ArtSlant - Recently added en-us 40 Graham Little - Alison Jacques Gallery - January 16th, 2015 - February 14th, 2015 Thu, 20 Nov 2014 10:10:33 +0000 - Drawing Room - November 28th 6:00 PM - 8:30 PM <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> Thu, 20 Nov 2014 10:07:16 +0000 Tom Butler, Susannah Douglas, Luke Jackson, Sam Jackson, Geraldine Swayne - CHARLIE SMITH london - November 28th - December 20th <p style="text-align: justify;">CHARLIE SMITH LONDON is pleased to announce its final show of the year,&nbsp;<em>Idolatry</em>. This exhibition presents a group of artists who work fundamentally in miniature form. Image based, their work is informed by contemporary and historical visual culture, and undergoes a transformation as the artist intervenes with the found or appropriated. Taking ownership of the image, each artist reinvents the mechanically (or digitally) reproduced by returning it to the handmade. The choice of subject and method of application combine to create evocative works that are quietly subversive.</p> <p style="text-align: justify;" align="left"><strong>Tom Butler</strong>&nbsp;collects Victorian cabinet cards and works over the image in delicately rendered gouache. Using ever evolving motifs Butler seeks to conceal elements of the original subject, whilst projecting alternative characteristics on to them. Geometric abstract patterns; flora; hair; fur; or bandages might be employed to interrupt the original photographic image.</p> <p style="text-align: justify;" align="left"><strong>Susannah Douglas</strong>&nbsp;makes impeccable drawings derived from found childhood photographs. Undoubtedly nostalgic, Douglas uses intelligent devices to jolt the viewer. Drawing on photographic techniques, Douglas might crop the drawing unusually; repeat an element to allude to spliced film; or subtly mirror an image, often having already collaged disparate source elements from which to make the drawing.</p> <p style="text-align: justify;" align="left"><strong>Luke Jackson</strong>&nbsp;draws on the political, social and philosophical to imbue his impasto paintings with an unusually weighty atmosphere. Often isolated within a space with only suggestions of an environment, Jackson&rsquo;s figures suggest a Kafkaesque state of monotony, endeavor, disorientation and menace.</p> <p style="text-align: justify;" align="left"><strong>Sam Jackson</strong>&nbsp;is recognized for his psychologically charged portraits and highly sexual nudes. Jackson&rsquo;s newest paintings depict figures engaged in sexual activity in outside, rural environments. Whilst often being direct, these paintings have a gentleness that suggests the erotic rather than pornographic, and recalls 19th century en plein air painting.</p> <p style="text-align: justify;" align="left"><strong>Geraldine Swayne</strong>&nbsp;makes seductive, lyrical paintings in enamel on copper or aluminium. Swayne&rsquo;s evident enthusiasm for the physicality and fluidity of paint is coupled with diverse and instinctive choices of subjects that are often surprisingly transgressive. Serial killers, murder victims and effete male models populate Swayne&rsquo;s paintings alongside celebrities, friends and historical figures.</p> <p style="text-align: justify;" align="left">Together with this exhibition we will present a new set of prints that was commissioned to exhibit at the recent Saatchi Gallery exhibition&nbsp;<em>Cultus Deorum</em>, curated by gallery director Zavier Ellis. The series features etchings; offset prints; linocuts; lithographs and c-type prints by Florian Heinke, Sam Jackson, Reece Jones, Eric Manigaud, Alex Gene Morrison, Gavin Nolan, Dominic Shepherd and The Cult Of RAMM&Sigma;LLZ&Sigma;&Sigma;. Each is an edition of 50 and available at just &pound;250 + VAT.</p> <p style="text-align: justify;" align="left">Please contact&nbsp;<a href="" target="_blank">CHARLIE SMITH london</a>&nbsp;for images and further information</p> Thu, 20 Nov 2014 09:58:46 +0000 - South London Gallery - November 22nd - November 23rd <p style="text-align: justify;"><span style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif;">Lawrence Weiner's exhibition&nbsp;<a href=";id=79ea2c9ff3&amp;e=3e10da6494" target="_blank">ALL IN DUE COURSE</a>&nbsp;culminates in a two-day programme looking at the potential of language in art inspired by the writing of Jack Spicer. The event invites a selection of artists, writers, musicians and filmmakers to explore the role of words as material, shapes, objects, signifiers, concepts, sounds, rhythms and vocal reverberations.