ArtSlant - Recently added en-us 40 Ângela Ferreira - Marlborough Fine Art - August 5th - September 5th <p style="text-align: justify;">Continuing its summer tradition of exhibiting a single work for the month of August,&nbsp;<strong>Marlborough Contemporary</strong>&nbsp;is delighted to present&nbsp;<strong>&Acirc;ngela Ferreira</strong>&rsquo;s&nbsp;<em>Talk Tower for Ingrid Jonker</em>.<br />&nbsp;<br />Ferreira&rsquo;s work might be understood as conceptual sculpture and is concerned with the legacies of colonialism,&nbsp;conducted through in-depth research and the distillation of ideas into resonant and material forms. She provokes the viewer to question these histories in the encounter with her objects, which often reference modernist precedents, combined with text, photography and video.<br /><br /><em>Talk Tower for Ingrid Jonker</em>&nbsp;(2012) is a structure designed for broadcasting poetry, as homage to the South African poet Ingrid Jonker (1933-1965). The work is typical of Ferreira's practice in the way that it combines her concerns with the material consequences of modernism and how those forms evolve and change as they travel through the world. The sculpture is one of a series of towers that Ferreira began in 2008. The starting point of this project was Gustav Klutsis&rsquo; multimedia agitprop kiosks, which were designed to display newspaper, film and project sound in revolutionary Russia. This reference intersects with the image of a rudimentary radio transmission tower in rural Mozambique. It also points to the crucial history of radio during the independence and liberation wars in Africa, such as Radio Freedom in South Africa.</p> <p style="text-align: justify;">The Towers have recently become vehicles for paying homage to literary authors. They do so through their sculptural presence while they enable the public broadcast of poetry.&nbsp;<em>Talk Tower for Ingrid Jonker</em>&nbsp;pays tribute to the poet&rsquo;s oeuvre and to her life.&nbsp; Jonker&rsquo;s poem &lsquo;The Child is Not Dead&rsquo; (inspired by the death of a black child, shot dead by soldiers at Nyanga) was recited by Nelson Mandela during his address at the opening of the first democratic parliament in South Africa on 24 May 1994 &ndash; a remarkable testament to the lasting power of the Afrikaner poet.<br />&nbsp;<br />In 1965 Jonker went to the beach at Three Anchor Bay in Cape Town, walked into the sea and committed suicide by drowning.&nbsp; Ferreira&rsquo;s structure was originally imagined installed on the beachfront, marking where she tragically died.&nbsp; In the final version of the project, a photograph accompanies the sculpture, marking that now unmarked spot on the beach.&nbsp;<br />&nbsp;<br />The sculpture alludes directly to the form of the constructivist Shukhov radio tower built in the early 1920s near Moscow.</p> <p style="text-align: justify;">Born in 1958 in Maputo, Mozambique, &Acirc;ngela Ferreira grew up and studied in South Africa.&nbsp;Ferreira's work is concerned with the ongoing impact of colonialism and post-colonialism on contemporary society, an investigation that is conducted through in-depth research and the distillation of ideas into concise and resonant forms.<br /><br />Ferreira represented Portugal at the 52nd Venice Biennale in 2007. Recent exhibitions include Messy Colonialism, Wild Decolonization, MACO, Mexico (2015); Monuments in Reverse, CAAA, Guimar&atilde;es (2015); Revolutionary Traces, Stroom, Den Haag (2014); Independance Cha Cha, Lumiar Cit&eacute;, Lisbon (2014); Entrer dans la Mine, Lubumbashi Biennale, Congo (2013). Political Cameras, Stills, Edinburgh (2013). Ferreira has been recently shortlisted for Novo Banco&nbsp;Photo Award 2015, the most prestigious contemporary art award in Portugal. She lives and works in Lisbon.</p> <p style="text-align: justify;">&nbsp;</p> Fri, 31 Jul 2015 10:32:00 +0000 Liz K. Miller - Bearspace - July 30th - October 9th <div style="text-align: justify;">BEARSPACE is pleased to present <em>SCORDATURA</em>, a solo exhibition featuring the work of Liz K. Miller. In these works, Miller has created a new language to communicate musical scores resulting in the intricate etchings and prints presented in this exhibition. Scordatura is a musical term that refers to tuning of a stringed instrument that differs from the normal, standard tuning.