ArtSlant - Recently added en-us 40 - Camden Arts Centre - July 17th 3:00 PM - 4:00 PM <p style="text-align: justify;">Sheryll Catto, Co-Director of Action Space discusses mentoring opportunities for artists with learning disabilities with Gemma Wright, Education Organiser at Camden Arts Centre.&nbsp;<br /><br />Book a free place&nbsp;<br /><br />The space is wheelchair accessible. Please contact us if you have any additional access requirements<br /><br />#CACeducation, #camdenartscentre&nbsp;</p> Sat, 04 Jul 2015 08:07:36 +0000 - Camden Arts Centre - August 5th 7:00 PM - 8:00 PM <p style="text-align: justify;">Camden Arts Centre Exhibitions Organiser, Gina Buenfeld leads a walking&nbsp;tour of Hannah Collins' <a href="" target="_blank">exhibition</a>, drawing on ideas central to her approach to working - a great way to learn more about the exhibition and the ideas behind its making.</p> <p style="text-align: justify;"><a href="" target="_blank">Book a place</a></p> Sat, 04 Jul 2015 08:04:20 +0000 Aaron Angell - Studio Voltaire - July 18th 4:00 PM - 5:00 PM <p style="text-align: justify;">Aaron Angell in conversation with Tate St Ives artistic director, Sam Thorne .</p> <p style="text-align: justify;">British artist Aaron Angell in conversation with Sam Thorne, artistic director of Tate St Ives, discussing<em>Grotwork</em>&nbsp;his current large-scale exhibition at Studio Voltaire, his forthcoming exhibition at Tate St Ives and his wider practice. The event is free but booking is recommended.</p> <table border="0" cellspacing="0" cellpadding="0" align="right"> <tbody> <tr> <td width="100%"><a href="">B</a><a href=";id=cf0c641b1a&amp;e=502d7e182c" target="_blank">ook here</a></td> </tr> </tbody> </table> Sat, 04 Jul 2015 08:00:59 +0000 Ane Hjort Guttu - South London Gallery - July 11th 3:00 PM - 6:00 PM <p style="text-align: justify;">This afternoon event provides an opportunity to see more of Ane Hjort Guttu's work and hear editor and curator Pablo Lafuente and author Kim West present on her work in relation to issues of pedagogy, power, freedom, the role and responsibility of the artist, and the possibilities and limitations of so called &lsquo;political art&rsquo;. The presentations will be accompanied by a screening of Hjort Guttu's film&nbsp;<em>Untitled (The</em>&nbsp;<em>City at Night),</em>&nbsp;and an in conversation with the artist.&nbsp;&nbsp;<br /><br />Hjort Guttu's <a href="" target="_blank">current exhibition</a> is on at the South London Gallery until&nbsp;13 September. The new film work&nbsp;<a href=";id=84e1902dd9&amp;e=3e10da6494" target="_blank"><em>Time Passes</em></a>&nbsp;(2015) is co-commissioned by the SLG with Bergen Kunsthall, also shown is an earlier film,&nbsp;<em>Freedom Requires Free People&nbsp;</em>(2011).<br /><br /><strong><em>Booking is essential.&nbsp;<a href=";id=905071bfae&amp;e=3e10da6494" target="_blank">Book online</a>&nbsp;or call 020 7703 6120.</em></strong>&nbsp;<br /><br /><em>The exhibition is supported by the Royal Norwegian Embassy in London and the Office for Contemporary Art Norway.<br /></em></p> Sat, 04 Jul 2015 07:57:26 +0000 Jenny Holzer - Hauser & Wirth Somerset - July 12th - November 1st <p style="text-align: justify;">Hauser &amp; Wirth Somerset is pleased to announce &lsquo;Softer Targets&rsquo;, a major solo exhibition by Jenny Holzer, featuring both new work and a selection of significant pieces drawn from over three decades of the artist&rsquo;s career. The renowned American artist is best known for using language to make art, utilising a range of techniques for employing the power of words. Since 2004, Holzer has explored the use of text from declassified and other government documents.</p> <p style="text-align: justify;">The title of the exhibition refers to a &lsquo;redaction painting&rsquo; from a classified 2004 Federal Bureau of Investigation report, &lsquo;The Terrorist Threat to the US Homeland: An&nbsp;FBI&nbsp;Assessment&rsquo;. Relatively few pages of the 45-page report were declassified, with its text heavily redacted, before release to the public. Faithfully rendered, but enlarged and realised in a palette of whites, greys, transparent red and black, the painting received its title from the single surviving line on page 26: &lsquo;Shifting to Softer Targets&rsquo;.