ArtSlant - Closing soon en-us 40 Josh Smith, Reena Spaulings, Fredrik Værslev, Matias Faldbakken - Blain|Southern London Hill Street - September 7th, 2012 - October 5th, 2012 <p style="text-align: justify;"><span style="font-size: small;">The directors of Blain|Southern are delighted to present <em>Concatenation. Signature, Seriality, Painting</em>, a group show curated by Peter J. Amdam which brings together a number of new works by the artists <strong>Matias Faldbakken, Josh Smith, Reena Spaulings and Fredrik Værslev</strong>. All of the participating artists examine the protocols of painting, albeit in their own very different ways, deploying the medium’s contingency and pushing at the boundaries of contemporary modalities of painting.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Concatenation is defined as ‘the action of linking things together in a series’, or ‘a series of interconnected things or events … unlikely to recur.<em>’</em> Series, signature, facture, mark and trace are all terms commonly used to describe painting. Each term could be included in what we might imagine to be a generalised practice of painting; and yet, of course, merely combining them would not be representative of painting as a whole.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Concatenation. Signature, Seriality, Painting </em>experiments with, or creates an experience of what happens if an artist’s ‘signature’ or agency is called into question. By creating tentative dialogues of sorts between the selected works, the axiom of painting is subverted. The group itself appears not as a selection of individual works, but as a whole, open for continuous reconfiguration; seriality therefore becomes, in a sense, infinite.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“<em>The exhibition raises questions over how we might consider painting as an entity in its own right. It presents a mutated, abstract vision of painting which is open-ended, non-subjective and radically immanent – a non-summative seriality which circumvents representation and the idea of painting, to perform something which touches the ‘Real’. Indeed, the ‘Real’ could quite simply be a number, one that cannot be reduced to a concept but is foreclosed to thought, yet infinitely effable</em>.” Peter J. Amdam</span></p> <p style="text-align: justify;"><span style="font-size: small;">For a decade, Josh Smith has relentlessly and rigorously mutated and distorted notions of signature and painting. The artist is known for his extreme prolificacy, and for exploring ideas of authorship and originality. Fittingly, in the new series of stop signs presented here, he links together works with a signified meaning unlikely to be replicated; it is arresting, in and of itself.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matias Faldbakken presents a new series of works which essentially vandalise and re-contextualise appropriated forms of packing or moving boxes. This violently negates and reconfigures the very basis of an artwork which might otherwise have been understood to ‘contain’ certain identifiable information. To paraphrase the French thinker François Laruelle: the artist is turning his back against the wall while he’s simultaneously trying to find the very limit that is the wall.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Fredrik Værslev also presents a new body of work for the exhibition. In a highly original way, his Canopy Paintings “plug into” the world rather than merely re-present parts of it.</span></p> <p style="text-align: justify;"><span style="font-size: small;">These paintings make immanent the diagram, look, and temporality of the suburban architectural canopy – the result is a somehow democratic discovery of how this kind of painterly materiality amplifies or implicates the world of the arbitrary, functional and even prefabricated.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In a move that distantly resembles the deployment of cardboard containers found in Faldbakken, the fictional artist and gallerist Reena Spaulings transforms pizza boxes into monochromatic forms, upon which vectors are inscribed. Thus the concept of political and artistic agency is enigmatically and playfully explored.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="text-decoration: underline; font-size: small;"><strong>Artist Bios</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Josh Smith was born in 1976 and trained at the University of Tennessee in Knoxville. Recent solo exhibitions of his work have been mounted at The Brant Foundation Art Study Center, Greenwich, CT, USA (2012) and the Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria (2008). His work is held in many public and private collections including the Astrup Fearnley Museet for Moderne Kunst, Oslo, Norway, The Museum of Modern Art, New York, and the Whitney Museum of American Art, New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Matias Faldbakken was born in 1973 in Hobro, Denmark,and graduated from The Academy of Fine Art, Bergen, in 1998. Solo exhibitions of his work have been shown at The Power Station, Dallas, US (2011), IKON Gallery, Birmingham, UK(2009) and The National Museum of Art, Design and Architecture, Oslo, Norway (2009). Group exhibitions include <em>Documenta(13)</em>, Kassel (2012). His work can be found in a variety of public and private collections including The Astrup Fearnley Museum of Modern Art, Oslo, The National Museum of Art, Design and Architecture, Oslo,and The Speyer Family Collection, New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Fredrik Værslev was born in 1979 in Moss, Norway, and graduated from the Malmö Art Academy, Malmö in 2010. Recent solo exhibitions include <em>Lanterne Rouge</em>, STANDARD (OSLO), Oslo, Norway (2012), <em>LISTE 16</em>, Johan Berggren Gallery, Basel, Switzerland (2011), and <em>The Secrets of Aging Well</em>, CIRCUS Gallery, Berlin, Germany (2011). He has also curated a number of projects including <em>Something Old Something New, Something Borrowed, Something Blue</em>, for Landings, Kornhaüschen, Aschaffenburg e.V., Germany (2011).