Architecture and Stained Glass, Sezon Museum of Art, Tokyo.[44]
  • 1992: Light and Architecture (in collaboration with Future Systems), Ingolstadt.[44]
  • 1993: Images of Christ, Northampton Museum; St. Paul's Cathedral, London.[44]
  • 1993: Brian Clarke: Designs on Architecture, Oldham Art Gallery, Oldham.[44]
  • 1993: Architettura e Spazio Sacro nella Modernita (Architecture and the Sacred Space in the Modern Age) (with architect Alfred Jacoby), Venice Biennale of Architecture.[44]
  • 1998: The Glass Wall, Tony Shafrazi Gallery, New York, USA, 1998[44]
  • 1998: Brian Clarke—Linda McCartney: Collaborations, Musée Suisse du Vitrail, Romont, Switzerland; Deutsche Glasmalerei-Museum, Linnich, Germany.[44]
  • 2002: Brian Clarke: Transillumination, Tony Shafrazi Gallery, New York; 2002[107]
  • 2002: Flowers for New York, The Corning Gallery, New York.[108]
  • 2005: Lamina, Gagosian Gallery, London.[108]
  • 2011:The Quick and the Dead, Gemeentemuseum Den Haag.[25]
  • 2011: Brian Clarke: Works on Paper 1969-2011, Phillips de Pury at the Saatchi Gallery, London.[109]
  • 2013: Between Extremities, Pace Gallery, New York.[110]
  • 2014: Piper & Clarke. Stained Glass: Art or Anti-Art, The Verey Gallery and Eton College, Eton.[111][112]
  • 2015: Spitfires and Primroses, PACE London.
  • 2016: Night Orchids, PACE London.
  • 2018: Brian Clarke: The Art of Light, Sainsbury Centre for Visual Arts, Norwich.[113][114]

Television and film
  • Omnibus – Brian Clarke: The Story So Far. Diana Lashmore, BBC One, 15 March 1979.[5][117]
  • Mainstream (presenter). BBC Two, 1979.
  • Time Lag Zero: Impressions of Brian Clarke. Granada Television, 1980.
  • Linda McCartney: Behind the Lens (contributor). Nicholas Caxton, Arena, BBC One, 1992.[118]
  • Architecture of the Imagination - The Window (contributor). Mark Kidel, BBC Two, 1994.[119]
  • Architecture of the Imagination - The Stairway (contributor). Mark Kidel, BBC Two, 1994.
  • Omnibus – Norman Foster (contributor). Mark Kidel, BBC One, 1995.
  • Eye over Prague/Jan Kaplický – Oko Nad Prahou (contributor). Olga Špátová, 2010.
  • Frank Bragwyn: Stained Glass – a catalogue (contributor). Malachite Art Films/Libby Horner, 2010.[120]
  • Colouring Light: Brian Clarke - An Artist Apart. With contributions from Sir Peter Cook, Dame Zaha Hadid, and Martin Harrison. Mark Kidel, BBC Four, 2011.

Bibliography

Publications
  • Architectural Stained Glass, Brian Clarke. With contributions by John Piper, Patrick Reyntiens, Johannes Schreiter and Robert Sowers. Architectural Record Books, McGraw Hill, New York, 1979. ISBN 0-07-011264-9
  • WORK, Brian Clarke. Steidl Verlag, 2009. ISBN 978-3-86521-633-5
  • Christophe, Brian Clarke. Steidl Verlag, 2009. ISBN 978-3865217721
  • A Strong Sweet Smell of Incense: A Portrait of Robert Fraser, Brian Clarke. PACE London, 2015. ISBN 978-1-909406-16-2

Contributions
  • David Bailey's Trouble and Strife. Thames and Hudson, 1980.
  • Into The Silent Land. Yoshihiko Ueda, Kyoto Shoin, 1990.
  • Glasbilder Johannes Schreiter: 1987 – 1997, ‘A cry in the wilderness’. Beispiel Darmstadt, 1997.
  • Groovy Bob: The Life and Times of Robert Fraser. Harriet Vyner, Faber & Faber, 1999.
