ArtSlant - Current exhibits en-us 40 Saul Fletcher - Alison Jacques Gallery - May 25th, 2012 - June 23rd, 2012 <p style="text-align: justify;"><span style="font-size: small;">'<em>Saul Fletcher imagines another, stranger world... and in each of these oddly moving images, he stops time,</em><em>then bends it like a magician.</em>'</span></p> <p style="text-align: justify;"><span style="font-size: small;">Vince Aletti,<em> Artforum</em></span></p> <p style="text-align: justify;"><span style="font-size: small;">For his second exhibition with <strong>Alison Jacques Gallery</strong>, in advance of his works being presented at the 30<sup>th</sup> Sao Paulo Biennale this autumn, <strong>Saul Fletcher</strong> has created a body of photographs that offer a glimpse into his psychological landscape. Fragments from the artist's life are pieced together through intimate images of installations meticulously constructed directly onto his studio wall. Fletcher transforms everyday objects into melancholic sculptures and integrates them within layers of flaking paint, as tender, almost hermetic compositions emerge through a surface that serves as both his canvas and stage.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The fragile and ephemeral state of Fletcher's subjects relay a sense of intimacy akin with that of a lost relic, whilst the modest scale of his photographs entice the viewer to peer into these extended metaphors. Remnants from previous arrangements are often partially concealed by paint and symbolic intricacies emerge on closer inspection. In one photograph, a suitcase formerly belonging to the artist's wife is suspended from the ceiling by sections of twine and a pink rag, perhaps offering an insight into a previous life on the road or referencing our innate desire to hoard and sentimentalize possessions. Fletcher always allows for ambiguity: are we to imagine the suitcase's contents or to assume that it is empty? The presentation of the form of a bicycle made from feathers, wood and wire in another image offers a compelling dialogue. The artist himself travels everywhere by bicycle but here, the stationary bike becomes enveloped by his fluid, metamorphosing wall.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A black-and-white photograph depicts a newspaper sculpture of a large North Sea Cod hanging on a studio wall adorned with string. The bloated fish is surrounded by painted symbols that include crucifixes and the Star of David. This religious iconography, combined with the glasses, vases and ornaments resting on shelves in another photograph, elucidate Fletcher's fascination with objects and symbols, and their personal resonances for each of us. Dark shadows are painted onto the surface behind the jugs and collectibles, making them seem more substantial and permanent. Fletcher's own particular form of photographic <em>chiaroscuro</em><em> </em>is at its most compelling in a simple still-life of raw lamb, yellow celeriac and sprawling spinach, while in another image, withered, darkening cherry tree branches are the broken hands of a congealed clock-face. His placement of objects, handling of sepulchral light and the apparent ease with which he enchants us with found colour are understated but rich acknowledgements of the art of his predecessors.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Fletcher has also created eerily beautiful landscapes for this exhibition, which reveal not only his love for the Humber River but also his continued obsessive attention to detail even in the vastness of physical spaces beyond his studio. In these images of quarried stones and a working cement factory, specific social histories of each place are subtly acknowledged but never counter the inherent sense of time itself eroding in the natural landscape. A grey self-portrait in a tree above an abandoned brick factory, sits uneasily with an ominous Polaroid of the artist back in his studio - its incomplete emulsion creating a diagonal white edge as jagged as the ruined wall's surface and the holes in his clothes. In his images, Fletcher holds moments of motionlessness against a wall, or on the banks of a river, but his anguished mythmaking seems only truly redemptive through a sense of time passing. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Fletcher (b.1967) has exhibited in solo shows at The Kunstverein, Cologne and Galerie Neu, Berlin, whilst important group shows include <em>The Imminence of Poetics</em>, 30th Sao Paulo Biennale, curated by Luis Pérez-Oramas (2012); <em>Spirit Level</em>, curated by Ugo Rondinone at Gladstone Gallery, NY (2012), <em>Focal Points: Art and Photography</em>, Manchester Art Gallery, UK (2012); <em>Painters Panting</em>, Atlanta Contemporary Art Center, GA (2012); Center for Curatorial Studies Bard, NY (2011, 2010, 2009 and 2008); <em>Saints and Sinners</em>, Rose Art Museum, Brandeis University, MA (2009); <em>Disappearances, Shadows and Illusions</em>, Miami Art Museum, FL (2008); 4th Berlin Biennial (2006); and <em>Rings of Saturn</em>, Tate Modern, UK (2008). His work is in numerous museum collections including The Arts Council Collection, London; Dallas Museum of Art, Dallas; DESTE Foundation, Athens; Guggenheim, New York and Walker Art Center, Minneapolis. He lives and works in London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Fri, 11 May 2012 17:28:08 +0000 Masakatsu Kondo - All Visual Arts - May 4th, 2012 - May 31st, 2012 <p>All Visual Arts are proud to introduce an exhibition of paintings by acclaimed Japanese artist, Masakatsu Kondo. <i>Whenever I am Silent</i> is a meditation on the artifice of nature, exploring the space between the perceived and the real.  