</span></p> <p style="text-align: justify;"><span style="font-size: small;">The collective Reena Spaulings was founded in 2004. They have had a number of solo exhibitions including to date including <em>;-)</em>, Galerie Chantal Crousel, Paris, France (2012), <em>Reena Spaulings</em>, Galerie Daniel Buchholz, Berlin, Germany (2010), <em>Front Room</em>, St. Louis Contemporary Art Museum, St. Louis, USA (2008), <em>How To Cook a Wolf</em>, Kunsthalle Zurich, Switzerland (2007), and <em>The One &amp; Only</em>, Haswellediger &amp; Co. Gallery, New York, USA (2005).</span></p> Mon, 20 Aug 2012 08:35:16 +0000 Seamus Harahan - Gimpel Fils Gallery - September 6th, 2012 - October 5th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Belfast-based <strong>Seamus Harahan</strong> presents two new works, <em>Cold Open</em> and<em> Auftakt</em> in this, his third exhibition at Gimpel Fils. Harahan's films are characterised by the their telephoto shots, lengthy takes and a soundtrack which sometimes melds with his images, but just as often acts in counterpoint. Harahan sets up elements of a narrative, only to confound them by switching to a set of images which, at first sight, appear unrelated. His subjects are unaware of being filmed, are invariably in public places and most often in an urban setting. Nevertheless, their behaviour is strikingly similar to playacting, or simply to a form of ritual public display. Here then is a new set of oppositions, a documentary approach which negates the structure of documentary.</span><br /><br /><span style="font-size: small;"><em>Cold Open</em> is six sequences from a larger series, filmed over a year. Notable are the points of view characteristic of Harahan's style: the camera points either upwards or looks down. When his lens is pointing up, it is usually at a feature of the sky or nature, with a sense of freedom from the anxiety which accompanies his CCTV-like scrutiny of youngsters in slightly menacing gatherings. The opening sequence of this short film has a couple discuss the husband's drinking habits and public image, with a morning scene of rain-soaked branches. The mood is easy-going. Later, a group of young teen boys are observed play-acting violence towards each other, or perhaps not play-acting. The music varies between traditional gaelic and rock. In the final sequence, a group of youngsters is gathered around a pram. The novelty here is the presence of teenage women, perhaps including a young mother. The film ends with Harahan widening the view to place this group of youngsters in their surroundings, which look alarmingly like the middle of a busy road. Once again Harahan, though not unsympathetic to his anonymous subjects, places them in the viewer's mind as possible outcasts within their society and definitely alienated from the viewer's own.</span><br /><br /><span style="font-size: small;"><em>Auftakt</em> is filmed in Finland. A single soundtrack is in use. Arvo Pärt, an Estonian composer, is in a workshop discussion about the composition of Für Alina. Single, then two-note chords are played on a cheap electric piano, while Pärt explains his motivations and thoughts on the communication of notions and emotions. If the conversation, in Estonian, seems a novelty, the images are pure Seamus Harahan. Two or more men are observed, through a tangle of branches, in what appears to be aggressive behaviour, but turns out to be an unofficial game of football. Harahan's camera alternates this with the vapour trail of a plane high in the sky and, from time to time, a seagull standing atop a tiled roof, the seagull standing as intermediary between sky and earth. If for Federico Fellini, the sea is the recurring feature which is a promise of catharsis from the malaise of urban society, for Harahan it is the distant sky.</span><br /><br /><span style="font-size: small;"><strong>Seamus Harahan</strong> was born in 1968 and received his fine art degrees from the University of Ulster. His solo exhibitions include Transmission Gallery, Glasgow; Project Arts, Dublin; Spencer Brownstone Gallery, New York (Armory Show); MuKHA, Antwerp; ICA, London; Wolverhampton Art Gallery and Third Space Gallery, Belfast. In 2005, Harahan represented North Ireland at the Venice Biennale and in 2009 he received the Paul Hamlyn Foundation Award for Artists.</span></p> Fri, 24 Aug 2012 06:09:14 +0000 Albert Irvin - Gimpel Fils Gallery - September 6th, 2012 - October 5th, 2012 Thu, 06 Sep 2012 08:23:25 +0000 Alex Katz - Timothy Taylor - September 5th, 2012 - October 5th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Timothy Taylor Gallery</strong> is pleased to announce the fifth solo show at the gallery by the renowned American artist<strong> Alex Katz</strong>. The exhibition will include a new series of portraits and still lifes.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Katz, now in his 85th year, is one of the most significant artists of his generation with a far-reaching influence over many of today’s most successful contemporary artists.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Katz’s distinctive minimal aesthetic, developed in New York in the 1950s before the emergence of Pop Art and as a reaction to the dominance of Abstract Expressionism, has been refined to a point of poetic harmony. His economy of line and nuanced use of colour speak of a confidence and clarity of vision established over his rich and pioneering career.</span></p> <p style="text-align: justify;"><span style="font-size: small;">These portraits of family and friends, and still lifes of flowers purchased from street vendors near his New York studio, are characteristic of Katz’s apodictic mastery of his medium. These large-scale works are both deeply intimate and also icons of a resolute style.