ArtSlant - Recently added en-us 40 Group Show - Saatchi Gallery - October 27th, 2010 - January 16th, 2011 Sat, 30 Aug 2014 12:54:10 +0000 Piet Oudolf - Hauser & Wirth Somerset - July 15th - October 5th <p style="text-align: justify;">Piet Oudolf is one of the most significant and acclaimed landscape designers in the world today. Hauser &amp; Wirth Somerset is delighted to unveil an exhibition of Oudolf&rsquo;s drawings. Shown together for the first time, these preparatory designs reveal the creative processes and artistic vision behind some of Oudolf&rsquo;s most influential and innovative projects in the UK and further afield, including commissions for The High Line in New York and the Serpentine Gallery in London, as well as his garden for Hauser &amp; Wirth Somerset, which will be open to the public from 14 September 2014.</p> <p style="text-align: justify;">Hand drawn, Oudolf&rsquo;s planting designs are composed of layer upon layer of symbols, notation, blocks of colour and patchwork shadings, that each correspond to different plant combinations. At the heart of Oudolf&rsquo;s garden designs lies an intimate knowledge of plants, and careful consideration of how plants relate to one another and behave in different situations.</p> <p style="text-align: justify;">Oudolf is a leading figure in the New Perennial movement; his projects are characterised by a strong pictorial relationship to a garden&rsquo;s composition and layout. Inspired by art, nature and time, Oudolf&rsquo;s gardens are achieved through areas of naturalistic planting, using swathes of perennials and grasses combined with structured pathways, shrubs and trees.</p> <p style="text-align: justify;">Oudolf&rsquo;s design for Hauser &amp; Wirth Somerset includes a large perennial meadow to the north of the farmyard and new gallery buildings. Encompassing the 1.5 acre meadow, Oudolf&rsquo;s garden contains over 26,000 herbaceous perennials. Carefully shaped and planted, the garden echoes the tradition of classical gardens, but the variety of species and combination of plants create looseness, softening the formality of its appearance. Wide canopied trees will be planted between the gallery and garden to frame the view of the garden for visitors as they leave the buildings. The surrounding hedges provide a sense of enclosure, whilst the view of the hills and fields beyond remains visible. A series of paths cut through the vegetation, inviting visitors to wander through the garden. Oudolf&rsquo;s landscaping design continues around the buildings including the inner cloister courtyard, where the old buildings meet the new.</p> <p style="text-align: justify;">Oudolf&rsquo;s extensive oeuvre includes public and private gardens all over the world. The exhibition includes designs for The High Line, New York, one of Oudolf&rsquo;s most notable projects, a collaboration with landscape architect James Corner, Field Operations. The linear park is built upon an abandoned elevated railway line that runs through Manhattan. Combining minimalism with ecology, this garden was conceived of as a series of interwoven elements that lead visitors along a richly planted path. Oudolf&rsquo;s design emphasises the narrowness of the park, drawing people and plants closer together within an urban environment.</p> <p style="text-align: justify;">Other designs include a collaboration between Oudolf and architect Peter Zumthor for the Serpentine Gallery, London, which saw them create Hortus Conclusus &ndash; an &lsquo;enclosed garden&rsquo; hidden within an enigmatic plain black structure for the 2011 Serpentine Pavillion commission; the Lurie Garden Millennium Park, Chicago, a 2.5-acre roof garden located in downtown Chicago&rsquo;s Millennium Park; and Oudolf&rsquo;s design for Wisley, a Royal Horticultural Society garden in Woking, Surrey where the designer interspersed several types of plants and variations to create an innovative interpretation of a traditional Edwardian double border configuration.</p> <p style="text-align: justify;"><strong>About Piet Oudolf</strong></p> <p style="text-align: justify;">Piet Oudolf was born in 1944 in Haarlem, Netherlands. Since 1982, he has lived and worked in Hummelo, a tiny village in east Netherlands, where he started a nurserywith his wife Anja, to grow perennials. His garden has since become renowned for its radical approach and ideas about planting design. Oudolf also co-founded Future Plants, a company specialising in selecting, growing, breeding and protecting plants for landscaping and public areas.