ArtSlant - Recently added http://www.artslant.com/lon/Events/show en-us 40 Group Show - Laura Bartlett Gallery - Project Space at Northington Street - July 24th 7:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">The exhibition will stay open until&nbsp;7pm, followed by a discussion between participating artists and curator Dan Coopey.&nbsp;Admission free. Booking is essential.&nbsp;Please "rsvp" by sending an email to:&nbsp;<a href="mailto:rsvp@laurabartlettgallery.com" target="_blank">rsvp@laurabartlettgallery.com</a></span></p> Wed, 23 Jul 2014 07:38:15 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Rupert Goldsworthy - Ritter/Zamet - July 25th - September 20th Mon, 21 Jul 2014 07:39:23 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - Drawing Room - September 26th 7:00 PM - 7:30 PM <p style="text-align: justify;">Exhibition tour during our late night opening.</p> <p style="text-align: justify;">Join us on an informal tour of <a href="http://www.artslant.com/lon/events/show/347356-the-nakeds" target="_blank"><em>The Nakeds </em></a>and learn more about some of the works included.</p> Mon, 21 Jul 2014 07:35:23 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Group Show - Drawing Room - September 25th - November 29th <p style="text-align: justify;"><span style="font-size: small;">A group exhibition looking at drawings of the body exposed.&nbsp;The naked body is frequently the physical terrain artists traverse in search of the inner self. How to represent love, shame, solitude and sexual yearning? Drawing from the self or life model, from reproduction or the imagination, has provided artists with the freedom to explore desires, fears and fantasies.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The Nakeds</em>&nbsp;takes as its starting point selected drawings of the single figure by <strong>Egon Schiele</strong>. From here it considers work by artists from the post-war period to the present day. The exhibition will included new work made specifically by <strong>Enrico David, Stewart Helm, Chantal Joffe</strong> and <strong>Nicola Tyson</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Austrian artist Egon Schiele (1890 &ndash; 1918) was a prolific and provocative draughtsman. His drawings of the body unclothed or in a state of undress are amongst the most arresting works to have emerged from Vienna in the tumultuous years around the First World War. Working at the same time as Sigmund Freud, in the birthplace of modern psychiatry, the artist was attacked and acclaimed in his short lifetime. Still dividing opinion today, his drawings tested long-held distinctions between the &lsquo;nude&rsquo; and the &lsquo;naked&rsquo;, art and pornography. The exhibition seeks to explore this contested terrain.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em style="font-size: 13px; line-height: 1.6;">- The Nakeds</em> has been curated by Drawing Room in collaboration with artist David Austen and art historian Gemma Blackshaw.</span></p> Mon, 21 Jul 2014 07:32:54 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list John Bellany, Steven Campbell, Stephen Conroy, Ken Currie, Peter Howson, Jock McFadyen, Eduardo Paolozzi, Alison Watt, Adrian Wiszniewsk - Flowers | Cork Street - August 6th - August 30th <p style="text-align: justify;"><span style="font-size: small;">2014 marks the &lsquo;Year of the Homecoming&rsquo; in Scotland, a year-long programme of events celebrating the country&rsquo;s food, drink, natural resources, ancestral heritage and culture. As the world looks to Scotland for major sporting events, including the XXth Commonwealth Games in July and the 40th Ryder Cup at Gleneagles in September, the country&rsquo;s commitment to art and creativity will also come under the spotlight. Scotland&rsquo;s public museums are showcasing major exhibitions celebrating native artists, such as <em>GENERATION: 25 years of Contemporary Art in Scotland </em>at the Scottish National Gallery of Modern Art.</span></p> <p class="Pa0" style="text-align: justify;"><span style="font-size: small;">Flowers Gallery is delighted to join the celebrations with an exhibition of figurative paintings by nine prominent Scottish artists at our Cork Street space 6 &ndash; 30 August, 2014. The exhibitors include the famous &lsquo;New Glasgow Boys&rsquo; Peter Howson, Ken Currie, Steven Campbell, Stephen Conroy and Adrian Wiszniewski, who all studied at Glasgow School of Art in the 1980&rsquo;s. The group spear-headed a revival of interest in ambitious figure painting, and their international success has contributed significantly to the cultural renaissance of Glasgow as a city in recent decades. Also featured in the exhibition is the work of John Bellany, Jock McFadyen, Eduardo Paolozzi and Alison Watt, providing viewers with a unique overview of the strong tradition of figurative work by Scottish artists.