Paul Huxley
No artworks to display. See other artistsExhibitions
Bio
Paul Huxley RA (born 12 May 1938, London), is a British painter. He attended Harrow School of Art from 1951 to 1956, and the Royal Academy Schools from 1956 to 1960.
His first solo exhibition was in 1963 at the Rowan Gallery, London, where he continued to exhibit regularly for two decades. Huxley has taken part in group exhibitions since 1959, when he exhibited in ‘Young Contemporaries’, London. In 1964 he participated in ‘The New Generation’ exhibition at the Whitechapel Art Gallery with Patrick Caulfield, David Hockney, John Hoyland and Bridget Riley. More recently he has been part of group exhibitions at the Barbican (1993), the Gulbenkian Centre for Modern Art, Lisbon (1997), and Kettle’s Yard, Cambridge and Leicester City Art Gallery (both 1999).
In 1964 Huxley travelled to the United States as first prize in the Stuyvesant Travel Awards. In 1965 he won a prize at the Paris Biennale and then a Harkness Fellowship which let him return to the U.S., where he lived in New York for two years. He won the Linbury Trust Award in 1977, first prize in the Eastern Arts Exhibition in 1983 and a National Art Collections award for Outstanding Service to the Arts in 1995. He taught at the Royal College of Art from 1976, and was Professor of Painting there from 1986 until 1998, when he became Professor Emeritus.
He was commissioned to make 22 ceramic mural designs for King's Cross railway station in 1984, and has also produced work for the Rambert Dance Company (1991) and Pallant House Gallery, Chichester (2001).
Huxley was a member of the advisory panels for the Arts Council of Great Britain and the Serpentine Gallery. From 1975 to 1982 he was a Trustee of the Tate Gallery, and also served as chairman of its Exhibitions Committee. He was elected to the Royal Academy in 1987 and has been its Treasurer since 2000.
Gallery Statement / Profile
Born in 1938, Huxley studied at the Harrow School of Art and later at the Royal Academy Schools, graduating in 1960. The seminal ‘New Generation’ exhibition at the Whitechapel Art Gallery in 1964 led to a series grants and awards that brought him to New York, where he met Mark Rothko, Barnett Newman, Robert Motherwell and even Andy Warhol.
“The 1960s artists were really important in my mind,” he says, explaining that it was the spirit in which they worked that interested him and not their style.
He is closest to modernist painting of the late 1930s in particular—one thinks of Mondrian, Matisse, Hans Hofmann, Charles Demuth, and Paul Klee. These influences and experiences constantly meld and recombine in Huxley’s work, forming a kind of synthetic modernism. We see this most clearly In his paintings, because they communicate his intentions clearly. They engage observers in conversation as they try to establish meaning and a place for themselves in the works. His works, while not inaccessible, are unexpected and unlikely.
But this unlikelihood is far from spontaneous. As he explains, “I make lots of preparation—a drawing, a small painting, for example.” Then he adjusts proportions. He considers this “an economy of time and energy,” whereby he can “focus on the concept.” He is clearly not a Process artist. “The importance of the work is in the original concept,” he says, “more than the playing out of it.” He doesn’t expose the process.
Recognized for his contributions and achievements to contemporary art, Huxley was elected to the Royal Academy of Arts in 1987. For fourteen years until 2014 he served as Treasurer and briefly as President.
He was Professor of Painting at the Royal College of Art from 1986 until 1998 after which he was elected Honorary Fellow and Professor Emeritus. Many of his students from these years such as Dinos Chapman, Nigel Cook, Dexter Dalwood, Andrew Grassie, Tracey Emin, Chantal Joffe and Chris Ofili are now established figures on the international art scene.
Works by Huxley are held private and public collections throughout the world. In the United States his work can be found in the following institutions: The Museum of Modern Art, New York, the Albright-Knox Gallery, Buffalo and the Neuberger Museum, Purchase, State University of New York. Most recently his work has been presented at the 2015 Venice Biennale.
CV/BIO
2016
“Paul Huxley: Recent paintings After Vince Biennale”, David RIchard Gallery, Santa Fe, NM
2015
Royal Academy of Arts, “Posters”, Mark Pomeroy.
“Vita Vitale” Azerbaijan Pavilion 2015, catalogue essay by Alison Bracker, Heydar Aliyev Foundation.
Artists Newsletter, May 12, “Vita Vitale: Azerbaijan Pavilion, Ca’ Garzoni, San Marco”, Susan Stockwell.
