ArtSlant - Recently added en-us 40 Aaron Angell - Studio Voltaire - July 3rd - August 30th <p style="text-align: justify;">Angell works predominately with ceramics; his past sculptural tableaux depict colourful, fantasy landscapes that regularly recall historical depictions of the birth of the Industrial Revolution. His work is informed by hobbyist arts and often appears deliberately amateurish, however it requires a highly skilled production process and is influenced by a diverse set of cultural reference points. Angell&rsquo;s sculptures are imbued with tradition yet exploit its collapse, they are a celebration of both revolutions and revivals.<br /><br />Angell hopes to encourage a new way of thinking about the culturally nuanced history of ceramics by focusing on the material as a vehicle for sculpture. This exhibition comes at a time when folk and craft practices are finding increasing relevance and appreciation in the UK. Angell is eager to contribute to a wider understanding of ceramics in an artistic framework, which sits outside a traditional craft-based discourse. In his own words Angell wants to &ldquo;reclaim the material.&rdquo;<br /><br />For his Studio Voltaire commission, Angell will present his most ambitious body of work to date. Angell will demonstrate the variety of his interests, experimenting with a range of previously unexplored materials and processes, including glass paintings and ceramics, as well as works in cork, aluminium and painted steel&hellip; including two giant steel dog chew shoes.<br /><br />The large gallery space will be ringed with mustard coloured short awnings reaching almost all the way to the vaulted chapel ceiling. These will feature sparsely embroidered patterns based on images from fossilised magnolia flowers. This awning fabric, a 1960&rsquo;s plain Donegal tweed, will be remade by the original mill in Northern Ireland. These awnings will form a display system for some of his sculptures, others will be displayed in a structure in the centre of the room, loosely based on a homemade lean-to greenhouse that Angell encountered on the river near Mother Shiptons cave in Knaresborough.&nbsp;<br /><br />About the artist:<br /><br />Aaron Angell, born 1987 in Kent, lives and works in London. Recent solo shows include <em>Bumpkin</em>, Rob Tufnell (2012), <em>Put John Barleycorn in the old brown jug,</em> Croy Nielsen Berlin (2012) and&nbsp;<em>The Devil&rsquo;s Arse</em>,&nbsp;SPACE (2011). Angell&nbsp;is represented by Rob Tufnell, London.&nbsp;<br /><br />Angel was awarded the <a href="" target="_blank">Hospitalfield Autumn Residency 2014, </a>funded by Creative Scotland under their Creative&nbsp;Futures strand. Angel used this residency and production bursary to prepare for his Studio Voltaire commission.<br /><br />This commission is supported by Arts Council England, Grants for the arts; The Henry Moore Foundation; and Hospitalfield Arts.</p> Wed, 03 Jun 2015 16:30:46 +0000 Alistair Frost - Seventeen - June 5th - July 25th Wed, 03 Jun 2015 11:41:11 +0000 Jumana Emil Abboud, Joe Namy - Hayward Gallery - June 23rd - August 16th <p class="Normal1">At the Hayward Gallery a group exhibition <strong><em>- Echoes &amp; Reverberations</em></strong> - explores performative approaches to aural culture and oral history from <strong>Jumana Emil Abboud&rsquo;s</strong> weaving of Palestinian folktales into contemporary life to <strong>Joe Namy&rsquo;s</strong> interest in collectively performed sound and music.</p> <p class="Normal1">For more information please visit</p> Tue, 02 Jun 2015 12:34:26 +0000 Jamil Naqsh - Albemarle Gallery - June 11th - July 11th <p>Jamil Naqsh | The Muse, Messengers &amp; Miniatures</p> <p>11 Jun - 11 Jul 2015</p> <p>&nbsp;</p> <p>Jamil Naqsh&rsquo;s work is increasingly an elaboration of a private mythology &ndash; but a mythology that is, nevertheless, deeply rooted in the culture the artist belongs to. This mythology is, above all else, romantic. Romantic, both in the sense that it involves a backward glance, or a series of backward glances, to the Indian subcontinent&rsquo;s princely past, and also, in a very different way, to the tradition of courtly love that flourished within that social context.