</p> <p style="text-align: justify;">Oudolf&rsquo;s recent projects include No.5 Culture Chanel, Paris, France; The High Line, New York NY; Lurie Garden, Millennium Park, Chicago IL; Serpentine Gallery, London, England, and the Venice Biennale, Venice, Italy.</p> <p style="text-align: justify;">Oudolf is also a successful author, having co-written numerous books such as; &lsquo;Planting: A New Perspective&rsquo; (2013); &lsquo;Landscapes in Landscapes&rsquo; (2011); &lsquo;Gardening with Grasses&rsquo; (1998); &lsquo;Designing with Plants and Planting Design&rsquo; (1999); &lsquo;Dream Plants for the Natural Garden&rsquo; (2000); &lsquo;Planting the Natural Garden&rsquo; (2003), and &lsquo;Planting Design: Gardens in Time and Space&rsquo; (2005).</p> <p style="text-align: justify;">In his 35-year career, Oudolf has achieved international acclaim, and has recently been awarded an Honorary Fellowship from RIBA for developing radical ideas in Planting Design (2012) and the Prince Bernhard Cultural Foundation Award (2013). In October 2013, he was appointed Visiting Professor of Planting Design at the Department of Landscape at the University of Sheffield.</p> Fri, 29 Aug 2014 19:03:40 +0000 Marvin Gaye Chetwynd - Studio Voltaire - September 6th 7:30 PM - 11:00 PM <p style="text-align: justify;">Opening&nbsp;12 October 2014, Studio Voltaire presents&nbsp;<a href="" target="_blank"><em>Hermitos Children 2</em></a>, Marvin Gaye Chetwynd's largest commission to date.<br /><br /><em>Hermitos Children</em>&nbsp;is an ongoing project that takes the form of an experimental television crime drama. Each episode follows female detective Joan Shipman as she uncovers and resolves emotional and debt management issues.&nbsp;<em>Hermitos Children 2</em>&nbsp;involves blackmail, money management, catting (similar to dogging, but solely with women and on boats), children miraculously found at sea, and a cat cult. The film is comprised of staged cinematic sequences layered with live performances.&nbsp;<em>Hermitos Children 2</em>&nbsp;will be presented within a large-scale installation incorporating props and interiors from the production.&nbsp;<br /><br />On Saturday 6 September 2014 a mega event will be held at Studio Voltaire. This live performance, referencing&nbsp;<a href=";id=741d060935&amp;e=502d7e182c" target="_blank"><em>Cat People (</em>1982)&nbsp;</a>and Minoan bull-leaping, will be recorded and elements will be included in the final cut of the film.&nbsp;<br /><br />Chetwynd has become well known for her carnivalesque live performances, which feature homemade costumes and a varying ensemble of friends and family. These performances share elements of the bawdy anarchy of sixteenth-century wandering troupes, foregrounding key moments from art history and cultural production.<br /><br />Attendees of the event will be invited by Chetwynd and her troupe to become part of the performance by participating in&nbsp;<em>The Iron Age Pasta Workshop</em>&nbsp;in which guests will present their own handmade pasta necklaces to&nbsp;<em>The Discerning Eye.</em>&nbsp;With live aerialists and emphatic drumming, culminating in a choreographed dance number, this event is not to be missed.</p> Fri, 29 Aug 2014 15:21:31 +0000 - Whitechapel Gallery - September 18th 7:00 PM - 9:00 PM <p style="text-align: justify;">Curator and Professor of Art Theory at the Merz Academy in Stuttgart,&nbsp;<strong>Helmut Draxler</strong>, discusses his 1994 exhibition&nbsp;<em>Services: Conditions and Relations of Project Oriented Artistic Practice</em>. Following a presentation, he will be joined in conversation by<strong>Helena Vilalta</strong>,&nbsp;Managing Editor of Afterall Journal and Afterall Online.</p> <p style="text-align: justify;">In collaboration with Afterall</p> Thu, 28 Aug 2014 08:21:04 +0000 - Whitechapel Gallery - September 12th 11:30 AM - 5:30 PM <p style="text-align: justify;">This event considers the work of the artist and explores themes of authorship, space, stage and experience. Featuring presentations by&nbsp;<strong>Nicolas Cullinan</strong>&nbsp;(Curator of Modern and Contemporary Art at The Metropolitan Museum of Art in New York),&nbsp;<strong>Luke Skrebowski</strong>(University Lecturer in the History of Art at the University of Cambridge),&nbsp;<strong>Teresa Kittler</strong>&nbsp;(Teaching Fellows and Postgraduate Teaching Assistant at UCL, London), curator&nbsp;<strong>Bartolomeo Pietromarchi</strong>&nbsp;(Director of Fondazione Ratti, Como and former Director of Macro, Rome), writer and curator&nbsp;<strong>Nicolas de Oliveira&nbsp;</strong>(Course Leader, London Metropolitan University) and&nbsp;<strong>Emily Butler</strong>&nbsp;(Assistant Curator, Whitechapel Gallery).