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The premise for these works is the use of the repetitive motifs that occur in music in order to generate concentric patterns. The resulting imagery looks like it could have naturally occurred or grown, like constellation patterns or rings of a tree.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The circular scores that are created use radius to represent pitch and circumference to signify time. Repetitions are indicated by a retracing of the same motifs to create layers. Map making and cartography form the basis of Miller&rsquo;s art practice. Using traditional printing techniques such as etching, lithography and screen-printing, the artist creates music maps that can be read and interpreted by musicians. The works also create a new way of visualising music for those who are untrained in the traditional linear scoring system.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Colour has a huge significance in Miller&rsquo;s work, although the rules regarding its selection can change. In developing the score of Gabriel Faur&eacute; Madrigal, Miller mapped colours based on the selection of choir master Peter Bullett, who is synaethetic and sees key signatures in colour. The colour in this work maps the colours Peter experienced with each key change.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The artist works alongside musicians to produce a series of work that function beyond their form and bridge the gap between visual art and music.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Liz K. Miller studied at Edinburgh College of Art and University of the Arts London. She began a three-year print fellowship at the Royal Academy Schools in 2013. Miller recently undertook a residency at Spike Island in Bristol, UK. Her work is held in the Tate Print Collection and the British Library.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"> <div><strong>Opening Event Friday 31st July,&nbsp;6.30-8.30pm</strong></div> <div><em>in association with SLAM Fridays.</em></div> </div> Fri, 31 Jul 2015 05:35:42 +0000 - StolenSpace Gallery - September 4th - October 4th <p style="text-align: justify;">From LA to London, StolenSpace Gallery &amp; ThinkSpace LA are joining forces to co- curate a group show this September in London at&nbsp;StolenSpace Gallery.<br /><br />With a roster of over 100 incredible artists between us, this is due to be a show to remember!&nbsp;</p> <p style="text-align: justify;">Featuring 12 x12 inch (30x30cm) works from:<br />Aaron Nagel<br />Adam Caldwell<br />Alex Yanes<br />Alexis Diaz<br />Allison Sommers<br />Amanda Marie<br />Andrew McAttee<br />Andy Kehoe<br />Angry Woebots<br />Anthony Clarkson<br />Arth Daniels<br />Atsuko Goto<br />Baghead<br />Beau Stanton<br />Bec Winnel<br />Ben Frost<br />Ben Turnbull<br />Brian Mashburn<br />bumblebeelovesyou<br />Carl Cashman<br />Casey Weldon<br />Charles Krafft<br />Charlie Anderson<br />Chie Yoshii<br />Chris Stead<br />Christine Wu<br />Cinta Vidal<br />Cleon Peterson<br />Craig 'Skibs' Barker<br />Cryptik<br />Crystal Wagner<br />Curtis Kulig<br />David Bray<br />David Cooley<br />Derek Gores<br />Drew Leshko<br />Drew Young<br />EINE<br />Ekundayo<br />Erik Siador<br />Evoca1<br />Frank Gonzales<br />Fumi Nakamura<br />Haroshi<br />Herakut<br />Hueman<br />Jacub Gagnon<br />James Bullough<br />Jana &amp; JS<br />Jason Thielke<br />Jeff Ramirez<br />Jeremy Fish<br />Jeremy Hush<br />Jim Houser<br />Joanne Nam<br />Jolene Lai<br />Jorge Rodriguez-Gerada<br />Joseph Martinez<br />Josie Morway<br />Kari-Lise Alexander<br />Kelly Vivanco<br />Ken Flewellyn<br />Kevin Peterson<br />Ki Sung Koh<br />Kikyz1313<br />Kojiro Ankan Takakawa<br />Kozyndan<br />Kwon Kyung-Yup<br />Kyle Stewart<br />Lauren Napolitano<br />Lindsey Carr<br />Linnea Strid<br />Liz Brizzi<br />London Police<br />Low Bros<br />Luke Chueh<br />Mari Inukai<br />Mary Iverson<br />Matt Linares<br />Matt Small<br />Matthew Grabelsky<br />Meggs<br />Meryl Donoghue<br />Mike Egan<br />Monica Canilao<br />Mysterious Al<br />Nosego<br />Nychos<br />Nylon<br />Okuda<br />Ozabu<br />Pam