  • Paul McCartney: Paintings, Bulfinch, 2000. ISBN 978-0821226735
  • Ludwig Schaffrath (1924-2011) – an appreciation, The Journal of Stained Glass, Vol. XXXIV. The British Society of Master Glass Painters, 2010. ISBN 978-0-9568762-0-1
  • Burne-Jones: Vast acres and fleeting ecstasies, The Journal of Stained Glass, Vol. XXXV. The British Society of Master Glass Painers, 2011. ISBN 978-0-9568762-1-8

Monographs and catalogues
  • Brian Clarke: Working Drawings. With contributions by John Piper and Patrick Reyntiens. St. Edmunds Arts Centre, Salisbury, 1979.
  • Brian Clarke by Martin Harrison. With contributions by Johannes Schreiter and Patrick Reyntiens. Quartet Books, 1981. ISBN 0-7043-2281-1
  • Brian Clarke: Paintings, Robert Fraser Gallery, London, 1983.
  • Brian Clarke: Microcosm (Architecture and Stained Glass), The Sezon Museum of Modern Art, Tokyo, 1987.
  • Brian Clarke: Malerei und Farbfenster 1977-1988. With contributions by Johannes Schreiter and Sir Peter Cook. Hessisches Landesmuseum, Darmstadt, 1988. ISBN 3-926527-13-7
  • Brian Clarke: Into and Out of Architecture. With contributions by Sir Norman Foster, Sir Peter Cook, Arata Isozaki, Ryu Niimi and Paul Beldock. The Mayor Gallery, 1990.
  • Brian Clarke. With contributions by Paul Beldock. Art Random, Kyoto Shoin International, Japan, 1990.
  • Brian Clarke: Designs on Architecture. Introduction by Paul Beldock. Oldham Art Gallery, Lancashire, 1993.
  • Brian Clarke: Architectural Artist, Academy Editions, 1994. ISBN 1-85490-343-8
  • Les Vitraux de la Fille-Dieu de Brian Clarke/Die Glasgemälde der Fille-Dieu Von Brian Clarke. Edited by: L’Abbaye Cistercienne de la Fille-Dieu à Romont. Le Museée Suisse du Vitrail à Romont, Bern; CH: Benteli, 1997.
  • Brian Clarke—Linda McCartney: Collaborations. Edited by: Dr. Stefan Trümpler, Le Musée Suisse du Vitrail à Romont, Bern; CH: Benteli, 1997.
  • ‘Fleur de Lys’: Brian Clarke. Edited by: Faggionato Fine Arts, London, 1998.
  • Brian Clarke – Projects. Edited by: Tony Shafrazi Gallery (catalogue for Brian Clarke – The Glass Wall), 1998. ISBN 978-1-891475-13-9
  • Brian Clarke – Transillumination. Edited by: Martin Harrison, 2002. ISBN 1-891475-22-3
  • Brian Clarke – Lamina. With contributions by Martin Harrison. Gagosian Gallery, 2005. ISBN 1-932598-18-9
  • Don’t Forget the Lamb, Phillips de Pury & Company, 2008.
  • Brian Clarke: Life and Death. Stefan Trümpler, Vitromusée Romont, Editions Benteli, 2010.
  • Atlantes and Astragals. With contributions by Martin Harrison and Hans Janssen. Christie’s, Gemeentemuseum/Kunstmuseum Den Haag, 2011.
  • Brian Clarke: Works on Paper, Phillips de Pury and Company, 2011.
  • Brian Clarke: Between Extremities. With contributions by Martin Harrison and Robert C. Morgan. PACE Gallery, New York, 2013. ISBN 978-1-935410-39-3
  • Brian Clarke: Spitfires and Primroses 2012-2014/Works 1977-1985. With contributions by Amanda Harrison and Martin Harrison. PACE Gallery, 2015. ISBN 978-1909406155
  • Night Orchids. With contributions by Robert Storr. HENI Publishing, 2016. ISBN 978-0993316104
  • The Art of Light – Brian Clarke. With contributions by Sir Norman Foster and Paul Greenhalgh. HENI Publishing/Sainsbury Centre for Visual Arts, 2018.