</p> <p style="text-align: justify;">All five gallery rooms are devoted to the exhibition, creating a succession of environments, some sun-lit or illuminated by the kinetic programming of&nbsp;LEDs (light-emitting diodes) and sombrely keyed to set the mood of the works that Holzer presents. The pieces range from the &lsquo;Truisms&rsquo;, that first established her reputation in the 1980s, to her thoughtful ongoing examination of the &lsquo;war on terror&rsquo;.</p> <p style="text-align: justify;">A selection of paintings and&nbsp;LED&nbsp;installations, benches and other works in stone, signs on metal, plaques in bronze, and the artist&rsquo;s preparatory carbon lettering on tracing paper provide the visitor with a sense of the diverse media that the artist has employed over the course of her career. Also present are the extraordinary variety of voices and individual perspectives she has utilised to show, at times, the darker side of the world.</p> <p style="text-align: justify;">Entering the first of the gallery spaces, the 18th-Century Threshing Barn, the viewer encounters &lsquo;MOVE&rsquo;, a new eight-foot&nbsp;LED&nbsp;work suspended from the rafters in vivid juxtaposition to its surroundings. The slender four-sided&nbsp;LED&nbsp;column senses the presence of the visitor and moves in response. Text from declassified and other sensitive US documents is programmed on each of the column&rsquo;s sides, including text drawn from censored U.S. Army Criminal Investigation Reports detailing the investigation into Afghan soldier Jamal Naseer&rsquo;s death whilst in US custody.</p> <p style="text-align: justify;">The next of the five gallery spaces houses a selection of the artist&rsquo;s hand-painted works in oil on linen, including &lsquo;There were eleven of us&rsquo; (2015), &lsquo;young adult female&rsquo; (2015) and &lsquo;Window&rsquo; (2015).</p> <p style="text-align: justify;">Crossing the threshold into the Pigsty gallery, the viewer is confronted with two wooden tables covered in carefully displayed human bones, some with inscribed silver bands. &lsquo;Lustmord Table&rsquo; (1994) is a workconceived in response to conflicts in the former Yugoslavia, continuing Holzer&rsquo;s themes of sex, war and death. The genesis of Holzer&rsquo;s &lsquo;Lustmord&rsquo; text series was an assignment for Munich newspaper S&uuml;ddeutsche Zeitung. Published in 1993 as colour photographs of handwritten text on skin, and a special white card printed in blood ink, it represented the artist&rsquo;s reaction to the war and reports that rape was used tactically. The United Nations Commission on Human Rights had begun recognising crimes against women, such as rape, as war crimes. The &lsquo;Lustmord&rsquo; texts of 55 sentences are the imagined voices of the perpetrator, the victim and the observer. The German word &lsquo;Lustmord&rsquo; denotes a murder committed for sexual pleasure &ndash; the use of real body parts is a reminder that people were hurt in ways beyond the physical.</p> <p style="text-align: justify;">The largest of the gallery spaces, the Rhoades Gallery, is devoted to two&nbsp;LED&nbsp;works, alongside four stark black and white &lsquo;redaction paintings&rsquo; from 2009 and 2010, which are derived from documents about waterboarding. The first of the&nbsp;LED&nbsp;works, &lsquo;Purple&rsquo;, displays texts of US government documents on a wall-to-ceiling array of curved surfaces, the shapes reminiscent of human ribs.</p> <p style="text-align: justify;">&lsquo;FLOOR&rsquo;, a brand new&nbsp;LED&nbsp;work conceived for Hauser &amp; Wirth Somerset, is 40 feet in length and is programmed with a rapid and reversing cascade of Holzer&rsquo;s best known text series, including &lsquo;Truisms&rsquo;<br />(1977 &ndash; 1979), &lsquo;Inflammatory Essays&rsquo; (1979 &ndash;1982), &lsquo;Living&rsquo; (1980 &ndash; 1982), &lsquo;Survival&rsquo; (1983 &ndash; 1985), &lsquo;Mother and Child&rsquo; (1990), and &lsquo;Arno&rsquo; (1996).