Financial Times, February 21, “Van der postings”, Lucia van der Post.
2014
“Nanjing International Art Festival: Work Collections”, collection of specially invited artists, NJIAF Committee.
The Sunday Times Magazine, October 26, “Britain’s Top Model”, Lynn Barber on David Dawson.
“Annual Report 2013-2014”, Royal Collection Trust.
2013
The Scotsman, September 25, “Wine: Vines growing at Ménerbes”, Rose Murray Brown.
“Studio Sittings: photographing Royal Academicians”, Leighton House Museum.
“Gifted: From the Royal Academy to The Queen”, Martin Clayton, Royal Collection Trust.
2012
“Encounter: The Royal Academy in the Middle East”, catalogue essay, “Strength through Diversity”, David Thorp.
Royal Academy of Arts, “RA Now”, Mel Gooding.
Royal Academy of Arts, “Artists’ Laboratory 06: Stephen Chambers RA”, Foreword Paul Huxley.
Royal Academy of Arts, “Artists’ Laboratory 05: Hughie O’Donoghue RA”, Foreword Paul
Huxley.
“Encounter: The Royal Academy in Asia”, catalogue essay, “Strength through Diversity”, David Thorp.
Blouin Artinfo, September 20, “Chinese Characters Go Pop in Paul Huxley's Paintings”, Sonia Kolesnikov-Jessop.
The Business Times (Singapore), September 14, “Doctor’s Orders”, Helmi Yusof.
Today, Singapore, August 17, “It’s all abstract to him”, Mayo Martin.
Xucun International Art Commune, “A Dialogue Between East and West”, Wanq Xueyun.
Pallant House Gallery Magazine, June – October no 27, “Portraits of the Artist”, Paul Huxley.
2011
Royal Academy of Arts, “Artists’ Laboratory 04: John Maine RA”, Foreword Paul Huxley
Royal Academy of Arts, “Artists’ Laboratory 03: Nigel Hall RA”, Foreword Paul Huxley.
Fulham & Hammersmith Chronicle, July 8, Adam Courtney.
2010
Royal Academy of Arts, “Artists’ Laboratory 02: Stephen Farthing RA”, Foreword Paul Huxley.
Royal Academy of Arts, “Artists’ Laboratory 01: Ian McKeever RA”, Foreword Paul Huxley.
Centre Culturel Calouste Gulbenkian, “Ainsi Font les R?veurs/As Dreamers Do”, Ana Vasconcelos e Melo.
Artspace, Journal no 33, “Curating the RA Summer Show”, Fiona Metcalfe.
2009
‘Paul Huxley’ catalogue published to coincide with the exhibition, Paul Huxley, Watergate Gallery, Seoul, South Korea.
Black Dog, “Artists’ Studios”, MJ Long.
The Monthly Art Magazine, April, Suk Kwon Hwang.
Public Art, April, Sook Hyun Cho.
Numéro – Korea, April, Tae Hyung Choi.
Money, April, “Paul Huxley – the master of Postmodernist art bridging East and West”, Chang Sup Song.
The Korea Herald, March 28, “Contrast between curves and straight lines”.
The Weekly Korea Magazine, March 24, Woo Jin Park.
Union Press, March 9, “Paul Huxley Interview – harmony from conflict”.
Financial News, March 9, “Two great British artists – Paul Huxley and Michael Craig Martin”.
Asia Today, March 8, “Duality is a factor that has always existed”.
Newsis, March 6, “British artist – Paul Huxley’s solo exhibition”.
CNBNEWS, March 5, “Solo Exhibition of Paul Huxley”.
Segye daily newspaper, March 2, “Invitation to the Internationally renowned artist’s exhibition”.
Joongang daily newspaper, February 28, “Paul Huxley’s solo exhibition”.
2008
Unicorn Press, “The Painter RAs”, Dennis Toft.
Artists & Illustrators, December, “Escaping the Straightjacket”, Marth Alexander.
Artists & Illustrators, October, Martha Alexander.
RA Magazine, August, “Brave New World”, Nigel Billen.
Pallant House Gallery magazine, February 9, (extract from Building Design issue 1772).
2007
Pallant House Gallery, “In Camera – Snowdon”, Robin Muir.
Luxury (Korea), November, “Artist’s House”.
Evening Standard, June 20, “Every day is a Summer Show”, Corinne Julius.