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Painted from life and in single sessions, there is an essential vitality and timelessness to the works. The subjects gaze evenly towards the viewer and simultaneously stand with their backs’ turned – a casual shift of accustomed familiarity. White roses sit against flat fields of white and pale blue, threatening to dissolve in abstracted form and a uniformity of hue – a recurring element in Katz’s stylized images. As the artist has noted of these new works:</span></p> <p style="text-align: justify;"><span style="font-size: small;">“You have to figure out the balance as you go along… I leave out a lot of the description. So we go into no-man’s land. You’re dealing with stuff that’s not descriptive; basically, a lot of it is just instinctive.”</span></p> <p style="text-align: justify;"><span style="font-size: small;">Alex Katz has been the subject of over 200 solo exhibitions including: <em>Alex Katz: Naked Beauty</em>, Kestnergesellschaft Hannover (2011) – the first exhibition to focus on Katz’s nudes; The Albertina, Vienna (2010); The National Portrait Gallery, London (2010) and Whitney Museum of American Art, New York (1986). He has been exhibited in nearly 500 group shows internationally since 1951.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Throughout his career, Katz has been the recipient of numerous awards and his work is held in over 100 public collections worldwide. Recently, Anthony D’Offay donated a group of works by Katz to the National Galleries of Scotland and Tate, as part of the nationwide Artist’s Rooms project.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Alex Katz: Give Me Tomorrow</em> is showing at Tate St Ives until 23 September and will travel to Turner Contemporary, Margate, 6 October – 13 January, 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A fully illustrated catalogue accompanies this exhibition.</span></p> Thu, 23 Aug 2012 16:28:06 +0000 Daniele Cestari - Albemarle Gallery - September 1st, 2012 - October 6th, 2012 <div class="exhibitionboxtop">Daniele Cestari: Tessuto Urbano <br />31 Aug - 29 Sep 2012 <br />Daniele Cestari was born in 1983. Following his studies at the liceo scientifico in his hometown, he completed a degree in Architecture and Urban Environment Planning. He lives and works in Ferrara. Cestari insists that one must understand his work, first and foremost, as that of ‘an architect who paints’. Having never undertaken any formal art training, Cestari renders onto the canvas his architectural passions – his fascination with the energy of the urban environment. His carefully crafted perspectives invite the viewer into the all-consuming momentum of the cityscape, alive with texture. The dynamism of Cestari’s loose brushstrokes and blurred canvases evoke the city as a living entity, constantly in flux. Yet they also lend his scenes a wonderful sense of opacity; keeping the observer at arm’s length, they are the perfect acknowledgment of the impersonal nature of the metropolis, with its hidden away existences and shuttered private lives. Cestari uses various mediums together - oils, pencils, acrylic and varnishes – to create a work as varied as the city itself. Often he begins his work with less than pristine canvases – old, degraded, stitched and imbued with their own history – and he works to unite these pre-existing traces into his work. For Cestari, we are the paintbrushes and pencils within our own cities, each footstep down a street adding to the history of traces left before.</div> <div class="exhibitionbottom"><a href=";backgroundColor=%23313131" rel="nofollow" target="_blank"><img class="rollover" src="" border="0" /></a></div> Mon, 03 Sep 2012 12:21:12 +0000 Alessandro Raho - Alison Jacques Gallery - September 7th, 2012 - October 6th, 2012 <blockquote> <p style="text-align: justify;"><span style="font-size: small;">'<em>Since the mid-1990s, Alessandro Raho has been advancing and refining a manner of figurative painting in which the sentience of human presences synonymous with a profound, existential and spiritual sense of being...The figures in his portraits possess the sense of having been re-born – as though cleansed beyond death – or of being seen as platonically 'realised', beyond the less substantial shadow versions of themselves that go about their terrestrial business.' </em></span></p> <p style="text-align: justify;"><span style="font-size: small;">Michael Bracewell,<em> Alessandro Raho</em>, Lund Humphries, 2011</span><br /><br /><span style="font-size: small;"><em></em></span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">This is <strong>Alessandro Raho</strong>'s second solo show at <strong>Alison Jacques Gallery</strong>. The subjects he depicts – whether self-portraits, friends or family – are presented in pared down form: each figure centred and isolated on a monochrome ground. Raho's use of harsh, artificial, frontal lighting in studio photoshoots is carried through to the look of his canvases. The patterned or blocked colour of his subjects' clothing deliberately contrasts with the reoccurring white or pastel tones of his backgrounds. This attention to abstract composition might objectify the sitters, if it wasn't for Raho's ability to render the subtlest traces of their mood in the direction of a gaze, or the slight up or downward curve of a person's mouth. His figures are presented with an unapologetic frontality, free from context or narrative, so as to make the subjects' straightforward presence tangible.