</p> <p>Jamil Naqsh was born in Kairana, Uttar Pradesh in 1938. In a still rapidly expanding art world, Jamil Naqsh holds a key position. He is the best-known contemporary artist from Pakistan, long famous in his own country, and also well established in international auctions.</p> <div>&nbsp;</div> Tue, 02 Jun 2015 10:06:33 +0000 Radouan Mriziga, Nazir Tanbouli - The British Museum - July 12th 11:00 AM - 5:00 PM <p class="Normal1"><strong>The Great Court at the British Museum</strong> becomes the stage for two artists working between drawing and performance. Moroccan choreographer and dancer <strong>Radouan Mriziga</strong> performs his solo <strong><em>&lsquo;55&rsquo;.</em></strong> Exploring the body&rsquo;s relationship to space through simple gestures and with quiet intensity, Mriziga gradually measures the space and creates an intricate floor pattern. Alexandrian born <strong>Nazir Tanbouli</strong> creates large-scale drawings, starting from simple marks and gradually covering the ground. In the process of drawing it becomes a performance. For Shubbak Tanbouli will create new 12m long works inspired by the British Museum and a recent research trip to Egypt.&nbsp;</p> <p class="Normal1">For more information please visit</p> Mon, 01 Jun 2015 14:57:30 +0000 Mark Wallinger - Tate Britain - June 2nd 6:30 PM - 8:00 PM <p style="text-align: justify;">Hear Wallinger discuss his wide ranging practice with writer Sally O&rsquo;Reilly, author of&nbsp;<em>Modern Artists series: Mark Wallinger</em>.</p> <p style="text-align: justify;">As a painter, sculptor and video artist&nbsp;<a href="" target="_blank">Mark Wallinger</a>&nbsp;has created some of the most subtly intelligent and irreverent work from the&nbsp;UK&nbsp;in the last twenty-five years. His early work questioned the values and class system of British society through&nbsp;<a href="" target="_blank">photorealist</a>&nbsp;paintings of racehorses with suggestive titles such as&nbsp;<em>Race, Class, Sex&nbsp;</em>(1993). He later explored institutionalised spirituality and religion through the video&nbsp;<em>Angel&nbsp;</em>(1997) and his Fourth Plinth commission in Trafalgar Square,&nbsp;<em>Ecce Homo&nbsp;</em>(1999).</p> <p style="text-align: justify;">After a retrospective at Tate Liverpool in 2000, representing Britain at the Venice Biennale in 2001, winning the Turner Prize in 2007 with his socially engaged installation&nbsp;<a href="" target="_blank"><em>State Britain</em></a>, Wallinger&rsquo;s work continues to intersect the public sphere, most recently with a multi-part work entitled&nbsp;<em>Labyrinth</em>&nbsp;marking the 150th anniversary of London Underground in&nbsp;2013.</p> <p style="text-align: justify;">Signed copies of the book will be available to purchase after the&nbsp;event.</p> Sat, 30 May 2015 04:36:31 +0000 Dolly Thompsett - Art First Contemporary Art - June 10th - August 14th <p style="text-align: justify;">Art First Projects is delighted to present extraordinary new work by Dolly Thompsett, whose multi-layered narrative paintings invoke the magic-realism of recent literature as well as the exoticism of the eighteenth century. She writes:</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">"In <em>The Secret Life of Mrs Andrews</em> my starting point was Gainsborough&rsquo;s early work <em>Mr and Mrs Andrews</em>. At the time I chose to work with this theme I was involved in a new relationship, but actually <em>Huddle</em> was the first painting that I&rsquo;d made during this period. Soon after completing Huddle I realized that it expressed my sense of trepidation about this love affair. Following<em> Huddle</em> I made<em> the Secret Life</em>. In the original picture the couple are newlyweds, and I remember that I was then thinking about the theme of sexual awakening in painting, and how all painting is about desire one way or the other. I tend to make these connections between my pictures and my life during or after a painting is done.