</span></p> <p class="Pa0" style="text-align: justify;"><span style="font-size: small;"><strong>Peter Howson</strong> has established a formidable reputation as one of his generation&rsquo;s leading figurative painters. Many of his works take inspiration from the streets of Glasgow, where he was raised, and he is renowned for having a penetrating insight into the human condition. Howson has exhibited in major shows around the world including the Museum of Modern Art, New York, and Scottish National Portrait Gallery, Edinburgh, and was awarded an OBE in 2009.</span></p> <p class="Pa0" style="text-align: justify;"><span style="font-size: small;">Despite an early interest in painting industrial Glasgow, <strong>Ken Currie</strong> became deeply concerned with political and humanitarian events, painting decaying and damaged bodies as a response to what he felt was a sickness of contemporary society. The artist&rsquo;s recent works remain focused on the human condition, and his paintings hang in the collections of the Scottish National Gallery of Modern Art, Edinburgh, the New York Public Library, New York, and many more.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in Paisley, Scotland, <strong>Jock McFadyen</strong> has undertaken several important residencies and commissions throughout his career, including being appointed Artist in Residence at the National Gallery, London in 1981, and documenting the dismantling of the Berlin Wall in 1992 for the Imperial War Museum, London. McFadyen has remained deeply interested in the history of painting, citing Lowry and Sickert as having had a major influence on his practice. Although his earlier work included schematic narrative paintings, by the early 1990&rsquo;s figures fell away from the artist&rsquo;s work and he became consumed by urban landscape.</span></p> <p class="Pa0" style="text-align: justify;"><span style="font-size: small;"><strong>Alison Watt</strong>, also a student at the Glasgow School of Art in the 1980&rsquo;s, gained early acclaim for her figure painting, often female nudes captured in dryly painted light-filled interiors. In the late 1990&rsquo;s, she began to introduce fabric alongside these figures, alluding to the influence of 19th century painter Ingres on her work. By early 2000, several of her paintings portrayed swathes of fabric alone, which although more abstract, still suggested a human presence. Watt was selected to be an Associate Artist at the National Gallery, London from 2006-2008, and is currently exhibiting a major retrospective at Perth Museum and Art Gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Eduardo Paolozzi</strong> was born in Leith, Scotland to Italian parents and studied at Edinburgh College of Art in the 1940&rsquo;s. He has established a position as one of Britain&rsquo;s leading sculptors and is acknowledged as a creator of British Pop Art. The artist&rsquo;s preoccupation with man and machine allowed him to bring art and science together in his work in a unique way. His sculptures can be found in major public collections around the world, one of his most notable pieces being the bronze Newton after Blake commissioned for the piazza of the British Library in 1995.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Stephen Conroy achieved great success from an early stage in his career, hailed as the &lsquo;boy wonder&rsquo; of Scottish painting. He has lived and worked in Scotland for the majority of his life, and his paintings and prints of brooding, anonymous single figures and studies of heads have cemented his reputation as one of the foremost figurative artists working in Europe. He began his studies at Glasgow School of Art just as Steven Campbell was leaving, who he cites as having influenced his choice of figurative subjects.