  • Brian Clarke: On Line. TheGallery, Arts University Bournemouth, 2020. ISBN 978-0-901196-82-8[121]
  • The East window of All Saints Church, Habergham, 1976
  • Stained glass of Olympus Optical Headquarters Hamburg, 1981
  • Stained glass window for the former Lavers and Barraud Building, Endell Street, 1981
  • Nocturnal view of the Cavendish Arcade's stained glass canopy at Buxton Thermal Baths
  • North wall of the New Synagogue, Darmstadt
  • The street-length canopy of Victoria Quarter, Leeds, the largest stained glass work in Great Britain
  • Victoria Quarter
  • Interior view of Clarke's Stamford Cone (1999), a 14m high stained glass sculpture for the headquarters of UBS
  • The Stamford Cone, formerly the largest freestanding glass structure ever made, during fabrication
  • Interior of the stained glass apex of the Pyramid of Peace
  • Stained glass window by Clarke for the 12th century Cistercian Abbaye de la Fille-Dieu, Romont (1996)
  • The Spindles by Brian Clarke in his home town of Oldham, celebrating the music of Sir William Walton
  • Painting for the cover of the Paul McCartney album Tug of War
  • Will Alsop's Hôtel du Département des Bouches du Rhône, with blue exterior and screenprinted glass cladding by Clarke
  • Clarke's painted stadia and arena set designs for Paul McCartney's 1989-1990 World Tour

Notes
  1. 'If the earnest boy from Oldham was bemused to find himself the toast of the glitterati, he wasn't bedazzled. "If you're a well-known plumber you meet well-known electricians, I suppose. It's just the circle you move in. And my friendships with Paul [McCartney] or [Francis] Bacon or Andy [Warhol] – that's just what happens in life. But," he adds with a glimmer of reproof, "I've got friends who aren't famous. I even have friends who aren't dead."'[11]
  2. Including the early use of screen printing, incorporation of photography,[14] the origination of techniques allowing the inclusion of two colours in a single sheet of opaque glass, and the development of bonding techniques including multi-lamination.[15]
  3. His major contributions to the medium are the removal of structural or outline-delineating lead through the production of seamless stained glass and, conversely, the production of related works created without glass, formed of calligraphic lead solder on sheet lead.[17]
  4. "As a teenager, I went through the usual adolescent excitements to do with quasi-religious, quasi-artistic things and the closest to home was spiritualism. So I went through all the procedures that young spiritualists in the 1960s went through and became what they call a medium. It wasn't a preoccupation that consumed much of my life but it gave me a reservoir of imagery I find thrilling. To be frank, I think my art is still in what you might call 'mediumship'."[11]
  5. "In view of the problems of obtaining suitable glass in England and the innovatory nature of some of the techniques which certain aspects of the designs called for, Brian took the unprecedented step of having the windows made in Germany, at the Taunusstein studios of Wilhelm Derix.[23]

References
  1. Wrathmall, Susan (2005). Pevsner Architectural Guides: Leeds. Yale University Press. pp. 24–5, 38, 159–61, 225. ISBN 0-300-10736-6.
  2. Schwartz, Hans-Peter (1988). Die Architektur Der Synagoge. Frankfurt am Main: Deutsches Architekturmuseum. p. 306.
  3. Tomas Mikulas (August 2018). "The Stained Glass Windows at La Fille-Dieu by Brian Clarke". In Dohrmann, Nicolas; David (eds.). Les défis du vitrail contemporain/The Challenges of Contemporary Stained Glass (in French and English). Troyes: Silvana Editoriale. pp. 139–153, 188–193. ISBN 978-8836638635.
  4. Sudjic, Deyan (2010). Norman Foster: A Life in Architecture. Hachette UK. ISBN 9780297864424.
  5. Crichton-Miller, Emma (4 February 2011). "The Great Glass Elevator". FT - How to Spend It. Financial Times. Retrieved 3 October 2019.
  6. "Colouring Light: Brian Clarke - An Artist Apart". BBC. BBC Four. Retrieved 3 October 2019.
  7. "Francis Bacon - Family, Friends and Sitters: Brian Clarke". francis-bacon.com. The Estate of Francis Bacon.
  8. Rick Poynor (April 1990). "Master of the Matrix". Blueprint. United Kingdom: Blueprint Magazine.
  9. Dadomo, Giovanni (July 1981). "The Artist Today". The Face (15).
  10. Amaya, Mario (June 1984). "Clarke's New Constructivism". Studio International. 197 (1005).
  11. Dickson, Jane (15–21 October 2011). "Magic of glass: Meet Brian Clarke, Britain's star of stained glass with a papal blessing". Radio Times Magazine. United Kingdom: Immediate Media Company Limited.
