ArtSlant - Openings & events en-us 40 Ai Weiwei - Michael Janssen Singapore - July 24th, 2013 7:00 PM - 10:00 PM <p style="text-align: left;"><strong>Michael Janssen Singapore</strong> is pleased to present the first solo exhibition by Chinese artist <strong>Ai Weiwei</strong> in Southeast Asia. The exhibition is entitled <strong>Baby Formula</strong> and opens on Friday, August 23.</p> <p style="text-align: left;">Following China&rsquo;s 2008 melamine milk scandal, thousands of children who consumed the tainted milk fell ill and some even met their death. Mainlanders concerned about the safety of Chinese-produced baby milk formula resorted to purchasing milk powder from overseas and bringing it back to China. Subsequently, governments in Hong Kong and across Europe reacted to this surge in demand by enforcing restrictions on the number of cans mainlanders could purchase overseas. This scandal personally affected the artist, whose son was 4 years old at the time.</p> <p style="text-align: left;">Determined to initiate positive change and undeterred by the restrictions that the Chinese authorities had enforced, Ai Weiwei used Twitter to reach out to an even wider audience. For his exhibition in Singapore, Ai Weiwei has developed two series of prints selected from his tweets surrounding the safety of the mainland-produced baby milk formula. These prints will be shown together with an 860 square-foot installation &ndash; a map of China composed of more than 1,800 cans of baby formula.</p> <p style="text-align: left;">By subverting instituted notions of culture and the role and form of art, Ai Weiwei&rsquo;s works question the value of the status quo. Drawing from Andy Warhol&rsquo;s philosophy that one must change things oneself; Ai Weiwei&rsquo;s art is a force for change. During his twelve years spent in New York, Ai Weiwei&rsquo;s exposure to Marcel Duchamp&rsquo;s work was crucial in his artistic development; it shifted his perspective towards one that recognized art as a gesture, which could assume any form the artist chose. Consequently, many of the materials he uses are recycled in order to reflect that people are not free to do what they want, namely to use their imagination.</p> <p style="text-align: left;">Creating artistic statements that challenge socio-political norms, Ai Weiwei is one of China&rsquo;s leading artists. Like great innovators before him, Ai Weiwei is at times criticized in the same measure that he is honored. Ai Weiwei is not only an artist, but also a curator, designer, architect, publisher, Web blogger, and a compass for an entire generation of artists.</p> <p style="font-style: italic; text-align: left;">Ai Weiwei (b.1957 in Beijing) lives and works in Beijing.
Selected solo exhibitions: 2014: Brooklyn Museum, New York, USA (upcoming). 2013: the 55th Venice Biennale, Venice, Italy; Indianapolis Museum of Art, Indiana, USA; Cleveland Museum of Art, Ohio, USA; Miami Art Museum, Florida, USA; Arken Museum of Modern Art, Skovvej, Denmark; Museu da Imagem e do Som, S&atilde;o Paulo, Brazil; Centro Andaluz de Arte Contempor&aacute;neo, Sevilla, Spain. 2012: Hirshhorn Museum and Sculpture Garden, Washington D.C., USA; Smithsonian Institution, Washington D.C., USA; De Pont Museum, Tillburg, The Netherlands. 2011: Victoria &amp; Albert Museum, London, UK; Taipei Fine Arts Museum, Taipei, Taiwan; Louisiana Museum of Modern Art, Humlebaek, Denmark; Los Angeles County Museum of Art, Los Angeles, USA; Fotomuseum Winterthur, Winterthur, Switzerland; Kunsthaus Graz, Graz, Austria; Kunsthaus Bregenz, Bregenz, Austria. 2010: Tate Modern, London, UK; Museum DKM, Duisburg, Germany; Stiftung DKM, Duisburg, Germany.</p> Thu, 18 Jul 2013 07:52:13 +0000 Max Klinger - Museum der bildenden Künste Leipzig - July 24th, 2013 12:00 PM - 8:00 PM <p>Max Klinger made his debut as an illustrator in the Society of Berlin Artists in 1878, presenting his <em>Fantasies on a lost glove; dedicated to the woman who lost it</em>. Opus IV was published in its first edition and a print run of 25 copies in 1881. The extremely personal style and biographical influences of this portfolio depict in ten images the love story of a young man, whose features in some of drawings resemble those of Klinger. While his peers were unaccustomed to Klinger's narrative style, the dreamlike visions and their realistic appearance, the veiled yet open approach to erotically-charged images and the tortuous longings and fears, they have lost nothing of their fascination to the present day.