Building Design, May 25 issue 1772, article on Sir Colin St John Wilson.
2006
Hayward Gallery Publishing, “How to Improve the World; 60 Years of British Art”.
Studio International Yearbook Special Volume 205 Number 1028, ”Royal Academicians in China 2003-2005”, Janet McKenzie.
The Independent, January 12, Louise Jury.
Financial Times, January 12, Michael Glover.
Metro, January 6, Fisun Gner.
2005
Red Mansion Foundation, “Royal Academicians in China”, David Thorp.
Umberto Allemandi & Co, “Metamorphosis - British Art of the Sixties: works from the collections of the British Council and the Calouste Gulbenkian Foundation”.
People’s Fine Arts Publishing House, The Album of the Second Beijing International Art Biennale, China 2005.
2004
Pallant House Gallery, “ A4 Art Auction”.
Scala Publishers Limited, “Modern British Art at Pallant House Gallery”, Stefan van Raay.
New York Times, December 15, Lawrence Van Gelder.
The Times, December 11, Dalya Alberge and Sean O’Neill.
2003
The Independent, June 10, “Paul Huxley Works 1963-2003”, Sue Hubbard.
2002
Royal Academy Magazine, no 74 “Secretive Controler”, Paul Huxley.
Hatje Cantz Publishers, “Blast to Freeze; British Art in the 20th Century”.
2001
Momentum, “British Abstract Painting 2001”, Matthew Collings.
Merrell Publishing Limited, “Art Works: British and German Contemporary 1960 – 2000”, Mary Findlay, Alistair Hicks and Friedhelm Hütte.
The Daily Telegraph, December 1, “Artists on Art”, Martin Gayford”.
Art Monthly, October 25, “Wall Drawing”.
Royal Academy Magazine, “Clifford Still, the Hirshorn Museum catalogue”, Paul Huxley.
2000
Royal Academy Magazine, no 67 “Looks Like a Super Model”, Phil Sayer.
Rhodes + Mann, “Fusion”.
The TI Group plc, “The TI Group Art Collection: Painting Graduates of the Royal College of Art, 1975-2000”, Paul Huxley.
1999
Kettle’s Yard, “45-99 A Personal View of British Painting and Sculpture”, Brian Robertson.
Szépmüvészeti Múzeum, Budapest, “The Bryan Montgomery Collection”.
Gallery Fine, “A Line in Painting: Part One – British Art”, Bryan Robertson.
The Guardian Weekend, August 14, “Two-Part Harmony”, Sal Wilson.
The Art Newspaper, July-August, “Rock gardens”.
1998
Artwise/Jason & Rhodes, London, “Paul Huxley”, Richard Cork.
Artwise, “The Royal College of Art Collection”, Paul Huxley.
Saks Fifth Avenue, “London Now”.
1997
RIBA Interiors, December, “Flying Colours”, by Amanda Baillieu.
The Observer, November 30, “Absolut Secret BritArt Competition”. William Feaver.
Galleries, vol XV no 4 September, “Roger de Grey”, Paul Huxley.
1996
Gallery 7, Hong Kong, “The Thinking Eye”, John Russell Taylor.
1994
Capital Transport Publishing. “Underground Architecture”, David Lawrence.
Glasgow Museums and the Royal College of Art, “An American Passion”, essay on the Connecticut Studios.
1993
LUL’s Architectural Services, “Changing Stations : a review of recent London Underground Station Design”.
Best of British Publications, “The Best of British Men”.
The Spectator, February 13, letter, Nicholas Serota.
1992
Scolar Press, “Handbook of Modern British Painting 1900-1980”, Alan Windsor.
South Bank Centre, “Ready Steady Go”.
Modern Painters, vol 5 no 3, “Relative Values”, Margaret Walters.
The Sunday Times, June 21, “Running Wild”, David Dougill.
The Guardian, June 20, “Rambert At The Royalty”, Mary Clarke.
The Times, June 19, “New work is hardly run of the mill”, John Percival.
The Independent, June 18, “Alston towers”, Judith Mackrell.
Financial Times, June 18, “Rambert Dance Company”, Clement Crisp.
Royalty Theatre, June 16, “Rambert at the Royalty”, theatre programme.
Glasgow Herald, January 31, “Intricate relationships”, Clare Henry.
1991
Galerie zur alten deutschen Schule, “Susie Allen and Paul Huxley”.
1990
RA Magazine, Spring, “A chorus of Approval”, Andrew Lambirth.
