'British Art – Convergences' opens at the Calouste Gulbenkian Foundation in Lisbon this week. Presenting over 100 works by 74 artists. Exhibition runs 14 Mar - 21 Jul. 'bundle 3 '67' (1967) photographed on the occasion of 'Barry Flanagan: Early works 1965-1982' @tate.

In March 1969 Flanagan was included in two landmark exhibitions, 'Op Losse Schroeven' and 'When Attitudes Become Form'. For 'Op losse Schroeven' at @stedelijkmuseum he exhibited canvas, sand and rope works including 'line 1 '67/68' (1967). First photo by Errol Jackson.

'Sculpture is always going on’ at Galerie Max Hetzler this time last year. The two-site exhibition in Berlin presented Flanagan’s early works at one site, and his more well-known bronzes at another nearby. Installation views courtesy Galerie Max Hetzler. Photo def image.

Preparations are underway for 'Barry Flanagan, Prints, Ceramics and a Hare' at @ruthincrafts, north Wales, 28 June - 31 August 2025. Barry was born in nearby Prestatyn & later described his childhood there as formative for his artistic practice.

Flanagan printed his own ‘funds’, using them to pay his assistants and collaborators until he was sufficiently solvent to give them cash. Minting money as art is a humorous comment on the transactions and operations of the art market.

A work that combines the musical with the contemplative is Large Troubadour (2004). The hare takes on the musician’s act of reflection. See Large Troubadour (2004) this weekend at @artparisartfair at the Grand Palais.

The practice of drawing was a fundamental daily activity for Flanagan. In 'Telephone' (1972) the slightly molten form recalls the organic shapes of his sand-filled hessian sculptures. See 'Telephone' and other etchings in at Ruthin Craft Centre, 25th June - 31st August.

On 10th April 1970 ‘Recent Work’ opened at Rowan Gallery, London. Barry included 12 works including free-standing wooden structures draped with bleach-stained cloth and several iterations of frame-stretched canvas works leaning against the wall.

If you find yourself in Lisbon this spring/summer visit 'British Art – Vanishing Point' at @fcgulbenkian to see Barry's early work 'bundle 3 '67', 1967. Exhibition runs until 21 July 2025. Photo courtesy MAC / CCB.

'easter bag '67' (1967). This ten foot high, three-ton sculpture made from sand and canvas was one of a group of three that Barry made at the same time on Holywell Beach, Cornwall, where his parents had recently retired to.

Installation photos of The Hare is Metaphor at Kasmin Gallery, that opened on 18th April 2018. The exhibition offered new insights into the interconnectedness of distinct periods of Flanagan’s 40-year career. Photo by Diego Flores courtesy Kasmin Gallery.

Flanagan used sticky back paper, designed for children, to make a series of collages. Tate and @brit_visualarts both have works from the series in their collections.

This summer, three monumental sculptures by Barry Flanagan enjoy the sunlight of the French Riviera at @hotelducapedenroc in Antibes, France. Photos courtesy @nicolaslehniand courtesy @vonbartha.

'Small Nijinki Hare on Empire State Building' will be on show this week @tefaf New York with @waddingtonscutot.

The early days of setting up the Barry Flanagan archive.

Barry’s ‘Object Sculptures’ show in 1969 at Haus Lange was one of the first iterations of site specific artwork. It included ‘daylight light piece 3 ‘69’ (1969), the documentation of it is currently on show there until 21 Sept. Photo Dirk Rose courtesy @kunstmuseen_krefeld

'the light hearted bravura of these powerful pioneer-type banners is only part of the story. They pose problems about the whole convention of painting...' Fenella Crighton on Barry's wall hangings in Art International. 'may 2 '76' (1976), collection @krollermullermuseum.

Art as Agency is now on at @immaireland. A major three-year display celebrating the collection. The exhibition includes Flanagan's 'Carving No. 6A', made in 1982, the same year as he represented Great Britain at the Venice Biennale.

Thank you to everyone that came to our opening last weekend of ‘Prints, Ceramics, and a Hare’ at @ruthincrafts and especially to Bedwyr Williams for his wonderful readings of Seamus Heaney’s translation of ‘The Names of the Hare’. Curated by @jonathan__watkins__ @annfionajones.

Final few days to visit ‘British Art – Convergence’ @fcgulbenkian Lisbon. See over 100 works inc Bridget Riley, Rachel Whiteread, David Hockney, Anthony Gormley, Francis Bacon & Flanagan from the CAM Collection & Coleção Berardo. ‘bundle 3 ‘67’ (1967) photo @macccb.museu.