From still, unsettling landscapes inspired by traditional Japanese composition to the more lyrical new works being exhibited for the first time.</p> <p>Kondo’s paintings draw on the natural world and symbolic imagery of contemporary media; landscapes that adhere to the imagined, idealised notion of how they should appear. The artist opens up an inquisition of the world presented to us, particularly within an urban metropolis where ‘natural’ landscapes are architectures of the imagination. Kondo constructs subtly enhanced and engineered scenery suggestive of a peculiarly modern sense of isolation.</p> <p>Kondo’s landscapes draw their inspiration not from life but from reference books, taking their cue from geographically accurate and scientifically impartial material found in topography, geology and gardening manuals. As such, the natural world that he constructs is an abstraction of reality, a composition of impossible landscapes; the sky a brilliant blue, the mountains tall and lakes deep, yet lacerated from reality the images seem unsettling in their perfection.</p> <p>Drawing reference from such disparate sources as European Romanticism; the intricacy of traditional Japanese artists such as Hokusai, and contemporary film and advertising, Kondo’s work reminds us of the enduring struggle to establish an equilibrium between man and nature</p> <p> </p> <p>For more information please contact</p> <p>Camilla Cole <a href="" rel="nofollow"></a></p> Tue, 27 Mar 2012 13:59:10 +0000 Prunella Clough - Annely Juda Fine Art - May 3rd, 2012 - June 30th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Prunella Clough</strong> is widely appreciated as one of the most significant British artists of the post-war period. Clough’s work is distinctive and private and yet always responsive to what was going on around her - artistically and visually.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition is the seventh one-person exhibition of her work at Annely Juda Fine Art who have represented her and her estate since 1989. It spans her career from the 1940s until the late 1990s prior to her death in 1999. It includes many previously unseen works that she had kept in her studio for her personal reference and collection.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition consists of paintings, collages, drawings and reliefs and they demonstrate the characteristic development of her work through her various influences - notably cubism and European abstraction. Her abstract works often use bright, contrasting colours and sometimes found objects. They reveal her continual and personal preoccupation with formal qualities - composition, colour and texture - and her delight in the edginess and abstraction of everyday objects and experiences.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Prunella Clough was born in London in 1919 - she studied at Chelsea School of Art and during the war worked as a draughtsman of maps and charts. She was a highly influential artist and teacher to the post-war generation. In 1999, three months before her death, she won the prestigious Jerwood painting prize. In 2007 she had a major exhibition at the Tate Gallery, London.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A 240-page hard back book “<a href=";title_id=8487&amp;edition_id=11782&amp;promotion_id=da3fdb36-79a2-41bd-84b2-0faf6f4814b1&amp;calcTitle=1" target="Resource Window" class="text">Prunella Clough - regions unmapped</a>” written by Frances Spalding has recently been published by Lund Humphries.</span></p> Mon, 14 May 2012 17:54:21 +0000 Caroline Jane Harris - arebyte gallery - May 5th, 2012 - June 15th, 2012 <p>PLAN.OPEN. Hidden/Exposed<br clear="all" />  <br clear="all" /> PLAN.OPEN is an innovative series of group exhibitions at the new Arbeit Gallery near London’s infamous Old Street. International and UK based emerging artists working in 2D and 3D are invited to submit work on a nominated topic, juried and curated by Arbeit representatives. The exhibitions are open to everyone with a low submission fee of £10 (£5 concession) to create equal opportunities.<br clear="all" /> <br clear="all" /> Following the success of the first PLAN.OPEN. Formation, the second show invites artists to explore and stretch the dichotomy between the Hidden, the Exposed and everything in-between in PLAN.OPEN. Hidden/Exposed.<br clear="all" /> <br clear="all" /> The Exhibition will be in early August 2012.<br clear="all" /> <br clear="all" /> The selection will be foremost based on the quality of the work entered, over previous experience or awards. For the second exhibition artists are invited to submit work on their interpretation of the theme of Hidden/Exposed.<br clear="all" /> <br clear="all" /> PLAN.OPEN will be awarding solo exhibitions to outstanding candidates, as well as feature pages on the website, newsletter and a low standard industry commission on sales for all exhibitors. Arbeit creates an affordable platform to showcase artwork and forge interdisciplinary relationships with other artists, as well as gaining exposure from the gallery’s involvement with East London’s First Thursdays.<b></b></p> <p><b>The deadline for submission is 5pm on 15/06/2012</b></p> <p><br clear="all" /> There is a £10 (£5 concession) administration fee for entering up to three works (three images).