</span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;">Whilst the portraits look to be of the 'everyday', and indeed many of Raho's paintings show sitters in their own clothes, he has increasingly come to select what they wear for the pictures. By controlling this element, the artist can both source contemporary fashion and photography and experiment with incorporating paintings within paintings. <em>Lizzy</em> (2011), a girl in a top that through Raho's translation resembles a Mary Heilmann abstract oil painting, holds an assertive pose that nevertheless appears somewhat tentatively borrowed from fashion magazine pages. In two portraits of <em>Jessica</em> (both 2012), Raho has dressed his model in a T-shirt reproduction of a Warhol Marilyn and in a top with a kitsch, 1980s imitation of a Pollock splash, finding new ways of assimilating the art historical canon into his own language of painting. These are not academic games with history, however. Raho is fascinated by the challenges of populism: <em>Jessica</em> (2011) gazes into the deep distance, at odds with the Mickey Mouse cartoon on her chest, and <em>Adham</em> (2011) has an understated, melancholic presence that contrasts with the pop iconic I Love NY T-Shirt.</span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;">An important subject in this exhibition was a defining figure in Raho's artistic career – his tutor at Goldsmiths College in the early '90s, the artist Michael Craig-Martin. Raho portrays his mentor in his own clothes, which are entirely black, with his hands in his pockets. His gaze is informal but piercingly engaged. In a pose that couldn't contrast more, the professional dancer <em>Ben</em> (2012) holds a contemporary dance position that sees all of his limbs fully extended and poised, so as to quarter the canvas. Ben – who is not so much wearing a painting as having become one himself – is clad in a white unitard with a prominent black square, as though Malevich's<em>Black Square</em> (1915), has been set in motion.</span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Alessandro Raho</strong> (b. Bahamas, 1971) graduated from Goldsmiths College, London, in 1994. Museum exhibitions include <em>Wall Rockets</em>, FLAG Art Foundation, New York (2008); <em>Great Britons: Treasures from the National Portrait Gallery, London</em>, National Portrait Gallery, Smithsonian Institution, Washington (2007);<em>Painting on the Move</em>, Kunsthalle Basel, Basel (2002); and <em>Brilliant! New Art from London</em>, Walker Art Center, Minneapolis (1995). Public collections include: Museum of Modern Art, New York; Walker Art Center, Minneapolis; the Berardo Collection, Lisbon; and a commission of Dame Judi Dench for the National Portrait Gallery, London. In 2011 Lund Humphries published a monograph, <em>Alessandro Raho</em>, which includes essays by Michael Bracewell, Nicholas Cullinan and Catherine Wood. Raho lives and works in London.</span></p> Fri, 03 Aug 2012 15:21:08 +0000 John Golding - Annely Juda Fine Art - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Annely Juda Fine Art</strong> is pleased to exhibit five paintings by <strong>John Golding</strong>. These were painted in 1971 and were previously exhibited at the Museum of Modern Art Oxford in the same year. The sixth painting, which completes the series, has recently entered the Tate Collection and will be exhibited at Tate Britain.</span><br /> <br /><span style="font-size: small;"> This group of large paintings, ranging between 10ft and 15ft long, were chosen to be exhibited in our gallery by John Golding, who died on 9 April 2012. In his mind they define the 'working space' and this was something that Golding felt was fundamental to each painting. Each painting "had to have the space to grow into and expand into".</span><br /> <br /><span style="font-size: small;"> His early work was figurative and Golding noted at his show at Yale in 1989 that his transition in the early 1960s from figure paintings into abstraction was strongly marked by his admiration for Signorelli and Orozco, to colour field-style abstraction as a process of "moving...up and into the body imagery of my painting."</span><br /> <br /><span style="font-size: small;"> Golding was born in England, educated in Mexico and Canada before returning to England to complete his research and teach both art history and painting. He was also well known as an art historian, teacher and curator, especially for his work on Picasso and Cubism, however it was for his painting that he wanted to be remembered.</span><br /> <br /><span style="font-size: small;"> There will be a memorial reception at Tate Britain at Gallery 93 on Level 1 on 6 September from 4pm. The private view for the exhibition will be at Annely Juda Fine Art on 6 September from 6-8pm.</span><br /> <br /><span style="font-size: small;"> A 32-page fully illustrated catalogue accompanies the exhibition. The exhibition will be shown on the fourth floor of the gallery.</span></p> Mon, 24 Sep 2012 09:08:41 +0000 David Nash - Annely Juda Fine Art - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Annely Juda Fine Art</strong> is pleased to present an exhibition of works on paper by <strong>David Nash</strong>.</span><br /> <br /><span style="font-size: small;"> In this exhibition we will be showing Nash's works on paper exclusively. The exhibition consists of over 40 drawings and gives a unique insight into David Nash's work through the medium of drawing. He uses traditional media like charcoal and pastel, but also materials from his surroundings such as mud which he smudges on the paper linking his drawings directly to the places they originate from.</span><br /> <br /><span style="font-size: small;"> David Nash is one of Britain's foremost sculptors. In a career spanning 40 years he has explored the living nature of wood, it's resistance, vulnerability symbolism, and colour, and few artists are so identified with their material of choice. Drawing has also always been a fundamental part of David Nash's work. This can be in the form of a geneology of his ideas or his response to sculptures he has created, initial ideas for future works or his observance of his planted works. Nash has been working with these living sculptures, like Ash Dome (twenty-two ash saplings planted in a circle, that have been guided and fletched to grow into a dome in March 1977), since the 1970s and they form an important part of his working practice.