1989
The National Art Collections Fund,“The National Art Collections Awards 1989”.
The Guardian, March 15, “Mayfair Maturity”, Tim Hilton.
Arts Review, March 10, Max Wykes-Joyce.
The Times, March 10, “They also deserve”, Simon Tait.
Financial Times, March 7, “Shapes of Drama”, Bryan Robertson.
Time Out, March 7, Robert Macdonald.
World of Interiors, March.
Arts Review, February 24.
The Times, February 23, “Master of Modernism”, David Lee.
Arts Review, February 10, “Early Works by Gallery Artists – Mayor Rowan”.
Royal Academy Magazine, no 23 “Abstract Thoughts”, William Packer.
Mayor Rowan Gallery, “Paul Huxley – recent works”, William Packer.
1988
Phaidon Christies, “Exhibition Road, Painters at the Royal College of Art”, ed. Paul Huxley.
Dorling Kindersley Ltd, “The Complete Manual of Relief Printmaking”, Rosemary Simmons and Katie Clemson.
The South Bank Centre, “The Presence of Painting: Aspects of British Abstraction 1957-1988”, Michael Tooby.
The Guardian, December 7, “A world fit for squares”, Tim Hilton.
RA Magazine, November, no 21, John Spurling.
1987
Macdonald Orbis, “The Artists’ Cookbook”.
Financial Times, January 17, “The Commissars are coming”, Bryan Robertson.
1986
Thames & Hudson, “New British Design”, John Thakara and Stuart Jane.
New Contemporaries, “New Contemporaries 1986”, Andrew Lambirth.
Designers’ Journal, October, no 21, “Taking the Low Road”, Peter Dormer.
The Times, August 22, “Elgin Marbles one of the Tube’s new wonders”, John Petty.
The Sunday Times, April 20, “How Britain fits into the grand design”, Marina Vaizey.
Neue Kronen Zeitung, April 17, “Studenten ‘phantasierten’ über Wien”, Karlheinz Roschitz.
Blueprint, February, “Britain’s Vienna Putsch”.
1985
Annely Juda Fine Art/Juda Rowan Gallery, “Twenty five years Masterpieces of the avantgarde, Three decades of contemporary art”.
Royal College of Art, “Printmakers at the Royal College of Art”, William Feaver.
Royal College of Art Printmaking Department Appeal Fund, “Paul Huxley”, William Feaver.
Financial Times, September 4, “Athena Arts Awards, Mall Galleries”, Anthony Thorncroft.
The Times, September 4, “Athena takes a leaf out of Booker’s books”, Hugh Clayton.
1984
Cosmopolitan, January, “Art Beat”, Sarah Miller.
1983
Eastern Arts Association,“Tolly Cobbold, Eastern Arts Fourth National Exhibition”, John Spurling.
Ayuntamiento de Madrid, Delegación de Cultura, “Pintura británica contemporánea”.
Arts Review, September 16, Cover and “The Tolly Cobbold”, Richard Cobbold.
Artscribe, June, no 41, “The Tolly Cobbold”, Helena Drysdale.
Observer, May 8, “Sculptures of McLeanangelo”, William Feaver.
Sunday Times, April 24, “Taking space in Britain’s biggest gallery”, Leslie Geddes-Brown.
1982
Spectator, December 11, “Take your pick”, John McEwan.
Financial Times, November 23, “At Home with Muriel”, William Packer.
Observer, November 21, “At the front”, William Feaver.
Sunday Times, November 21, “Image-maker to a king”, Marina Vaizey.
New Statesman, November 19, “Classic Calm”, John Spurling.
Observer, November 14, ‘The unresolved riddle of Nok”, William Feaver.
1981
Arkwright Arts Trust, “Contemporary Artists in Camden”.
1980
Artscribe, December, no 26, “Paul Huxley at the Rowan”, John Roberts.
Arts Review, October 24, “Paul Huxley”, Oswell Blakeston.
Times, October 21, “Disinterested but controversial viewpoint”, John Russell Taylor.
New Statesman, October 17, “Men as objects”, John Spurling.
Observer (Magazine), October 12, “Paul Huxley”.
Flash Art, March/April, “Modern Painting & Modern Criticism in England”, Ian Bennett.
ARTnews, January, “The state of British art: ‘It’s a bewilderment’”, William Feaver.
1979
Arts Council, “The British Art Show”, William Packer.