</p> <p style="text-align: justify;">The final room, the Bourgeois Gallery, houses a selection of paintings and many of the artist&rsquo;s works in stone, including a granite sarcophagus and a selection of benches. Some of these works trace their exhibition history to two important early solo shows &ndash; New York&rsquo;s Dia Art Foundation in March 1989 and the Solomon R. Guggenheim Museum in December 1989.</p> <p style="text-align: justify;"><strong>About the Artist</strong></p> <p style="text-align: justify;">Jenny Holzer was born in 1950 in Ohio,&nbsp;USA. She studied painting and printmaking (BFA) at Ohio University, and received an&nbsp;MFA&nbsp;in painting from Rhode Island School of Design in 1977.</p> <p style="text-align: justify;">Much of Jenny Holzer&rsquo;s education was in the Liberal Arts at Duke University and the University of Chicago, and she believes this broad education had an impact on the work she made. Although much of her work focused on painting, she was already using text in her pieces at this early stage. Holzer works with language as an artistic medium, employing it across a variety of formats, from printed posters toLED&nbsp;displays. Her work is part of the public domain, equally accessible in museums and galleries as in storefronts, on billboards and T-shirts, and even electrified in New York&rsquo;s Times Square.</p> <p style="text-align: justify;">In 1976 Jenny Holzer moved to New York and enrolled in the Whitney Museum of American Art&rsquo;s Independent Study Program (ISP). Her text pieces started in the 1970s with the New York City posters, a series she called &lsquo;Truisms&rsquo;. In the 1980s Holzer began using&nbsp;LED&nbsp;lights and electronic billboards on public buildings and monuments, in place of her posters. Other significant series of works, after the early &lsquo;Truisms&rsquo; are &lsquo;Inflammatory Essays&rsquo; (1979 &ndash; 1982), &lsquo;Living&rsquo; (1980 &ndash; 1982), and &lsquo;Survival&rsquo; (1983 &ndash; 1985). In 1990 Holzer became the first woman to represent the&nbsp;USA&nbsp;with a solo exhibition at the Venice Biennale, for which she was awarded the Golden Lion prize.</p> <p style="text-align: justify;">Since 1996 Holzer has been using light projection &ndash; in which a powerful film projector casts scrolling texts onto architecture or a landscape &ndash; as another way of presenting texts in the public realm. The texts and light are dramatic but unobtrusive, adapting to varied projection surfaces, from the mountains and ski jump in Lillehammer to the Pyramide du Louvre in Paris. In recent years Jenny Holzer has returned to painting, making reference to Abstract Expressionism and Suprematism and reinforcing the continued relationship of art with politics.</p> Sat, 04 Jul 2015 07:51:31 +0000 Michael Landy - Zabludowicz Collection - July 30th 7:00 PM - 9:00 PM <p>Michael Landy will talk about his work in relation to ideas of value, usefulness, productivity and labour.</p> Sat, 04 Jul 2015 07:48:12 +0000 Group Show - Ibid. - July 7th - August 22nd <p style="text-align: center;"><strong>'TOWER'</strong></p> <p style="text-align: center;"><br />- an expansive group show of works on paper with artists ranging from Egon Schiele (1890 &ndash; 1918)<br />to Flora Hauser (1992-)</p> <p>&nbsp;</p> <p style="text-align: justify;">TOWER will incorporate 120 art works on paper by 80 artists, designers, architects and other practitioners from several generations, and will be hung from floor to ceiling covering the walls under the large skylight canopy of Ibid London's main gallery.</p> <p style="text-align: justify;">The show has been built up with works by artists including</p> <p style="text-align: justify;">David Adamo, Vito Acconci, Makoto Aida, Harold Ancart, Archigram, Richard Artschwager, Jānis Avotiņ&scaron;, &Aring;YRBRB, Jean-Michel Basquiat, Becky Beasley, Răzvan Boar, Alighiero Boetti, Pablo Bronstein, Eugene Von Bruenchenhein, Rafal Bujnowski, Chris Burden, Olivier Castel, Ross Chisholm, Paolo Colombo, George Condo, Cyprien Gaillard, Louise Despont, Hreinn Fridfinnsson, Robert Gober, Sayre Gomez, Rachel Harrison, Flora Hauser, Alexander Heim, Gregor Hildebrandt, Roger Hilton, William Hunt, Ray Johnson, Mindaugas Luko&scaron;aitis, Rodrigo Matheus, Jack McConville, Niall Macdonald, Sara MacKillop, Amir Mogharabi, Boris Mrkonjic, Carsten Nicolai, Christopher Orr, Raymond Pettibon, Jack Pierson, Olivia Plender, Sigmar Polke, William Pope.L, Fairfield Porter, Michael Portnoy, Josef Karl R&auml;dler, Mandla Reuter, Olivier Richon, Christian Rosa, Egon Schiele, Christian Schumann, Jim Shaw, James Siena, Nedko Solakov, Helmut Stallaerts, Matthew Stone, Maria Taniguchi, Paul Thek, Wolfgang Tillmans, Rosemarie Trockel, Mauro Vignando, Andy Warhol, Ben Wolf Noam, Mao Zedong, Unica Z&uuml;rn and more..