</p> Mon, 22 Jul 2013 05:31:20 +0000 - Portland Art Museum - July 24th, 2013 6:00 PM - 8:00 PM <p>This dossier presentation of 35 works marks the debut of the Ottis collection of Islamic ceramics. An ongoing gift of nearly 300 vessels and tiles fired in kilns from Iran to Morocco and spanning from the 9th to the 19th century, the Ottis ceramics greatly expand the Museum&rsquo;s holdings of Islamic art, creating new opportunities for exploring cultural exchange between East and West. The donated works were acquired over the past 25 years by the late Larry Ottis and his wife Nancy on their annual trips to West Asia.</p> <p>An early, conservative tradition is represented by oil lamps and sturdy storage jars of the 9th through 15th century, all embellished with turquoise or cobalt blue glaze. Contemporary with these but more innovative in technique are dazzling examples of lustreware and colored glass, along with new adaptations of Chinese splashed glazes and under-glaze slip painting. Tiles for courtly pavilions, lamps and ornaments for Islamic mosques, and colorful plates and vases for the bourgeoisie bring the exhibition into the era of global empires, the 17th through 19th centuries.</p> <p>The Museum is deeply grateful to the Ottises for sharing their love of Islamic art and culture with the public.</p> Wed, 24 Jul 2013 07:23:05 +0000 - The Honolulu Museum of Art - July 24th, 2013 6:00 PM - 8:00 PM <p>For more than 50 years Thurston Twigg-Smith, known affectionately as Twigg in the islands and beyond, has played a leading role in the development and appreciation of contemporary art in Honolulu.&nbsp; In 1961, as a young executive at <em>The Honolulu Advertiser</em> newspaper, he conceived and implemented the Honolulu Advertiser Gallery (HAG) as a space devoted to exhibitions of works by contemporary artists of Hawai&rsquo;i. Concurrently, he began the Honolulu Advertiser Collection at Persis Corporation, purchasing works from the exhibitions, a collection which ultimately comprised over 3,000 works. HAG became the Contemporary Arts Center which led to the founding by Twigg and his late wife Laila of The Contemporary Museum (TCM), which&nbsp; opened to the public in 1988 at Spalding House in Makiki Heights. In 2011 TCM and the Honolulu Academy of Arts merged, forming the renamed Honolulu Museum of Art.</p> <p>While Twigg had a collector&rsquo;s sensibility early on, assembling an unparalleled collection of rare Hawaiian stamps and covers, in the 1980s he and Laila began forming a personal collection of contemporary art, as well as expanding the Honolulu Advertiser Collection to include works by nationally and internationally known artists. Collecting continued&nbsp; to be an important focus with his wife Sharon from the 1990s to the present. Over the years, large numbers of works were donated to TCM and HAA, as well as to major museums elsewhere, first by Twigg and Laila, then Twigg and Sharon, and also, through Persis Corporation, by the Twigg-Smith family, who, following Twigg&rsquo;s leadership, donated works from the corporate collection.</p> <p>Private collections usually reflect the personal interests and tastes of the collectors, which is true of the Twigg-Smith collection.&nbsp; The aim was never to have a formulaic collection that included one of this artist, one of that artist, according to the prevailing movements and names, but rather to have the joy of finding and putting together disparate works by artists from many places, from famous to emerging to unknown, always keeping an open mind and a curious eye. The collection includes works by minimal and abstract artists, but the overriding characteristics that are revealed in the selected works presented here from among nearly 2,000 works donated to the museum are summed up by the words "figurative," "narrative," "bold," "colorful," and "humorous" (often with an undercurrent of social/political meaning). The collection has been formed in a spirit of fun, yet with the serious purpose of creating a public resource of contemporary art for the community as well as for visitors from around the world.</p> Wed, 24 Jul 2013 07:07:28 +0000 Group Show - Arnolfini - July 25th, 2013 11:00 AM - 6:00 PM <div class="pageWrapper"> <p class="documentDescription">This summer a crazy golf course with a difference comes to Arnolfini.</p> <div id="parent-fieldname-text-57a6a686065044468ca246a5d8d04a96"> <p>Artist Doug Fishbone's Adventureland Golf, consists of nine holes, each designed by some of the UK's most celebrated contemporary artists and includes; Jake and Dinos Chapman, David Shrigley, Gary Webb, Brian Griffiths, Jonathan Allen, Pete Fowler, Ian Monroe, Zatorski and Zatorski, and Doug Fishbone himself. These artist-designed holes range from statements on politics and life and death, to fun challenges.