DLI, Museum & Arts Centre, “Colour 1950-78”.
Bergstrom & Boyle Books Ltd, “Contemporary British Artists”.
Durham Advertiser, January 5, ‘The wonder of paper cut-outs”.
1978
Arts Council of Great Britain, “A Free Hand”, William Packer.
Artscribe, no 15, December, “Reviews”, Adrian Searle.
Financial Times, October 10, “Abstractions”, William Packer.
Sunday Times, October 1, “An everyday story of artistic folk”, Marina Vaizey.
Harpers & Queen, October, “Queen’s Council — Art”, Bryan Robertson.
ART monthly, October, “In Brief”, Allan Davies.
Spectator, September 30, “Free rein”, John McEwen.
Arts Review, September 29, “Paul Huxley”, Vivien Lowenstein.
New Statesman, September 22, “Curtained Off”, John Spurling.
Observer, September 17, “Print show”, William Feaver.
Vogue, September 15, photograph.
Architectural Review, vol CLXIII no 974, April, “Marginalia Sculpture Garden”, T Rendle.
1977
Royal Academy, “British Painting 1952-77”, Frederick Gore.
St James Press, “Contemporary Artists”, Colin Naylor & Genesis P-Orridge.
Phaidon Press, “The Century of Change: British Printing since 1900”, Richard Shone.
1976
ElectaEditrice, “Arte Inglese Oggi”, Norbert Lynton.
New York Times, 26 September, Hilton Kramer.
Du magazine, April, “Kunst in der Fabrik”, Von Marie Luise Syring.
The Journal (Newcastle-upon-Tyne), January 31, “Gallery exhibits London works”, John Kelsey.
1975
British Council, “Contemporary British Drawings”, Norbert Lynton.
Kulturabteilung der Hoechst AG, “British Art mid 70’s”, Norbert Lynton.
Rottweiler Zeitung, September 1, “Huxley: Don’t understand me too quickly”, Gerda Brodbeck.
1974
New Contemporaries, “New Contemporaries 1974”, Introduction Paul Huxley.
Arts Council of Great Britain, “British Painting’ 1974”.
Galleria da Emenda, Lisbon, “Paul Huxley “catalogue published to coincide with the exhibition, Hellmut Wohl.
Art & Artists, December, Toni del Renzio.
Studio International, November, “Correspondence”, John Hoyland.
Studio International, September, “Paul Huxley”, P A Rosenbloom.
Arts Review, July 26, “Paul Huxley”, Jenny Stein.
Financial Times, July 26, “Paul Huxley”, William Packer.
What’s On in London, July 26, “Art”, Oswell Blakeston.
Observer, July 21, “Realism, mysticism and neurosis”, Nigel Gosling.
Diario de Lisboa, May 29, “Paul Huxley Na Galeria Da Emenda”.
1973
“Magic & Strong Medicine” catalogue, Walker Art Gallery, Liverpool, Norbert Lynton.
Gulbenkian Gallery of the People’s Theatre, Newcastle-upon-Tyne. “Critic’s Choice”, Bill Varley.
What’s On in London, December 28, “Looking back on a ‘precious’ year”, Oswell Blakeston.
Arts Review, September 25, “Liverpool Project 2”, Marina Vaizey.
Arts Review, February 10, “Drawings by Gallery Artists”, Pat Gilmour.
1972
Art International, November, “London Letter: Summer”, William Feaver.
1971
Shropshire Star, September 10, “The worth of a master’s dropping”, Bill Bickerton.
Observer, September 5, “Art”, Hilary Spurling.
Art & Artists, September, William Packer.
Arts Review, September, “Paul Huxley”, Richard Walker.
New York Times, January 3, Hilton Kramer.
1970
Leeds City Art Gallery, “Some Recent Art in Britain: An Exhibition held during the Leeds Triennal Musical Festival”.
Whitworth Art Gallery, “Contemporary Paintings from the Sebastian Ferranti Collection”, Ronald Alley.
Studio International, December, Patrick Heron.
Art Gallery of New South Wales, July vol 11 no 4 “Quarterly”.
New York Times, April 12, Constantine Kermes.
Studio International, January, “The Sebastian Ferranti Collection”, Ronald Alley.
1969
Harry N. Abrams, Inc, “Adventure in Art: An International Group of Art Collections in Industrial Environments”.
Museum am Ostwall, “Marks on a Canvas”, Anne Seymour.