</span><br /> <br /><span style="font-size: small;"> David Nash's current exhibition at The Royal Botanic Gardens, Kew will be running until April 2013. In this exhibition he is showing sculptures across the gardens as well as in the glasshouses and exhibition spaces. Also, Nash has been working at Kew on a 'wood quarry', creating new pieces for the exhibition using trees from the gardens that have come to the end of their natural life. This ongoing work will form part of the exhibition and the finished works will be exhibited from October 2012. For further information on this exhibition: <span class="text"></span></span></p> Mon, 24 Sep 2012 09:08:49 +0000 Bridget Macdonald - Art First Contemporary Art - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;">“In May 2011 I visited Arcadia in Greece for the first time. On the coast it was hot and orange blossom scented the air but in the mountains of Arcadia it was an earlier season of plum and apple blossom, walnut orchards were just coming into leaf and there were small flocks of sheep and goats, even an old shepherd with a ragged flock. In October we returned for a road trip which took in Delphi, Olympia, and the temple to Apollo at Bassae in Arcadia. It was still warm enough to swim in the Gulf of Corinth but in Arcadia there were wild storms followed by a sharp frost. An old woman running a tiny roadside cafe in her front room gave us her own walnuts, raki and bread. On the television in the corner we could see rioting in Athens, smoke, cars overturned, politicians gesticulating. The troubles which were building up in May had reached boiling point by October but there were few signs of strife in the countryside. “</p> <p style="text-align: justify;">(from the artist's introductory essay)</p> <p style="text-align: justify;">Macdonald's drawings in charcoal and graphite evoke the space and light of these remote landscapes and find associations in the English countryside. She traces our relationship with the rural scene back to its roots in Ancient Greece through a series of oblique connections. The living presence of animals and humans make their appearance, or man's occupancy is implied by a crumbling stone wall in Mycenae, the broken pediment in <em>Epidaurus</em>, or the classically inspired greenhouse at Croome Park, near her home. While places are significant for Macdonald, so is a core inner landscape of connections, memories and associations.</p> <p style="text-align: justify;">She grew up on the Isle of Wight and now lives and works on the Herefordshire/Worcestershire borders where rivers, hills and farms reflect the ideal pastoral landscape. In an essay .The Inherited Tradition' the writer Sheila McGregor reminds us that Macdonald is acutely aware of the long and complex process of literary and pictorial exchange which shaped the Arcadian tradition.</p> <p style="text-align: justify;">Sometimes she suggests a darker side of landscape, its status as a place in which human emotions and conflicts are played out. It is the tension between things observed and things remembered, between the immediacy of a specific visual stimulus and a process of retrospective distillation, that gives her work its power.</p> <p style="text-align: justify;">While Greece remains at the forefront of the current Euro crisis, with an angered and divided populace, Macdonald's contemplative body of drawings and a few exquisite small paintings of bay leaves, recall what Greece has offered European culture in the past, and serve perhaps as an ironic reminder of how the brittle and impatient demands or needs of a modern culture can overwhelm and alter the present.</p> <p style="text-align: justify;">Bridget Macdonald trained in Fine Art in the mid 80's at the School of Art and Design, Wolverhampton Polytechnic, and lives and works in Great Malvern, Worcestershire. Her work is in the collections of the Birmingham Museum and Art Gallery, Wolverhampton Art Gallery, Worcester City Art Gallery, The new House of Lords building, Millbank, and in private collections in the UK, the USA, Italy and France.</p> <p style="text-align: justify;">An illustrated catalogue accompanies this exhibition. For a printed copy please contact the gallery, or for your convenience, there is an online link:<br /></p> Thu, 23 Aug 2012 09:46:32 +0000 Güler Ates - Art First Contemporary Art - September 6th, 2012 - October 6th, 2012 <p style="text-align: justify;"><strong>AF Projects</strong> is pleased to present its first exhibition of photographic works by<strong> Güler Ates</strong>. This new series of darkly elegant images is the result of two residencies that Ates undertook in 2010/11, both in historically significant buildings: Great Fosters . A royal hunting lodge built in the 1550's (now a hotel) and Leighton House--home of the renowned Victorian artist Frederic, Lord Leighton.</p> <p style="text-align: justify;">The work with Leighton House is especially resonant for Ates, whose art school background was in painting and who is consistently sensitive to the absorption of oriental and middle--]eastern influences in our culture. Leighton House's Orientalism is a 19th century manifestation of that painterly and cultural cross-fertilisation also evidenced in the Greco-Byzantine traces running through the use of colour in the early Italian painters such as Duccio and Simone Martini. This clearly governs Atesf choices and interest in each colourfs impact.</p> <p style="text-align: justify;">The works themselves--shot in entirely natural light--have a cinematic quality, capturing the gestural movements or carefully posed stillness of the professional model Ates employs as her subject. From the rich visual material available to her Ates weaves a series of evocative tableaux that through the intervention of her model, swathed in silk, explore the sympathies and tensions in our current idea of the exotic, and of the historical significance of cross-cultural visual awareness. Past and present concerns merge as the arabesque tapestries and furnishings of the C15th interiors are juxtaposed against contemporary readings of the veil.