</span></p> <p style="text-align: justify;"><span style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif;">On&nbsp;<a href=";id=3d07b0af74&amp;e=3e10da6494" target="_blank">Saturday</a>&nbsp;a selection of Lawrence Weiner&rsquo;s films will be presented in the Clore Studio. This programme features his &ldquo;comic films&rdquo; or "motion drawings" that have been produced since the early 2000s. These works will be presented on loop for free throughout the day. In the evening Lawrence Weiner's most recent film DIRTY EYES will be premiered in the UK.</span></p> <p style="text-align: justify;"><span style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif;">On&nbsp;<a href=";id=a524ee9c0d&amp;e=3e10da6494" target="_blank">Sunday</a>&nbsp;performances and interventions will be presented in the main gallery throughout the day, culminating in three live performances from&nbsp;4-6pm. With contributions from: Ben Cain, Adam Christensen, Dina Danish, Mary Hurrell, Dorine Van Meel and Camilla Wills.<br /></span></p> <p style="text-align: justify;"><span style="color: #000000; font-family: Verdana, Arial, Helvetica, sans-serif;"><em>Book tickets for the screening of DIRTY EYES on&nbsp;Sat 22 Nov 7pm,&nbsp;<a href=";id=da7b12004d&amp;e=3e10da6494" target="_blank">online</a>&nbsp;or call 020 7703 6120.</em></span></p> Thu, 20 Nov 2014 09:49:46 +0000 Maggi Hambling - Marlborough Fine Art - December 3rd - January 10th, 2015 <p style="text-align: justify;">The directors of Marlborough Fine Art are delighted to announce the upcoming exhibition, Maggi Hambling: 'Walls of Water:The Monotypes' to coincide with Maggi Hambling's show,&nbsp;<em>Walls of Water</em>, opening on November 26th at the National Gallery, London. Click the link below for the 'Walls of water' exhibition page at the National Gallery:<a href="" target="_blank">&nbsp;</a></p> Thu, 20 Nov 2014 09:43:31 +0000 Richard Tuttle - Hauser & Wirth Somerset - November 29th - February 22nd, 2015 <p style="text-align: justify;">Hauser &amp; Wirth Somerset is excited to present the gallery&rsquo;s first exhibition dedicated to renowned American artist Richard Tuttle. Having works previously on display as part of &lsquo;Re-view: Onnasch Collection&rsquo; (2013 &ndash; 2014) at Hauser &amp; Wirth London and Hauser &amp; Wirth New York, Tuttle returns as the focus in a solo exhibition devoted to his works from the 1980s, a highly creative period in his career. The exhibition showcases a selection of Tuttle&rsquo;s multi-media assemblages, offering an insight into his improvised free-form aesthetic and his delicate three-dimensional work, with its abundance of colours, shapes and materials.</p> <p style="text-align: justify;">Emerging in the 1960s in a generation of process-oriented postminimalism, Tuttle has created a remarkable and varied body of work that defies historical or stylistic categorisation. The visual language of the work has a lot in common with painting, sculpture, poetry and drawing, yet it appears to exist in the space between these practices. His process is deeply instinctual and responsive, crafting unique objects that must be encountered on their own terms.</p> <p style="text-align: justify;">Tuttle&rsquo;s artistic evolution in the 1980s echoed a general reaction in the art world to the reductive formalism and reserve that had come to dominate artistic discourse in the preceding decade. His wall-affixed assemblage constructions began to incorporate more diverse materials and also began to literally expand into three-dimensional space. With these works, Tuttle subverted expectations about Modernist sculpture and instead created small poetic objects.</p> <p style="text-align: justify;">Tuttle&rsquo;s dedication to every-day materials, such as aluminium, foil, plastic and rope, emphasises the hand-made, hand-held nature of the objects and as a result, imbues them with a sense of familiarity and intimacy. The significance of the everyday is highlighted in the 1984 series &lsquo;Two or More&rsquo; &ndash; utilising cardboard, wire, wood, plastic, foil and even an aluminium Pepsi can. The geometry of the cardboard backings is pitted against the plasticity of the objects Tuttle attaches to them. Held together with palpable delicacy by ephemeral connective materials &ndash; like fine wire, cursory gluing and in other cases, tape. He aims to make a singular world out of disparate parts, and in doing so changes the inference of individual objects, mitigating their beginnings and creating a new compostition altogether.