Glew<br />Paul Barnes<br />Paul Stephenson<br />Persue<br />Peter Adamyan<br />Ramon Maiden<br />Reka<br />Rone<br />Ronzo<br />Ryan Callanan<br />Sandra Chevrier<br />Scott Listfield<br />Sean Mahan<br />Sebastian Wahl<br />Shepard Fairey<br />So Youn Lee<br />Snik<br />Stinkfish</p> <div>Sylvia Ji<br />Tony Philippou<br />Tran Nguyen<br />Troy Lovegates<br />Twoone<br />Von<br />Will Barras<br />X-O<br /><br />Plus larger 32x32 inch (81x81cm) works also on view from:<br />Audrey Kawasaki<br />Alexis Diaz<br />C215<br />Curiot<br />Cyrcle<br />D*Face<br />David Cooley<br />Erik Jones<br />Joram Roukes<br />Kai &amp; Sunny<br />Kevin Peterson<br />Low Bros<br />Maya Hayuk<br />Nosego</div> <div>The London Police<br />Word To Mother</div> Fri, 31 Jul 2015 05:28:59 +0000 Thomas Demand, Elger Esser, Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, Thomas Struth, Bernd & Hilla Becher - Ben Brown Fine Arts Ltd - September 4th - October 3rd <p class="Default" style="text-align: justify;">This autumn Ben Brown Fine Arts is pleased to present a major survey of photography originating from the Kunstakademie D&uuml;sseldorf after 1976. The exhibition offers an opportunity to see varying interpretations of the German &lsquo;New Objectivity&rsquo; style championed by Bernd and Hilla Becher side by side, including meditations on architecture and landscape by their former pupils Candida H&ouml;fer, Andreas Gursky, Axel H&uuml;tte, Thomas Ruff, Elger Esser and Thomas Struth, also known today as the D&uuml;sseldorf School of Photography. These documentary representations of existing spaces will be complemented by the photography of Thomas Demand, a former sculpture student at the Kunstakademie, who models life-sized rooms and buildings for exacting depiction.</p> <p class="Default" style="text-align: justify;">Meeting at an advertising agency in Dusseldorf in 1957, Bernd and Hilla Becher began photographing industrial structures in the mining area of the Ruhr district where Bernd spent his childhood. Always incorporating overcast skies to minimise shadows, their formalist images capture the near-sculptural majesty of cooling towers, lime kilns and bunkers, each relics of a vanishing industrial age. In direct contrast to the romantic worldview of their post-war contemporaries, the Bechers&rsquo; works began a revival of the New Objectivity photography that had prevailed in Germany in the 1920s and &lsquo;30s, characterised by an unsentimental gaze. Following the pair&rsquo;s international debut at Documenta 5 in Kassel, 1972, Bernd Becher was appointed professor of photography at the Kunstakademie D&uuml;sseldorf in 1976, which was increasingly renowned as a centre of high-quality photographic training and technological advancement. Despite never teaching as a couple, the pair&rsquo;s approaches combined to inspire the variety of pictorial languages now showcased together with their own works at Ben Brown Fine Arts.</p> <p class="Default" style="text-align: justify;">Andreas Gursky set up a studio in a disused power station across the Rhine from the school, where he was joined by Thomas Ruff and Axel H&uuml;tte in 1989. Taken from an elevated standpoint and digitally manipulated to otherworldly effect, Gurksy&rsquo;s depictions share in the sense of sublimity found in the Becher&rsquo;s own images, from a vast swathe of people in <em>Love Parade </em>(2001) to the imposing rock formations in <em>James Bond Island III </em>(2007). A sense of immensity also colours Axel H&uuml;tte&rsquo;s <em>HOUSTON, Rice, USA </em>(2006) juxtaposing tower blocks against a misty backdrop to ethereal effect. Offering a greater sense of creative detachment, Thomas Ruff makes use of found media and photographic technology. <em>17h 16m/-45&deg; </em>(1990), a nocturnal sky-scape, is a digital enlargement of negatives from the European Southern Observatory in Chile, not taken by the artist himself. The works of Elger Esser, meanwhile, depart almost entirely from the documentary approach of his teachers, offering a restrained colour palette and landscapes recalling the <em>vedute </em>of the Italian masters.