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Steven Campbell</strong> discovered art slightly later in life, studying at Glasgow School of Art as a mature student. Upon graduating he was awarded the Fullbright Scholarship, which he used to study at the Pratt Institute, New York. This resulted in several early American exhibitions. The artist was known for combining a strong colour palette with hard linear brushwork, creating paintings with a literary influence. Many of Campbell&rsquo;s works contain recurring motifs, such as skulls, birds and paisley patterns.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born and raised in a fishing village near Edinburgh, the work of <strong>John Bellany</strong> was often influenced by the sea, although it was transformed into a kind of personal mythology. Famed for producing large allegorical compositions featuring hybrid human and animal forms, Bellany painted with explosive, vigorous brushwork in a tormented, expressionist style.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Adrian Wiszniewski</strong> is a painter, draughtsman and printmaker producing large-scale figurative works with a tone of reflection or self-parody. Neon colour and economical use of line are key characteristics of the artist&rsquo;s style, often setting contemplative figures within Arcadian landscapes. His has been awarded several prominent public commissions throughout his career, including the paintings for Liverpool&rsquo;s Anglican Cathedral.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Flowers Gallery is pleased to offer the opportunity to experience striking works by some of Scotland&rsquo;s most renowned figurative artists during such a significant year for the country. The collection will reveal interesting new parallels between a group of artists each with a unique approach to a shared subject, and a unique understanding of their shared Scottish heritage.</span></p> Mon, 21 Jul 2014 07:19:51 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Lorenzo Vitturi - Flowers | Cork Street - August 6th - August 30th Mon, 21 Jul 2014 07:12:44 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Francesca Woodman - Victoria Miro Mayfair - September 9th - October 4th <p style="text-align: justify;"><span style="font-size: small;">Victoria Miro Mayfair is delighted to present the first solo exhibition of&nbsp;Francesca&nbsp;Woodman's work at the Mayfair gallery. In her short career Woodman produced an extraordinary body of work - over 800 photographs - acclaimed for its singularity of style and range of innovative techniques.</span><br /><br /><span style="font-size: small;">This exhibition considers the zigzag and other abstract geometrical forms as recurring visual themes in&nbsp;Woodman&rsquo;s work.&nbsp;Woodman&rsquo;s practice is often discussed in terms of its surreal and symbolic imagery, but her work was grounded in a sophisticated understanding of form. Her photography exemplified strong compositional motifs, and the repetitive, regular shape of the zigzag, with its strong lines and angles, was a form she used in images of disparate subjects.</span><br /><br /><span style="font-size: small;">Many of&nbsp;Woodman&rsquo;s gelatin silver prints feature this strong, idiosyncratic abstract lineage, and she also extended her investigation of the serial geometrical form in her large-scale diazotype prints. The artist described one of these works in a letter to a friend in 1980: &lsquo;It will be &hellip; a long string of images held together by a long compositional zigzag, thus the corner of a building in one frame fits into the elbow of a girl in the next frame into a book in the third frame, the images are both very personal mysterious ones and harsh images of outdoor city life. It is had to get the adjoining images to fit the rigorous structural scaffold&rsquo;.</span><br /><br /><span style="font-size: small;">As George&nbsp;Woodman, the artist&rsquo;s father, has pointed out, &lsquo;Modernist abstract art devotes itself to the form of the square, the rectangle, the box, the intersection of streets, the whole right angle world of horizontal and vertical. Domination by a zig-zag motif is very rare&hellip; It creates a world of flux without horizon, a rhythmic oscillation.&nbsp;Francesca&nbsp;made studies of zig-zags: from representations of houses, noses, hands and baby&rsquo;s legs. A related investigation was the series&nbsp;Bridges and Tiaras. In these prints, the bridge, arching over the river, and the tiara, arching over the woman&rsquo;s head, are contrasted and linked by the logic of analogy.&nbsp;Francesca&nbsp;creates visual puns, jokes and poetry in this series&rsquo;.