</p> <p>Drop in event. No booking required.</p> </div> </div> Sat, 29 Jun 2013 02:37:46 +0000 Felix Gonzalez-Torres, Hans Haacke, Andy Warhol, Robert Smithson - Henry Moore Institute - July 25th, 2013 11:00 AM - 5:30 PM <p><em>Indifferent Matter: From Object to Sculpture</em> pairs four key twentieth-century sculptures by Felix Gonzalez-Torres (1957-96), Hans Haacke (b. 1936), Andy Warhol (1928-87) and Robert Smithson (1938-73) with a series of ancient objects including Neolithic jades, a yet to be named mineral, fragments of Roman sculpture and a collection of eoliths. Each pairing explores how objects resist the origins, names and histories humans accord to them. Each of these American artists made radical shifts in the understanding of what sculpture might be, using acts of naming and rethinking ways of displaying artworks. The ancient objects, all held in museum collections, challenge boundaries of classification, their histories and meanings ambiguous and unknown.</p> <p>Felix Gonzalez-Torres' '"Untitled" (Placebo)' (1991) is a gleaming field of silver-wrapped sweets placed on the gallery floor. There is an open invitation for visitors to consume the sweets, and the Institute is tasked with returning the sculpture to its ideal mass at the start of each day. '"Untitled" (Placebo)' is paired with Neolithic jade bi discs and t'sung columns found in burial sites of the Liangzhu (3400-2250 BC) culture in North-Eastern China. Although various ceremonial and symbolic meanings have been ascribed to these objects, their original purpose remains unknown.</p> <p>Hans Haacke's 'Grass Cube' (1967) is a Perspex box holding a tray of seeded soil that sprouts grass over the course of the exhibition. Like '"Untitled" <br />(Placebo)', this sculpture is dependent on display; it is subject to the light conditions in the gallery space and daily maintenance by the Institute's staff. It is coupled with a recently discovered, and as yet unnamed, mineral species. With no name, a mineral has no position in the classification system. During the course of <em>Indifferent Matter</em> the specimen will be classified by the International Mineralogical Association.</p> <p>Two Roman marble sculptures by unidentified authors of unknown sitters, a male pair of legs and a female portrait bust from The British Museum are housed within a commissioned display structure by British artist Steven Claydon (b. 1969), surrounded by Andy Warhol's 'Silver Clouds' (1966). These balloons half-filled with helium drift lazily between the floor and ceiling. Claydon's structure deploys materials used by museums for conservation purposes, functional products of little aesthetic or cultural value. Drawing attention to the private cushioning and support mechanisms of these prized artefacts, Claydon's display explores the changes an object undergoes as it passes from storage to the pristine, public space of the museum.</p> <p>A simple act of naming or misnaming can enhance or diminish an object's cultural value. Robert Smithson's 'Asphalt Lump' (1969) is a piece of refuse from the industrial process of steel production. Smithson called this object a sculpture, claiming it already conveyed the meaning he wanted. 'Asphalt Lump' is paired with a collection of eoliths that, like Smithson's sculpture, reveal how language creates meaning and value. Eoliths are pieces of chipped flint which were the subject of major archaeological debates in late 1890s Britain. Although originally thought to be man-made, over time they were confirmed to be naturally occurring. Now housed within many national collections in the UK, they are still known by their original name, occupying a murky category of part man-made artefact, part natural rocks. While 'Asphalt Lump' becomes a sculpture through naming, the eoliths are stripped of their uniqueness through the advancement of knowledge.</p> <p><em>Indifferent Matter: From Object to Sculpture</em> explores how matter can be both indifferent and contingent on encounter, exploring the malleability of meaning and the ways in which objects are accorded cultural and historical value.</p> Thu, 04 Jul 2013 08:57:56 +0000 Alfred Gilbert, Edward Onslow Ford, George Frampton, Alfred Drury - Leeds Art Gallery - July 25th, 2013 6:00 PM - 8:00 PM <p><em>The Age of Innocence </em>examines notions of the 'ideal' in female portraits and head studies by sculptors of the New Sculpture Movement, a group of late nineteenth-century artists whose emphasis on realism, emotion and sensuality signalled an important change in British sculpture.