ArtSlant - Current exhibits en-us 40 Josef Albers, Naum Gabo, Ben Nicholson - Alan Cristea Gallery - 31 Cork St - July 12th, 2012 - August 10th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Bringing together prints and source material, this exhibition explores approaches to abstraction in printmaking by Josef Albers, Naum Gabo and Ben Nicholson. </span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Approaches to printmaking by three abstract artists.<br /><br />Josef Albers, Naum Gabo and Ben Nicholson each believed, in their own way, in the transformative power of abstract art. Born within six years of one another, their lives and work at times ran in parallel and at other points converged. They each came to printmaking at different stages of their careers and, in each case, their prints have endured as an integral part of their oeuvre.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><em>Abstract Impressions</em> showcases close to 50 prints alongside source material including original printing blocks, trial proofs and preparatory sketches revealing the working methods of these celebrated artists first-hand. It is the first time that the work of these three artists has been brought together in the context of one exhibition. The exhibition is accompanied by a fully illustrated catalogue which includes essays by Nicholas Fox Weber, Graham Williams and Michael Harrison.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Gabo and Albers both taught at the Bauhaus before the rise of fascism in Germany forced them to leave. In 1932 Gabo went to Paris where he joined the Abstraction-Création group with Piet Mondrian, before later moving to England and St Ives and into the artistic group that included Nicholson and Barbara Hepworth. After the war, he moved to America, eventually living in Connecticut where he remained until his death in 1977. Albers left the Bauhaus for America and a teaching post at Black Mountain College, before ending up, like Gabo, in Connecticut, this time at New Haven where he taught at Yale and where he died in 1976. That two pioneers of 20th Century abstraction, one from Bottrop and one from Bryansk, should end up 25 miles apart is pure chance. What is clearly not a coincidence is that their - and so many of their contemporaries - artistic and ideological vision of abstraction, was in part fuelled by their circumstances as displaced émigrés, forced to move at the hands of an oppressive regime and that in America they found a new international audience which embraced their practice and ideas.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Ben Nicholson is often cited as the artist who brought an international sense of abstraction to England. His vision was stimulated by well-documented visits to Paris and Mondrian's studio, as well as by their friendship when the latter moved to London. Nicholson and Gabo both edited Circle: An International Survey of Constructivist Art in 1936 and, in Cornwall, they were fundamental in establishing the avant-garde community that changed the history of 20th Century British art.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">In 2007 the Alan Cristea Gallery held the largest ever exhibition of Ben Nicholson prints and to accompany this published the catalogue raisonné of the artist's graphic work. The Alan Cristea Gallery is the sole worldwide representative for the prints of Josef Albers and Naum Gabo.</p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Fri, 13 Jul 2012 18:07:26 +0000 Gordon Cheung, Michael Craig-Martin, Christiane Baumgartner, Richard Serra, Lisa Ruyter, Julian Opie, Howard Hodgkin, Jan Dibbets, Ian Davenport - Alan Cristea Gallery- 34 Cork St - July 12th, 2012 - August 10th, 2012 <div> <p style="text-align: justify;"><span style="font-size: small;">A mixed exhibition featuring works by Christiane Baumgartner, Gordon Cheung, Michael Craig-Martin, Ian Davenport, Jan Dibbets, Howard Hodgkin, Julian Opie, Lisa Ruyter and Richard Serra.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Christiane Baumgartner: <em>Himmelblau</em></strong></span><br /><span style="font-size: small;">Christiane Baumgartner is best known for monumental woodcuts based on films and video stills, often dealing with themes of war, speed and industry. By making woodcuts of video stills, Baumgartner combines the most recent and one of the oldest means of producing an image.Baumgartner filmed scenes from a World War II documentary from her own television set to use as source material for <em>Himmelblau </em>(which translates as <em>Sky Blue</em>). With imagery hovering between figuration and abstraction it is the first woodcut that she has printed in two colours.Baumgartner's work was included in <em>Eye on Europe</em>, the groundbreaking exhibition at the Museum of Modern Art, New York, and is held in over 30 public collections around the world including the Albertina, Vienna, the Museum of Modern Art, New York, the Bibliothèque Nationale de France, Paris, and the Staatliche Museen zu Berlin, Germany.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Gordon Cheung: <em>Tulipmania prints</em></strong></span><br /><span style="font-size: small;">For Cheung the stock listings, which form the background of his prints and paintings, constitute an apt vehicle from the everyday to use as a metaphor for the boom and crash of ideology. As he states, they represent ‘a global space; each tiny digit part of a global network representing a company, service, workforce and, ultimately, us the individual.' The tulip is a recurring motif in Cheung's recent work; referencing both the golden age of Dutch Vanitas and also an early example of a speculative bubble when, in 1636 - 1637 in the Netherlands, the frantic demand for tulip bulbs boosted prices to extremely high levels before suddenly collapsing. Cheung's works are held in international public collections including the Whitworth Museum, Manchester, the Hirshhorn Museum, Washington DC, the ASU Art Museum, Arizona, and the UBS Collection.