</p> <p class="Default" style="text-align: justify;">Thomas Struth couples the romantic with a sense of rigour in his &lsquo;Museum&rsquo; photographs (2004- 2005). Often working in a series like the Bechers themselves, he trains his camera around institutional spaces to capture humans interacting with Old Master paintings, centralising ideas of observation and perspective. In contrast, Candida H&ouml;fer, whom Ben Brown Fine Arts has represented for many years, captures public spaces entirely devoid of human presence. Working with natural light alone, H&ouml;fer&rsquo;s systematic approach combines with a sympathy for her architectural subjects to produce works of monumental impact.</p> <p class="Default" style="text-align: justify;">Instead of seeking out architectural settings, Thomas Demand recreates his own elaborate structures, occasionally based on existing locations, with paper and cardboard. Like H&ouml;fer, his spaces lack any human subjects yet contain traces of their activity, such as an open door in <em>Hole </em>(2013). Demand swiftly destroys his models after photographing them, turning his images into ephemeral encounters with lost environments.</p> <p style="text-align: justify;">Unifying these important works, <em>Dusseldorf Photography </em>promises to bring the Kunstakademie D&uuml;sseldorf&rsquo;s distinctive photographic vision to life.</p> Fri, 31 Jul 2015 05:22:31 +0000 Benjamin Brett, Mark Couzens, Jamie George, Jonny Green, Ben Jamie, Deklan Kilfeather, Jonathan Kipps, Leon Matis Robin Monies, Ian Segrave - Blain|Southern - London Hanover Square - August 4th - August 8th <p><em>'Pay No Attention To That Man Behind The Curtain'</em>&nbsp;opens next week at Blain|Southern. Celebrating the wealth of emerging artistic talent within the gallery, the exhibition features nine artists who lend their considerable expertise to the gallery's daily operations whilst developing their own artistic careers. The breadth of work on show includes textiles, painting, illustration, sculpture and conceptual pieces. Many of the artists are alumni of prestigious art schools, with impressive CVs that feature renowned residencies, awards, scholarships and critically acclaimed exhibitions.</p> Wed, 29 Jul 2015 15:52:55 +0000 - fig-2 - August 3rd - August 9th <p><span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">Adam Broomberg &amp; Oliver Chanarin&rsquo;s site-specific work for fig-2 interrogates the landscape that surrounds the ICA Studio, incorporating the Mall, Downing Street, Horse Guards Parade and Buckingham Palace; an area characterised by daily military parades and other displays of state power.&nbsp;Broomberg &amp; Chanarin have invited a bouffon or &lsquo;Dark Clown&rsquo; to respond to this highly militarised environment. The figure of the bouffon, originated in medieval times and was used as a term to describe someone ostracised from society and relegated to the margins of the city &ndash; apart from one day of the year, when he or she was invited to the Royal Court with explicit permission to ridicule the authorities.&nbsp;For one week Broomberg &amp; Chanarin will transform the fig-2 premises into a &lsquo;green screen&rsquo; studio for the bouffon to inhabit. Her grotesque and vulgar presence suggests a counterpoint to the military codes of discipline and hierarchical order on display in the surrounding streets. The live performance, consisting of slapstick routines and gallows humour, will take place during the opening event and&nbsp;on Thursday&nbsp;evening, simultaneously merging with video footage of the changing of the guards and other military ceremonies. The bouffon will be played&nbsp;by Hannah Ringham, and the performance will be accompanied by a raucous soundtrack, composed by drummer Kid Millions. Please book your tickets for the&nbsp;Thursday&nbsp;performance&nbsp;<a href=";id=3e7f4bcfe0&amp;e=aee357223d" rel="nofollow" target="_blank">here</a>.