</p> <p>Bringing together a selection of the most influential works of the time, this display traces the repetition of key portraits across their renderings in plaster, marble and bronze. Of varying materials, scales and colours, the replication of these sculptures raises questions about their production, as well as their domestic and commercial distribution. Focusing on the subject of the ideal female head, the exhibition puts a spotlight on a somewhat vaguely defined category of sculptural portraits concerned with portraying an 'ideal' or 'mood', as opposed to the character of a particular person.</p> <p>As its starting point, the exhibition foregrounds a plaster version of 'The Age of Innocence' (c. 1897) by Alfred Drury (1856-1944), recently acquired by Leeds Museums and Galleries for its sculpture collection, along with an archive of photographs and correspondence relating to the Doncaster family and their connection with Drury, a sculptor of great importance to the city of Leeds. In 1894 Leeds Art Gallery commissioned the sculpture 'Circe', which won the gold medal at the Paris Exposition Universelle of 1900.  Just outside Leeds rail station, in City Square, Drury's eight torch-bearers were set in place in 1903 where they stand today to greet arrivals to the city. The model for these figures was Clarrie Doncaster, whose sister, Gracie, was the sitter for 'The Age of Innocence'.</p> <p>Although Gracie Doncaster was identified as the sitter for 'The Age of Innocence' early in the sculpture's history, this sculpture is not strictly a portrait image. It is an idealised version of a girl's head, which Drury explored in bronze, marble and plaster. All three versions will be shown in <em>The Age of Innocence</em> alongside contemporary marble and bronze female busts and head studies by Alfred Gilbert (1854-1934), Edward Onslow Ford (1852-1901), and George Frampton (1860-1928) loaned from public museum collections in England, Scotland and Wales.  Each of these artists is represented in the Henry Moore Institute Archive of Sculptors' Papers and a selection of materials relating to the sculptures will be displayed for the first time, including original studio photographs of the sculptures and artists' correspondence.</p> <p><em>The Age of Innocence: Replicating the Ideal Portrait in the New Sculpture Movement </em>is curated by the Institute's 2011-2013 post-doctoral research fellow Dr Elizabeth McCormick with Pavel Pyś, Exhibitions and Displays Curator. The Henry Moore Institute is a centre for the study of sculpture, and all new acquisitions are the subject of research. The Leeds sculpture collections are managed by a unique partnership between the Henry Moore Institute and Leeds Museums and Galleries, a relationship that has built one of the strongest public collections of British sculpture.</p> Thu, 04 Jul 2013 09:18:27 +0000 - MICA - Maryland Institute College of Art - July 25th, 2013 6:00 PM - 8:00 PM <p>This exhibition features work by students in MICA's continuing studies courses. The&nbsp;exhibition includes ceramics, drawing, jewelry, painting, photography, printmaking and&nbsp;sculpture.</p> Thu, 25 Jul 2013 22:17:14 +0000 Andrew Maclean - 69 Smith Street Gallery - July 26th, 2013 6:00 PM - 8:00 PM <p>What it is and what it isn't is all a secret to me. To find out more join Andrew for a special opening on Friday 26 July 2013 between 6-8pm.</p> Thu, 25 Jul 2013 01:16:23 +0000 Lorna Simpson - Aspen Art Museum - July 26th, 2013 10:00 AM - 6:00 PM <p>One of the leading artists of her generation, Lorna Simpson came to prominence in the mid-1980s through her photographic and textual works that confronted and challenged conventional attitudes toward race, gender, and cultural memory with a potent mixture of formal elegance and conceptual rigor. Since the late 1990s, Simpson has extended these concerns into a series of film and video installations and large-scale photographic works printed on felt.</p> <p><em>Lorna Simpson: Works on Paper </em>highlights a recent body of work that explores the complex relationship between the photographic archive and processes of self-fashioning. As in Simpson’s earlier works, these new drawings and collages take the African-American woman as a point of departure, continuing her longstanding examination of the ways that gender and culture shape the experience of life in our contemporary multiracial society. This will be the first museum exhibition dedicated to Simpson’s drawings and collages—including a new series of works created during her tenure as the Aspen Art Museum’s 2013 Jane and Marc Nathanson Distinguished Artist in Residence—and will be accompanied by a fully illustrated, scholarly catalogue.