</p> <p style="text-align: justify;">In collaboration with the Fondazione Giulio e Anna Paolini</p> Thu, 28 Aug 2014 08:18:26 +0000 - Whitechapel Gallery - September 4th 7:00 PM - 9:00 PM <p style="text-align: justify;">Archive Gallery Curator,&nbsp;<strong>Nayia Yiakoumaki</strong>explores artist&nbsp;<strong>Stephen Willat&rsquo;s</strong>&nbsp;projects on display in the current exhibition&nbsp;<em>Concerning Our Present Way of Living,</em>&nbsp;and their impact on the local community.</p> <p style="text-align: justify;"><span style="font-family: Arial, 'Helvetica Neue', Helvetica, 'Liberation Sans', FreeSans, sans-serif;"><br /><a href=";N=4002&amp;L=4065&amp;F=H" target="_blank">Book now</a></span></p> Thu, 28 Aug 2014 08:16:18 +0000 Jack Bilbo - David Zwirner, London - September 4th - October 4th <p style="text-align: justify;">David Zwirner is pleased to present an exhibition of works by Jack Bilbo (1907&ndash;1967) in the London gallery, organised in collaboration with The Estate of Jack Bilbo and England &amp; Co.</p> <p style="text-align: justify;">Spanning four decades of artistic production, the exhibition will focus on Bilbo&rsquo;s ink drawings from the 1940s, highlighting his unique pairing of imagery with text that is exemplified by&nbsp;<em>I Don&rsquo;t Like Private Capitalism&hellip;.</em>&nbsp;Depicting the artist with his characteristic dark beard and pipe, dressed like a vagabond in tattered clothing and drooping top hat, the work is inscribed with &ldquo;I Don&rsquo;t Like Private Capitalism, I Don&rsquo;t Like State Capitalism&mdash;I Do Like My Own Capitalism&rdquo;.</p> <p style="text-align: justify;">A self-taught artist, and during his lifetime a legendary bohemian, Bilbo was known for his larger-than-life persona, which he actively cultivated through autobiographical texts that included, for example, accounts of being Al Capone&rsquo;s bodyguard in the 1930s. In his 1948 autobiography, he described himself as &ldquo;an Artist, Author, Sculptor, Art Dealer, Philosopher, Psychologist, Traveller, and a Modernist Fighter for Humanity&rdquo;.</p> <p style="text-align: justify;">Through his inherent individualism, artistic drive, and eccentricities, Bilbo&rsquo;s work evokes and references both his childhood history from Berlin as well as the atrocities he faced as a German Jewish refugee during the twentieth century. A surreal middle ground is achieved within his work, using political satire and dark humour to create an overture which connects outsider to insider, reality to fiction.</p> <p style="text-align: justify;">Jane England, Director of England &amp; Co. and foremost scholar on the artist&rsquo;s work, notes: &ldquo;Many of Bilbo&rsquo;s drawings reflect the Socialist outlook and anti-Capitalist views he shared with other German artists such as George Grosz and John Heartfield. Bilbo&rsquo;s satiric drawings with their ironic captions convey his deeply felt political ideas&mdash;he&nbsp;took the role of an outsider in his life and work, and was a passionate and irreverent social critic. Other drawings depict his bizarre, sometime sexual, and often violent fantasies: they emerged from doodles and improvisations and reflect his obsessions. The titles he inscribed on them are as idiosyncratic as the drawings: surreal, absurdist, crude, often humorous&rdquo;.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Born as Hugo Baruch in Berlin in 1907, the artist adopted the name &ldquo;Jack Bilbo&rdquo; in 1922. He fled Germany in 1933 after campaigning against the Nazis, who confiscated his family&rsquo;s business, a world-renowned theatre outfitting company. He ran a bar for a few years in Spain, before settling in London in 1936, the same year he began to sculpt and paint and exhibit his works. After being interned in 1939 on the Isle of Man, Bilbo returned to London and founded the Modern Art Gallery in 1941, where he showed works by Pablo Picasso and Kurt Schwitters alongside unknown artists, and held evening readings of Dadaist poetry and his own fantastical stories. In 1946, he moved to Weybridge and created monumental figurative sculptures in cement in the gardens of his home, until relocating to the south of France in the early 1950s. Bilbo was reinstated as a German citizen in 1956 and returned to live in his native Berlin, where he continued to paint and exhibit until his death in 1967.