  12. Johnson, David (4 October 2009). "Spandau Ballet, the Blitz kids and the birth of the New Romantics". The Observer. Guardian News & Media Limited. The Guardian. Retrieved 8 January 2020.
  13. Trümpler, Stefan (1997). Brian Clarke – Linda McCartney: Collaborations. Romont: Musée Suisse du Vitrail. ISBN 3-7165-1086-6.
  14. Lister, David (23 February 1998). "Glass act: Linda turns Paul into an art revival". The Independent. Independent UK. Retrieved 30 October 2019.
  15. Jenkins, David (8 September 2010). "Brian Clarke: rock star of stained glass". The Telegraph. Telegraph.co.uk. Retrieved 25 December 2018.
  16. Greenhalgh, Paul (June 2018). The Art of Light – Brian Clarke. London: HENI Publishing/The Sainsbury Centre for Visual Arts. ISBN 9781912122172.
  17. Harrison, Martin (November 2018). Alchemy, Stained Glass and Modernism. London: HENI Publishing. ISBN 978-1912122158.
  18. Moonan, Wendy (26 January 1995). "The World Under Glass". The New York Times. NY Times. Retrieved 25 October 2019.
  19. Holledge, Richard (10 August 2018). "The luminous stained glass of Brian Clarke". ft.com. Financial Times. Retrieved 25 December 2018.
  20. Louie, Elaine (16 January 2013). "Stained Glass, from Churches to Malls: Q&A with Brian Clarke". The New York Times. NY Times.
  21. "Clarke takes over from Alsop". Design Weekly. Vol. 4 no. February 2007 Online. 19 February 2007. Retrieved 9 October 2019.
  22. "Brian Clarke appointed new Chairman of the Architecture Foundation" (Press release). London: The Architecture Foundation. BLAH PR. February 2007.
  23. Harrison, Martin (1981). Brian Clarke: Paintings and Projects. London: Quartet Books. ISBN 0704322811..
  24. "The Two Cultures: Brian Clarke and Zaha Hadid in conversation". Tate. Retrieved 24 December 2018.
  25. "Brian Clarke: The Quick and the Dead". Kunstmuseum Den Haag. Gemeentemuseum The Hague. 16 April 2014. Retrieved 10 December 2019.
  26. Hobhouse, Janet (February 1980). "An Old Art Renewed". Quest/80. Quest.
  27. Best, Alastair (August 1978). "Brian Clarke". The Architectural Review. CLXIV (978): 109–111.
  28. "Pope artist's lucky break". The Garstang Courier. Preston. 14 September 2010. Retrieved 25 December 2018.
  29. Clarke, Brian (1979). Architectural Stained Glass. USA: McGraw-Hill. p. 153. ISBN 071953657X.
  30. "Brian Clarke's Story". WCMT.org. Winston Churchill Memorial Trust. Retrieved 25 December 2018.
  31. Historic England. "Church of the Holy Nameof Jesus, St Michael and All angels, Rowtor Lane  (Grade II) (1109897)". National Heritage List for England. Retrieved 8 January 2019.
  32. Wolfenden, Ian (Jan–Feb 1976). "Brian Clarke: Glass Art One". Crafts. London: Crafts Council.
  33. Pevsner, Nikolaus; Williamson, Elizabeth (1979). Nottinghamshire: Pevsner Architectural Guides. Yale University Press. p. 261. ISBN 9780300096361.
  34. Harrison, Martin (1978). GLASS/LIGHT. England: The City Arts Trust Limited. p. 24. ISBN 0704322811.
  35. Martin Harrison; Robin Aldworth (Spring 1979). Tate, R L C (ed.). "Light and Stained Glass" (PDF). Thorn Lighting Journal. Thorn Industries (20): 13–17. Retrieved 26 September 2019.
  36. "The Two Cultures: Brian Clarke and Zaha Hadid in Conversation". Architecture Foundation. The Architecture Foundation. 25 November 2013. Retrieved 8 October 2019.
  37. Spalding, Frances (1990). The Dictionary of British 20th Century Painters and Sculptors. England. p. 120.
  38. Diana Lashmore (15 March 1979). Brian Clarke: The Story So Far (film) (TV documentary). England: BBC TV. 132930.
  39. Gorman, Paul (2020). The Life and Times of Malcolm McLaren: The Biography. London: Constable. p. 464. ISBN 978-1-47212-108-0.