</p> <p>Please follow this link for terms and conditions and how to enter:</p> Sun, 10 Jun 2012 02:09:27 +0000 David Price - Art First Contemporary Art - May 17th, 2012 - June 23rd, 2012 <p style="text-align: justify;"><span size="2" style="font-size: small;"><strong>Art First</strong> is delighted to be representing <strong>David Price</strong>. The title for his first exhibition in the main gallery space is taken from a small painting by Cranach the Elder in the collection of the National Gallery, London. Price brings fresh interpretations to the enduring themes that engage his interest in Renaissance painting, through a distinctly modern lens. The brushstrokes of Cranach, the delicate lines of Dürer and the sweeping panoramas of Mantegna and the Brueghel dynasty are evident visible influences within his own tangled and complex landscape compositions.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;">Alongside historical and pseudo-­religious themes, Price asserts a contemporary reading, responding to the resonance and impact that paintings can have 500 years after they were painted. The signature painting <em>Close of the Silver Age</em> has much of Percy Bysshe Shelley’s <em>Ozymandias</em> about it, as heroic statues crumble and moulder along a once grand boulevard being reclaimed by the natural world. Science fiction, often a fertile ground for the re-­‐imagining of mythology, lends its own imagery; Price’s painting of The Runners depicts an Eden-­‐like pastoral landscape inhabited by two figures who bear a striking resemblance to Michael York and Jenny Agutter in the 1976 film <em>Logan’s Run</em>.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;">“By painting Logan and Jessica as Adam and Eve I wanted to examine the parallels with this timeless story and to mock man’s hopeless endeavours to understand existence through religion. The paintings I use as reference are ‘Orpheus’ by Roland Savery, ‘The Garden of Eden’ by Jan Breughel and the 19th Century painting ‘Heroic Landscape With a Rainbow’ by Joseph Anton Koch.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;">As Price borrows, re-­‐distributes and weaves together strands of historical and popular culture his own distinctive vision emerges. He may take his lead from historic paintings, but he reworks the themes where they seem relevant, with a seriousness and an honest investigation of enduring truths that span civilization as we know it. </span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"><strong>David Price</strong> studied at Edinburgh College of Art before completing two MA's at Newcastle (fine art) and the Royal College of Art (printmaking). He has held a fellowship in printmaking at the Royal Academy since 2010. He was selected for the Bloomberg New Contemporaries in 2009, and first showed with AF Projects in 2010.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"><br /></span></p> Thu, 10 May 2012 12:44:01 +0000 Blue Curry - Art First Contemporary Art - May 17th, 2012 - June 23rd, 2012 <p style="text-align: justify;"><span style="font-size: small;">For his first exhibition with AF Projects <strong>Blue Curry</strong> presents a new series of freestanding and wall based sculpture. Born in Nassau, and one of the leading contemporary artists in the Bahamas, Curry makes work that draws on the fetishistic nature of the concept of ‘the exotic’, often incorporating into his sculpture found objects that come loaded with exotic association. These ‘charged’ objects are then worked into elegant sculptural arrangements that play on the aesthetic &amp; associative values of the various components, combining the fantastical and the banal into new and beguiling forms.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Curry’s artistic relationship with his Bahamian background is both a serious and a playful one. As a Caribbean artist living and working in London he finds himself occasionally considered something of an ambassador for a movement of post-­‐modern art in the tropics that has almost no basis in reality. This perception of his work as part of a greater whole that does not actually exist creates an interesting space in which he can operate, allowing him to play freely with the balance of referential and ‘thought out’ processes and the more aesthetically intuitive side of his practice. His Goldsmiths MFA show, entitled ‘Postropical’ featured several works that were meticulously devised over long periods of time. One work comprised a suspended shark’s jaw from which thousands of hours worth of delicately arranged celluloid video-­‐tape cascaded. Others were more immediately improvised combinations, such as the floor installation of conch shells with inserted strobe lights. Some works therefore emerge from the studio as complete after a single intervention, while others require months of reimagining before they are resolved.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The concepts of craft and technical intervention are also integral to Curry’s practice. Through varied and often painstaking processes he strives to achieve perfect forms and textures. The work Untitled, 2012 (Illustration on card) is at first glance a purely intuitive assemblage, but many of the elements have been redefined in order for them to be ‘correct’ as part of the whole – the Conga drum base has been stripped, sandblasted and re-­‐sprayed to pare it down to it’s essential form, while the white globe crowing the sculpture is coated in fine white sand.