</span></p> Wed, 29 Jul 2015 15:36:37 +0000 - fig-2 - July 27th - August 2nd <p><span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">Concentrating on text as the main material of her production, Anna Barham furthers her ongoing investigation into the dichotomy of meaning and its translation as various codes - alphabet, sound, and image. Barham</span>&rsquo;<span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">s project for fig-2 bases its structure on her previous live production reading groups in which malleable interpretations of a selected text are created and activated by the participants</span>&rsquo;&nbsp;<span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">voices and speech to text software. For fig-2 the process is stretched across the duration of a week where the group exists as a series of encounters rather than a simultaneous presence: Every day different interpretations generated the previous day will be provided to each visitor to choose from and to add a new translation of the text by voicing their selected piece. Barham addresses the unruly potential of meaning and the active role of the viewer / reader by setting up complex feedback loops between human and computer processes. Evoking century-old tendencies towards stepping out of meaning production in a language, her work embodies the intentions of Dadaists, and finds a paradoxical freedom in Wittgenstein</span>&rsquo;<span style="color: #000000; font-family: 'times new roman', times, baskerville, georgia, serif;">s demarcation of human thought within language.<br /></span></p> Wed, 29 Jul 2015 15:34:17 +0000 Torey Thornton - Stuart Shave/Modern Art - September 4th - October 3rd Tue, 28 Jul 2015 16:00:34 +0000 Shepard Fairey, Ben Eine, Word To Mother, SICKBOY, Viktor Vautier, D*Face - Londonewcastle Project Space - October 1st - October 29th <p style="text-align: justify;">This October, StolenSpace presents the street art event of the year. For the first time Shepard Fairey, Dface, Ben Eine, Word To Mother, Sickboy and Viktor Vautier unite in an explosive group show, offering London an alternative kind of Art Fair.</p> <p style="text-align: justify;">These hard-hitters of the urban art scene are taking over: no rules, no restrictions, no theme, no inhibitions. Anti-Freeze needs to be seen to be believed.</p> <p style="text-align: justify;">Collector/buyer enquiries to</p> <p style="text-align: justify;">Press enquiries to</p> Tue, 28 Jul 2015 15:43:40 +0000 Frank Bowling - Hales Gallery - September 11th - October 24th Tue, 28 Jul 2015 15:40:38 +0000 Holly Blakey - Hales Gallery - August 21st 7:00 PM - 9:00 PM <p class="BodyA" style="text-align: justify;">In August 2015 Hales Gallery London is delighted to invite Choreographer and Director Holly Blakey to present <em style="line-height: 1.8em;">Some Greater Class</em>, a newly imagined live performance work exploring the complexities and contradictions of contemporary performance and its context. Conceived as a site responsive work, <em style="line-height: 1.8em;">Some Greater Class</em> sees Blakey collaborate with teams of dancers, musicians, videographers and producers to realise the work. Having worked with multiple galleries and artists in the past, this new piece will mark Blakey&rsquo;s first solo presence in this context. <em style="line-height: 1.8em;">Some Greater Class </em>is generously supported by the Arts Council, England. </p> <p style="text-align: justify;">Blakey&rsquo;s work deeply explores the nature of movement; the way bodies explore experience, connectivity and environment. Often directing her own work as well as choreographing, she develops particular frameworks around the experiences she creates, working with dancers, their movement and music to explore a variety of associations. Through this way of working Blakey is able to define the space between audience and performer as a shared field of intersecting relationships. <em>Some Greater Class</em> will operate through a sustained physical connection, emphasising the relationship between artist, audience and musician. During the performance, the dancers will respond to one another as well as the architecture and acoustics of the gallery through choreographed movements and specific interactions, thus integrating the space into the performative experience. </p> <p style="text-align: justify;">In the current era of &lsquo;cultural capitalism&rsquo;, revising the complex and contradictory relationship between &lsquo;High Art&rsquo; and pop culture is relevant in attempting to comprehend social conventions of our times. Working in both the non-profit and commercial fields, Blakey has formed a