ArtSlant - Current exhibits en-us 40 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 - 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 R.B. Kitaj, Eduardo Paolozzi, David Hockney, Richard Hamilton, Patrick Caulfield, William Blake, Richard Smith - Bernard Jacobson Gallery - August 14th, 2012 - September 7th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Bernard Jacobson Gallery London is delighted to present an exhibition of limited edition prints by British Pop artists including William Blake, Patrick Caulfield, Richard Hamilton, David Hockney, RB Kitaj, Eduardo Paolozzi and Richard Smith.</span></p> Fri, 17 Aug 2012 11:08:55 +0000 Pia Fries, Bram Bogart, Bruce McLean, William Tillyer, Marc Vaux, Larry Poons, Graham Sutherland, Robert Motherwell, Helen Frankenthaler - Bernard Jacobson Gallery - August 15th, 2012 - September 7th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Jacobson Gallery</strong> is pleased to present a Summer group show of works by gallery artists, including two major paintings by Helen Frankenthaler and Robert Motherwell.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Other artists represented in the show include Graham Sutherland, Larry Poons, Marc Vaux, William Tillyer, Bruce McLean, Bram Bogart and Pia Fries.</span></p> Fri, 17 Aug 2012 11:04:26 +0000 Rachel Howard, Jane Simpson, Newton Whitelaw - Blain|Southern London Hill Street - July 11th, 2012 - August 25th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The directors of Blain|Southern are delighted to present<em> Gravity and Disgrace,</em> a group show which brings together works by Rachel Howard (the curator), Jane Simpson and Amelia Newton Whitelaw. Initially inspired by the Hayward Gallery’s 1993 exhibition,<em>Gravity &amp; Grace: The Changing Condition of Sculpture, 1965 – 1975</em>, the exhibition offers an exploration of materiality through painting and sculpture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Says Howard: “<em>Almost 20 years ago in 1993, about 19 months after leaving art college, I visited a show curated by the venerable Jon Thompson, who was a tutor when I was at Goldsmiths. </em>Gravity and Grace <em>aimed to recapture the transitional nature of sculpture during the late 1960s and early 1970s by showcasing some of the most provocative and influential works made during these years, </em><em>illustrating the importance of Arte Povera as a revolutionising force within sculptural practice at this time; by rejecting both sophisticated methods of construction and traditional materials, the compass of authority was redirected away from the artist towards the interpretation of the viewer, through their direct engagement with the art work</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“<em>Given the lapse of time and circumstance between then and now, it would have been facile, fruitless and misguided to make or expect to make work with the same rationale. Time moves on, things change, however the desire to use life materials still prevails. Using the original exhibition as a springboard, I'd like to present a show in which the materiality of the work is key, as is relation to the viewer.</em><em> While directly referencing the Hayward exhibition, the show also encapsulates the idea of opposition, which is present in various configurations in all of the featured works</em>.”</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Jane Simpson</strong>’s practice challenges the idea of permanence and stasis, using materials such as ice, which itself is variable and unfixed. Her deep absorption with “an everyday magic” constantly informs her work, as is demonstrated by her 2008 installation, <em>A Wolf in Sheep’s Clothing</em>, in which an ice-covered sewing machine sits upon an ornate cabinet, its drawers gaping, full of cloth and thread. Though it is barely perceptible, the work is undergoing a constant and continuous process of change as the machine is submitted to a constant cooling and the layer of ice continues to build and expand. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Led by a longstanding interest in the concept of ‘Schadenfreude’, <strong>Amelia Newton Whitelaw</strong> has created a new work entitled <em>There are no Accidents</em>. Throughout history societies have had obsessions with concepts of failure or accident, from Greek Tragedy down to the contemporary internet journal of comic errors, FAIL Blog. Sigmund Freud not only proposed the idea that accidents in everyday life were in fact always the intention of the unconscious, but also that its ultimate intention was suicide. Both sculptural and performative, Whitelaw’s time specific installation incorporates notions of dependence and impendency; a solid rock anchors a rope which suspends, via a pulley, a net of raw salt dough. The rock's upright position in turn relies on the strength of a thin but supporting stick, while its balance depends on the contents of the net. It could be a comic trap, but a narrative of a dicey symbiosis lurks behind. As the flesh-like dough is pulled downwards, as in a slow motion replay, the sculpture's fate will hang in the balance and await gravity's ruling.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In his philosophical work <em>The Myth of Sisyphus</em> Albert Camus contemplates man’s attempts to find meaning in an unintelligible world (symbolised by the Greek mythological character Sisyphus, who was condemned to repeat forever the same meaningless task of pushing a boulder up a mountain, only to see it roll down again). While Camus concluded the actual struggle of life sufficient meaning in itself, <strong>Rachel </strong><strong>Howard</strong> pauses and considers the opposite - when the absurd wins, when no meaning can be found. In one of her two featured paintings, <em>Eva</em> (2005), Howard depicts a faceless figure hanging from a rope, the sense of movement conveyed by the downward torrent of paint, offset by the sense of finality and hopelessness of the figure. As with much of her oeuvre, this work is a meditation on what it means to be human, focusing on subjects such as religion, suicide and sin, and is executed in household gloss - a benign, puerile, utilitarian paint which Howard strives to transform into a higher status, allowing the paint a deeper character.