17 THE  ART OBSERVER August 2009 By Laura Turley Perhaps the first image people think of when the artist Peter Blake is mentio- ned is his iconic album cover for the Beatle’s Sergeant Pepper’s Lonely Hearts Club Band. This perception is not wrong, but to limit the vast body of work created by this revolutionary arti- st to a single painting clearly is. Described by the author as “at the forefront of the Pop Art movement before it had even been named,” Marco Livingstone goes on to explain in detail why Blake’s deep immersion in popular culture was of no fleeting or superficial interest. Instead Livingstone creates a picture of the Blake from humble origins, who declared himself an artist of the people rather than one who adhered to following the trends of the culturally elite. What makes this publication so approachable is the deep regard and firm affection Livingstone holds for Blake. Through his clear writing style, Livingstone adopts a thematic rather than chrono- logical approach, guiding the reader through the prominent areas of inspira- tion found in each aspect of Blake’s career. The extensive illustrations inclu- ded are not overbearing, but instead take on a new meaning once more bio- graphical details and anecdotes are released by Livingstone. “One Man Show,” offers a definitive and informa- tive account of one of England’s most honest artists, revealing a unique insi- ght into the unpretentious mind of Pop art’s leading character. By Sarah E Cunningham A hidden gem within the Manchester Museum, Mark Dion’s homage to the surrealist movement is well worth a visit. Situated on the ground floor, Dion’s Bureau of the Centre for the Study of Surrealism and Its Legacy  has resided within the museum since May 2005, and EXHIBITION REVIEW this extended stay only empha- sises charm and overall popularity of the installation. Here, we come across fake- bureau, an artificial office filled with an array of weird and won- derful objects, ranging from a stuffed duck-billed platypus to desks rescued from the store- rooms of Manchester University. These outdated items remind us of days gone by, and the clut- tered room evokes nostalgia in visitors, bringing to mind the unorganised shelves of second- hand shops and flea -markets. The bureau truly is a feast for the eyes. But the bureau is also a keeper of secrets; we can only peer into the room through a dividing- window, and the only entrance, an antique door, remains locked. In addition, the various cabinets within the office create a sense of secret knowledge, and many drawers and cupboard doors are closed, leaving their curious contents to our imagina- tions, thus heightening their appeal. The specially made wallpaper, which lines the walls of the interior, is also saturated in hidden meaning; the design contains the initials of surrealist artists including the well-known Salvador Dali. Along with its surrealist-inspired contents, the installation also exemplifies an infusion between modernist and contemporary objectives. The installation can be described as contemporary in the way in which it addresses notions of the site-specific; in this respect the process becomes just as important as the final product. In using neglected objects from both the local university and from junk-shops around the city, Dion has effectively created a homage to the local community. Written to accompany the recent exhibition at Gallery Oldham this book details the life of the Bolton artist. Born in    Tyldesley    in 1925 Roger Hampson went on to paint the places and people around him until his death in 1996. The book has over 70 illustrations Available from Wendy Levy Fine Art Didsbury and Capes Dunn & Co Auctioneers Manchester priced £5 Part of the Hampson exhibition has now moved to the Drumcroon Gallery Wigan where they will be shown along side works by Theodore Major and Lawerence Isherwood. The exhibition runs from 18 September to 29 November. Mark Dion’s Chaotic Bureau Peter Blake One Man Show by Marco Livingstone Roger Hampson A Lost Landscape by Stephen Whittle B O O K REVIEW