ArtSlant - Recently added en-us 40 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 Lawrence Weiner - South London Gallery - September 27th 7:00 PM - 8:00 PM <p style="text-align: justify;">Lawrence Weiner in conversation with contemporary art critic, lecturer and writer Gilda Williams.</p> Sat, 23 Aug 2014 10:59:02 +0000 Lawrence Weiner - South London Gallery - September 26th - November 23rd <p style="text-align: justify;">Having exhibited at the South London Gallery in the group shows&nbsp;<em>Independence&nbsp;</em>in 2003 and<em>Nothing is Forever</em>&nbsp;in 2010, acclaimed American artist and reluctant pioneer of conceptual art Lawrence Weiner returns to the gallery with a solo exhibition in Autumn 2014. ALL IN DUE COURSE presents a series of recent sculptures spanning interior and exterior spaces across the SLG and off-site on the fa&ccedil;ade of the former Peckham Road Fire Station.&nbsp;<br /><br />Born in 1942 in the Bronx, New York, Weiner lives and works in New York and Amsterdam. Internationally regarded, Weiner has an expansive following that reaches across several generations. Though recognised as one of the central figures pioneering conceptual art in the 1960s, he identifies himself not as a conceptualist but as a sculptor whose medium is &ldquo;language + the materials referred to&rdquo;. Since the 1970s Weiner has been best known for his striking wall &lsquo;sculptures&rsquo;. Mainly using paint or vinyl, Weiner&rsquo;s works carve walls with thought, presenting provocative texts that are open to interpretation by the viewer. Taking advantage of the potential of language, his statements are often performative, and speak of materials, processes and actions in relation to art. The texts can appear ambiguous and open ended, providing his audience space for multiple and diverse interpretations. Employing clearly considered typefaces, Weiner&rsquo;s sculptures highlight the visual and spatial qualities of any given language. His work explores structure and translation, using punctuation, colour and a uniquely coded sense of design, to change inflection or tone within the work.&nbsp;<br /><br />Weiner has presented a number of projects and exhibitions across the UK since the early 1970s: at ICA, London; Pier Arts Centre, Orkney; The Fruitmarket Gallery, Edinburgh; The Henry Moore Sculpture Trust, Halifax; Art Transpennine, Hull; Inverleith House in Edinburgh; several engagements with Bury Art Gallery, including their Text Festivals; a solo show at the National Maritime Museum, London; and occasional shows in commercial galleries, the most recent at Lisson Gallery in 2013. Weiner&rsquo;s work is also represented in the Tate collection, including as part of ARTIST ROOMS. Vitrines in the SLG&rsquo;s entrance corridor will contain documentation from some of these events from Weiner&rsquo;s past, including his association with Factory Records in the 1980s.&nbsp;<br /><br />For this exhibition Weiner has made a group of inter-related works that will be seen across the main and first floor galleries, and continue outdoors, running along the expansive Victorian brick wall of the SLG&rsquo;s Fox Garden. Visitors to the exhibition can venture further; beyond the gallery to an off-site work on the facade of the semi-derelict former Peckham Road Fire Station, located diagonally opposite the SLG. Continuing his practice over many years of challenging any hierarchy based on the material form in which his art exists, Weiner has also made a temporary tattoo which will be available to visitors as part of the show. The content and nature of all these works will be revealed at the opening onThursday 25 September: ALL IN DUE COURSE.&nbsp;<br /><br /><em>The exhibition is supported by The Henry Moore Foundation, and Vicky Hughes and John Smith.</em></p> Sat, 23 Aug 2014 10:57:55 +0000 Katrin KOSKARU - Marlborough Fine Art - August 26th - August 30th <p style="text-align: justify;">Marlborough Fine Art is pleased to present the work of Katrin Koskaru, winner of The Valerie &nbsp;Beston Artists&rsquo; Trust Prize 2013. &nbsp;The Valerie Beston Artists&rsquo; Trust was established in 2006 on the death of Miss Valerie &nbsp;Beston, a former director of the gallery, to support artists at the beginning of their careers. &nbsp;The charity is collaborating with the Royal College of Art to award an annual prize to a &nbsp;postgraduate student selected from the degree show. This comprises a studio for a year at &nbsp;SPACE, a financial contribution towards materials, tutorial support generously provided by &nbsp;the RCA, and an exhibition at the end of the year. Catherine Lampert and Pilar Ordovas &nbsp;have kindly selected the winner of the prize. &nbsp;Katrin&rsquo;s work has been influenced by the landscapes of Estonia and particularly its military &nbsp;architecture. These paintings are permeated by a strong sense of isolation and poetical &nbsp;feeling for the memories resonant within a place. More recently she has been looking at the &nbsp;natural marks of her surroundings and using these as the starting point for many layered &nbsp;abstract paintings. The six large paintings in the exhibition are based on grids and lines, a &nbsp;phenomenon particular to twentieth century art from Cubism to Malevich and Mondrian. &nbsp;Katrin&rsquo;s recent work is characterised by a chain of reduction in colour and in representational &nbsp;guides. The lines and grids are recognised through repetitions and differences materialise &nbsp;between those repetitions. The works are all watercolour with very delicate washes and &nbsp;interactions of colour. Her mark making has become increasingly intuitive and autonomous.