</span></p> Wed, 13 Jun 2012 10:20:18 +0000 Bruce Lacey - Camden Arts Centre - July 7th, 2012 - September 16th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Bruce Lacey</strong> (born 1927) is one of Britain's great visionary artists. His lifetime pursuit of eccentric ‘making and doing’ has been a cathartic working-through of his experiences. This survey of a rich and diverse artistic production is a celebration of both his vibrant life (which includes working with Spike Milligan, The Beatles and Ken Russell) and his art which reveals telling links with the visual culture of the last 60 years. Co-curated by artist Jeremy Deller and art historian Professor David Alan Mellor, the exhibition charts Lacey’s artistic development in a career encompassing painting, sculpture, robotised assemblages, theatrical performances and installations, as well as community arts and ritual action performances. </span></p> <div style="display: block;" class="more"> <p style="text-align: justify;"><span style="font-size: small;">Lacey has described his work as a type of personal psychotherapy which has intuitively responded to his emotional needs. This approach began in his early 20s; whilst hospitalised with tuberculosis after serving in the Royal Navy he started to draw macabre scenes and childhood memories. After his recovery in 1951, he enrolled at the Royal College of Art and simultaneously began his performance career with outrageous stunts drawn from circus and variety theatre.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Lacey often involved his family in his escapades, as revealed by Ken Russell’s 1962 documentary, <em>The Preservation Man</em>. In this film Russell captures Lacey’s flamboyance, his six children around him, revelling in a magical atmosphere. Around this time Lacey began constructing assemblages and machines expressing his feelings about the technologised and conservative Cold War society that surrounded him. He was hailed as a leading figure of the 'New Realism' and his assemblages took the form of full size kinetic automatons ('electric actors') including the comic figures of Old Moneybags, Clockface, Electric Man and Rosa Bosom. It was Rosa who won the ‘Alternative Miss World’ in 1985. A number of these are included in the exhibition. Lacey’s eccentricity and technical aptitude led to working relationships with performers such as Spike Milligan and Peter Sellers and he produced trick props for pioneering off-beat comedy shows. He also famously appeared as George Harrison’s flute playing gardener in The Beatles’ film <em>Help</em>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Part of the show will be dedicated to Lacey’s performance activities – a practice that began in the 1970s and included performances with his collaborator Jill Bruce. Lacey revered the approach of pre-historic man in creating not for decorative or aesthetic ends but with the purpose of making something happen in the universe. He committed himself to becoming aligned with the mysterious forces of nature, becoming a transmitter and receiver of thoughts, ideas and energies. In the 1980s he returned to painting - which took the form of ritual diagrams and imagery, in shamanistic formats derived from performative endeavours.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The show will also explore Lacey’s childhood years and experiences. From an early age he gathered an extraordinary archive of bits and pieces, starting an obsessive process of collection and dispersal, from toys, stones and shells, to swords, pistols and shields. Born and brought up in London, Lacey continued living there until his production of performance rituals took him into the depths of the English countryside, and particularly to Norfolk where he has lived surrounded by his collections of ephemera since the 1980s.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The Bruce Lacey Experience</em> will tour to The Exchange in Penzance in late September 2012. It coincides with the release of <em>The Lacey Rituals: Films by Bruce Lacey and Friends</em>, a DVD of restored films by BFI.</span></p> </div> <p></p> <section id="sociale"> <ul> <li></li> <li> <div class="fb-like fb_edge_widget_with_comment fb_iframe_widget" data-href="" data-send="true" data-layout="button_count" data-width="450" data-show-faces="false"></div> </li> </ul> </section> <p></p> <p></p> Tue, 12 Jun 2012 01:32:01 +0000 - Camden Arts Centre - July 11th, 2012 - July 31st, 2013 <p style="text-align: justify;"><span style="font-size: small;">This year pupils from The Bridge School, Jack Taylor School and The Village School have been exploring the theme of buildings and architecture with artists Judith Brocklehurst and Georgie Manly. We recognise the achievements of the pupils, teachers and artists with a week-long exhibition in the Artists’ Studio.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the course of the year pupils have been using performance and role play as a way of testing building materials and tools. Each session has produced a series of playful works in response to Camden Arts Centre and their school environments.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A private view and drinks reception for this exhibition will take place on Tuesday 10 July, after a unique ‘In Conversation’ event, to celebrate the tenth year of delivering this collaborative arts project between artists and special educational needs schools.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Get the Message is currently supported by The Paul Hamlyn Foundation and Esmée Fairbairn Foundation.</span></p> <p style="text-align: justify;"></p> <section id="description"> <p><strong>Tuesday 10 July, 6.30 - 8.30pm</strong></p> <p>Join us to celebrate 10 years of Get the Message and to acknowledge the work of this year's pupils, teachers and artists.</p> </section> <p></p> Mon, 01 Jul 2013 17:29:30 +0000