</p> <p style="text-align: justify;">Born in Mus in eastern Turkey, Ates studied painting at the University of Marmara in Istanbul before moving to the UK and completeing her BA at Wimbledon School of Art in 2004. She went on to graduate in Printmaking (MA) from the Royal College in 2008.</p> <p style="text-align: justify;">Her work has been exhibited internationally, showing in museum &amp; gallery spaces in the UK, USA, Brazil, Japan, India, France and the Netherlands, and is in the collection of several major institutions, including the Royal Academy of Arts and the V&amp;A.</p> Thu, 23 Aug 2012 09:53:47 +0000 Robert Motherwell - Bernard Jacobson Gallery - September 12th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Jacobson</strong> is delighted to present an exhibition of limited edition prints by the American artist <strong>Robert Motherwell</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Throughout his long and distinguished career, Robert Motherwell produced a remarkable body of work that ranks among the most notable achievements in postwar American art. In addition to his celebrated paintings, drawings and collages, Motherwell was a renowned and innovative printmaker.</span></p> Fri, 17 Aug 2012 11:05:58 +0000 Emma Bennett - CHARLIE SMITH london - September 6th, 2012 - October 6th, 2012 <p>CHARLIE SMITH London is delighted to present Emma Bennett with her second one person show at the gallery.</p> <p> </p> <p>In this exhibition Bennett continues to explore subjects that have dominated her work for several years, whilst focusing particularly on themes of gravity, time and transience. Still life elements appropriated from historical Dutch and Italian painting are set against monochromatic black grounds to simultaneously recall 17<sup>th</sup> century still life, Italian Renaissance and 20<sup>th</sup> century Modernism.</p> <p> </p> <p>In these paintings we may find any combination of fulsome fruit, expired game, folds of cloth, or consumptive fire, and these images may appear to be either suspended in time and space or are positioned as if on ledges that prevent the objects from any further descent. Bennett deploys these motifs to meditate on the temporality of the finite and to contemplate life, death and the after-life. Her latest work can be seen in relation to the ‘irreconcilable concept of presence and absence, life and death’ that Yves Klein explored in his Fire Paintings and in his ‘Leap into the Void’ project.</p> <p> </p> <p>Indeed, Bennett has recently introduced fire as a personal symbol that aligns itself with the more traditional deployment of fruit, fauna, insects and animals as representative of the transience of corporeality. The characteristics of fire, such as heat, speed, and its upward motion provide a contrast with Bennett’s other motionless or downward moving motifs. There is a suggestion of gravity at work here, which to the artist suggests ‘a force that exists in opposition to the energy and momentum that propels people and things through life - onwards and (perhaps eventually) upwards’<i>. </i>Gravity is, therefore, a counterbalance to the inherent life-force of all living things, and it is defied by the rebelliously active fire that is historically associated with sky and above space. This juxtaposition of outwardly disjunctive elements continues to retain an internal logic within Bennett’s paintings, providing an instinctive, symbolic mise en place.</p> <p> </p> <p>The introduction of fire is a significant development in Bennett’s work. Fire is a Heraclitean symbol of change, and as Gaston Bachelard notes in ‘Psychoanalysis of Fire’, ‘suggests the desire to change, to speed up the passage of time, to bring all life to its conclusion, to its hereafter’. In earlier work, Bennett employed her figurative and expressive techniques to portray movement and individual journeys through life. In ‘And, Afterwards’, even the unruliest of all natural elements appear as though time has stood still.</p> <p> </p> <p>Bennett is interested in the human desire to make permanent things that will inevitably decay or be transformed over time. As with the work of Hollis Frampton (and in particular his film ‘(nostalgia)’), Bennett raises questions around the temporality of imagery, memory and the effect that time has on consciousness. Indeed, sometimes her pallet suggests the slightly aged quality of the old master reproductions that she regularly works from. By using art historical books as second generational source material and embracing the tonality of colour-plates in preference to actual paintings or reality, we can begin to read this work in light of the tenets of postmodernism as well as neo-classicism, Modernism and even Romanticism. Plurality, appropriation and the combination of mediums are employed</p> Sat, 18 Aug 2012 14:55:27 +0000 Krister Klassman - Cole - September 7th, 2012 - October 6th, 2012 <p>Krister Klassman’s sculptures engage with the possibilities and traditions of the medium, utilising a range of processes along the way. In his first solo show Klassman incorporates ink drawings, digital manipulations, domestic printing and chemical reactions to produce a body of work that suggests a way of approaching a poetic dimension via digital technology.</p> <p style="text-align: left;">The plaster panels have had abstract compositions imposed on them through a series of processes. Starting out as ink drawings, they are photographed, processed through Photoshop, and then printed out using a domestic printer. Plaster is poured onto the printed image, leading to an exothermic reaction between the plaster and ink. The melted xerox powder from the print is fused onto the plaster, leaving a trace of the original design etched onto the surface of the panel.