</p> Sat, 04 Jul 2015 07:37:28 +0000 Rivane Neuenschwander - Whitechapel Gallery - July 16th 7:00 PM - 8:00 PM <p style="text-align: justify;">Prompted by ideas arising from the current Children&rsquo;s Commission,&nbsp;<em>The Name of Fear</em>, the artist,&nbsp;<strong>Rivane Neuenschwander</strong>&nbsp;discusses her interest in psychoanalysis, childhood, and performativity with psychoanalyst&nbsp;<strong>Anouchka Grose.</strong></p> <p style="text-align: justify;">In her installations, film, and photography, Neuenschwander employs fragile, unassuming materials to create mesmerizing aesthetic experiences, a process she describes as &lsquo;ethereal materialism&rsquo;.</p> <p style="text-align: justify;"><strong>Biographies</strong></p> <p style="text-align: justify;"><strong>Rivane Neuenschwander</strong>&nbsp;earned a BA in fine arts from the Universidade Federal de Minas Gerais, Belo Horizonte, in 1993 and an MA from the Royal College of Art in London in 1998, where she was artist-in-residence from 1996&ndash;98. Neuenschwander&rsquo;s work has been the subject of solo exhibitions at venues including Portikus, Frankfurt (2001); Walker Art Center, Minneapolis (2002); New Museum of Contemporary Art, New York (2010); and Malm&ouml; Konsthall, Sweden (2010). Neuenschwander has also participated in the group exhibitions Panorama de Arte Brasileira, Museu de Arte Moderna de So Paulo (2001); Land, Land!, Kunsthalle Basel (2003); Tropic&aacute;lia: A Revolution in Brazilian Culture, organised by the Museum of Contemporary Art, Chicago (2005); Comic Abstraction, Museum of Modern Art, New York (2007); The Wizard of Oz, CCA Wattis Institute for Contemporary Arts, San Francisco (2008); and Yes Naturally, how art saves the world, Gemeentemuseum Den Haag, The Hague and Niet Normaal Foundation, Utrecht, Netherlands (2013). She has also participated in the Istanbul Biennial (1997); So Paulo Biennial (1998, 2006, and 2008); Venice Biennale (2003 and 2005); and Carnegie International, Carnegie Museum of Art, Pittsburgh (2008). In 2004, she was shortlisted for the Hugo Boss Prize at the Guggenheim Museum, New York, and in 2013, she was awarded the Yanghyun Prize by the Yanghyun Foundation in South Korea. Neuenschwander lives and works in London and Belo Horizonte.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Anouchka Grose</strong>&nbsp;is a British-Australian Lacanian psychoanalyst and writer. She is a member of The Centre for Freudian Analysis and Research, where she lectures. Her journalism has been published by The Guardian, The Independent, and YOU Magazine. Before training as a psychoanalyst, she studied Fine Art at Goldsmiths&rsquo; College and was a guitarist and backing vocalist with Terry, Blair &amp; Anouchka (with Terry Hall of The Specials). She has worked with the French-British artist Alice Anderson, writing about her work, interviewing her, and composing and performing music for her film, The Night I Became a Doll. She also plays lap steel guitar with Martin Creed&rsquo;s band.</p> Sat, 04 Jul 2015 07:29:40 +0000 Rivane Neuenschwander - Whitechapel Gallery - June 23rd - August 30th <p style="text-align: justify;">The Whitechapel Gallery has invited Brazilian artist&nbsp;<strong>Rivane Neuenschwander</strong>&nbsp;(b. 1967) to make a work of art for the annual Children&rsquo;s Commission. The new work explores childhood fears ranging from &lsquo;spiders&rsquo; and &lsquo;heights&rsquo; to &lsquo;talking trees&rsquo; and &lsquo;electric ghosts&rsquo;.</p> <p style="text-align: justify;">Featuring an installation of vibrant handmade capes, the 2015 commission by Neuenschwander combines elements of drawing, textiles, design, performance and writing with her interest in the rich history of modern art in her native Brazil.