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the end Curry’s work remains slightly removed from the labels assigned to it – more than absurdist or ethnographic his work is stridently postmodern, in the sense that there is no great reverence for a hierarchy of materials or processes. The delicately finished and the instinctively ‘thrown together’ both exist in Curry’s sculptures, and by allowing them equal weight he creates work that is elegant &amp; perfectly poised – yet imbued with a playful and irreverent energy.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Blue Curry</strong> obtained an MA (fine art) at Goldsmiths College, London in 2009. He has shown in the United Kingdom, United States, Europe and throughout the Caribbean with a recent institutional solo show at Nassauischer Kunstverein in Wiesbaden, Germany. He participated in the 6th Liverpool Biennial and Art Basel, Miami Beach as well as in group shows in The Art Museum of the Americas, Washington DC, and the Museo de Arte Contemporaneo, Puerto Rico.</span></p> Thu, 10 May 2012 12:48:54 +0000 - Barbican Art Gallery - March 1st, 2012 - June 30th, 2012 Sat, 08 Aug 2015 08:18:55 +0000 Group Show - Barbican Art Gallery - May 3rd, 2012 - August 12th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The biggest Bauhaus exhibition in the UK in over 40 years presents the modern world’s most famous art school. From expressionist beginnings to a pioneering model uniting art and technology the Bauhaus’ utopian vision sought to change society in the aftermath of the First World War. <strong><i>Bauhaus: Art as Life</i></strong> explores the diverse artistic production that made up its turbulent fourteen-year history and delves into the subjects at the heart of the school: art, culture, life, politics and society, and the changing technology of the age. </span><br /><br /><span style="font-size: small;"><i>Bauhaus: Art as Life </i>will feature a rich array of painting, sculpture, design, architecture, film, photography, textiles, ceramics, theatre and installation. Exemplar works from such Bauhaus Masters as <strong>Josef </strong>and <strong>Anni Albers</strong>, <strong>Marianne Brandt, Marcel Breuer, Walter Gropius, Johannes Itten, Wassily Kandinsky, Paul Klee, Hannes Meyer, László Moholy-Nagy, Ludwig Mies van der Rohe </strong>and <strong>Gunta Stölzl</strong>, will be presented alongside works by lesser-known artist Masters and Bauhaus students . </span><br /><br /><span style="font-size: small;">The <i>Bauhaus: Art as Life</i> public programme will feature a host of workshops, talks, films and performances as well as a major Creative Learning initiative, the <strong><i>Bauhaus Summer School,</i></strong> an intensive two-week school held at the Barbican and led by leading practitioners from all artistic backgrounds. </span><br /><br /><span style="font-size: small;"><strong><em>A Barbican Art Gallery exhibition in co-operation with Bauhaus-Archiv Berlin / Museum für Gestaltung, Stiftung Bauhaus Dessau and Klassik Stiftung Weimar.</em></strong></span></p> <p><strong><em><br /></em></strong></p> Tue, 23 Jul 2013 18:06:03 +0000 Julia Mangold - Bartha Contemporary - May 25th, 2012 - June 30th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Bartha Contemporary is delighted to announce Julia Mangold’s (GERMAN, B. 1966) forthcoming solo </span><span style="font-size: small;">exhibition, showcasing new sculptures and works on paper. Please join us for the private view </span><span style="font-size: small;">on Thursday May 24, 6.30 – 8.30 PM, Exhibition: May 25 – June 30. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">The artist first London solo exhibition since her 2004 show will take on an all-encompassing </span><span style="font-size: small;">architectural character. Three spectacular tall sculptures, liberated from all allegorical </span><span style="font-size: small;">meaning, will occupy the front space of the gallery. </span><br /><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">At first each sculpture appears monolithic, constructed from six rectangular elements these </span><span style="font-size: small;">works are arranged to form singular vertical columns. The three works interact with each </span><span style="font-size: small;">other through a carefully calibrated play of surfaces and volumes. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Rather than relying on a representative depiction the sculptures evolve though the viewers </span><span style="font-size: small;">experience. Their highly pigmented and sensual dark surfaces stand in stark contrast to the </span><span style="font-size: small;">sculpture’s geometric structured composition. </span><br /><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">Striped to a bare minimum Mangold’s sculptures and works on paper reflect on a visual </span><span style="font-size: small;">language associated with early American Minimalism as well as European concrete art, </span><span style="font-size: small;">however rather than merely relying on a limited notion of romanticised modernism or an hard </span><span style="font-size: small;">edge aesthetic the artist’s works evolve through a refined play on human scale and the </span><span style="font-size: small;">deliberate confrontation of precise forms and sensual surfaces. It is the artist’s inherent ability </span><br /><span style="font-size: small;">to unite these two seemingly opposing traits, which in turn lend the works an extraordinary </span><span style="font-size: small;">sense of presence.