</p> <p style="text-align: left;">The works are sequences of transfers of information, albeit with imperfections throughout that leave the final image with its pixelated appearance. At each stage there is a reduction of information as a traditional medium gives way to digital technologies before ceding back to analogue methods. This sense of being between technologies and approaches is reflected in the status of the artworks as they operate in a space between sculpture and drawing. Whilst clearly being sculptural the works retain a strong pictorial element with their roots in drawing evident. The positioning of the works in the space acknowledge this as well, existing somewhere between the floor and the walls.</p> <p style="text-align: left;">Whilst pursuing the traditional practice of drawing into new directions the works engage with the possibilities of the digital medium. Using Photoshop tools such as the ‘free transform’ and the ‘magic wand’, to name just two, the digital medium demonstrates a real possibility for poetry and abstraction as the images present in the works travel back and forth between the corporeal and digital. The images contain architectural elements, ‘dirty’ geometry, illusions, symbols and shadows that shroud, fade up/fade down with obscurity and double meanings. Whilst reminiscent of the emblems and geoglyphs of ancient civilisations, their pixelated surfaces drag them immediately into the present day, providing an instantly recognisable language in the ever-present pixel. As experiences become increasingly channeled via the pixel, Klassman suggests an alternative approach in which the old and the new reach an effective symbiosis to present the lyrical possibilities in each.</p> <p style="text-align: left;">Krister Klassman, b.1981, lives and works in London. Recent exhibitions include <em>Only A Suggestion, </em>Gallerie Flute Douce, Frankfurt, 2012, <em>Arab Spring</em>, Plaza Plaza, London, 2011, <em>New Contemporaries</em>, A Foundation, Liverpool/ICA, London, 2010, <em>Bold Tendencies III</em>, London, 2009.</p> Thu, 20 Sep 2012 16:10:23 +0000 Ken Currie - Flowers | Cork Street - September 5th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;">Throughout his career<strong> Ken Currie</strong> has explored a wide range of concerns through his dedication to the medium of painting. His latest exhibition, <strong><em>The Gigot Bone</em></strong>, consists of a series of disparate and apparently unconnected images which nevertheless seem to coalesce around notions of transience, beauty and decay.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Currie juxtaposes self-portraits with images of dead game and cuts of freshly butchered and glistening meat. <em>The Gigot Bone</em> and <em>Gigot of Lamb</em> have been gauged and carved but plenty of flesh remains on the bone. However, the flesh of Currie’s own face in the <em>Self-Portrait</em>, <em>September</em> series contrasts sharply with the vitality with which the meat is painted. Each portrait shows his head lolling in a seemingly lifeless deep sleep, his colour pallid and grey.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In<em> Dead Hare I-III</em> Currie charts in triptych form the decomposition of a once lithe and vital creature - the viewer is asked to look at the carcass wither, crumple and hollow out. The hare’s limbs bow, accentuating the angles of the joints as the flesh on its neck decays and the head contorts. In these works Currie seems to play with the viewer’s preconceived notions of traditional beauty and pathos.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Whilst working toward his triple portrait painting Three Oncologists Currie had life-masks made of his subjects. These casting sessions prompted the two paintings<em> Taking a Life Mask I &amp; II</em>, which depict the esteemed oncologists during the casting process, their features ghostly white and indistinct. Freshly applied plaster has not yet turned. Excess splays over into neatly combed hair and splatters onto their clothing.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The connections and associations between this small body of new paintings are intentionally ambiguous and allusive.</span></p> <p style="text-align: justify;"><br /><strong><span style="font-size: small;">Notes to Editors</span></strong><br /><span style="font-size: small;">Ken Currie was born in Great Britain in 1960, and currently lives and works in Glasgow. He accepted two highly acclaimed portrait commissions: Portrait of Peter Higgs 2008, shows the eminent scientist at his home in Edinburgh and is displayed in the Department of Physics and Astronomy at Edinburgh University and Three Oncologists 2002 (Professor RJ Steele, Professor Sir Alfred Cuschieri and Professor Sir David P Lane of the Department of Surgery and Molecular Oncology, Ninewells Hospital, Dundee), Scottish National Portrait Gallery.</span><br /><span style="font-size: small;">Over the last 29 years he has exhibited in numerous international solo and group shows at institutions and galleries including: Arnolfini, Bristol; Mackintosh Museum, Glasgow School of Art; Raab Gallery, Berlin; Campbelltown City Bicentennial Art Gallery, Sydney, Australia; Scottish National Portrait Gallery, Edinburgh and the Edinburgh and Yale Centre for British Art, New Haven. His work can been seen in many collections including The Scottish National Gallery of Modern Art; The National Library of Scotland; The Imperial War Museum, London; The New York Public Library; The Yale Centre for British Art, New Haven; and the Boston Museum of Fine Art.</span><br /><span style="font-size: small;">For further information and images please contact Ceri Stock on 020 7920 7777 or email</span></p> Sun, 02 Sep 2012 19:41:44 +0000 Adam Dant - Hales Gallery - September 7th, 2012 - October 6th, 2012 <p class="BodyA" style="text-align: justify;"><span style="font-size: small;"><strong>Hales Gallery</strong> is pleased to announce <strong>Adam Dant</strong>'s third solo show at the gallery, <i><strong>From the Library of Dr London</strong>.