</p> <p style="text-align: justify;">The artist worked with children aged 7-9 from across London to gather a broad collection of fears, from the ones shared by many throughout their lives such as &lsquo;drowning&rsquo; or &lsquo;bees&rsquo;, to &lsquo;strangers&rsquo;, &lsquo;nightmares&rsquo; or the more abstract &lsquo;silence&rsquo;. Neuenschwander has translated the children&rsquo;s drawings and texts into fabric cape designs. Associated with protection and supernatural power, the capes also echo her interest in folk traditions, children&rsquo;s literature, nature and psychoanalysis.</p> <p style="text-align: justify;">The title of the new commission,&nbsp;<em>The Name of Fear</em>&nbsp;is borrowed from the song &lsquo;Ara&ccedil;&aacute; Azul&rsquo; (1972) by Brazilian composer, singer&nbsp;and writer Caetano Veloso, and echoes the poem &lsquo;O Medo&rsquo; (Fear) by Brazilian poet Carlos Drummond de Andrade.</p> <p style="text-align: justify;">The project expands on&nbsp;<em>I Wish Your Wish</em><em>&nbsp;</em>(2003), in which the artist drew from a Brazilian tradition where pilgrims bind ribbons inscribed with their wishes to their wrists, in the belief that when they fall off or disintegrate the wishes will be granted.&nbsp;<em>The Name of Fear</em>&nbsp;at the Whitechapel Gallery expands on this work, reflecting on how our personal wishes often mirror our most intense fears.</p> <p style="text-align: justify;">Rivane Neuenschwander was born in Belo Horizonte in Brazil, and currently lives and works in London. Her work is associated with Brazilian conceptualism covering sculpture, film, performance, painting and textiles. Ephemeral in nature and presentation, the artist&rsquo;s installations often investigate the phenomena of memory, time and social interactions, and look at how these can be shared through language and objects.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> Sat, 04 Jul 2015 07:26:41 +0000 James Richards - Whitechapel Gallery - June 23rd - August 30th <p style="text-align: justify;">Francis Bacon&rsquo;s&nbsp;<em>Study for a Portrait</em>&nbsp;(1953)&nbsp;is the focus of an installation by James&nbsp;Richards&nbsp;in this presentation from the&nbsp;V-A-C collection, Moscow.</p> <p style="text-align: justify;">Born in Dublin, Bacon (1909-1992) moved&nbsp;between London, Berlin and Paris in&nbsp;the 1920s where he discovered and was&nbsp;influenced by the films of Eisenstein and&nbsp;Lang and the paintings of Picasso, Poussin&nbsp;and Velazquez. Before emerging as one of&nbsp;Britain&rsquo;s most significant painters Bacon&nbsp;was an interior designer, translating his&nbsp;keen eye for interiors into the staging for&nbsp;his portraits. Painted at a time when he had&nbsp;gained widespread acclaim, this figure,&nbsp;one of a series of studies of a suited man, is&nbsp;both powerful and vulnerable. Sitting on a&nbsp;throne-like chair and set against a midnight&nbsp;blue background, he is framed and confined&nbsp;by a second dark interior.</p> <p style="text-align: justify;">Creating an immersive environment artist&nbsp;James Richards accompanies the painting&nbsp;with a sound installation of public silences&nbsp;&ndash; acts of mourning, remembrance, or&nbsp;suspenseful pauses in films. Singers inhale&nbsp;and pause before breaking into song&nbsp;while church bells fill the gallery with&nbsp;ambient sound.</p> <p style="text-align: justify;">The V-A-C collection brings together&nbsp;important modern and contemporary&nbsp;art from around the world. The V-A-C&nbsp;Foundation supports Russian artists in creative partnerships.</p> <p style="text-align: justify;">The Collection Displays Programme is generously supported by&nbsp;Hiscox.</p> <p style="text-align: justify;">With additional support from:</p> <p style="text-align: justify;">Abbott&rsquo;s<br /><br />Francis Bacon MB Art Foundation</p> Sat, 04 Jul 2015 07:23:40 +0000 - Chisenhale Gallery - July 16th 7:00 PM - 8:00 PM <p style="text-align: justify;">How is energy converted into culture? Rebecca Wright considers the ways that culture can be read as a transformation of energy, drawing from examples such as geographer Ellsworth Huntington, who read the European Renaissance as evidence of the high levels of mental energy brought about by its climate. Rebecca Wright is a writer and research associate on the AHRC &lsquo;Material Cultures of Energy&rsquo; research project at Birkbeck College, London.