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Michael Craig-Martin: <em>Art &amp; Design</em></strong></span><br /><span style="font-size: small;">Michael Craig-Martin's most recent series of screenprints combine instantly recognisable art-historical objects with iconic examples of 20th-century chair design. The artworks and chairs referenced are icons of art and design - signature pieces that have come to represent and symbolise an artist's or designer's work in its entirety. As such, the prints constitute an artistic homage to his predecessors but also a commentary on the commodification of this iconic imagery.Craig-Martin has had retrospective exhibitions at the Irish Museum of Modern Art, Dublin, Kunsthaus Bregenz, Austria, the National Art Centre, Tokyo, and has permanent large-scale installations at Regent's Place and The Laban Center, both in London. In 2006 he was appointed a Royal Academician. His work is held in numerous museum collections including the Tate Collection, London, the National Gallery of Australia, Canberra, and the Museum of Modern Art, New York. Alan Cristea Gallery is the sole worldwide representative for his limited edition prints and animations.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Ian Davenport: <em>Colorplan monoprints</em></strong></span><br /><span style="font-size: small;">The exploration of colour is fundamental to Ian Davenport's work, and his editioned prints are often accompanied by a number of unique colour variations. These Colorplan Monoprints are developed from his most recent editions, Colorplan Series. In creating the editions, Davenport first makes a painted study the same size as the intended print in schematically contrasting colours. The study is photographed and the image split into three components, each containing every third dripped line. These components are then transferred to photosensitive copper plates to be bitten in acid and then steel-faced. For printing, each line is individually hand-inked and then each plate is printed sequentially to build the image part by part. Davenport's work was part of the 2003 Tate Triennial and is held in numerous public collections including the Arts Council of Great Britain and the Tate Collection, London, the National Museum of Wales, Cardiff, the Weltkunst Collection, Zurich, and the the Dallas Museum of Art, Texas. He was nominated for the Turner Prize in 1991 and, in 1999, was a prize winner in the John Moores Contemporary Painting Prize.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Jan Dibbets: <em>Land-Sea Horizons<br /></em></strong>The horizon has been a recurring motif in the work of Jan Dibbets since the late 1960s when he began to use photography to record and emphasise aspects of the geometry of landscape. His recent body of works which playfully ‘tilt' horizons is the continuation of this long-standing preoccupation. The starting point for this series is a group of photographs which were taken by the artist in 1972 and have reappeared in his work since 2005. His Tilted Horizons series was the subject of an exhibition at the Musée d'art Moderne de la Ville de Paris in 2010 and, in 2011, of a three-centred exhibition in the Belgian town of Mechelen.Dibbets was one of the first artists to recognise large-scale colour photography as a medium in its own right. His exhibition in the Dutch Pavilion at the Venice Biennale in 1972 established his international reputation and he has influenced generations of younger photographers both through his own work and his teaching at the Düsseldorf Academy. His work has been the subject of numerous museum exhibitions and is in collections including Tate, London, the Stedlijk Museum, Amsterdam, and the Museum of Modern Art, New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Howard Hodgkin: <em>Stormy Weather</em></strong></span><br /><span style="font-size: small;">One of a new body of twelve intaglio prints that formed our recent exhibition in celebration of Howard Hodgkin's 80th birthday, Stormy Weather combines hand-painting with carborundum printing, a technique in which the viscous carborundum compound is applied to a plate to create impasto marks which, when dry, are inked and printed, embossing the paper to give a direct impression of the original brushstrokes.In 1985 Hodgkin won the Turner Prize and represented Britain in the Venice Biennale. His work has been the subject of numerous major retrospectives most notably at the Metropolitan Museum, New York in 1995 and more recently, in 2006, at Tate Britain, London, the Irish Museum of Modern Art, Dublin, and the Museo Nacional Centro de Arte Reina Sofia, Madrid. The Alan Cristea Gallery is the exclusive publisher of Hodgkin's hand-painted prints.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Julian Opie: <em>Dino crawling<br /></em></strong>Dino crawling is from Julian Opie's most recent series of lenticular pieces, in which the depicted figure appears to move in relation to the viewer. As Opie states ‘Movement has always seemed to be the 4th dimension in making a drawing. A still drawing can evoke or suggest movement but there are ways to actually make a drawing move. Since college days I have experimented with various forms of animation. Many of these tricks were developed a long time ago, before film existed. Lenticular lenses were used alongside early zoetropes and flip-books to create the illusion of movement.' Julian Opie is one of the UK's best known contemporary artists, exhibiting widely both nationally and internationally. His work can be found in many public collections worldwide including the Tate Collection, London, the Arts Council of Great Britain, the National Museum of Art, Osaka, and the Museum of Modern Art, New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><br /><strong>Lisa Ruyter: <em>A Room Without Doors</em></strong></span><br /><span style="font-size: small;">Lisa Ruyter's working process always begins with one of her photographs, which is transferred onto a surface and resolved into a line drawing. The subject is reduced to a few colour zones and the delineated areas are shaded with artificial hues that bear little or no relationship with the represented scenes. The result, a semi-abstracted, two-dimensional rendering of the subject, proudly displays its own photographic lineage, while complying with the perceptive constructions brought upon us by the digital age. Earlier this year Alan Cristea Gallery held its first exhibition of paintings by Lisa Ruyter; a body of work based on her research into the FSA archive of Depression -era photographs. She has also recently exhibited at the Macedonian Museum for Contemporary Art, Athens, Museum der Moderne, Salzburg, Kunstbuero, Vienna, and the Museum of Modern Art, Ibaraki, Japan.