</p> <p style="text-align: justify;">Tuttle wants viewers to use visual and tactile senses to perceive the work. The pieces are deliberately hung lower than eye height to relate them equally to the hand, allowing the viewer to experience a sense of the hand and eye being engaged simultaneously &ndash; which is the experience of the artist in creating the works. Tuttle intends the viewer to engage in new sensory experiences, and in doing so, expand their contact with the totality of human existence. &lsquo;One remarkable phenomenon of my work is its love for being hung at a height of fifty-four inches from the floor&hellip; [This height] brings me in contact with anything that&rsquo;s ever existed in human life.&rsquo;</p> <p style="text-align: justify;">&ndash; Richard Tuttle, 2004.</p> <p style="text-align: justify;">Tuttle is drawn to the ambience and light that can be reflected by certain materials and surfaces; his use of cellophane, glass, plastic and aluminium such as in the 1986 series &lsquo;Secret Ways to remain happy&rsquo;, promotes the play of light and shadows, enhanced by the vibrant palette of these works, further creating unique experiences of perception. Tuttle masterfully merges art forms to construct composite works that are both beguiling and fascinating, truly engaging the viewer to look and look again.</p> <p style="text-align: justify;"><strong>About the Artist</strong></p> <p style="text-align: justify;">Richard Tuttle was born in New Jersey in 1941. He studied art, philosophy and literature at Trinity College, Hartford, Connecticut, from 1959 to 1963. Tuttle has been the subject of numerous solo exhibitions and retrospectives, at venues including the Whitney Museum of American Art, Museum of Contemporary Art, Chicago, IL, the Dallas Musuem of Art, Dallas, Texas, the Drawing Center, New York, NY, the&nbsp;ICA, London, England, and the Mus&eacute;e d&rsquo;art moderne de la ville de Paris, Paris, France, among many others. His work was also included in the Venice Biennale in 1997 and 2001; the Whitney Biennial in 1977, 1979, 1987, and 2000; and Documenta 5 (1972), 6 (1977), and 7 (1982). His work is held in major private and public collections around the world. In October 2014 a major exhibition of Tuttle&rsquo;s works opened at Whitechapel Gallery, London, England, alongside a commission in the Turbine Hall at Tate Modern, London, England. Richard Tuttle currently lives and works between Maine, New Mexico and New York.</p> Thu, 20 Nov 2014 09:29:12 +0000 Piplotti Rist - Hauser & Wirth Somerset - November 29th - February 22nd, 2015 <p style="text-align: justify;">Hauser &amp; Wirth is pleased to announce two exhibitions of new video works by Pipilotti Rist, unveiled in parallel presentations across its London and Somerset galleries.</p> <p style="text-align: justify;">A pioneer of video art, since the mid-eighties, Rist&rsquo;s film installations take many guises. She has likened them in the past to handbags, &lsquo;because there is room in them for everything: painting, technology, language, music, flowing pictures, poetry, commotion, premonitions of death, sex and friendliness.&rsquo; From this versatile, capricious medium, Rist draws inner and outer worlds of kaleidoscopic colourful wonderment.</p> <p style="text-align: justify;">Hauser &amp; Wirth Somerset will present two new rooms by Pipilotti Rist and an installation of &lsquo;hiplights&rsquo; in the farmyard. From summer 2012 through to summer 2013, Rist spent a sabbatical in Bruton, taking part in the first Hauser &amp; Wirth Somerset artist residency. The experience had a profound impact upon her practice, producing new work in response to the surrounding landscape and the people she met.</p> <p style="text-align: justify;">Rist&rsquo;s title &lsquo;Stay Stamina Stay&rsquo; plays on its double-meaning; referencing the stamen, (the pollen-producing reproductive organ of a flower) and also a &lsquo;resistance to hardship&rsquo;. Rist is concerned with our connection and interaction with the world around us; how we relate to our landscape, what preconceptions we carry from our respective cultures, and what those cultures have in common. Through her sensuously observed close-ups of the natural environment and the human body, Rist is interested in the &lsquo;often unbelievable strength that humans are generating every day.