</span><br /><br />Formal correspondences and echoes abound in the work in this exhibition, which includes ten works newly released from the artist&rsquo;s estate.</p> <p style="text-align: justify;">Born in 1958 in Denver, Colorado, Francesca Woodman lived and worked in New York until her death in 1981. Since 1986 her work has been exhibited widely. Significant solo presentations of Woodman's work include Francesca Woodman at the Museum of Modern Art, San Francisco (2011 - 12) that subsequently toured to the Solomon R. Guggenheim Museum, New York (2012); Francesca Woodman: Retrospective at the Sala Espacio AV, Murcia, touring to SMS Contemporanea, Siena (both 2009); Francesca Woodman: Photographs at the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York (2003) and Francesca Woodman at the Fondation Cartier pour l'art contemporain, Paris (1998), that subsequently toured to Kunsthal, Rotterdam, The Netherland s (1998); Centro Cultural de Bel&eacute;m, Lisbon, Portugal (1999); The Photographers' Gallery, London (1999); Centro Cultural TeclaSala, L'Hospitalet, Barcelona (1999 - 2000); Carla Sozzani Gallery, Milan, (2001); The Douglas Hyde Gallery, Dublin (2001) and PhotoE spana, Centro Cultural Conde Duque, Madrid (2002). Woodman's work is represented in the collections of major museums including The Metropolitan Museum of Art; The Whitney Museum of American Art; Museum of Modern Art, New York; Detroit Institute of Arts; Mu seum of Contemporary Art, Chicago and Tate/National Galleries of Scotland.</p> Mon, 21 Jul 2014 07:04:46 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Yayoi Kusama - Victoria Miro Gallery - September 16th - December 19th <p style="text-align: justify;"><span style="font-size: small;">Victoria Miro is delighted to present a new body of sculptures and paintings by Japanese artist Yayoi Kusama dedicated to her iconic depiction of pumpkins.</span><br /><br /><span style="font-size: small;">The exhibition, which opens on 16 September 2014 comprises of two elements: the main gallery will house a new body of paintings and large scale mosaic pumpkins which will be on show until 4 October; whilst a major new series of bronze sculptures will be on display in the gallery's unique water garden until 20 December. The bronze pumpkins have been two years in the making and mark the first time the artist has worked with bronze on such a large scale.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Since her earliest formative years, in a family who made their living cultivating plant seeds, Kusama has been fascinated by the natural world. She has always had an affinity with nature, particularly vegetal and floral life, but the pumpkin continues to occupy a special place in her iconography and is a motif she has returned to repeatedly throughout her career.</span><br /><br /><span style="font-size: small;">The plant appears in some of her paintings and works on paper as early as 1948. After her return from New York to Japan in the 1970s she rediscovered the theme, and began making serial works depicting the pumpkin in various media: paintings; prints; sculpture; installation; and environmental works. She has made tiny pumpkins no bigger than a key ring, and monumental pumpkins that dwarf the viewer with their scale. She has placed pumpkins in box structures and in mirror rooms, and used the</span><br /><span style="font-size: small;">distinctive knobbly patterning of their skins as inspiration for her unique dot-patterned paintings and textiles. In 1993 pumpkins formed part of her presentation in the Japanese Pavilion at the Venice Biennale. In 1994 her iconic exterior sculpture of a large yellow and black pumpkin was sited at the Benesse Art Site Naoshima, an island in Japan&rsquo;s inland sea dedicated to displaying art within nature.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist has a strong personal identification with the pumpkin, and has described her images of them as a form of selfportraiture. She admires pumpkins for their hardiness and everyday quality, as well as for their unique and pleasing physical qualities. She has written:</span><br /><br /><span style="font-size: small;">&ldquo;&lsquo;Pumpkin head&rsquo; was an epithet used to disparage ugly, ignorant men, and the phrase &lsquo;Put eyes and a nose on a pumpkin&rsquo; evoked a pudgy and unattractive woman. It seems that pumpkins do not inspire much respect. But I was enchanted by their charming and winsome form. What appealed to me most was the pumpkin&rsquo;s generous unpretentiousness. That and its solid spiritual base&rdquo; (Yayoi Kusama, Infinity Net: The Autobiography of Yayoi Kusama, trans. Ralph McCarthy, London 2011, p.76).