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Richard Serra: <em>Trajectory #3<br /></em></strong>Although best known for his monumental steel sculptures, Richard Serra is also a prolific and innovative printmaker. Trajectory #3 forms part of the Arc of the Curve series published by Gemini G.E.L. in California. The highly textured surface of this series was created by applying lithographic rubbing ink onto a sheet of frosted Mylar that had been taped to an exterior stucco wall of the printing studio. This texture sheet, along with screenprints made from Serra's drawings, were photo-transferred to copper etching plates, which were then placed into a custom-made acid tank, where they remained for several days before being ready to print. Serra's work has been the subject of major retrospectives at the Kunsthalle Tübingen, Germany, the Museo Nacional Centro de Arte Reina Sofia, Madrid, and twice at the Museum of Modern Art, New York. His work can be found in the collections of the Kunstmuseum Basel, the Guggenheim Museums, Bilbao and New York, the Stedelijk Museum of Modern Art, Amsterdam and the Whitney Museum of American Art, New York. Alan Cristea Gallery will be holding its first solo exhibition of Richard Serra prints in 2013.</span></p> </div> Fri, 13 Jul 2012 18:06:19 +0000 Group Show - Albemarle Gallery - July 26th, 2012 - August 25th, 2012 <p>Group Show.</p> <p>Aqueous </p> <p>25 Jul - 25 Aug 2012 </p> <p></p> <p>aqueous |ˈākwēəs; ˈak-|</p> <p>adjective</p> <p>of or containing water, typically as a solvent or medium <i>: an aqueous solution of potassium permanganate.</i></p> <p>• figurative like water; watery <i>: a great hall of aqueous marble.</i></p> <p>ORIGIN mid 17th cent.: from medieval Latin <b><i>aqueus</i></b>, from Latin <b><i>aqua ‘water.’</i></b></p> <p><a href=";;showFlipBtn=true" rel="nofollow"> </a></p> Wed, 18 Jul 2012 13:35:36 +0000 Pablo Atchugarry - Albemarle Gallery - July 26th, 2012 - September 8th, 2012 <p>Pablo Atchugarry : Espíritu Olímpico</p> <p>Sculpture </p> <p>25 Jul - 08 Sep 2012</p> <p>Unwitting victims of the modern age must burrow a way back to an almost ancient mindset in order to deal with the sculptures of Pablo Atchugarry. Irrepressibly, he continues a tradition recognisable since the beginning of carved sculpture but which has recently fallen into neglect and desuetude.At the foundation of all his work is what has been for centuries considered the basic motivation for making all art; namely, the sharing with others of the beautiful and imagined through demonstration of unique practical ability.</p> <p></p> <div class="exhibitionbottom"><a href=";;showFlipBtn=true" rel="nofollow" target="_blank"><img class="rollover" src="" border="0" /></a></div> Tue, 24 Jul 2012 13:29:39 +0000 Alex Schramm, Kyle Henderson - Anise Gallery - July 28th, 2012 - August 26th, 2012 <p>Anise Gallery brings together the work of Alex Schramm and Kyle Henderson, two artists inspired by their architectural training to produce exquisite linework relating to theories of biology, industrialisation and ethnography.</p> <p>Kyle’s improvised compositions meander across the canvas on a creative journey whilst Alex’s biomimetic forms translate otherworldly visions into rigid working drawings, both maintain the precise attention to illustrative detail one would expect from the hand of an architectural illustrator. Despite working with abstracted realities, they still operate in an architectural manner; developing briefs, resolving details and reworking the creative idea until it is a cohesive project, from the smallest canvas to the large installations the process is the same.</p> <p>Kyle Henderson is a London based architect and illustrator whose burgeoning interest in illustration and travel have driven and influenced his work. Kyle frequently returns to his<br />architectural roots to portray his view of the city and the excesses that lie within it. His debut solo show in Stockholm earlier this year was a huge success, selling almost every piece.</p> <p>The work of Alex Schramm engages with what technology means to us and how it changes our perception of the world we live in. His sketches are reminiscent of Francis Bacon, his mechanics that of Leonardo da Vinci, and his compositions Ernstian. The 3m high AgriBot series featured in Blueprint can be seen on permanent display at Home House Club in Portman Square where they surround the House Bar designed by Zaha Hadid.</p> <p>In The Narrators’ Line both these artists reinterpret scale so that it exists as an ambiguous vehicle to transport the viewer between the molecular and the metropolitan. Architecture without scale puts you in the shoes of Alice in a wonderland of architectural imagination.</p> Fri, 13 Jul 2012 11:01:13 +0000 Group Show - Anthony Reynolds Gallery - July 26th, 2012 - September 8th, 2012 Mon, 30 Jul 2012 17:16:40 +0000 Jake Harvey - Art First Contemporary Art - June 28th, 2012 - August 18th, 2012 <div class="exhibition"> <p style="text-align: justify;"><span size="2" style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">In 2007 Harvey co-conceived and was Principal Investigator on the STONE Project. The four-year research project was funded by The Arts and Humanities Research Council and undertaken through the Edinburgh College of Art where he is Emeritus Professor of Sculpture. Culminating in a major publication - STONE: A Legacy and Inspiration for Art, (2011, Black Dog Publishing), it includes work by Atsuo Okamoto and Jessica Harrison, who also contributes an essay titled <em>Body and Stone</em>.</span><o:p></o:p></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">For his first solo exhibition in Art First's new space in Fitzrovia, Harvey has invited Okamoto and Harrison to exhibit in AF Projects, under the unifying title, STONE.