</p> <p style="text-align: justify;">In the Rhoades Gallery, &lsquo;Mercy Garden&rsquo; (2014) is projected onto two of the walls; the luscious imagery in the installation comes mostly from footage the artist shot whilst living in Somerset. Slow motion close-ups play out in mirrored effect; fingers stroke stinging nettles, hands caress soft vivid petals, lips purse underwater and washing floats in the breeze, against a bright blue sky. The images are filtered and layered, set to a soundtrack of banjo folk music by Heinz Rohrer, inviting visual and tactile wonder and engaging all of the senses.</p> <p style="text-align: justify;">This sumptuous all-encompassing environment is designed for relaxation and meditation; the floor is partially carpeted in lush green with Somerset sheepskin rugs scattered across. Rist encourages her viewers to recline, inviting them to contemplate, and at the same time, to share a collective experience with their fellow spectators.</p> <p style="text-align: justify;">Rist is commonly known for creating works that are at once feminist and feminine, often exploring the female body; but in &lsquo;Mercy Garden&rsquo;, all of the characters are men (or boys) and the film celebrates a masculine strength, combined with fragility and tenderness. The main character, a young local farmer, is shown interacting with his natural environment. Visceral images of his hands running through soil and tending plants pose questions about life and death, and humans&rsquo; relationship to the natural world. Rist describes the work as &lsquo;a poem about agriculture, the farmer, his body, his fingers and his machines as an extension of the body&rsquo;.</p> <p style="text-align: justify;">On entering the Bourgeois Gallery, the viewer is immersed in another of Rist&rsquo;s parallel worlds. The installation &lsquo;Sleeping Pollen&rsquo; (2014) is projected through seven mirrored spheres, suspended from the ceiling, which create moving projections all around the space. Visitors are invited to move in and around the projections, and also to become part of them, reflecting the artist&rsquo;s continuing desire to create a close relationship between work and viewer. The doors and windows have been covered in translucent acetate in cherry red and moss green, creating a hazy glow that changes in intensity throughout the day. Rist describes &lsquo;Sleeping Pollen&rsquo; as &lsquo;offering the winter plants an electronic bed in a dark cosy room. Their dreams spin slowly in the air&rsquo;.</p> <p style="text-align: justify;">Outside, the installation &lsquo;Hiplights&rsquo; (2011), which was first conceived for Rist&rsquo;s solo exhibition &lsquo;Eyeball Massage&rsquo; at the Hayward Gallery, London in 2011, is a remarkable, outdoor light work, created from hundreds of pairs of underpants with&nbsp;LED&nbsp;lamps. The underwear is strung between each of the buildings around the farmyard, like an enormous celebratory washing line.</p> <p style="text-align: justify;"><strong>About the Artist</strong></p> <p style="text-align: justify;">Pipilotti Rist was born in Grabs in the Swiss Rhine Valley in 1962. Since emerging on the international art scene in the mid-1980s and 1990s with famous single channel videos such as &lsquo;I&rsquo;m Not The Girl Who Misses Much&rsquo; (1986) and &lsquo;Pickelporno&rsquo; (1992), Rist has had numerous solo and group exhibitions and is one of the most celebrated video artists working today. In 2009 Rist was awarded the Joan Mir&oacute; Prize for her wide-ranging creative activity and her outstanding contribution to the current artistic scene by Fundaci&oacute; Joan Mir&oacute;, Barcelona, Spain. For her first feature film, &lsquo;Pepperminta&rsquo; (2009), in 2009 Rist was awarded the President of the Jury&rsquo;s Extraordinary Award at Spain&rsquo;s 6th Seville European Film Festival and in 2010 she received the &lsquo;Cutting the Edge Award&rsquo; by Miami International European Film Festival. In 2012, Rist was awarded the Harper&rsquo;s Bazaar Art China prize for &lsquo;Best Artist&rsquo; and in June 2013, she was awarded the Zurich Festival Prize 2013.