  40. Steve Hawes (director); Martin Walsh (editor) (1980). Time Lag Zero: Impressions of Brian Clarke (film) (TV documentary). England: Granada Television/ITV.
  41. Robert Hewison (17 July 1981). "From centre to punk". The Times Literary Supplement. The Times.
  42. Blewchamp, Clive (1981). "With Patrick Reyntiens and Brian Clarke at Pilchuck". The Leadline. Toronto.
  43. "Panel: Clarke, Brian". V&A Collections. Victoria and Albert Museum. Retrieved 22 October 2019.
  44. "Exhibitions and Projects" (list). In Foster, Norman; Frantz, Susanne K; Clarke, Brian. Brian Clarke: Projects, Tony Shafrazi Gallery, New York. ISBN 1-891475-13-4.
  45. Tug of War (album liner notes). Paul McCartney. EMI. 1982.CS1 maint: others (link)
  46. The Tate Gallery 1982-84: Illustrated Catalogue of Acquisitions. London: Tate Publishing (UK). December 1986. ISBN 978-0946590490.
  47. Von Joel, Mike. "Being Here: Brian Clarke" (PDF). State Magazine. No. 17. London: State Media Ltd. pp. 16–19. Retrieved 22 October 2019.
  48. Von Joel, Mike. "Being There: Robert Fraser & Brian Clarke" (PDF). State Magazine. No. 17. London: State Media Ltd. pp. 20–23. Retrieved 22 October 2019.
  49. Harrod, Tanya (2015). The real thing: essays on making in the modern world. London: Hyphen Press. pp. 134–137.
  50. Lyttleton, Celia (1984). "In the Wake of William Morris & Co". Ritz Magazine: Art Inside. No. 5.
  51. Hills, Ann (April 1987). "Buxton's New Landmark". Building Refurbishment.
  52. Barral i Altet, Xavier (2007). Stained Glass: Masterpieces of the Modern Era. Thames & Hudson; University of Michigan. p. 176. ISBN 9780500513729.
  53. Brown, Sarah (1992). Stained Glass: An Illustrated History. Crescent Books; University of Virginia. p. 170. ISBN 9780517069677.
  54. The Guinness Book of Records, 1993. Guinness Publishing. 1992. p. 200. ISBN 9780851129785.
  55. Arata Isozaki: Architecture 1960–1990. New York: Rizzoli International; The Museum of Contemporary Art, Los Angeles. 1991. p. 291.
  56. "The art of glass". New Scientist. No. 1956. 17 December 1994. Retrieved 22 October 2019.
  57. Powell, Kenneth (1994). Brian Clarke: Architectural Artist. Academy Editions. p. 13. ISBN 1-85490-343-8.
  58. Powell, Kenneth (1992). Stansted: Norman Foster and the Architecture of Flight. Fourth Estate/The University of Michigan. pp. 58–59, 85. ISBN 9781872180991.
  59. Glancey, Jonathan (2000). On Foster... Foster On. Prestel. p. 257. ISBN 3-7913-2405-5.
  60. "L'Hôtel du Département". Département des Bouches-du-Rhône. 16 Sep 2016. Retrieved 2 July 2020.
  61. Alsop, William; Spens, Michael (1994). Le Grand Bleu, Marseilles: Hôtel du Département des Bouches-du-Rhône. London: Academy Editions. ISBN 1854903578.
  62. Pearman, Hugh (13 February 1994). "The Big Blue". The Sunday Times: The Culture. The Sunday Times.
  63. Spens, Michael (20 July 1994). "From out of the big blue yonder: a British architect has given Marseilles a heroic palace for local democracy". Independent. The Independent. Retrieved 17 December 2019.
  64. "Spittelau Viaducts Housing Project (with Zaha Hadid)". brianclarke.co.uk. Brian Clarke. Retrieved 21 October 2020.
  65. "Spittelau Viaducts Housing Project". Architecture archive. Zaha Hadid Architects. Retrieved 2 July 2020.
  66. Delarge, Jean-Pierre. "Bacon, Francis" [The Dictionary of Modern and Contemporary Plastic Arts]. Dictionnaire des arts plastiques modernes et contemporains (in French). Delarge. Retrieved 7 December 2020.
  67. Hoge, Warren (23 March 1999). "Court Cuts Gallery's Ties To Francis Bacon Estate". The New York Times. The New York Times Company. Retrieved 22 October 2019.