</span><o:p></o:p></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">Harvey is a sculptor of elemental works. He carves granite, basalt, marble and limestone, imbuing the stillness of stone with a Zen-like quality and charged sensuality. Abstracted forms affixed to the wall form a dialogue with the floor and space-occupying sculptures.</span><o:p></o:p></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">In a new series of wall pieces created for this exhibition, small white marble sculptures, no larger than 30 cm in any direction, project from a white wall like discrete dream forms. They invite touch and contemplation, assuring the viewer of their existence in corporeal space. Others pierced with holes possess a darker sonorous presence and are carved from mottled granites and basalts. With smooth polished surfaces, some are tactile and rounded, while others deploy a squared geometry. The small scale and feeling of floating on the wall, denies any sense of weight, while the slightly larger group, placed on a long shelf, introduces upright biomorphic forms that possess a sense of rootedness to the earth and an assertive elegance.</span><o:p></o:p></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">The work ’Chair’ resembles a small, timeless throne hewn from Kilkenny blue limestone. Stool forms, and a carved stone ’bench’ conceptually invite us to be seated. Combined with ’Rest’ a sculpture inspired by head rests found throughout Africa and in China and Japan, these sculptures promote tranquility and meditation. Throughout his work, Harvey enjoys a formal fluency redolent with archeological and artifact references trawled from cultures around the world. Often the works retain the indexical mark of the maker, the trace of man, and imply an indeterminate use or function.</span><o:p></o:p></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">Photography, drawing and maquette-making inspired by forms and objects encountered through extensive travel, become precursors to the simplification and evolution of Harvey’s sculptures. This reductive vision is evident in the small collaged drawings which reveal a mode of visual thinking characteristic of the work throughout this exhibition.</span><o:p></o:p></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">Jake Harvey studied sculpture at Edinburgh College of Art (1966-72) and went on to become the Head of School of Sculpture for eleven years. He is currently Emeritus Professor of Sculpture and lives and works in Maxton near St Boswells in the Scottish Borders. He was elected RSA in 1989. His work can be found in public collections throughout Scotland, including Aberdeen Art Gallery, Edinburgh Museums and Galleries, the Hunterian Museum, Kelvingrove Museum, and the Fleming Collection, London, the Kulturtoget Collection, Sweden and the Eda Garden Museum in Tokyo.</span><o:p></o:p></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"> </span></p> </div> Thu, 21 Jun 2012 13:21:57 +0000 Atsuo Okamoto - Art First Contemporary Art - June 28th, 2012 - August 18th, 2012 <p style="text-align: justify;"><span size="2" style="font-size: small;">‘Splitting and returning’ or ‘wari modoshi’, embraces a traditional Japanese method of stone carving in which larger blocks are split into manageable portions, then to be fused into a single sculpture. </span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;">Taking this convention to engage with issues of contemporary life and art making, Okamoto entrusts his fragments of stone to selected people around the world for five years. During this time, the stones absorb their surrounding environment through an ‘infiltration of life’ as he describes it. The aim is for each piece of stone to remain beside the collaborator; kept in a pocket or a bag, on a table in the home, on a desk, in a workshop, a kitchen, a bathroom or even outdoors on a veranda. This slow weathering and the traces of contact result in a unique colouring so that there is a tonal, patchwork effect in the reassembled ‘Turtle’ pieces. “Stone keeps huge memories inside it, ever since the planet came into existence. I feel that stone is the most romantic and intellectual object on earth”, he says. “The pieces of stone scattered to various people of different cultures, jobs and life styles will be infiltrated by a life, hence ‘Volume of Lives’ as the title”.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;">For his AF Projects show, Okamoto has made a new work, ‘Volume of Lives – from London’ 2012 – 2017, to take its place alongside two completed works. 49 stone pieces, all marked with delicately inscribed numbers, are presented in their assembled form. During the exhibition ‘collaborators’ will be recruited. </span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;">Okamoto has exhibited world wide, and lives in Tokyo, where he teaches at the Joshibi University of Art and Design. He trained at the Tama Art University and his work is in public collections including The University of Warwick UK and The Water Art Museum, Japan.</span></p> Thu, 21 Jun 2012 13:36:45 +0000 Jessica Harrison - Art First Contemporary Art - June 28th, 2012 - August 18th, 2012 <p style="text-align: justify;"><span size="2" style="font-size: small;">The 'Touchstones' (all untitled) are the culmination of research into the role and significance of the body in sculpture. 'Untitled (1)' and 'Untitled (1) Inverted' look at the interaction and interdependence of touch and vision in order to unravel the relationship between the body of the maker and the body of the viewer. Starting with a hand--]sized ball of soft clay, the subject, a different person for each piece, works the material blindly, manipulating the clay within the felt rather than the seen space. Uninterrupted by the eye, the resulting shape describes the space in--]between the fingertips, with imprints left to document touch, to map the space just beyond the end of the finger.