</p> <p style="text-align: justify;">Recent solo exhibitions include &lsquo;Gentle Wave in Your Eye Fluid&rsquo;, Times Museum in Guangzhou, China (2013); &lsquo;Pipilotti Rist. A la belle &eacute;toile&rsquo;, Henry Art Gallery, University of Washington, Seattle WA (2012); &lsquo;Pipilotti Rist &ndash; Spear to heaven!&rsquo;,&nbsp;LEEUM&nbsp;Samsung Museum of Art, Seoul, Korea; &lsquo;Blutbetriebene Kameras und quellende R&auml;ume&rsquo;, Kunstmuseum St. Gallen, Switzerland (2012); &lsquo;Eyeball Massage&rsquo;, Hayward Gallery, London, England (2011) which travelled to Kunsthalle Mannheim, Mannheim, Germany (2012); &lsquo;Parasimpatico&rsquo;, Fondazione Nicola Trussardi, Cinema Manzoni, Milan, Italy (2011); &lsquo;Pipilotti Rist. Partit amist&oacute;s &ndash; sentiments electr&oacute;nics&rsquo;, Fundaci&oacute; Joan Mir&oacute; &amp; Centre Cultura Caixa Girona Fontana d&rsquo;Or, Barcelona / Girona, Spain (2010); &lsquo;Elixir &ndash; The video organism of Pipilotti Rist&rsquo;, Museum Boijmans Van Beuningen, Rotterdam, Netherlands (2009); &lsquo;Pour Your Body Out (7354 Cubic Metres)&rsquo;, MoMA, New York NY (2008) and &lsquo;A la belle &eacute;toile&rsquo;, Centre Pompidou, Paris, France (2007).</p> Thu, 20 Nov 2014 09:26:26 +0000 John Chamberlain - Hauser & Wirth Somerset - November 29th - February 22nd, 2015 <p style="text-align: justify;">Hauser &amp; Wirth Somerset is proud to present <em>John Chamberlain: Gondolas</em>, showcasing two large-scale, floor-based works from the Gondolas series (1981 &ndash; 1982), a key group of Chamberlain&rsquo;s sculptures, which has remained remarkably undiscovered. The full series comprises fourteen sculptures (including the large-scale related work &lsquo;Dooms Day Flotilla&rsquo;). Five of the Gondolas are in the collection of the&nbsp;DIA&nbsp;foundation in New York, NY and three are in the Chinati foundation in Marfa, Texas. Each of the Gondolas is named after an American poet or writer.</p> <p style="text-align: justify;">Known for his use of found and repurposed auto parts, dating back to the 1960s, Chamberlain used these contemporary, inexpensive materials to create lavishly coloured and layered sculptures. With its emphasis on paint finishes and the raw materials&rsquo; lines and seams, his work has been described as three-dimensional Abstract-Expressionist painting. Often misunderstood, Chamberlain had little interest in the material as subject matter; his concerns with the car parts were entirely practical, preferring the works to be viewed aesthetically &ndash; as sculpture.</p> <p style="text-align: justify;">Gondola Marianne Moore and Gondola Hart Crane are elongated structures, consisting of cut up truck frames as armatures, piled with pieces of cut, folded and crushed scrap metal; their horizontal floor-based configuration is reminiscent of the Venetian gondola. Chamberlain has taken advantage of the existing colour of each car fragment, and by spraying, stencilling, dribbling, graffitiing, and airbrushing layers of brilliant hues, onto the metal, he has created vivid, carnivalesque effects.</p> <p style="text-align: justify;">Chamberlain spoke often of the &lsquo;right fit&rsquo; or &lsquo;sexual fit&rsquo; as he joined piece-to-piece, interlocking steel bands and transforming them from cold anonymous parts, into a living mass. Klaus Kertess describes the sculptures as &lsquo;engaged in intimate play by his (Chamberlain&rsquo;s) hands in a kind of trial and error mating dance, continuing until two shapes are compatibly joined &ndash; and then another is coaxed to participate and then another, in a kind of agitated visual orgy&hellip;.Seldom has sculpture so physically embodied the free associativeness and combinative play so crucial to creative thinking visually and verbally.&rsquo;</p> <p style="text-align: justify;">Chamberlain&rsquo;s titles rarely make direct reference to the form or content of the individual work. Assigning specific hidden codes or establishing definitive meanings is not the intention. His naming of the Gondolas was a tribute to his favourite writers, whose work he first encountered whilst a student at Black Mountain College. His teachers included poets Robert Creeley, Robert Duncan, and Charles Olson; Chamberlain considered that his years at the college were the greatest influence on his work. Whist there, he began writing his own poems, arranging words and fragments that he had collected from various sources, into new configurations &ndash; a method he later likened to his sculptural work: &lsquo;There is material to be seen around you every day. But one day something &ndash; some one thing &ndash; pops out at you, and you pick it up, and you take it over, and you put it somewhere else, and it fits, it&rsquo;s just the right thing at the right moment. You can do the same thing with words or with metal. I guess that&rsquo;s part of my definition of art. Art is a peculiar madness in which you use other means of communication, means that are recognisable to other people, to say something that they haven&rsquo;t yet heard, or haven&rsquo;t perceived, or had repressed.