Duggie Fields

From Wikipedia, the free encyclopedia
Jump to: navigation, search

Duggie Fields born Tidworth, Wiltshire, 1945[1] is a British artist, resident in London, in the Earls Court.

Biography[edit]

Duggie Fields grew up in the English countryside. He first came to notice in 1958, when he was 14, in the Summer Exhibition in Hurstbourne Tarant at the Bladon Gallery; he was studying at Andover Grammar School.

Fields briefly studied architecture at Regent Street Polytechnic before embarking studies in 1964 at the Chelsea School of Art for four years. He left with a scholarship that took him on his first visit to the United States, in 1968. As a student, Fields' work progressed through minimal, conceptual and constructivist phases to a more hard-edged post-Pop figuration. His main influences were at that time Jackson Pollock, Mondrian and comic books, with a special regard to those worked on by Stan Lee. In 1968, after his US visit, Fields went to live in Earls Court Square, and shared a flat with Syd Barrett, who had just left Pink Floyd. Fields still lives in the same flat and he works in Barrett's former room using it as his atelier.[2][3]

By the middle of the 1970s his work included many elements that were later defined as Post-modernism. In one painting Marilyn Monroe is shown with her head severed off.[4] In 1983 Fields was invited by the Shiseido Corporation to Tokyo, where a gallery was created to show his paintings. For the occasion the artist and his work were simultaneously featured in a television, magazine, billboard and subway advertising campaign throughout all Japan.[5]

In 2013 he was taken to Los Angeles by artist and benefactor Amanda Eliasch with fashion designer Pam Hogg for Opfashart, which Eliasch had put together for "Britweek".[6]

From 2013 to 2015, Fields worked for the preservation of Earls Court Exhibition Centre designed by architect Howard Crane and the surrounding area. The campaign was not successful but made people aware of the general decline of architecture in the London area.[7][8]

Mr Fields could have been responsible for the Free the Nipple Campaign and was the designer for posters for London Transport [9][10]

Exhibitions[edit]

Selected One-Man Exhibitions

1971 Hamet Gallery, London 1972 Bear Lane Gallery, Oxford; 1975 Kinsman-Morrison Gallery, London 1979 Kyle Gallery, London; 1980 lkon Gallery, Birmingham; Midland Group, Nottingham; New 57 Gallery, Edinburgh; Roundhouse Gallery, London 1982 Spacex Gallery, Exeter; B2 Gallery London 1983 Shiseido Exhibition, Tokyo 1987 Albermarle Gallery, London 1991 Rempire Gallery, New York 2000 Random Retrospective, Virtual Gallery, DuggieFields.com

Selected Group Exhibitions[edit]

1976 New London in New York, Hal Bromm Gallery, New York 1979 The Figurative Show, Nicola Jacobs Gallery, London; Masks, The Ebury Gallery, London; Culture Shock, The Midland Group, Nottingham; Art and Artifice, B2 Gallery, London 1983 Taste, Victoria and Albert Museum, London 1984 The Male Nude, Homeworks Gallery, London 1985 Image-Codes, Art about Fashion, The Australian Centre for Contemporary Art, Melbourne; VisualAid, Royal Academy, London l986 The Embellishment of the Statue of Liberty, Cooper Hewitt Museum/Barney's New York 1987 Twenty Artists Twenty Techniques, Albemarle Gallery, London 1989 Fashion and Surrealism, Victoria and Albert Museum, London 1988 Het Mannelisknaakt, Gallery Bruns, Amsterdsm, St. Judes Gallery, London 1990 Universal Language, Rempire Gallery, New York 1993 Tranche d'Art Contemporain Anglais, Tutesaal, Luxemburg 1998 Exquisite Corpse, Jibby Beane, London 1999 Art 1999, Jibby Beane, London; Flesh, Blains Fine Art, London Nerve, I.C.A. London 2000 Art 2000, Jibby Beane, London Up &Co., New York


Published in[edit]

The Arts Council and the University College London have examples of Fields' paintings in their collection.[11]

Published in:[1]

The International Herald Tribune, April 1971 The Sunday Times, UK, April 1971 Studio, UK, August 1971 Zoom, France, July 193 Vogue, France, July 1974 Casa Vogue, Italy, 1974 Andy Warhol's Interview, USA, July 1975 Austerity Binge, Bevis Hillier, Studio Vista, UK 1975 Cheap Chic, Caterine Milinaire/Carol Troy, Harmony books, USA 1975 Oui, USA. November 1975 Progressive Architecture, USA, September 1977 Artscribe, UK, No.12, 1978 Viz, UK, no.4, 1979 Arredamento Interni, Italy, 1979 ZG 80, UK, no.1, 1980 Harper's & Queen, UK, January 1980 Domus, Italy, July 1981 Marie Claire, France, September 1981 Brutus, Japan, 1981 The Connoisseur, UK, October 1981 Actuel, France, November 1981 Interiors, Tim Street-Porter, Omnibus Press, UK 1981 Elle, France, March 1982 The Face, UK, no.26, 1982 Bijutsu Techo, Japan, May 1982 Living With Colour, Deryck Healey, Rand McNally & Co, USA 1982 Hanatsubaki, Japan, January 1983 Artline, UK, February 1983 Gekkan IIustration, Japan, April 1983 Schoner Wohnen, Germany, June 1983 Art and Artists, UK, November 1983 Art in the Age of Mass Media, John A. Walker, Pluto Press, London, 1983 House and Garden, UK, March 1984 Arts and Architecture, USA, vol.2, no.3 1984 City, France, no.2 1984 The Observer Magazine, UK, 8 April 1984 Ambiente, Germany, August 1984 MetropolisM, the Netherlands, September 1984 The Male Nude, Edward Lucie-Smith, Phaidon, Oxford, 1985 The Evening Standard, UK, 12 November 1987 Artline, UK, Vol. 3 no.10, 1988 Cosmopolitan, Germany, October 1989 W, Australia, Autumn 1989 The Fred, UK, December 1989 Fully Exposed, Emmanuel Cooper, Unwin Hyman, UK, 1990 Antenna, Poland, 1/8/1992 Abitare, Italy, April 1996 Ptooch, Russia, December 1996 The Evening Standard, UK, 16 April 1997 Computer Active, UK 8–22 October 1998 Clam, France Spring 1999 We Love You, Futique, Audio CD/Book, Booth-Clibborn Editions/Candy Records, UK, 1998 Planet Stereo, vol 1 year 3, BMI, UK 1998 The Face, UK, November 1998 The Sunday Times, UK, 14 March 1999 Vogue, Italy, April 1999 Vogue, Japan, September 1999 R.A. Magazine, UK, Autumn 1999 The Crafts in Britain in the 20th Century, Tanya Harrod, Yale, UK 1999 Very, USA, No.3 March 2000 GQ Magazine, UK, April 2000 Watch, UK, 03 2000 Pop, UK, No.1 2000 Space Magazine, The Guardian, UK, 21 September 2000

References[edit]

External links[edit]