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Bilbo is survived by his daughter, Merry, and his grandson, the artist Ben Woodeson.</p> Thu, 28 Aug 2014 08:13:35 +0000 MOHAMMED QASIM ASHFAQ - Hannah Barry Gallery - September 16th - October 29th Mon, 25 Aug 2014 09:45:58 +0000 Richard Learoyd, Adam Fuss - Michael Hoppen Contemporary - September 19th - October 24th <p style="text-align: justify;">In a world of photography where digital &lsquo;snaps&rsquo; are becoming the tedious norm, the Michael&nbsp;Hoppen Gallery presents a show navigating an area of photography that little is known about:&nbsp;the photograph made without a negative. No, not a photogram - but a photograph. We will&nbsp;present a wonderful mix of works, from rare early daguerreotypes through to contemporary&nbsp;takes on these early techniques. </p> <p style="text-align: justify;">Photographs were invented to be reproduced on demand. The London Stereoscopic&nbsp;Company, as an example, in the 19th century managed to produce hundreds of thousands of&nbsp;copies of photographs from individual negatives. As the mechanical world came into being,mass re-production became the preferred method. </p> <p style="text-align: justify;">The early photographer in the 1830&rsquo;s and 1840&rsquo;s strained to produce lasting images of quality&nbsp;and consistency and it was only in 1835 that the negative by Henry Fox Talbot was invented&nbsp;which allowed them to print numerous copies, and after the paper negative, it was no less&nbsp;arduous and complex a process coating collodion negatives. However, in 1826, Daguerre, a&nbsp;French scientist and inventor, developed a beautifully complex system of producing a&nbsp;photograph on a silver plated copper sheet which was usually cased so that owners could keep&nbsp;the images of their loved ones close to them in their pockets. Larger, half plate daguerreotypes,&nbsp;although much more expensive to produce and hence highly sought after, were often hung on&nbsp;the wall. </p> <p style="text-align: justify;">Today&rsquo;s photographers have adopted the digital world in a way no one could have predicted.&nbsp;The days of the hand-made photograph, the laboratory technician, the chemist and artist&nbsp;combined seem almost like a distant memory. The camaraderie of the photographers and&nbsp;printers who would meet in the basement darkrooms of Soho to go over contacts and&nbsp;discuss the printing is all but gone. </p> <p style="text-align: justify;">Yet a few intrepid artists still do look to the past in their efforts to craft a photograph and the&nbsp;Michael Hoppen Gallery is delighted to include several of them in this exhibition. Richard&nbsp;Learoyd makes his own photographs, and without negatives. Using the most basic form of&nbsp;photography, the camera obscura, Learoyd marries old and new technology: strobe lighting,&nbsp;state of the art optics and Ilfochrome paper to create an unexpected voyeurism. &ldquo;I suppose&nbsp;people see it as an alternative process,&rdquo; he says, &ldquo;but I see it as an alternative use of modern&nbsp;materials.&rdquo; His large-scale portraits are monumental and contemporary, but share a 19thC&nbsp;alchemist&rsquo;s tradition. </p> <p style="text-align: justify;">Adam Fuss too, has forged his career creating startling pictures using early techniques, such as&nbsp;photograms and extraordinary large daguerreotypes. These are hugely complex to create,&nbsp;and there are no 21st century shortcuts available to him. We will be exhibiting the largest&nbsp;daguerreotype in the world which Fuss created last year and which measures some 42 inches&nbsp;wide. </p> <p style="text-align: justify;">With the tsunami of over retouched and digital photographs we are deluged with each day, it&nbsp;is refreshing to find artists working against the tide of mass production.</p> Mon, 25 Aug 2014 09:37:00 +0000