&rsquo;</p> <p style="text-align: justify;">Marianne Moore, a recipient of both the Pulitzer Prize in poetry and the National Book Award, was one of the foremost American poets of the Twentieth Century. Her work is characterised by a joy in vernacular language, emotional candour, and acute observations of people, places, animals, and art. As the editor of several of the most important poetry journals, and as an enthusiast for modern art, she would have been well-known to Chamberlain, and his Black Mountain College teacher, Charles Olson.</p> <p style="text-align: justify;">Hart Crane is a pivotal figure in American literature, and he is regarded as both the quintessential Romantic artist and the embodiment of those extreme characteristics &ndash; hope and despair, redemption and damnation &ndash; that seemed to preoccupy many writers in his time. After battling depression and career disappointments, during a sea voyage between Mexico and the United States he finally took his own life, by leaping into the Gulf of Mexico. Chamberlain&rsquo;s &lsquo;Gondola Hart Crane&rsquo; can be seen in part as a memorial to Crane&rsquo;s watery end.</p> <p style="text-align: justify;"><strong>About the Artist</strong></p> <p style="text-align: justify;">John Chamberlain was born in 1927, in Rochester, Indiana. From 1943 &ndash; 46 he served in the U.S. Navy. He attended The Art Institute of Chicago, 1951 &ndash; 52, before studying at Black Mountain College, North Carolina, 1955 &ndash; 56. His first major solo exhibition was held at the Martha Jackson Gallery, New York, in 1960. His work was included in the Museum of Modern Art&rsquo;s 1961 group exhibition, &lsquo;Art of Assemblage&rsquo;, and during that same year he participated in the S&atilde;o Paulo Bienal. In 1964, his work was exhibited at the Venice Biennale. In the 1960s as well as making sculpture from car parts, Chamberlain also experimented with other mediums including foam, fibreglass, latex and plexiglass. In 1971, he had a retrospective at the Solomon R. Guggenheim Museum, New York. His next major retrospective was in 1986 at the Museum of Contemporary Art, Los Angeles. In 1993, Chamberlain received both the Skowhegan Medal for Sculpture, Skowhegan School of Painting and Sculpture, Maine, and the Lifetime Achievement Award in Contemporary Sculpture from the International Sculpture Centre, Washington, D.C. He was elected a member of the American Academy and Institute of Arts and Letters, New York in 1990 and received the Distinction in Sculpture Honour from the Sculpture Center, New York, in 1999. He died in Manhattan in 2011.</p> Thu, 20 Nov 2014 09:24:10 +0000 Beat Zoderer - Bartha Contemporary - November 27th - February 28th, 2015 <p style="text-align: justify;">Bartha Contemporary is delighted to announce the third solo exhibition of Swiss artist, Beat Zoderer (b.1955). Entitled &ldquo;Fold &amp; Dip and Other Incidents&rdquo;, the exhibition will showcase an overview of recent works including a new series of works on paper, which inspired the title of the show. Please join us for the private view on&nbsp;Thursday 27th November from 6:30 to 8:30 pm. This exhibition coincides with the presentation of a site- specific installation at the Sleeper art space in Edinburgh, entitled &ldquo;A Crumpled Sheet&rsquo;, which will open to the public on&nbsp;Friday, 28th November&nbsp;from 5:00 to 7:00 pm.</p> <p style="text-align: justify;">&gt;&nbsp;<a href="" target="_blank">Please join this event on Facebook</a></p> <p style="text-align: justify;">Materiality has always been at the heart of Zoderer&rsquo;s concerns; he works with a broad spectrum of materials, including everyday objects ranging from wool and thread, to photo-paper, tin and PVC. Zoderer&rsquo;s process takes him from one media to another, whether its drawing, sculpture, or installation. Through his diverse practice and spontaneous way of working, Zoderer continues to question the aesthetic parameters of art, assesses its validity and pursues a continuous balance between art, reflection and reality.