</p> <p style="text-align: justify;">My paintings are not planned or known when I start. I may have an urge towards something or other, but that&rsquo;s all, and then the materials and chance and attractions to images, colours and or compositional devices lead me further in... <em>The Secret Life</em> contains references to Rococo painting and also to Victorian Fairy painting, both movements where sexual desire is a dominant theme, I also looked at Fuseli&rsquo;s erotic drawings and at Dutch Flower painting. These are all to do with a certain disallowed or confused eroticism, which I can relate to in terms of the way that I&rsquo;ve been brought up. &nbsp;</p> <p style="text-align: justify;">But the idea of a secret life also really applies more generally to my painting, which has always been a highly personal exploration of self. Painting is a parallel life for me. As a kid I would draw and paint hidden away in my attic room, isolated and enclosed and safe; and in so doing I would enable a hidden side of my self to emerge.</p> <p style="text-align: justify;">I have been collecting images for around 15 years in order to provide a language for this secret side. Many elements and motifs reoccur quite frequently, others are one-offs. So for example I often end up painting a ruined temple, seen from inside or outside, usually overgrown with creepers, sometimes with or without soldiers, old bones or collapsing ceilings revealing a starry night sky. Another recurring motif is a single boat heading into the unknown, into night, into a storm, or deep into a primeval jungle. Individual elements include spiderwebs, twisted branches and roots, mist, veils of gossamer, butterflies.</p> <p style="text-align: justify;">The images that I keep returning to are in fact variations of archetypes, they relate to countless older art historical images, they are psychological projections, they are dreamlike, they reveal both a personal and a collective inner architecture.&nbsp;</p> <p style="text-align: justify;">I would say that at the end of the studio day I have made manifest something of myself, and this may be fleeting or a state... this something&rsquo; is articulated using a process of touch and response and recognition and layering.&rdquo;</p> <p style="text-align: justify;">Dolly Thompsett completed her PhD in fine art at Goldsmith&rsquo;s College, London in 2006, having previously received an MA from Byam Shaw School of Art, and has since had many solo shows in London as well as being included in international group shows in the UK, Europe and the US. She was, in 2009, the winner of the Artsway prize, having been a finalist in the Jerwood Drawing Prize the year before.&nbsp;</p> <p style="text-align: justify;">Her work is held in the collections of - among others - Ernst &amp; Young, UBS &amp; The Zabludowicz Collection. She lives and works in London.</p> Sat, 30 May 2015 04:33:39 +0000 Wilhelmina Barns-Graham, Roger Hilton, John Wells, Bryan Wynte - Art First Contemporary Art - June 10th - August 14th <p style="text-align: justify;">Art First is delighted to present paintings by four artists who shared the pioneering environment which followed World War II in St Ives and its surroundings, all born variously in Scotland and Greater London within the decade that included the reign of Edward VII and the outbreak of the Great War; their careers occupied the centre of the 20th century. The exhibition comprises a presentation of key mid and late works by Barns-&shy;‐Graham and highlights connections with selected pieces by her fellow artists.</p> <p style="text-align: justify;">John Wells had already adopted the South West of England and had had a medical practice on the Scilly Isles before his 1945 move to Newlyn to pursue the artist&rsquo;s life. Bryan Wynter arrived after war service and Barns-&shy;‐ Graham had arrived from Scotland in 1940, meeting Wells in 1941 through her friends Ben Nicholson and Barbara Hepworth. Roger Hilton knew Barns-&shy;‐Graham from shared visits to Paris in the early 1950s and his frequent trips to St Ives through the same period and in 1965 he too became a resident of Cornwall.