&nbsp;<em>This event is free to attend but booking is recommended. To reserve a&nbsp;place please visit our Eventbrite page&nbsp;</em><a href="" target="_blank"><em>here</em></a><em>.</em>&nbsp;&nbsp;</p> Sat, 04 Jul 2015 07:16:40 +0000 Nicholas Mangan - Chisenhale Gallery - July 7th 7:00 PM - 8:00 PM <p style="text-align: justify;">Max Andrews and Mariana&nbsp;C&aacute;nepa Luna join artist Nicholas Mangan in conversation to discuss&nbsp;Mangan's new work and concepts of transmission and cyclical progression recurring in his practice. Andrews and C&aacute;nepa Luna run Latitudes,&nbsp;an independent curatorial office based in Barcelona.<em>This event is free to attend but booking is recommended. To reserve a&nbsp;place please visit our Eventbrite page&nbsp;</em><a href="" target="_blank"><em>here</em></a><em>.</em>&nbsp;</p> Sat, 04 Jul 2015 07:15:49 +0000 davide balula - Alison Jacques Gallery - July 10th - August 8th <p>Alison Jacques Gallery is pleased to announce a solo exhibition of new work by French artist Davide Balula. Balula&rsquo;s practice manifests in a wide range of forms, which record the effects of nature such as charring wood, soaking canvases in rivers or burying paintings in soil.&nbsp;Upon entering the space the viewer is confronted with the first of a series of new &lsquo;Burnt Paintings/Imprints of the Burnt Paintings&rsquo; which consist of rectangular wood fragments arranged in a pattern formation and burnt with a blowtorch. Balula then presses the charred surfaces onto new canvas of the same size to create an imprint (a negative) that directly corresponds to the wood composition.</p> <p>In the larger gallery space Balula will present a new series of sculptures, &lsquo;Colouring the WiFi Network&rsquo;. The WiFi sculptures are metal bars painted in various colours (such as &lsquo;Pistil Yellow&rsquo;, &lsquo;Beige Nutmeat&rsquo; or &lsquo;Blue Ice&rsquo;) which act as antennae. Each sculpture emits a WiFi signal that corresponds to its colour, a digital echo of the work, which can be accessed through an open network on any smartphone or laptop. These works reflect the artist&rsquo;s interest in reproduction, the movement of light and its shadow and the trajectory of colour through space, exemplifying Balula&rsquo;s interest in the materiality of the work but also the results created through audience interaction.</p> <p>Davide Balula was born in France in 1978 and currently lives and works in New York, NY. His work is included in museum and public collections including Centre Georges Pompidou, Mus&eacute;e National d&rsquo;Art Moderne, Paris. Davide Balula is one of the four artists nominated for the 2015 Prix Marcel Duchamp.</p> Sat, 04 Jul 2015 07:33:48 +0000 Matthew Higgs, Clive Hodgson - Wilkinson Gallery - July 17th - August 16th Thu, 02 Jul 2015 08:16:36 +0000 Jane Corrigan, Daniel Heidkamp, Ella Kruglyanskaya, Aliza Nisenbaum, Daniel Rios Rodriguez - Wilkinson Gallery - July 17th - August 16th Thu, 02 Jul 2015 08:16:24 +0000 - Timothy Taylor - July 18th - August 14th <p style="text-align: justify;">Continuing its Philip Guston season, Timothy Taylor is pleased to announce the group exhibition <em>Substance</em>, which takes as its point of departure the &ldquo;meat and potatoes&rdquo; of Guston&rsquo;s layered, visceral paintings [illustrated in Mark Leckey&rsquo;s <em>Cinema in the Round</em> (2008)*] and then goes on to explore the idea of substance in art from different points of view.</p> <p style="text-align: justify;">Through an eclectic mix of artists and works, the exhibition&rsquo;s title and premise also acknowledges the quasi- greatest hits structure of the highly acclaimed Factory Records releases by New Order, <em>Substance</em> (1987) and Joy Division, <em>Substance</em> (1988). By exploring the possibilities of the term, this exhibition brings together a thoughtful compilation of substance art.</p> Thu, 02 Jul 2015 08:11:54 +0000