</span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;"> The clay shapes are scaled up from impressions that fit within the palm of the hand to a size around which the whole body can wrap itself. Carved into stone by the artist, she becomes both viewer and maker. In this process of replication, the felt space is opened up and made accessible for another eviewingf body, introducing through the stone, a new element of touch. </span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;">In a continuing process of handling, the stones are then cast in white silicone, which is turned inside out. Impressions now press outwards into the space around the object, inverting the maker and viewerfs touch, as inside becomes outside and vice versa. Shown together, the stone and silicone forms represent the same felt body movements, and the same space between the hands. </span></p> <p style="text-align: justify;"><span size="2" style="font-size: small;">Harrison studied at the Edinburgh College of Art and is completing a practice-based PhD in sculpture. She has been awarded prizes and scholarships, most recently the John Watson Prize, and has exhibited in Britain, Germany and the USA since 2006. Her work is already in collections including Pallant House, The New Art Gallery Walsall and the Fingal County Public Art Collection, Ireland.</span></p> Thu, 21 Jun 2012 13:35:31 +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 - Barbican Art Gallery - July 4th, 2012 - September 5th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The Barbican marks the 50th anniversary of James Bond, from 1962’s <em>Dr No</em> to this year’s <em>Skyfall</em>, with a unique exhibition showcasing the inside story of the design and style of the world’s most influential and iconic movie brand.</span><br /><br /><span style="font-size: small;">In collaboration with EON Productions and with unprecedented access to their archives, Designing 007 will be a multi-sensory experience, immersing audiences in the creation and development of Bond style over its auspicious 50 year history.</span><br /><br /><span style="font-size: small;">It will explore the craft behind the screen icons, the secret service and villains, tailoring and costumes, set and production design, automobiles, gadgets and special effects, graphic design and motion graphics, exotic locations, stunts and props.</span><br /><br /><span style="font-size: small;">Highlights include gadgets and weapons made for Bond and his notorious adversaries by special effects experts <strong>John Stears</strong>, <strong>Syd Cain</strong> and <strong>Chris Corbould</strong>, along with artwork for sets and storyboards by production designers <strong>Sir Ken Adam</strong> and <strong>Peter Lamont</strong>, and costume designs by <strong>Bumble Dawson</strong>, <strong>Donfeld</strong>, <strong>Julie Harris</strong>, <strong>Lindy Hemming</strong>, <strong>Ronald Patterson</strong>, <strong>Emma Porteous</strong>, and <strong>Jany Temime</strong>.</span><br /><br /><span style="font-size: small;">On display too will be lavish screen finery by Hollywood costume designers and major fashion names including <strong>Giorgio Armani</strong>, <strong>Brioni, Roberto Cavalli</strong>, <strong>Tom Ford</strong>, <strong>Hubert de Givenchy</strong>, <strong>Gucci’s Frida Giannini</strong>, <strong>Douglas Hayward</strong>, <strong>Rifat Ozbek</strong>, <strong>Jenny Packham</strong>, <strong>Miuccia Prada</strong>, <strong>Oscar de la Renta</strong>, <strong>Anthony Sinclair</strong>, <strong>Philip Treacy</strong>, <strong>Emanuel Ungaro</strong> and <strong>Donatella Versace</strong>.</span><br /><br /><span style="font-size: small;">Designing 007 will transform the Barbican, taking the audience on a journey - a ‘making of’ and presentation of Bond style over 50 years.</span><br /><br /><span style="font-size: small;">The exhibition is designed by Ab Rogers and curated by the Barbican, with guest-curation by fashion historian <strong>Bronwyn Cosgrave</strong> and Oscar®-winning costume designer<strong> Lindy Hemming</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Sun – Wed: 11am – 8pm<br /> Thu – Sat: 10am – 9.30pm</strong><br /> Exceptions:<br /> Closes 6.45pm 18 &amp; 23 Jul, 8 &amp; 28 Aug Closes 6.30pm 15 Aug</span></p> <p style="text-align: justify;"></p> <h2 style="text-align: justify;">Martini Bar</h2> <p style="text-align: justify;">Whether you like your drink shaken or stirred, you can enjoy a selection of Bond-style cocktails at the Martini Bar and experience the 007 lifestyle for real.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Martini Bar opening hours:<br /> Mon–Wed: 5pm–8pm<br /> Thu–Fri: 5pm–9.30pm<br /> Sat: 12pm–9.30pm<br /> Sun: 12pm–8pm</p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Mon, 30 Jul 2012 16:19:07 +0000 Mike Meiré - Bartha Contemporary - July 6th, 2012 - August 18th, 2012 <p style="text-align: justify;"><span style="font-size: small;">For his first solo-exhibition at <strong>Bartha Contemporary</strong>, German artist<strong> Mike Meiré</strong> (B. 1964) will present a series of new large-scale works on paper alongside recent ceramic sculptures. Entitled “<strong><em>Economy of Attention</em></strong>” the exhibition embraces the medium of newsprint and highlights its structural beauty.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mike Meiré’s latest body of work follows on from a series of singular paintings on newsprint, which examine existing grids in newspapers and primarily reflect on the prioritization of information through graphic design.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The artist has been working as an art-director for many years and it is his intrinsic understanding of this medium, which allows him to strip the composition of his works to a bare minimum. By adding an element of repetition and juxtaposition to the compositions of his larger works, Meiré embraces a highly minimalist mantra, akin with Judd’s stacked sculptures or Walter de Marias installations. A coded language of design, inherent in any layout is reduced to bars of colour, composed to reveal a repetitive sequencing of information.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Mike Meiré describes his work as a continued investigation into life's evolutionary processes, which the artist interprets in three phases, birth, biography and death. Central to all of Meiré's work is a delicate interplay between the highly refined against mundane everyday materials. The intriguing juxtaposition of organic often sexually explicit or gender-orientated ceramic objects with anodyne geometric elements play an increasingly important role in Meiré's work. These somewhat evoke a sense of ambivalence towards modernity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Within Meiré's continuing work as a creative director, he has for many years navigated and in some cases deliberately trespassed the boarders between Advertising, Design and Fine Art. As a designer Meiré has worked on several installation-based projects, which were commissioned by a variety of commercial companies as subversive means of product placement.