</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Paintings &amp; Sculptures until 4 October </strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Bronze Sculptures until 19 December</strong></span></p> Mon, 21 Jul 2014 07:01:13 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Luke Cornish - StolenSpace Gallery - August 8th - August 31st <div>A collection of new paintings by Luke Cornish inspired by his travels to refugee camps of&nbsp;Lebanon. Surrounded by the sound of gunfire, Luke draws on his artistic skills to bear witness to&nbsp;the suffering, hope, violence and everydayness of the displacement and conflicts.<br /><br /> <div>Luke Cornish is an Australian artist creating unique, powerful images from handmade stencils.&nbsp;His rise within the contemporary art world has been meteoric, becoming the first artist to be&nbsp;nominated for the Archibald Prize and the Sulman prize with a portrait created entirely out of&nbsp;stencils. A former blue-collar worker from Canberra, Cornish's apathy and boredom during his&nbsp;mid-twenties encouraged him to start experimenting with stanley knives and spraypaint cans.&nbsp;Nearly ten years later, Cornish has literally carved his name into the public's mind.<br /><br /></div> <div>Using up to 85 layers of carefully hand-cut acetate, he sprays layer upon layer of aerosol paint&nbsp;until his images bear a striking photographic resemblance: this is a new form of hyper-realism&nbsp;that is unlike what has been seen before. Formally known as E.L.K, he uses the tools of a street&nbsp;artist to create decadent, detailed works that envelop the viewer. There is an honesty to&nbsp;Cornish's work, slicing back the layers and reconstructing his muses with astonishing deftness.&nbsp;The emotions that permeate through the eyes of his portraits have great depth, the shadows&nbsp;created by the stencils highlighting their anguish. His subjects all seem to share the same&nbsp;hardship and determination that Cornish himself has experienced, lending to a sense of dire&nbsp;reality in the unreality of his images.</div> <div>&nbsp;</div> <div>With this new exhibition Luke&nbsp;presents us with works that&nbsp;act as a looking glass through&nbsp;which we can see the darkest&nbsp;elements of crumbling&nbsp;societies - where we could be&nbsp;if not for the accident of our&nbsp;birth. We see the collapse,&nbsp;conflict and displacement of&nbsp;once vibrant worlds. But&nbsp;again, as Luke finds in the&nbsp;bleakest corners of the world,&nbsp;he finds reasons to celebrate&nbsp;the resilience of communities&nbsp;and the continued sense of&nbsp;hope despite the surrounding&nbsp;despair.<br /><br /></div> <div>This new body of work is one&nbsp;of difference and disparity.&nbsp;We are presented with the&nbsp;multiple dimensions that&nbsp;capture the mixed emotions&nbsp;and juxtaposition of zones of&nbsp;conflict.<br /><br /></div> <div>His layers of stencils and paint&nbsp;capture and reflect the layers&nbsp;of complexity and emotion&nbsp;he attempts to capture. His&nbsp;figures 'float' in a white&nbsp;background making them&nbsp;feel simultaneously distant&nbsp;and approximate.Surprisingly,&nbsp;this aids our ability to witness&nbsp;the lives portrayed by Luke&nbsp;through his unique looking&nbsp;glass.<br /><br /></div> <div>Once again, Luke's work&nbsp;crosses the boundaries,&nbsp;taking us from 'street art' to&nbsp;the gallery. More importantly,&nbsp;however, is the boundary that&nbsp;he forces us to confront -&nbsp;from looking away to&nbsp;witnessing the horrors of war&nbsp;and displacement.</div> </div> Wed, 23 Jul 2014 15:16:27 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Rob Lowe - Beach London - August 8th - August 31st <p class="font_8" style="font-size: 14px; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">We are pleased to announce Rob Lowe, also known as Supermundane will be showing with us here at Beach in August. He is an artist, graphic designer,&nbsp;typographer, illustrator and writer.&nbsp;His signature mesmeric drawings have been published and exhibited worldwide.