  68. Gibbons, Fiachra (23 March 2000). "Gallery 'cheated Bacon out of tens of millions'". The Guardian. Guardian News & Media Limited. Retrieved 22 October 2019.
  69. Boggan, Steve (31 October 2001). "Bacon 'blackmailed' by art gallery owner, court told in dispute over £100m fees". The Independent. Independent UK; The Estate of Francis Bacon. Retrieved 22 October 2019.
  70. Boggan, Steve (28 November 2001). "I wooed Bacon with Claridge's champagne but London gallery cheated me, says dealer". The Independent. Independent UK. Retrieved 22 October 2019.
  71. Boggan, Steve (2 February 2002). "Battle called off between Bacon estate and gallery". The Independent. Independent UK. Retrieved 22 October 2019.
  72. Clarke, Brian. "Detritus". Francis Bacon. The Estate of Francis Bacon. Retrieved 25 November 2019.
  73. "Francis Bacon Studio: History of Studio Relocation". The Hugh Lane. Dublin City Council. Retrieved 25 November 2019.
  74. "Removal of 7 Reece Mews". Francis Bacon. The Estate of Francis Bacon. Retrieved 25 November 2019.
  75. "Francis Bacon Studio". Artist's Studio Museum Network. Watts Gallery. Retrieved 25 November 2019.
  76. Pearman, Hugh. "Foster designs the pyramid of peace". The Times. The Sunday Times. Retrieved 18 October 2019.
  77. Vaughan, Richard (4 September 2006). "Foster's Peace Pyramid completed". Architects' Journal. EMAP Publishing Limited. Retrieved 18 October 2019.
  78. Mayer, Gabriel, ed. (2013). "Artist Portrait Brian Clarke". Architecture - Glass - Art (PDF). Munich: Hirmer. p. 234. ISBN 978-3-7774-5251-7.
  79. Cripps, Charlotte (30 September 2010). "Glowing panes: Brian Clarke's stained-glass windows have earned him global recognition and the papal thumbs-up". The Independent. Independent UK. Retrieved 8 January 2020.
  80. Oldknow, Tina (2008). Contemporary Glass Sculptures and Panels: Selections from the Corning Museum of Glass. New York: Corning Museum of Glass. ISBN 9780872901681.
  81. "Brian Clarke: Summer Solstice Screens" (PDF) (Press release). London: HENI. BLAH PR. June 2017. Retrieved 2018-12-25.
  82. David, Jenkins; Baker, Phillipa (2001). Foster: Catalogue 2001. London: Foster and Partners/Prestel Verlag. ISBN 1854903578.
  83. "Marrying great art with Islam in Riyadh". Voice of the Arab World. February 1983.
  84. Duncan, Fiona. "The new Coach House Spa at Beaverbrook in Surrey isn't just special – it's a work of art". The Telegraph. Telegraph Media Group Limited. Retrieved 16 December 2019.
  85. Keel, Toby. "The beautifully-lit interior which gives a Surrey spa the undeniable feeling of being in church". Country Life UK. TI Media Limited. Retrieved 24 October 2019.
  86. "The Stamford Cone". Engineering Group Associates. Engineering Group Associates, PC.
  87. "Brian Clarke: The Stamford Cone". Franz Mayer of Munich: Architectural Glass and Mosaic. Mayer'sche Hofkunstanstalt GmbH. Retrieved 11 December 2019.
  88. Stained Glass Sourcebook. Quarry Books. April 2004. p. 253. ISBN 1592530346.;
  89. Harrison, Angus (27 September 2019). "The changing face of UK shopping". The Face. Vol. 4 no. 1. Retrieved 28 September 2019.
  90. "Victoria Quarter". Visit England. Retrieved 24 December 2018.
  91. Mitchell, Emily (28 November 1996). "Let there be light–and color". Time Magazine. Time.
  92. "Al Faisaliah Centre". ProTenders. NuServ Ltd. Retrieved 25 December 2018.
  93. Aalund, Dagmar (16 June 2000). "Germany's New Synagogues Embody Prayer, Memories - Broken Glass Traces Holocaust History". The Wall Street Journal. Dow Jones & Company, Inc. Retrieved 11 December 2019.
  94. Tait, Simon (8 October 1988). "Glass of a different stain". The Times. London.
  95. "The newly built synagogue in Heidelberg, Germany". The Jewish Chronicle (6509). Jewish Chronicle. 21 January 1994.