</p> <p>Lorna Simpson’s Jane and Marc Nathanson Distinguished Artist in Residence residency and exhibition are organized by the Aspen Art Museum and funded by Jane and Marc Nathanson with additional support from Rona and Jeffrey Citrin. Publication underwritten with major support from Toby Devan Lewis. General exhibition support is provided by The Andy Warhol Foundation for the Visual Arts. Exhibition lectures are presented as part of the Questrom Lecture Series and educational outreach programming is made possible by the Questrom Education Fund.</p> <p><strong>ARTIST BIO</strong><br /> Lorna Simpson (born 1960, Brooklyn, New York) received her BFA in Photography from the School of Visual Arts in New York and her MFA from the University of California, San Diego. Her work has been widely collected and exhibited by such institutions as the Museum of Modern Art, New York; Walker Art Center, Minneapolis; Studio Museum, Harlem; and Irish Museum of Modern Art, Dublin; among others. In 2006–07, her mid-career survey was exhibited at the Museum of Contemporary Art, Los Angeles; Miami Art Museum; Whitney Museum of American Art, New York; Kalamazoo Institute of Arts; and Gibbes Museum of Art in Charleston, South Carolina. Simpson’s exhibition at the AAM coincides with her first major European retrospective at the Jeu de Paume in Paris.</p> Sun, 23 Jun 2013 22:46:44 +0000 Hayley Tompkins - Aspen Art Museum - July 26th, 2013 10:00 AM - 6:00 PM <p>In her paintings and painted objects, Hayley Tompkins emphasizes the energy found in small things and economical gestures. From sticks and scraps of wood to spoons and mobile phone casings, her choice of support insistently draws attention to the boundary between painting and reality. Organized in suggestive and deceptively informal arrangements, Tompkins’s minimal, lo-fi objects highlight the acts of looking, touching, and experiencing space. In so doing, Tompkins prompts us to slow down and attend to our surroundings in a concentrated way that is decidedly at odds with the pace of contemporary life. Her exhibition at the AAM will be her first solo presentation in a North American institution.</p> <p>Hayley Tompkins is organized by the AAM and funded in part by the AAM National Council with major underwriting support from Susan and Larry Marx. Publication underwritten by Mary and Harold Zlot. General exhibition support is provided by The Andy Warhol Foundation for the Visual Arts. Exhibition lectures are presented as part of the Questrom Lecture Series and educational outreach programming is made possible by the Questrom Education Fund.</p> <p><strong>ARTIST BIO<br /> </strong>Hayley Tompkins (born 1971, Leighton Buzzard, UK) lives and works in Glasgow. Recent solo exhibitions include Studio Voltaire, London; The Modern Institute, Glasgow; <em>Autobuilding</em>, Inverleith House, Royal Botanic Garden, Edinburgh; <em>Re</em>, The Drawing Room, London; and <em>Transfer</em> (with Sue Tompkins) at Spike Island, Bristol, among others. Her work was featured in the 2012 São Paolo Biennial, and has been included in group exhibitions at such venues as Tate Britain; Institute of Contemporary Arts, London; and the Hessel Museum at Bard College, Annandale-on-Hudson, New York. Tompkins is one of three artists chosen to represent Scotland at the 2013 Venice Biennale.</p> Sun, 23 Jun 2013 22:51:24 +0000 Group Show - BLUEorange - July 26th, 2013 6:00 PM - 9:00 PM <p>A Salon des Refus&eacute;s of artwork rejected from Lawndale Art Center's "The BIG Show&rdquo; will be curated into four one-night-only shows at BLUEorange, 1208 West Gray St., Houston, Texas 77019 with openings on July 19, July 26, August 2 and August 9 from 6:00pm to 9:00pm. This project is a collaborative effort between BLUEorange and artist Emily Sloan who organized similar projects in 2010 and 2011</p> Thu, 11 Jul 2013 08:25:08 +0000 - Fukuoka Asian Art Museum (FAAM) - July 26th, 2013 10:00 AM - 8:00 PM <p>Summer Holidays! With a picture book-inspired setting, and displays that&rsquo;ll make you feel like a storybook character, the exhibition &ldquo;Welcome to Picture Book Museum&rdquo; is on again at the FAAM.<br /><br />This year's focus is "nature" and "food." With about 100 books on display, the exhibitiion also includes 60 original illustrations from books.