</span></p> <p class="font_8" style="font-size: 14px; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">"I thought I heard a scientist use the term 'stupid nature' on the radio, although having looked into this,&nbsp;I can't find any reference to the term at all."</span></p> <p class="font_8" style="font-size: 14px; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">&nbsp;</span></p> <p class="font_8" style="font-size: 14px; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">With <em>Stupid Nature</em>, Rob Lowe (also known as Supermundane) continues his interest in pure line, optical effects and colour.&nbsp;Hard, controlled lines have given way to more immediate mark-making. The medium &ndash; in this case an alcohol based ink called Krink &ndash;&nbsp;is allowed to&nbsp;take the lead:&nbsp;lines drip&nbsp;and&nbsp;wobble and&nbsp;ink&nbsp;builds&nbsp;up&nbsp;on&nbsp;coated paper to create a glossy physicality. <br /></span></p> <p class="font_8" style="font-size: 14px; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">The movement and optimism of Lowe's previous work is there, but less acute. The lines that drip falter in a mildly melancholy way; colours battle against each other; and the larger areas of colour sit apart from each other. All the drawings are on the same, standard, size paper (50 x 70cm) and all are portrait, giving some&nbsp;sense of organisation,&nbsp;however arbitrary.</span></p> <p class="font_8" style="font-size: 14px; text-align: justify;"><span style="font-size: small; font-family: arial,helvetica,sans-serif;">"I think of stupid nature as meaning instinct or the unlearned. It seems more and more that the need for proof is used as a way of undermining hard-to-define natural responses. These drawings feel very natural &ndash; I have an automatic emotional response to them which is difficult to explain. <em>Stupid Nature</em> just seems to fit perfectly as an overall title - it alters the context in which the pieces are viewed."</span></p> Mon, 21 Jul 2014 06:49:42 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list William Klein - Michael Hoppen Contemporary - July 10th - September 6th Mon, 21 Jul 2014 06:47:22 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Elizabeth McAlpine - Laura Bartlett Gallery - September 6th - October 5th Mon, 21 Jul 2014 06:41:34 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Jon Thompson - Anthony Reynolds Gallery - September 17th - October 25th Mon, 21 Jul 2014 06:37:56 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - Whitechapel Gallery - July 31st 7:00 PM - 9:00 PM <p style="text-align: justify;">A documentary about a film that never was,&nbsp;<em>Rough Cut</em>by artist Jamie Shovlin explores the making of a 1970s exploitation film,&nbsp;<em>Hiker Meat</em>; an imaginary concept by fictitious Italian director Jesus Rinzoli. This film-within-a-film operates as both affectionate homage to and academic deconstruction of the exploitation genre, creating a Frankenstein-esque cut-and-paste of the era's concerns and fascinations, emphasising the archetypes and mythologies of this often critically maligned period of film-making. Described by director Shovlin as a 'metamentary', stripping back the making, unmaking and remaking of both the film and the idea, as a kind of ode to the power of imagination. Followed by a Q&amp;A with&nbsp;<strong>Jamie Shovlin&nbsp;</strong>and Curator&nbsp;<strong>Omar Kholeif</strong>.</p> Sat, 19 Jul 2014 16:53:10 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list SICKBOY - The Outsiders London - July 25th - August 30th <p class="Default" style="text-align: justify;">The Outsiders London are thrilled to present <em>Make It Last Forever</em>, a multi-disciplinary exhibition by UK street art pioneer, Sickboy. Marking the artist&rsquo;s first London gallery appearance, this comprehensive showcase features a unique body of surreal abstract canvases alongside an elaborate installation designed specifically for The Outsiders&rsquo; basement space.</p> <p class="Pa0" style="text-align: justify;">A leading artist to emerge from Bristol&rsquo;s infamous graffiti scene, Sickboy&rsquo;s humorous and subversive street exploits have firmly placed him in the upper echelons of the British street art movement. With appearances in Banksy&rsquo;s Oscar nominated &lsquo;Exit Through The Gift Shop&rsquo; and impromptu public installations outside the Tate Modern, Sickboy&rsquo;s return to London with a full-scale exhibition celebrates a poignant embodiment of the artist&rsquo;s inspirations to date.