  96. "Robert Ward: Hexenjagd (The Crucible)". Die Deutsche Bühne (in German). Die Deutsche Bühne. Retrieved 8 December 2019.
  97. Pevsner, Nikolaus; Hartwell, Clare (2004). Pevsner Architectural Guides: Lancashire: Manchester and the South-East. Yale University Press. p. 100. ISBN 9780300105834.
  98. Wyke, Terry; Cocks, Harry (2004). Public Sculpture of Greater Manchester. Liverpool University Press. p. 275.
  99. Stephen, Wagg; Peter Bramham; John Spink (December 2009). "Leeds - Becoming the Postmodern City". In Bramham, Peter (ed.). Sport, Leisure and Culture in the Postmodern City. Ashgate. ISBN 978-0754672746.
  100. "Jane Shilling's Tv Choice - evening standart london - October 17, 2011 - Id. 327268287 - vLex". Archived from the original on 2013-05-05.
  101. "Honorary and visiting academics". The Bartlett School of Architecture. University College London. Retrieved 22 October 2019.
  102. Curtis, Prather. "VTS Awards Five with Honorary Degrees". VTS. Virginia Theological Seminary. Retrieved 27 December 2019.
  103. "The Architecture Foundation Board of Trustees". Architecture Foundation. The Architecture Foundation. Retrieved 8 October 2019.
  104. Vaughan, Richard (15 February 2007). "Artistic Licence at the AF". Architects' Journal. Retrieved 8 October 2019.
  105. "Simon Allford Announced as New Chair of The Architecture Foundation's Board of Trustees". Allford Hall Monaghan Morris. 29 November 2013. Retrieved 8 October 2019.
  106. "Trustees & Council". WCMT. Winston Churchill Memorial Trust. Retrieved 27 December 2019.
  107. Brian Clarke: Transillumination (exhibition catalogue), Tony Shafrazi Gallery, New York. ISBN 1-891475-22-3.
  108. Martin Harrison (2005). Lamina. London: Gagosian Gallery.
  109. Crichton-Miller, Emma. The Great Glass Elevator. In The Journal of Stained Glass, Vol. XXXIV, British Society of Master Glass Painters, 2011, pp132-138. ISBN 1-891475-22-3.
  110. Brian Clarke, Between Extremities, Pace Gallery, New York
  111. Fraser Jenkins, David; Harrison, Martin; Meredith, Michael; Waldegrave, William. Piper & Clarke. Stained Glass: Art or Anti-Art (exhibition catalogue), The Verey Gallery, Eton College, 2014
  112. "Piper and Clarke – Stained Glass: Art or Anti-Art". Eton College Collections. Retrieved 21 October 2020.
  113. "Major show by the world's leading stained-glass artist at the Sainsbury Centre" (PDF) (Press release). Norwich: Sainsbury Centre for Visual Arts. HENI. July 2018. Retrieved 2019-10-30.
  114. Clarke, Brian (26 June 2018). "Capturing light: stained-glass art for the modern age". BBC Radio 4: Front Row. BBC. Retrieved 13 March 2020.
  115. "One of Britain's greatest contemporary artists exhibits at AUB" (Press release). Bournemouth: Arts University Bournemouth. January 2020. Retrieved 2020-01-23.
  116. "Museum of Arts and Design to present major exhibition of works by world's leading stained-glass artist" (PDF) (Press release). New York, NY: The Museum of Arts and Design. 16 January 2020. Retrieved 2020-01-23.
  117. "Brian Clarke, The Story So Far". Collections Search BFI. British Film Institute. Retrieved 8 December 2019.
  118. "Chronology: an overview of the life and career of Linda McCartney". lindamccartney.com. Linda Enterprises Limited. Retrieved 18 April 2020.
  119. Kidel, Mark. "Colouring Light: Brian Clarke - An Artist Apart". The Arts Desk. Kevin Madden. Retrieved 8 December 2019.
  120. Horner, Libby (July 2010). "Frank Brangwyn: Stained Glass – a catalogue raisonné". Malachite Art Films. Retrieved 18 April 2020.
  121. Paul Greenhalgh; Peter Cook (January 2020). Hunt, Emma (ed.). Brian Clarke: On Line. Arts University Bournemouth. ISBN 9780901196828.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.