particular interest in this conversation. In using the concept of a live pop music video as a context, <em>Some Greater Class</em> has a tool to explore these social constructs, inspiring a debate about the different value systems and expectations in the two, often separated yet not wholly dissimilar, worlds. With consumer culture today, more than ever, porous and interconnected, Blakey wants to challenge the idea of democratic accessibility in the art world. Using the sexualised, transgressive and youthful body as a visual marker for the consumerism and consumption core to the popular/mass market, Blakey plants a recognisable symbol in this unlikely context, confronting the audience with an interplay between flesh, form and motion, exploring social understanding and recognition through this dynamically unfolding experience.</p> <p class="BodyA" style="text-align: justify;"><strong>&nbsp;</strong></p> <p class="BodyA" style="text-align: justify;"><strong>Integral collaborators to </strong><strong><em>Some Greater Class</em></strong><strong> are renowned musicians </strong><strong><em>Gwilym Gold</em></strong><strong> and </strong><strong><em>Darkstar</em></strong><strong> who will incorporate</strong><strong> live</strong><strong> music into the work. </strong><strong><em>Some Greater Class</em></strong><strong> is an approximately 1 hour long performance. </strong></p> <p class="BodyA" style="text-align: justify;">&nbsp;</p> <p class="BodyA" style="text-align: justify;"><strong>Tickets are free however booking is essential.&nbsp;To book your ticket please click&nbsp;<a class="external" href="" target="_blank">here</a>.</strong></p> <p style="text-align: justify;">&nbsp;<strong>7pm and 8:45pm</strong></p> <p style="text-align: justify;"><strong style="line-height: 1.8em;">About Holly Blakey</strong></p> <p style="text-align: justify;"><strong>&nbsp;</strong></p> <p class="BodyA" style="text-align: justify;">Holly Blakey (b. 1987) is a director and choreographer. Born in North Yorkshire (North of England) and now based in London, Blakey&rsquo;s recent work has been for camera, globally working with directors, artists and musicians from the United States, Europe and Asia.</p> <p class="BodyA" style="text-align: justify;">&nbsp;</p> <p class="BodyA" style="text-align: justify;">Previous collaborations include her work with renowned young British artist Hannah Perry in 2014 on <em>Horoscopes (D&eacute;j&agrave; vu)</em>, a video and dance based performance work that premiered at London&rsquo;s Serpentine Gallery. Scored alongside Mica Levi and Lucy Railton, it marked the first time that the gallery had exhibited dance. The collaboration returned in January 2015 for a one-off performance at London&rsquo;s <em>Boiler Room</em>, Hackney. In 2014 Blakey was commissioned alongside artist Phoebe Davies to create a brand new participatory performance that took place on 6th February at the ICIA in Bath, <em>Interlude.</em> An exploration of space and social frameworks within public gatherings, the work interacted with up to thirty untrained members of the public.</p> <p class="BodyA" style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Recent commercial credits include directing music videos for Gwilym Gold and Tourist and choreographing videos for the likes of Jessie Ware, Jon Hopkins, Young Fathers, Lianne La Havas, Ellie Goulding, Chase &amp; Status and Jungle.</p> <p class="BodyA" style="text-align: justify;">&nbsp;</p> <p class="BodyA" style="text-align: justify;">World-renowned and emerging as one of the UK&rsquo;s most exciting director/choreographers, Blakey is fast establishing herself as one of the key figures in contemporary performance.</p> Tue, 28 Jul 2015 15:38:55 +0000 Alexander Calder - Tate Modern - November 11th - April 3rd, 2016 <p style="text-align: justify;">American sculptor Alexander Calder was a radical figure who pioneered kinetic sculpture, bringing movement to static&nbsp;objects.</p> <p style="text-align: justify;">Calder travelled to Paris in the 1920s, having originally trained as an engineer, and by 1931 he had invented the mobile, a term coined by Duchamp to describe Calder&rsquo;s sculptures which moved of their own&nbsp;accord.