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">Julia Mangold lives and works in Portland Oregon and Munich, Germany. She is regarded as </span><span style="font-size: small;">one of the leading German sculptors of her generation. Her works have been exhibited </span><span style="font-size: small;">internationally for the past two decades and form part of numerous private and public </span><span style="font-size: small;">collections across Europe and the United States.</span><br /><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">A comprehensive iPad catalogue documenting seminal works from the past twenty years will be </span><span style="font-size: small;">published by Bartha Contemporary to coincide with this exhibition. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">For further information or to receive reproduction quality images please visit the Press website </span><br /><span style="font-size: small;">at or contact Sara </span><span style="font-size: small;">Ludvigsson at</span></p> Wed, 25 Apr 2012 16:44:35 +0000 Rachel Garfield - Beaconsfield - April 19th, 2012 - June 23rd, 2012 <p>The Struggle is a dynamic new series of films exploring the impact of politicised familial interactions on the formation of subjectivity in the individual – starting with <i>Part 1 <i>The Straggle:</i> </i>a study focusing on individuals whose parents were left-wing activists, and the socialist magician Ian Saville.</p> <p>The evolution of the subject will be played out during the artist’s residency with Beaconsfield, supporting the commission and tour of this new work. Garfield will be available for discussion each Friday during the exhibition as she works on site, opening a public window onto the series in progress.</p> <p>The debate opens in an earlier film<i> Here There Then Now,</i> 2009, also exhibited, in which Rachel Garfield and acclaimed experimental film maker <b>Stephen Dwoskin e</b>ngage in a conversation about the role of the artist in their generation.</p> <p></p> <p><b>Friday 25 May</b><b> at 6.30pm: Artists talk with Magic by Ian Saville </b></p> Sat, 02 Jun 2012 13:41:07 +0000 Rachel Garfield & Stephen Dwoskin - Beaconsfield - April 19th, 2012 - June 3rd, 2012 <p>Rachel Garfield and the acclaimed experimental film maker Stephen Dwoskin engage in a conversation about the role of the artist in their generation, each filming the other's home.</p> <p> Screening as part of the current exhibition and residency, Rachel Garfield: The Struggle. Garfield will be available for discussion each Sunday during the exhibition as she works on site, opening a public window onto the progress of new, related film series The Struggle.</p> Fri, 30 Mar 2012 13:05:31 +0000 Priya Chohan, Matt Gee, Tatiana May, Beth Shapeero, Anya Smith - Bearspace - May 18th, 2012 - June 23rd, 2012 <p style="text-align: justify;"><span style="font-size: small;">BEARSPACE presents EXHIBIT B the second instalment on the ODDS AGAINST TOMORROW series </span></p> <div style="text-align: justify;" align="justify"><span style="font-size: small;">ODDS AGAINST TOMORROW is a platform of four exhibitions drawing together some of the most innovative and exciting artistic talent in the UK exclusively throughout 2012. Taking its name from Robert Wise’s classic 1959 Film Noir, ODDS AGAINST TOMORROW is curated by Julia Alvarez and Katherine Hawker who assume the role of detectives. Alvarez and Hawker unveil underground artists and arrange them into artists gangs, by identifying trends and talent for 2012 and tomorrow, compiling a snapshot artists anthology.</span></div> <div style="text-align: justify;" align="center"></div> <div style="text-align: justify;"> <div align="center"><span style="font-size: small;"><em>‘Wildness challenges the unity of the symbol, the transcendent totalisation binding the image to that which it represents. Wildness pries open this unity and in its place creates slippage...Wildness is the death space of signification.’</em></span></div> <div align="right"><span style="font-size: small;">- Michael Taussig Shamanism, Colonialism, and the Wild Man</span></div> </div> <div style="text-align: justify;"><br /><span style="font-size: small;">EXHIBIT B takes inspiration from anthropologist Michael Taussig’s work on shamanism - interpreting it to look at art and a relationship with material, magic and ritual. Artists evoke a sense of slippage - the wild infiltrating the urban, through the symbols and scenes in their practices: the multi-sensual, the dream, the wild, the relic, the ritual.</span><br /><br /><span style="font-size: small;">Matt Gee and Beth Shapeero’s material installations capture the magical, tactile qualities of the objects they work with: textures of velvet and rose quartz are enhanced and mysticism revealed. Priya Chohan’s mixed media sculptures appeal to all the senses with their colourful, tactile and scientific composition.</span><br /><br /><span style="font-size: small;">Photographers Tatiana May and Anya Smith approach their medium from opposite ends of the spectrum: May focuses on the ritual significance of the female nude in the art historical canon, whilst Smith creates vacant, cinematic moon-scapes. Lastly, Rachel Alliston presents multi disciplinary pieces from the series Der Krampus, inspired by German folklore evoking childhood allegories and nightmares.