</span></p> <p style="text-align: justify;"><span style="font-size: small;">More recently Meiré has clearly defined his practice as an independent artist. As one line of work continues to inform the other Meiré's paintings and ceramic sculptures reveal a profound understanding of popular culture. It is this knowledge, which allows the artist to explore the deep-rooted neurotics that inhibit today's societies and in turn challenges these through his work.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Mike Meiré</strong> lives and works in Cologne, he is the recipient of numerous awards and has exhibited internationally for several years. Concurrent with this exhibition works by Mike Meiré also form part of group exhibitions at the Kloster Wedinghausen in Arnsberg Germany (Sammlung Schroth : Information, until 19.8.) and at von Bartha Garage in Basel Switzerland, (Off the beaten track, curated by Lena Friedli, until 14.7.).</span></p> <p style="text-align: justify;"><span style="font-size: small;">A catalogue entitled “Day In / Day Out” was published by Meurer Verlag, Cologne in 2010, a catalogue documenting 25 years of editorial design is currently in production.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For further information or to receive reproduction quality images please contact the gallery.</span></p> Wed, 27 Jun 2012 09:38:48 +0000 Tamsyn Challenger - Beaconsfield - June 29th, 2012 - February 3rd, 2013 <p><strong><span style="font-size: small;">Commission and Residency</span></strong> </p> <p>Monoculture is a new project conceived by Tamsyn Challenger to focus on the homogenised nature of global culture and to explore alternatives.</p> <p>Looking at traditional ritual and its relationship to homogenity, a series of public performances and events will build towards a new body of work embracing themes of habitual performance, viral infiltration and feminine identity.</p> <p><b>Tamsyn Challenger</b> takes up residency with Beaconsfield between June 2012 and February 2013 – as a continuation of Beaconsfield’s <a href="" rel="nofollow">TestBed</a> series.</p> <p><!--StartFragment--><span face="Verdana, Helvetica, Arial" style="font-family: Verdana, Helvetica, Arial;">Monoculture will be closed Saturdays during December ( 8, 15 &amp; 22).</span> <!--EndFragment--></p> <p><!--StartFragment--><span face="Verdana, Helvetica, Arial" style="font-family: Verdana, Helvetica, Arial;">Beaconsfield will be closed for our Christmas break from Saturday 22 December 2012, reopening Wednesday 9th January 2013.</span> <!--EndFragment--></p> <p><!--StartFragment--><span face="Verdana, Helvetica, Arial" style="font-family: Verdana, Helvetica, Arial;"><b></b><br />  </span> <!--EndFragment--></p> <p></p> Thu, 22 Nov 2012 16:14:33 +0000 FX Harsono, Nyoman Masriadi, Eko Nugroho, J. Ariadhitya Pramuhendra, Agus Suwage, Ugo Untoro, Entang Wiharso, Yunizar - Ben Brown Fine Arts Ltd - June 19th, 2012 - September 22nd, 2012 <p style="text-align: justify;"><em><span style="font-size: small;">This exhibition is held in collaboration with Matthias Arndt.</span></em></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Ben Brown Fine Arts, London</strong>, is proud to present <strong><em>Contemporary Indonesia</em></strong>, a group exhibition of Indonesia’s most seminal and talented artists. The artistic production and innovation emanating from Indonesia, one of the most culturally and religiously diverse countries in the world, is staggering. In the last two decades, Indonesia has experienced major political change and globalization, resulting in more provocative, challenging and critical work from its artists. While Indonesia has always had a rich artistic tradition, with many artists forming collaboratives and exhibition spaces on the islands of Java and Bali in particular, it is only the last two decades that the market and audience for their work have expanded globally. The artists included in this exhibition are <strong>FX Harsono, Nyoman Masriadi, Eko Nugroho, J. Ariadhitya Pramuhendra, Agus Suwage, Ugo Untoro, Entang Wiharso </strong>and<strong> Yunizar</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>FX Harsono</strong> (born 1949) is known for critically addressing Indonesian political and social issues and is particularly interested in notions of self-identity. Born in the village of Blitar to Chinese-Indonesian parents, Harsono reflects upon the history and injustices of Chinese-Indonesian minorities in his powerful body of work, which includes painting, installations and videos. His latest works focus on writing his Chinese name, in response to a series of laws President Suharto enacted during his regime (1967-1998) that restricted the practice of Chinese customs and religion to private domains and forced Chinese-Indonesians to change their names to Indonesian-sounding names.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"><strong>Nyoman Masriadi</strong> (born 1973) is celebrated for his highly detailed, humorous, iconic portraits often depicting monumental, superhuman figures. While his paintings are rooted in Indonesian cultural history, he presents very contemporary subject matter taken from global popular culture, offering his own wry, ironic social commentary. His paintings are superbly executed, exemplifying his formal training as a painter at the Indonesian Institute of the Arts in Yogyakarta, while his figures exude a sculptural and heroic quality.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"><strong>Eko Nugroho</strong> (born 1977) began his career as a local street artist and is now exhibited internationally to great acclaim. Influenced by graffiti, global popular culture and Javanese culture, the artist playfully creates imaginary figures and animated worlds in media including embroidery, sculpture, murals, works on paper, video, comic books and wayang (Javanese shadow puppets).