Museum des 20.Jahrhunderts, “Marks on a Canvas”, Anne Seymour.
Thames & Hudson, “Movements in Art since 1945”, Edward Lucie-Smith.
Times, November 27, “Set square and all kinds of shapes” Guy Brett.
Observer, November 23, “British Week”, Nigel Gosling.
Guardian, November 19, “Paul Huxley”, Norbert Lynton.
Evening Standard, November 17, “Art”, Ian Dunlop.
Spectator, November 15, Bryan Robertson.
Sunday Telegraph, November 9, Edwin Mullins.
Apollo, November, “London Galleries”, James Burr.
Studio International, November, “Paul Huxley’s paintings”, Bryan Robertson.
Sunday Times, November, John Russell.
1968
Köln, “Kunstmarkt 68”, exhibition cataloge.
Whitechapel Art Gallery, “The New Generation, 1968: Interim”, Bryan Robertson.
UCLA Art Galleries, “ New British Painting & Sculpture”, Bryan Robertson.
Art & Artists, September, “British Artists at Macy’s”.
Le Arti, September, “La Nouva Generazione”, Annamaria Marchesini.
Connoisseur, August, “Art in the modern manner”, Alastair Gordon.
New Statesman, May 24, “Bubble Gum & Severed Heads”, Robert Melville.
Queen, May 22, “Art”, Keith Sutton.
Times, May 22, “Paintings by Paul Huxley”, Guy Brett.
Observer, May 12, “Gallery Guide”, Nigel Gosling.
Sunday Times, May 12, “Mystic & wanderer”, John Russell.
Arts Review, May 11, “Paul Huxley”, Richard Walker.
Spectator, May 10, “Under canvas”, Bryan Robertson.
Guardian, May 9, “Paul Huxley Exhibition”, Norbert Lynton.
Sunday Telegraph, May 5, “Antiques — and the Antic”, Edwin Mullins.
Art & Artists, May, Anthony Fawcett.
Homes & Gardens, May, “A clear look at the Royal Academy after 200 years”, William Foster.
Artforum, March, “New British painting & sculpture”, J Livingston.
Artforum, February, “New York Letter”, Robert Pincus Witten.
Les Lettres Francaises, January 17, “La jeune peinture en Grande-Bretagne”, Michel Claura.
Art International, January “New York Letter”, James Mellow.
1967
Arts Council of Great Britain, “Drawing Towards Painting 2”.
Connoisseur Publications, “Patron-Industry Supports the Arts”.
New York Times, December 3, Geoffrey Clements.
New York Times, November 25, Hilton Kramer.
New York Times, October 22, James K Mellow.
Art & Artists, May, “Isms Cool or Isms Isn’t?”, Eddie Wolfram.
Konstrevy no 3, May, Eddie Wolfram.
Art & Artists, March, Tokyo Print Exhibition.
1966
Arts Review, December 24, Guy Burn.
London Life, January 22, photograph.
Art International, January, “New York Letter”, Michael Benedikt.
1965
Marlborough-Gerson Gallery Inc, “The English Eye”, Robert Melville and Bryan Robertson.
Thomas Nelson & Sons, “Private View”, Robertson/Russell/Snowdon.
London Magazine, August, Gene Baro.
The Artist, August, “Understanding Modern Painting: Part 3: The Contemporary Scene”, Bernard Dunstan.
Art in America, June, ‘The London Summer Season”, John Russell.
Art International, May.
Connoisseur, May.
Observer, April 5, “In the picture”.
Art in America, April, “London/New York City — Two-way traffic”, John Russell.
Times, March 17, “Paintings with one idea”.
Queen, March 10, David Thompson.
Sunday Telegraph, March 7, “Abstracts Hard & Soft”, Edwin Mullins.
Observer, March 7.
Arts Review, March, “Paul Huxley”, Karl Stoecker.
Listener, March, “The Young Turks”, Edward Lucie-Smith.
Art International, March, “London Letter”, Norbert Lynton.
1964
Whitechapel Gallery, “The New Generation: 1964”, Bryan Robertson.
New Statesman, December 18, “Duchamp”, Patrick Procktor.
Sunday Times, December, John Russell.
Studio International, June, “Part-time successes & posthumous fame”, G S Whittet.
Financial Times, April 22, “British Mods & Rockers”, Mario Amaya.
New Society, April 9, “Arts in Society”, Keith Roberts.
Pictures on Exhibit, April, “London News & Views”, Sheldon Williams.