</span></div> Sun, 27 May 2012 09:58:38 +0000 Desmond Lazaro - Ben Brown Fine Arts Ltd - May 3rd, 2012 - June 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Ben Brown Fine Arts, London</strong>, is pleased to present the gallery’s first exhibition of works by <strong>Desmond Lazaro</strong>, an artist who has lived and worked in India for over 15 years. In India, the artist not only reconnected with his cultural heritage, he fastidiously studied the ancient tradition of miniature painting—specifically that of Pichhvai painting—under one of the only surviving masters of the tradition, Bannu Ved Pal Sharma of Jaipur, Rajasthan. Lazaro apprenticed under Sharma for over a decade, becoming proficient in this painstakingly meticulous and laborious ancient craft that involves all stages of art production, from hand-making paper, cloths, pigments and brushes to eventually painting, burnishing and embellishing these stunning works with precision and ornate detail, typically involving entire studios of artisans. Lazaro has since applied the discipline and skills he acquired working in the Pichhvai tradition to his own body of work—meticulously-rendered paintings of contemporary subjects and concepts, which have earned him critical acclaim and exhibitions around the world. This conflation of tradition and modernity, collective and individual, ancient craft and innovation, religious and secular and East and West, results in a visually exquisite and uniquely expressive body of work.</span></p> <p style="text-align: justify;"><span style="font-size: small;">This exhibition presents a range of small and large scale works primarily from the last two years, some painted with minute detail on sheets of handmade paper, others created with swathes of dazzling pigment on vast, hand-woven canvases. The subject matter includes the seemingly mundane—a canopied bed, tea cups, post boxes, lozenges—yet all of Lazaro’s imagery is infused with cultural or historical significance and reflects his experiences from a multi-cultural existence. Also included are vibrant patterned or color-blocked paintings that reach toward abstraction, save for the presence of a lone figure depicted with psychological intensity. Lazaro’s technical precision creates texture and three-dimensionality in all of his work, as seen in his depictions of fibrous carpets and coconut palm leaves, while his use of pure mineral pigments and handmade brushes of either squirrel or mongoose hair create a dazzling paint surface reminiscent of Old Master paintings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Many works in the show stem from Lazaro’s Blue House project, a series he recently embarked upon that explores concepts of house and home, as he himself has been searching for a home somewhere between England and India and he is fascinated by visual references that signify home and identity for others. These works are rendered mainly in ultramarine blue—a shack, a garden shed, a palm leaf, a corrugated rooftop—and sometimes gold shellac. In India he repeatedly observed and was struck by the corrugated metal sheets coated in ultramarine blue used as fences or rooftops on shacks. This duality of natural and man-made, beautiful and industrial, Eastern and Western (the blue could reference both Krishna and Yves Klein) fascinated him, as did the idea that a house or concrete block represented social mobility or stability (he observed in a fishing village that had been devastated by the tsunami of 2004 that many shacks were replaced by concrete block homes in an effort to rebuild and stabilize the region, yet people still tended to sleep and eat outdoors and only kept their belongings inside their new “homes”). This is the first time Lazaro’s masterful iterations from the Blue House project will be exhibited together, creating a greater context for his elaborate working methods and his dedication to exploring subjects in depth.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br />While Lazaro’s artistic vocabulary and imagery are thoroughly contemporary, his working method is firmly rooted in ancient Indian traditions. Lazaro and his team of craftsmen make all his materials by hand—papers, cloths, pigments and brushes—before he actually begins to paint and draw, this stringent preparation becoming an integral part of the life of his works. Lazaro’s unabashed dedication to craft and communal production is rare in the age of the art star who strives to be seen as autonomous and novel, yet somehow his revival of these ancient traditions as a backdrop to his unique body of work puts him into a category all of his own. It is this duality of tradition and modernity that informs all of his work and makes his production so compelling.