</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"><strong>J. Ariadhitya Pramuhendra</strong> (born 1984) constantly explores issues of self-identity in his work, addressing notions of ethnicity, religion and family. Pramuhendra creates hauntingly striking charcoal drawings often based on photographs from his childhood and typically inserts himself into his works. He also creates elaborate installations that include his charcoal drawings and canvases as well as banal and burnt objects.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"><strong>Agus Suwage</strong> (born 1959) is another artist who is interested in self-portraiture as a means to explore sensitive cultural and social issues. Suwage is intrigued by notions of transience and death, his works often depicting vanitas. Suwage began his career as a graphic designer, having studied at the prestigious Bandung Institute of Technology. He works in a variety of media including painting, drawing, sculpture and installation.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Ugo Untoro</strong> (born 1970) is an unconventional, outspoken and complex artist interested in issues of identity, death and</span> <span style="font-size: small;">Indonesian contemporary culture. Untoro’s body of work includes works on paper, paintings, installations and poetry.</span> <span style="font-size: small;">Recently, tragically deformed horse skeletons have figured in his drawings and installations. </span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;"><strong>Entang Wiharso</strong> (born 1967) explores Indonesian socio-political issues through an intimate examination of human</span> <span style="font-size: small;">relationships, traditions and psyche. His highly detailed and fantastical works often depict corporeal oddities and</span> <span style="font-size: small;">connect man with nature. He works in a variety of media, from extremely narrative drawings to elaborate</span> <span style="font-size: small;">installations.</span></p> <p style="text-align: justify;"><br /><span style="font-size: small;"><strong>Yunizar</strong> (born 1971) creates enigmatic, obsessive works which encompass a wide visual vocabulary of mythical</span> <span style="font-size: small;">creatures, scribbles and poetry that is highly personal and mystical. A member of the Jendela group, one of</span> <span style="font-size: small;">Indonesia’s most renowned art collectives, Yunizar fills his canvases with his unique, frenetic, haphazard imagery that</span> <span style="font-size: small;">is at once coded and extremely evocative.</span></p> Tue, 24 Jul 2012 00:59:28 +0000 Karl Hyde - Bernard Jacobson Gallery - July 17th, 2012 - August 10th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Jacobson Gallery</strong> is proud to announce its forthcoming exhibition of recent paintings by <strong>Karl Hyde</strong>, the British artist and Underworld musician.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Although Hyde has often exhibited in museums and galleries internationally, this will be his first exhibition of paintings in the UK and features the work that was shown at his first ever one-man painting show at the La Foret Museum in Tokyo last year.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hyde graduated from Cardiff Art College in 1978 having studied video, installation and performance art. After leaving college he concentrated on immersive environmental works. In 1979 he formed Freur with Rick Smith and John Warwicker, the band that would soon become Underworld, the acclaimed electronic dance-music group. Underworld are famed for their thrilling, visually inventive stage shows as well as their soundtrack work with the film director Danny Boyle on Trainspotting, the Olivier award nominated Frankenstein and the forthcoming Olympic opening ceremony. In addition to the musical work, in 1991 Hyde joined with Rick Smith, John Warwicker, Simon Taylor and others to form Tomato, a highly influential art and design collective.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Throughout the 90s and into the 21st Century Hyde has continued to make photo and text works and produce visuals for the band's stage performances and publicity material. 2007 saw the formation of Art Jam, a loose, international, collaborative artist's group made up of members of Tomato, Underworld and friends. Their first work was a 10 x 50 metre live wall piece produced over 16 hours at the Makuhari Messe, Tokyo and they continue to collaborate in a discursive "show and tell", their "Book of Jam". In 2009 they brought the Jam to New York where their work was shown at Jacobson Howard Gallery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hyde explains how he started producing his own paintings:</span></p> <p style="text-align: justify;"><span style="font-size: small;">"When a translator was relating my answers to interviewers, I put a pencil and a piece of paper in my hands, and what started to come out was the same marks I saw in my head while I was dancing with the group onstage. So I thought, 'Well, this is curious,' and I just kept going on with it, really; developing it from there and working with pieces of all sizes."</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hyde's large-scale paintings, diptych and triptychs, are entirely abstract gestural works, which have an affinity to both abstract expressionism and Japanese calligraphy. Painted on paper or packing cardboard with very large soft brushes and drawn into with charcoal and pastel, in some works one single gesture runs the length of the surface, in others marks combine into something more rhythmically complex. Hyde will often sit in front of the blank support, rehearsing the action he is about to take in his head before he begins the work itself, in much the same way as he rehearses the movements he will make across the stage during a performance. In the exhibition these paintings will be accompanied by more intimate pencil drawings and scroll like works in pencil and gouache on Japanese fold-out books, which describe driving through the chaotic urban environment of cities such as Tokyo and Miami.