</p> <p style="text-align: justify;">His dynamic works brought to life the avant-garde&rsquo;s fascination with movement, and brought sculpture into the fourth&nbsp;dimension.</p> <p style="text-align: justify;">Continuing Tate Modern&rsquo;s acclaimed reassessments of key figures in modernism, <em>Alexander Calder: Performing Sculpture </em>will reveal how motion, performance and theatricality underpinned his practice. It will bring together major works from museums around the world, as well as showcasing his collaborative projects in the fields of film, theatre, music and&nbsp;dance.</p> <blockquote> <p style="text-align: justify;">Master of motion Alexander Calder to lead Tate&rsquo;s 2015 programme<br /><em></em></p> <p style="text-align: justify;">Tate Modern celebrates inventor of the mobile<br /><em>The Daily&nbsp;Telegraph</em></p> The largest retrospective of Alexander Calder&rsquo;s mobiles, slowly changing on every breath of moving air&hellip; <br /><em>The Guardian</em><br /><br />[Calder] &hellip; forced the public to rethink what sculpture was<br /><em>Evening Standard</em><br /><br />His fusion of sculpture with performance art was ahead of its time&nbsp;<br /><em>Mail&nbsp;Online</em></blockquote> Sun, 26 Jul 2015 15:50:50 +0000 Abraham Cruzvillegas - Tate Modern - October 13th - April 3rd, 2016 <p style="text-align: justify;">Abraham Cruzvillegas will undertake the inaugural Hyundai Commission for the Turbine Hall in 2015. This will be the first in a new series of annual site-specific commissions by renowned international&nbsp;artists.</p> <p style="text-align: justify;">Mexican artist Abraham Cruzvillegas is best known for creating sculptural works from local found objects and materials. During the 1990s and 2000s, Cruzvillegas was among the key figures of a new wave of emerging <a href="">conceptual artists</a> in&nbsp;Mexico.</p> <p style="text-align: justify;">For the past few years, Cruzvillegas has created a body of work under the title autoconstrucci&oacute;n or &lsquo;self-construction&rsquo;, a term which usually refers to the way Mexicans of his parents&rsquo; generation arriving in the capital from rural areas in the 1960s, built their own houses in stages, improvising with whatever materials they could&nbsp;source.</p> <h2 style="text-align: justify;">About the Hyundai&nbsp;Commission</h2> <p style="text-align: justify;">The Hyundai Commission is a new series of site-specific installations by contemporary artists in Tate Modern&rsquo;s iconic <a href="" target="_blank">Turbine Hall</a>. It is made possible by a unique long-term partnership between Tate and Hyundai&nbsp;Motor.</p> <p style="text-align: justify;">Tate Modern&rsquo;s Turbine Hall has hosted some of the world&rsquo;s most memorable and acclaimed works of contemporary art, enjoyed by an audience of millions each year. The annual Hyundai Commission will give artists an opportunity to create new work for this unique&nbsp;context.</p> <p style="text-align: justify;">Find out more about <a class="ga-tracked" href="" target="_blank">Hyundai Motor&rsquo;s global art initiative and various activities</a>.</p> Sun, 26 Jul 2015 15:48:28 +0000 - The British Museum - September 24th - January 31st, 2016 <p class="white asH3" style="text-align: justify;">Come on a journey tracing what it means to be Celtic. The more you look, the more you&rsquo;ll see&hellip;</p> <p style="text-align: justify;">This is the first major exhibition to examine the full history of Celtic art and identity, and is organised in partnership with National Museums Scotland. The story unfolds over 2,500 years, from the first recorded mention of &lsquo;Celts&rsquo; to an exploration of contemporary Celtic influences. Discover how this identity has been revived and reinvented over the centuries, across Britain, Europe and beyond.</p> <p style="text-align: justify;">Many objects provide clues to and raise questions about Celtic identity. From the depths of the River Thames come magnificent Iron Age treasures such as the Waterloo helmet and Battersea shield. Roman jewellery, early medieval manuscripts and crosses, a Liberty tea set and even a modern football shirt tell a constantly evolving British and Irish story. Major loans, such as the spectacular Gundestrup cauldron, reveal profound cultural connections across Europe.