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br /></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Biographical Information</strong><br />Desmond Lazaro was born in 1968 in Leeds, England, where his Indian parents had emigrated in 1958. He received an undergraduate degree in painting from the University of Central Lancashire, England, and later received a scholarship to Maharaja Sayajirao University in Baroda, India, where he earned a Master’s degree in painting. During this period Lazaro became fascinated by miniature painting and immersed himself in the art of Pichhvai cloth painting, a tradition of the Rajasthan region. Lazaro spent over ten years studying Pichhvai painting, participating in all aspects of their production. He documented his experience in a doctoral dissertation submitted to the Prince’s School of Traditional Art in London that was published in 2005 as a book entitled Materials, Methods &amp; Symbolism in the Pichhvai Painting Tradition of Rajasthan. In 2004, Lazaro established a company that produces handmade pigments and paint brushes as well as a foundation to promote the revival and continuance of traditional arts in North India, the Fellows of the program tasked with the challenge of “making traditional art within a contemporary context.”</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br />The artist will be in attendance at the Private View and is available for interviews. Please direct press requests to Whitney Ferrare at +852 2522 9600 or</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br /></span></p> Sun, 29 Apr 2012 09:59:12 +0000 Ben Nicholson - Bernard Jacobson Gallery - April 4th, 2012 - July 13th, 2012 <p style="text-align: justify;"><span style="font-size: small;">As two major museum exhibitions currently on show in London demonstrate Ben Nicholson is a master of 20<sup>th </sup>Century Art. 'Picasso and Modern British Art' at the Tate shows him as a young man intoxicated by the European avant-garde, working through the issues and ideas raised by Picasso and the cubists. Whereas the exhibition at the Courtauld Gallery, 'Mondrian and Nicholson in Parallel', shows him to be an equal if younger colleague of Mondrian, working towards a pure abstraction that culminated in Nicholson’s celebrated White Reliefs. However Nicholson’s long and successful career transcended both of these moments. </span></p> <p style="text-align: justify;"><span style="font-size: small;">The works on display at Bernard Jacobson Gallery date from throughout Ben Nicholson’s distinguished career and range from his 1930s and 40s geometric abstract paintings such as Painting, 1939 and Painted Relief (Painting) 1941, paintings on canvas and board from the 1950s, through to his later reliefs, Untitled Relief, 1960-69 and to his last works in oil and felt tip, 1979 (Elephantine).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Nicholson was born in 1894, the son of William Nicholson, the successful and elegant Edwardian painter of still lifes and portraits. Nicholson said: ʻI owe a lot to my father especially to his poetic idea and his still life theme. That didnʼt come from Cubism, but from my father- not only what he did as a painter but from the very beautiful striped and spotted jugs, mugs, goblets and octagonal and hexagonal glass objects which he collected.’ Nicholson studied at the Slade between 1910 and 1911, later commenting that he had learnt more at the billiard table of the Gower Street Hotel than in lessons. In 1922 Nicholson had his first one-man exhibition at the Adelphi Gallery in London. Throughout the ‘20s he painted landscapes and still lifes in a naïve or primitive style in a reaction to his father’s slick and sophisticated manner. In the 1930s he first spent time in Paris where he made himself known to the greats of the avant-garde, Picasso, Miro, Arp, Calder and Giacometti. In 1933 Moholy Nagy introduced him to Mondrian, the two were to become great friends, Mondrian later coming to live near Nicholson in Hampstead in order to escape the ravages of war-torn Paris.</span></p> <p style="text-align: justify;"><span style="font-size: small;">It was during the 1950s that Nicholson achieved real fame, his paintings of this period owe much to older art, particularly the works of the early Italian Renaissance painters such as Giotto and Piero Della Francesca. Often using a rubbed down surface that reminds one of frescoes, Italian Wall, 1955 or working on aged wood panels Still Life (Lorca), 1949. These works, mainly abstracted still lifes display an elegance and sophistication which was rare in a British art scene which was in thrall to the so called ‘Geometry of Fear’ of the post-war period. After being commissioned to make a mural for the Festival of Britain in 1951, he had his first retrospective outside Britain at the Detroit Institute of Art in 1952 and in 1954 he represented Britain at the Venice Biennale. Retrospectives at the Tate and a first prize at the Sao Paulo Biennale followed. In 1968 he was awarded the Order of Merit from Queen Elizabeth II, and in ’69 had another major retrospective at the Tate. His reputation continued to grow, with major exhibitions in Japan and in the USA. Nicholson died in 1982 in London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;">Our  exhibition coincides with<strong> Mondrian||Nicholson In Parallel </strong>at The Courtauld Gallery, London which explores the relationship between the two artists during the 1930s when both were leading forces of abstract art in Europe.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Courtauld Gallery, London: 16 February to 20 May 2012 </span></p> Mon, 02 Jul 2012 17:21:56 +0000 Shannon Finley - Bischoff/Weiss - May 23rd, 2012 - June 30th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>BISCHOFF/WEISS</strong> is pleased to present <strong><i>Century Entropy</i></strong>, an exhibition of new work by <strong>Shannon Finley</strong> on view from May 22 - June 30, 2012. The artist's first solo exhibition at the gallery features a series of acrylic on canvas paintings.