</i></span></p> <p class="BodyA" style="text-align: justify;"><span style="font-size: small;">'Personification of place' is given literal form in Dant's new series of drawings. In large pictures of open books, Dant represents how various societies have chosen to discuss, conceive and identify their environment, in human form. This is the first time these works have been displayed.</span></p> <p class="BodyA" style="text-align: justify;"><span style="font-size: small;">Dant's personifications are not merely symbolic figures of places; they are formed from the actual features and topography of specific locations. For example, in the title-piece of the exhibition, <i>From The Library of Dr London, </i>London is depicted as a medical diagram of the human digestive tract - the gullet at Whitehall, the rectum at Whitechapel - with various London landmarks corresponding to appropriate internal organs also depicted as integrated into the fabric of London, which are shown as vignettes around the city/body. The image is grotesque, fantastical and quasi-fictional whilst its subject appears strangely familiar in context of everyday London.</span></p> <p class="BodyA" style="text-align: justify;"><span style="font-size: small;">Other volumes in this collection of giant tomes hold engravings and charts which display:  Paris constructed from the bones of Liberty; several alternative, pendulous versions of Manhattan, and Tokyo's subway system, as a tangled knot of 'Shunga print' style figures. The deliberate visual manipulation of the geography of each place as seen laid down on the scuffed pages of these faux books is as unsettling as it is convincing, the manifestation of the concept of each map as strange as it is familiar.</span></p> <p class="BodyA" style="text-align: justify;"><span style="font-size: small;">These new drawings also serve to unite several strands of Dant's previous work which has encompassed the realms of cartography and popular print, visual narrative and visual paradox, and drawing as historical document.</span></p> <p class="BodyA" style="text-align: justify;"><span style="font-size: small;">Dant's previous exhibitions and projects have included the depiction of the British relationship with alcohol,  a series of huge sepia ink drawings incorporating various 'systems of knowledge' into the fabric of familiar public spaces; more recently the construction of <i>trompe l'oeil</i> painted environments such as <i>The Library of Outlandia</i> in the Scottish Highlands. His five-year pamphleteering project, <i>Donald Parsnips Daily Journal, (1995-2000),</i> is in the collection of both MoMA and Tate.</span></p> <p class="BodyA" style="text-align: justify;"><span style="font-size: small;">Adam Dant's work is in numerous public and private collections such as The Arts Council, UK; MoMA, (USA); Tate, (UK); Musee d'Art Contemporain de Lyon, (France); HRH Prince of Wales, (UK); The Museum of London, (UK); Deutsche Bank; UBS; The Government Art Collection, (UK) and the San Diego Museum of Art, (USA).</span></p> Fri, 17 Aug 2012 11:22:50 +0000 Catherine Goodman - Marlborough Fine Art - September 12th, 2012 - October 6th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>Marlborough</strong> is pleased to announce the forthcoming exhibition of new work by <strong>Catherine Goodman</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Goodman is the co-founder and Artistic Director of The Prince’s Drawing School and drawing is at the centre of this exhibition. The accompanying catalogue includes essays by critic Rachel Campbell Johnston and art historian Duncan Robinson.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Worlds Within</em> are paintings of the inner landscape. They are the result of twenty-five years of working in the Indian Himalayas and are a dialogue between Indian and London, the artist’s home. They combine paintings of mountains and huts with interiors of her family home and studio.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Also showing will be drawings made after paintings by Rembrandt and Veronese in the National Gallery which record her intimate familiarity with these artists</span> <span style="font-size: small;">The scale of the mountainous landscape with its massive peaks impacts on works which dwarf the artist and finds a counterpoint in the intimate drawings from the old masters. Goodman draws every day and this activity is at the centre of everything she does.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Neither subject is a simple rendition but permeated by her emotion, memories and feelings of the subject. Goodman says of her drawings “They hold smell, temperature, atmosphere’ and have to be used ‘while there’s a freshness in them which after a time dies’. Bold strokes and colour convey the immediacy of her original encounter with the subject.</span><br /><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">As Rachel Campbell Johnston writes ‘From a distance you see a picture. But step closer and it disappears into a dense network of bush-strokes. The image melts into a forest of swipes and dribbles and splotches. Paint loops and spirals and eddies and sloshes. It is as if the world has dissolved back into that mysterious swell of feelings with which it was first sensed. Step back a few paces and it slowly resolves again – though perhaps not into quite the same picture that you saw the first time.’</span><br /><span style="font-size: small;"></span></p> <p style="text-align: justify;"><span style="font-size: small;">To cite Duncan Robinson ‘Whether she is drawing from life, drawing from the landscape or drawing from works of art, she does so with the same compulsion, to combine sight with insight, and to distil from what she sees an essence which is entirely her own’.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><br /><span style="font-size: small;">Catherine Goodman was born in 1961. She lives and works in London and has exhibited at Marlborough Fine Art in 2004 (with David Dawson) and 2008.</span></p> Tue, 14 Aug 2012 04:19:52 +0000