</p> <p style="text-align: justify;">The fascinating art and history explored in the exhibition have deep resonances for those in Britain, Ireland and the global Celtic diaspora today, influencing everything from music and literature to sport and spirituality.</p> <p class="asH3" style="text-align: justify;"><a href=";src=typd" target="_blank">#Celts</a></p> <p class="white" style="text-align: justify;">Organised with<br />National Museums Scotland</p> <p style="text-align: justify;">Supported by</p> <p style="text-align: justify;">In memory of Melvin R Seiden<br /> Sheila M Streek<br /> Stephen and Julie Fitzgerald<br /> Fund for the Future donors</p> Sun, 26 Jul 2015 15:45:02 +0000 Group Show - The British Museum - September 10th - December 6th <p style="text-align: justify;">Explore the development of the artistic technique of metalpoint from the Renaissance to the present, and discover how the technical challenge of the medium has inspired generations of artists.</p> <p class="large-text long-text" style="text-align: justify;">This exhibition is a once-in-a-lifetime opportunity to see around 100 exceptional drawings created using the exquisite metalpoint technique. It features works by some of the greatest artists working from the late 14th century to the present including Rogier van der Weyden, Petrus Christus, Leonardo da Vinci, Raphael, Albrecht D&uuml;rer, Hans Holbein the Elder, Lucas van Leyden, Rembrandt, Edward Burne-Jones, William Holman Hunt, Otto Dix, Jasper Johns and Bruce Nauman. Works drawn from the British Museum&rsquo;s superb collection of metalpoint drawings sit alongside major loans from European and American museums as well as private collections, including four sheets by Leonardo da Vinci from the Royal Collection.</p> <p class="large-text long-text" style="text-align: justify;">Metalpoint is a drawing technique where the artist uses a metal stylus, usually made of silver, on an abrasive preparation so that traces of the metal are left on the surface, resulting in a visible drawing. The fine point allows for precise lines so that stunningly detailed drawings can be achieved. Metalpoint lines cannot be easily erased and the artist needs to carefully plan the design or run the risk of having to start all over again. In the hands of the greatest artists metalpoint could also be used more freely for creating rapid sketches.</p> <p class="large-text long-text" style="text-align: justify;">The exhibition is the first to explore the development of metalpoint through six centuries and showcases the great variety of artistic styles it has encompassed. During the Renaissance metalpoint became popular both north and south of the Alps before cheaper graphite replaced it from around 1550. In northern Europe metalpoint continued to be used in preparation for prints or in travel sketchbooks. From the late 17th century the technique was virtually forgotten until the 19th century when the admiration for Renaissance art sparked its renewed use. The exploration of the medium continues to this day, both in Europe and the USA.</p> <p class="large-text long-text" style="text-align: justify;">Such a glittering array of metalpoint drawings by the greatest masters of this technique has never been assembled before, and this exhibition presents a unique opportunity to view such a large collection of masterpieces using this intriguing technique.</p> Sun, 26 Jul 2015 15:45:55 +0000 - Tate Britain - September 25th 12:30 PM - 2:30 PM <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">This show and tell will explore the collection, amassed by Nimai Chatterji, of items relating to the transformation in art and literature and the 20th century avant-garde.&nbsp; The show and tell will also touch upon Nimai&rsquo;s interest in the Raj, Kolkata and the Indian Nobel prize-winning poet, Rabindranath Tagore.&nbsp;The cataloguing of this 3000 box collection, which is the largest housed in Tate Archive, is being generously funded by Tate Members.</p> <p style="text-align: justify;">Hosted by Adrian Glew, Archivist, Morwenna Roche, Jennifer Johnstone and Emma Howgill, Archive&nbsp;Cataloguers.</p> </div> </div> </div> Sun, 26 Jul 2015 15:37:32 +0000