</p> <p style="text-align: justify;"><strong>About Katrin Koskaru </strong></p> <p style="text-align: justify;">Katrin Koskaru was born in 1977 in Estonia and lives and works in London. She studied Painting at &nbsp;the Royal College of Art 201-2013 and at the Estonian Academy of Arts 2002-2005, and Textile &nbsp;Design at Tartu Art College 1998-2002. She has been offered a residency with Pascaline Mulliez &nbsp;Galerie, Paris, later this year.</p> Sat, 23 Aug 2014 10:54:47 +0000 Lucy McLauchlan - Lazarides Rathbone Place - September 19th - October 18th <p class="Default" style="text-align: justify;">Lazarides Rathbone is pleased to announce <em>Marking Shadows</em>, a major new body of reflective work and multidisciplinary installation by Lucy McLauchlan. Distilling the beauty of visceral experience, <em>Marking Shadows</em> consolidates and extends McLauchlan&rsquo;s practice, developing her organic visual language whilst allowing her natural environment to steer a unique artistic direction.</p> <p style="text-align: justify;">McLauchlan&rsquo;s new series of architectural work continues her familiar textural aesthetic whilst pushing conventional boundaries and embarking on an explorative mark-making journey. Displacing her studio practice into local parklands and woods, amid her home city of Birmingham, the artist allows environmental factors to both inspire and influence the way in which she works. Tracing the contours and surface of the landscape, McLauchlan utilises found elements to dictate the method in which she constructs and experiments with her canvas and media.</p> <p style="text-align: justify;">Seeking to uncover fleeting moments of human intervention within natural surroundings, the artist&rsquo;s painterly abstractions represent intricate collisions suspended in time whilst documenting permanent re-appropriation of areas in which we inhabit. Transforming the most mundane moments into a soothing harmony of sweeping brush strokes <em>Marking Shadows</em> presents a full-scale body of work reminiscent of McLauchlan&rsquo;s engagement with the local community and intrinsic connection with the area. With a subtle nod towards current environmental issues Mclauchlan&rsquo;s new body of work is poignant and eloquently provocative without appearing obtrusive, illustrating the depth and breadth of her contemporary practice in both conceptual and stylistic realms.</p> Fri, 22 Aug 2014 07:46:46 +0000 Ian Francis - The Outsiders London - September 5th - October 4th <p class="Pa0" style="text-align: justify;">The Outsiders are proud to present <em>Endless Summer</em>, a discerning and eclectic showcase of narrative studies by mixed-media artist Ian Francis. <em>Endless Summer</em> comprises a unique body of intricate work created in response to the ever-changing fragility of modern life and contemporary issues facing the human condition. The uniformed vignettes provide multiple windows into a series of events and suspended snapshots in time, combining a myriad of open-ended narrative threads collectively displayed within the gallery space.</p> <p class="Pa0" style="text-align: justify;"><em>Endless Summer</em> marks the Bristol-based artist&rsquo;s special guest appearance at The Outsiders London, following his recent large-scale solo exhibition 10,000 Years From Now at Lazarides Rathbone. Continuing in his signature ultra-modern style Francis has carefully constructed alluring landscapes and unobtainable vistas with a complex combination of both abstraction and figuration, combining layered elements of both painting and drawing. The artist has meticulously depicted mysterious characters lost amid dramatic colour glazes, seemingly suspended within ambiguous cinematic scenes and illicit encounters.</p> <p class="Pa0" style="text-align: justify;">Each manipulated storyline is played out across identically sized panels, highlighting a frozen point in time within each unique study. By creating a series of disparate contemporary moments Francis continues his fascination with the idea of ongoing permanent utopia vs dystopian collapse, whilst referencing both sensationalist media and oversaturated online imagery. Intrigued by the circumstances enabling random selected images and ideas to coexist, the interdisciplinary artist questions the result of this fragile cross-section in time, whether they align or fall apart and their reference point in history in relation to our past and future.</p> <p style="text-align: justify;">In addition to the gallery exhibition the artist will also be participating in the globally acclaimed Nuit Blanche 2014, unveiling a distinctive moving image display in the front window of the gallery during the evening&rsquo;s programme across the capital.</p> Fri, 22 Aug 2014 07:43:08 +0000