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><b><br /></b></span></p> <p style="text-align: justify;"><span style="font-size: small;">Through an intensive process, Finley applies numerous, translucent layers of acrylic paint and industrial polymers onto canvas with specially designed palette knives. The results offer prism-like surfaces whose subtle nuances chronicle the build up of the material itself. This process draws from the history of geometric abstraction in painting as much as the reductive language of early computer graphics. But Finely eschews any simple opposition between the hand and the pixel, exploring instead the optics of the picture plane while constantly emphasizing the limits of the edge, which provide an unexpected archive of his painterly layers. Ultimately, these compositions remain suspended between the immaterial and the concrete, and are best apprehended as passageways into indeterminate spaces. In this, Finley invokes traces of sacred geometries and religious architecture within a technocratic context, but only as an alternate mode for engaging the unseen.</span><br /><br /><span style="font-size: small;"><strong>Shannon Finley</strong> b. 1974, Ontario, Canada, lives and works in Berlin, Germany. He received his BFA from Nova Scotia College of Art and Design, Halifax in 1999. Current exhibitions; BISCHOFF/WEISS, London (Solo show), Künstlerhaus Bethanien, Berlin (Group show). Previous solo exhibitions include; Galerie Christian Ehrentraut, Berlin (2011), Silverman Gallery, San Francisco, California (2010). Previous group exhibitions include;  Kunst- und Kulturzentrum Montabaur / Kunstverein Ulm, Germany (2011), Nettie Horn, London (2011), Neuer Aachener Kunstverein, Aachen (2008).</span></p> Sun, 10 Jun 2012 11:27:49 +0000 Michael Joo - Blain|Southern London Hill Street - April 25th, 2012 - June 30th, 2012 <p style="text-align: justify;"><span style="font-size: small;">For his inaugural exhibition with <strong>Blain|Southern</strong>, <strong><em>Exit From the House of Being</em></strong>, <strong>Michael Joo</strong> has created a series of new sculptural works which aim to challenge and reformulate our understanding of space. Bringing together three groups of works so that they exist in dialogue, each engages the viewer in an assessment of spatial territory, referring to social, natural and personal boundaries. The ways in which we might conventionally quantify, physically experience or theoretically categorise our surrounding environment are subverted, as the materiality of each object and the syntax of the gallery space itself become fluid and unfixed.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist’s practice endeavours to combine and foster links between seemingly contradictory states. Binary oppositions are dissolved as he brings them into balance; the physical and metaphysical, the organic and industrial, inclusion and exclusion, and movement and stasis are all explored as being intrinsically linked, one and part of the same thing.  With this exhibition, Joo encourages us to consider the inherently unstable nature of space and identity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">His interest in the process of material metamorphosis informs his use of unorthodox materials and techniques. Constructed from mirrored borosilicate glass,the <em>Expanded Access</em> works are composed of groups of delicate rope and stanchion forms which seem to simultaneously emerge from and melt into the structure of the gallery. Joo plays with the idea of malleable architectural space; the stanchions, which would traditionally dictate the rules of  entry to a particular place, appear on the floor, walls and ceiling of the gallery. Thus, the artist suggests a new spatial arrangement, which does away with accepted social constructs. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>We and Us </em>connotes an apparatus of socio-political unrest. Constructed using technology which is utilised to create optical telescopes, the aluminised glass produces a form reminiscent of police riot shields; the brightly mirrored surfaces both absorb and reflect their own surroundings, creating an ‘aggressive camouflage’. As with the <em>Expanded Access</em> series, the work embraces points of opposition: behind the concave surface of the riot shields lies a sheltered and protective space, which exists in opposition to the impenetrable and offensive convex exterior. The physical presence of the viewer is crucial for both works, as we are drawn into their reflective surfaces and are at once implicated, distorted and hybridized with the work and our surroundings.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The final element of the exhibition, <em>Man-made Monstrous</em>, comprises intricately detailed polyurethane resin castings of moulds of actual antlers, extending Joo’s long-lasting engagement with this form. For him, the antlers signify both an indoor and outdoor space; both display device and organic weapon. Much like the fluidity of the glass in the<em>Expanded Access</em> works and <em>We and Us</em>, the antlers appear frozen yet visceral, as their molten forms threaten to slip down the gallery walls, while hanging motionless.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist ultimately offers a phenomenological reading of the world, as we are encouraged to consider the space of the object in relation to the space of the self.</span></p> Mon, 09 Apr 2012 17:45:41 +0000