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> <a href=""></a></span></p> Wed, 04 Jul 2012 15:25:07 +0000 Andrea Longacre-White, Lisa Oppenheim, Sheree Hovsepian, Talia Chetrit - Bischoff/Weiss - July 5th, 2012 - August 11th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><i>Photorealism</i> is a selection of recent art that remediates and reimagines the possibilities and definitions of abstraction and its intersection with photographic representation. The works assembled by the four artists included in <i>Photorealism</i> -- Talia Chetrit, Sheree Hovsepian, Lisa Oppenheim and Andrea Longacre-White -- all use photographic modes and dark room techniques to make photographs that are not just documentary but are representations of the mode of photography itself. Each of the works, and the artists' individual practices, result in photographs 'of' things --  representations of objects and events that do or did exist in real time and space. And yet they look, to varying degrees, abstract -- they seem 'unreal,' imagined, constructed. And thus, by their very nature, they perform an imperative task of calling into question the ontological categories that we use, but also, the very ways in which we see.</span><br /><br /><span style="font-size: small;"><strong>Talia Chetrit</strong>'s photographs blend views of the human form with found items that are imbued with an aura of modernist industrial production. Each work employs a perspective and framing that displaces the viewer's point of view, making one question the mode of the photograph's construction. Relying on neither digital or analog post-production tools, Chetrit makes 'straight' photography that is fundamentally queer. Straight in that she relies only on her studio, her camera, found objects, and bodies of her to make her work. But queer in that the work assaults our notions of body and evidence: the perverse perspectives and angles in the work makes one wonder if the work has been photoshopped or otherwise altered in the dark room. It has not. But this very question illustrates how Chetrit's practice both lies in and plays with the shadows of our current age of abstraction.</span><br /><br /><span style="font-size: small;"><strong>Lisa Oppenheim</strong>'s work is always a productive disturbance of cultural and technological frames of image construction and distribution. Working primarily in film and photography, Oppenheim often mines existing images, engaging in an elegantly destructive process of addition and subtraction. Included in <i>Photorealism</i> is her most recent body of work, collectively titled <i>Smoke</i>, comprised of cropped photographs of smoke rising from the fires of various sources - including the 2011 London riots.  In this series, those sourced images act as a filter through which photographic paper is exposed over several iterations by the flame of a torch; smoke and fire become both the image's subject and its mode of production. While seemingly abstract and lyrical, the final images are both 'of' and an 'instance of' destruction; as in the case of abstract painting, representation and creation become collapsed and confused.</span><br /><br /><span style="font-size: small;"><strong>Sheree Hovsepian</strong> creates work that blends studio photography and dark room techniques in a manner that confounds our usual expectations of image-making. Using a variety of everyday materials, Hovsepian pares back the strictures of photography to their barest components - the interaction of light on surface. The results are expressive geometric photograms imputed with a very human energy. Though working in a darkroom and using what is most commonly thought of as a mechanical process, Hovsepian allows her hands and the decision she makes with them in the moments of her image's creation to reign supreme.  It is difficult not to think of painting when we think of this work, of her manipulation of objects in the studio and darkroom in real-time as a form of painting with light.  Beyond this romantic connotation, there is a real affinity in the work for a format of material abstraction. Yet, these are truly photographs and truly representative in the purest form - they capture the deployment of real objects and light in an actual moment and place.</span><br /><br /><span style="font-size: small;"><strong>Andrea Longacre-White</strong> is the only digital artist included in <i>Photorealism</i> but like her three colleagues she too is interested in the documentation of real objects and occurrences no matter how abstract the outcomes seem. Her work marks the generations and the digital ephemera of our age. Her practice is one of encompassing a continual cannibalisation of itself.  Longacre-White takes digital photographs (and scans) of everyday objects, events, and even websites, and then prints them without any processing. These prints are then hung on her studio walls and placed on tables where they become marked, scuffed and torn throughout the course of everyday activities. These material objects are then re-photographed - and the process begins anew, over and over. Wherein a similar analog process would lead to a loss of resolution with each successive generation, this digital reimagining means that each generation actually gains information in the form of the physical degradations that occur for each printed edition. The abstraction we see in each generation is actually a highly realistic representation of the act of entropy as captured by loss-less digital means.</span><br /><br /><span style="font-size: small;">Despite the abstract results and often expressive modes of production, all the photographs included in <i>Photorealism</i> are the most documentary documents possible. Each accurately portrays events and phenomena as they happened. They are hyper-real. Beyond real -- representations of their own construction that can only fully tell their truth through their abstract and other-worldly appearance.</span><br /><br /><br /><span style="font-size: small;">Benjamin Godsill is a curator and a contemporary art specialist based in New York. From 2006-2011 he was a curatorial associate at The New Museum.</span></p> Wed, 27 Jun 2012 09:55:55 +0000