</p> Tue, 23 Jul 2013 04:16:38 +0000 BILL MING - New Art Exchange - July 26th, 2013 6:00 PM - 9:00 PM <p>Bill Ming was born in Bermuda and came to live in Nottinghamshire in 1971.His sculptures draw inspiration from personal experiences and a rich cultural heritage that originated in Africa, the Americas and Europe. Bill uses wood and various materials to create cultural collages which reflect the physical and spiritual aspects of life in all forms.</p> <p>Curated by Lucy Atkinson, <i>Out of Da Wood </i>brings together a collection of new and existing works which explore the artist’s use of materials and celebrates his skill as a storyteller. Drawing inspiration from key moments in his life, the works inadvertently tell much about the environment, culture, politics and history of Bermuda. Touching on the apartheid, the story of Bill’s immigration to England, and his reception once he arrived; visitors to the exhibition will recognise and relate to the personal experiences described by the artists.</p> <p><i>“My work is a journey of exploration, in which other travellers are essential. An art of healing not dealing, of exorcism not commercialism.”</i></p> Fri, 28 Jun 2013 23:51:57 +0000 Elaine Mayes, Robbert Flick, Steve Fitch - Smithsonian American Art Museum - July 26th, 2013 11:30 AM - 7:00 PM <p class="noindent">The American landscape has inspired generations of artists, but the 48 photographs in this presentation&mdash; by Steve Fitch, Robbert Flick and Elaine Mayes&mdash; are a far cry from traditional representations of the subject. Where painters of the Hudson River School saw the sublime and survey photographers of the 19th century discerned supernatural majesty in America&rsquo;s landscapes, Fitch, Flick and Mayes find evidence of civilization&rsquo;s rapid expansion into suburbs and exurbs. This view updated the idyllic portrayal of the American landscape that had persisted into the 20th century, notably in photographs by Ansel Adams. Informed by the reality of the interstate highway system and the increasingly mediated culture of 1970s America, these photographers depict the country in passing, as drive-through scenery rather than entrancing wilderness. Their images, created between 1971 and 1980, foreshadow today&rsquo;s even more media-saturated environment and the telegraphic relationship to the natural world that it encourages.</p> <p>The photographs by Fitch, from his series <em>Diesels and Dinosaurs</em>, capture the typical sights and attractions that defined roadside America. Flick&rsquo;s photographs, drawn from his series <em>Sequential Views</em>, consist of grids of images made in Los Angeles in 1980 as he traversed the streets, stopping at prescribed temporal or geographical intervals. Mayes&rsquo;s photographs, from her <em>Autolandscapes</em> series, present America as seen from a moving car window.</p> <p>The installation is part of a series that highlights objects from the museum&rsquo;s collection that are rarely on public display. The artworks in this installation were selected by Lisa Hostetler, the museum&rsquo;s McEvoy Family Curator for Photography.</p> Fri, 12 Jul 2013 22:27:55 +0000 Eoin Mc Hugh - The Douglas Hyde Gallery - July 26th, 2013 6:00 PM - 8:00 PM <p>Eoin Mc Hugh has described his work as 'focused on the psychology of imagery', but although this may be true from a conceptual perspective, there is more to it than that. He deftly explores the space and boundaries between image, object, and idea, and yet his art is perhaps even more remarkable for its arresting sense of the uncanny.<br /><br />There are three main strands to his art: oil paintings, watercolours, and sculpture. All are amply represented in this exhibition of new and recent work. There are several meticulously painted oils, a handful of watercolours on old paper, and a comprehensive selection of sculpture that ranges from found objects to peculiar bronzes that appear to have been cast from molten plastic shapes.<br /><br />Although it is not unusual to find a contemporary artist making such a wide variety of work, it is much less common to have it infused with such deliberation and seriousness. And while it can be distanced and occasionally humourous, Mc Hugh's art is altogether devoid of irony. <br /><br /><em>Augury</em> takes as its subject a post-apocalyptic world characterised by decay and disintegration, but despite its darkness, Mc Hugh's vision never loses its ultimate focus, which is his quest, both literally and figuratively, for light. <br /><br />Augury<em> is accompanied by the first catalogue of Eoin Mc Hugh's work, published with the support of Kerlin Gallery, Dublin.</em></p> Sat, 13 Jul 2013 02:34:29 +0000