</p> <p style="text-align: justify;">The artists&rsquo; works have been described as &ldquo;correct errors&rdquo;, while maintaining our attention each piece evolves as the viewer moves around a work. First seeming systematic and precise, the pieces reveal a multitude of hidden and unexpected qualities upon closer inspection.</p> <p style="text-align: justify;">Zoderer&rsquo;s new series takes shape through his &lsquo;fold and dip&rsquo; technique; along the folded lines of tracing paper, Zoderer dips sections of the folds into paint, accentuating the lines he originally created. This process produces energetic paper based works, highlighting the materiality of the paper and igniting Zoderer&rsquo;s love for sporadic paradigms as well as his joyful use of a wide colour palate.</p> <p style="text-align: justify;">Other works in the exhibition include a recent bronze sculpture, which together with the new works on paper will be shown alongside carefully selected works from a number of different series&rsquo; of works, made since his mid-career retrospective at the Haus Konstruktiv, in Z&uuml;rich.</p> Thu, 20 Nov 2014 09:21:16 +0000 Tarka Kings, Tristano di Robilant - Faggionato Fine Art - December 3rd - January 30th, 2015 Thu, 20 Nov 2014 09:10:42 +0000 Tsherin Sherpa, Tenzing Rigdol, Kesang Lamdark - Rossi & Rossi London - December 4th 5:00 PM - 8:00 PM <p>We are pleased to announce that on Thursday 4th December, Rossi &amp; Rossi will open its prestigious new gallery at&nbsp;<strong>27 Dover Street</strong>, in the heart of London's Mayfair.</p> <p>In celebration of the opening, the gallery will feature a presentation of classical Himalayan works of art as well as contemporary Tibetan art &ndash; an affirmation of Rossi &amp; Rossi's commitment to exhibiting the very best examples of classical and contemporary Asian art. The fine works of art include a rare ca. 1200 Tibetan thangka of Buddha Mahavairocana. The thangka is a particularly exquisite example from the early period of Tibetan art production, and is evidence of the artistic exchanges between Tibet and Pala India during this period. To compliment this exquisite work of art, three contemporary Tibetan artists,&nbsp;<strong>Kesang Lamdark, Tenzing Rigdol</strong>&nbsp;and&nbsp;<strong>Tsherin Sherpa</strong>, have each been commissioned to produce a work inspired by the 13th century thangka. Executed using different techniques and mediums, the works demonstrate the variety and vibrancy found in contemporary Tibetan art, as well as the close connection between classical Tibetan art and contemporary practice. These contemporary examples will be shown alongside the thangka as well as other rare classical Himalayan works of art, demonstrating an exciting fusion of past and present artistic traditions and influences.</p> <p>We sincerely hope that you will be able to join us in celebrating the opening of the new gallery, and look forward to sharing our expertise and passion with our friends and clients as we move into the next year.</p> Mon, 17 Nov 2014 16:20:53 +0000 Luciano Ventrone - Albemarle Gallery - November 27th - December 13th <p>Luciano Ventrone is regarded by the Italian art establishment, museums, curators and critics as one of the leading exponents of his genre. He is loved, admired and respected by the Italian people, collected by the Italian Government, Corporate Institutions and avid collectors to such extent that his one-man shows are complete sell-outs. Described as &lsquo;hyper-realist&rsquo; the Art Historian and Critic, Edward Lucie-Smith states, &ldquo;Ventrone is often categorized as a &lsquo;hyper-realist&rsquo;. This implies that his work is somehow related to photography. As anyone who has looked at his paintings carefully will know, this is not the case. Far from offering us the somewhat flattened version of physical forms typical of the monocular vision of the camera, his paintings have an almost overwhelming solidity and physical presence, to the point where the nearest shapes seem ready to break through the front plane of the canvas</p> Mon, 17 Nov 2014 11:32:09 +0000