</p> <p class="Pa0" style="text-align: justify;">Seeking to freeze-frame life&rsquo;s ephemeral nature in the form of vivid, forward-thinking paintings, sculpture and installation, Make It Last Forever presents the unconventional artist&rsquo;s most cohesive showcase to date. Utilising a variety of mediums Sickboy has been able to curate an array of personal assemblages, between his London and Barcelona studios, into an intimate and thought-provoking new body of work.</p> <p class="Pa0" style="text-align: justify;">&ldquo;Since I can remember I have been collecting objects of personal interest and categorising them to give the sum of objects a new story amongst their interchangeable juxtaposition, anything from a Disney character jilted by the ages to inanimate objects of beauty found on the street, jewels amongst the trash or gifts from the good people in my life. A good find always excited the inner child and pushes the story teller within me forward.&rdquo; &ndash; Sickboy, 2014</p> <p class="Pa0" style="text-align: justify;">Alongside a bold technicolour installation, Sickboy&rsquo;s iconic visual language will be reappearing in several guises throughout the show including his pioneering temple shrines, ever-popular superman sculpture and distinctive Sickboy coffin. Inspired by Natural History museum displays, the artist&rsquo;s &lsquo;Table of Contents&rsquo; will take pride of place amidst the interactive installation and will feature the artist&rsquo;s most sacred ephemera, travelling souvenirs, embroidered patches and unobtainable collectables. The upper gallery will play host to an array of cosmic canvases inspired by the culminated memorabilia, depicting abstract narratives, otherworldly characters and hallucinogenic worlds.</p> <p style="text-align: justify;"><em>Make It Last Forever</em> presents a unique multimedia visual diary that seeks to outlive its creator, a rare opportunity to delve inside the chaotic existence of a nomadic talent. Just as materialistic articles end up lost, stolen or blown away, Sickboy highlights the transient and wreckless nature of our existence, and thereby questions how can we preserve these sentimental archives and nostalgic battle scars, how to Make It Last Forever? Although the stunts, slogans and constructions have been confined inside gallery walls, the ethos and inquisitive spirit remain true to the original street displays that earned Sickboy his undisputed global recognition.</p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> Fri, 18 Jul 2014 14:27:13 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Andrew Kerton, Lucy Stein - Gimpel Fils Gallery - July 29th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;"><img style="display: block; margin-left: auto; margin-right: auto;" src="http://dbprng00ikc2j.cloudfront.net/userimages/25249/12yr/20140710154400-unnamed__1_.jpg" alt="" />On a hungover morning in Plymouth, painters (and friends) Lucy Stein and Simon Bayliss stumbled across a paperback copy of 'The White Hotel', resting on a street wall. It was the day after the opening of 'SS Blue Jacket', their inaugural exhibition as curatorial partners, and this literary encounter signified a serendipitous moment. With the book retrieved, and when invited to curate the Gimpel Fils summer show, it was clear from where the project should arise.</span><br /><br /><span style="font-size: small;">The novel, by DM Thomas, begins with a long poem written for the purpose of psychoanalysis, by a female patient of a fictionalised Sigmund Freud. In this text she imagines a wildly erotic affair with the professor's son, at a white hotel by a lake. Yet while the newly met couple indulge in incessant carnal pleasures, a series of catastrophes, including a fire and a flood, kill almost every other guest at the resort. The narrative is surreal, inscribed as a streaming hallucination, yet it imparts visceral suggestions of raw nature, freak weather, celestial events, and a magnificent surrounding countryside.</span><br /><br /><span style="font-size: small;">The exhibition draws on Gimpel Fils' legacy of exhibiting both modernist and contemporary artists. It includes pieces from the gallery collection, as well as work by invited artists. Through the prism of painting a poetic response to the themes of the book unfolds.</span></p> Fri, 18 Jul 2014 11:24:35 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list