</p> <p style="text-align: justify;">Wynter and Wells participated in the groundbreaking 1946 Crypt Gallery (St Ives) &lsquo;young moderns&rsquo; show and Barns-&shy;‐ Graham joined them in the 1947 and 1948 versions. By this time Wells was already embracing the abstract idioms of Naum Gabo and Nicholson. Wynter remained influenced by Braque and Sutherland before his clear abstract voice emerged in the mid-&shy;‐1950s. Similarly Barns-&shy;‐Graham underwent her transformation through a series of paintings of the Grindelwald glaciers eventually leading to the expressionist abstraction of her late 50&rsquo;s work.</p> <p style="text-align: justify;">The exhibition features a re-&shy;‐visiting (1987-&shy;‐8) of that glacier theme, Splintered Ice No. 2, and also paintings by all three artists which show their different commitments to abstract explorations: Wynter&rsquo;s late Meander III (1971-&shy;‐4) presents an overall abstract composition governed by his intense interest in and study of natural forces, whilst Wells&rsquo; 1967 Two Related Movements is a promotion of purist geometry married with a natural colourism&mdash;both echoed in Barns-&shy;‐Graham&rsquo;s geometry-&shy;‐based Expanding Red, Orange and Green on Black (1980) and Meditation Series (1978)</p> <p style="text-align: justify;">In later interviews Barns-&shy;‐Graham regularly paid tribute to Hilton revealing her admiration for his art. She understood his child-&shy;‐like figurative work for its underlying wisdom and sophistication (famously in his late gouaches on paper, but also evident in Red Boat of 1958), and she rated his free-&shy;‐based abstract work, with its indebtedness to roots in Paris of the 1950s. This can be glimpsed in the release she granted herself in very late works such as Big Day (2001).</p> <p style="text-align: justify;">In mounting this exhibition, the directors of Art First are reminded of the enormous support, industry and enthusiasm for these artists demonstrated by the extraordinary curator and collector Dr David Brown, who attended Barns-&shy;‐Graham&rsquo;s 2001 book launch at the gallery. His vital London exhibitions of 1977 and 1985 cemented the St Ives Group in critical and academic minds before it could be obscured by any London/New York preponderance.</p> <p style="text-align: justify;">Art First wishes to thank Jonathan Clark Fine Art, Representatives of the artists&rsquo; estates for their loans and photographic permissions regarding Roger Hilton, John Wells and Bryan Wynter. We would also like to thank the Barns-&shy;‐Graham Charitable Trust for their participation and support.</p> <p style="text-align: justify;">AN ILLUSTRATED EXHIBITION PDF CAN BE VIEWED ON THE ART FIRST WEBSITE &ndash; <a href="" target="_blank">WWW.ARTFIRST.CO.UK</a></p> Sat, 30 May 2015 04:20:35 +0000 Tracey Emin, Francis Bacon - Tate Britain - March 31st - May 7th, 2016 <p style="text-align: justify;"><a href="" target="_blank">Tracey Emin</a>&rsquo;s <a href="" target="_blank">installation</a> <em>My Bed</em> 1998 returns to Tate Britain after it first came to public attention when shown in the <a href="" target="_blank">1999 Turner Prize</a>&nbsp;exhibition.</p> <p style="text-align: justify;">It is displayed here alongside six of the artist&rsquo;s recent figure drawings, as well as two oil paintings by <a href="" target="_blank">Francis Bacon</a> selected by Emin. Her installation, as Bacon&rsquo;s paintings do, retains a strong sense of the lived presence and memory traces of past&nbsp;events.</p> <p style="text-align: justify;">By virtue of bringing the domestic into the public sphere, without directly representing specific events,<em> My Bed</em> is forcefully and compellingly suggestive of personal&nbsp;narratives.</p> <blockquote> <p style="text-align: justify;">I was at a point in my life when I was pretty low&nbsp;&ndash; I hadn&rsquo;t got out of the bed for four days, I hadn&rsquo;t eaten properly for maybe a few weeks and had been drinking like an absolute fish &ndash; Couldn&rsquo;t sleep because I wasn&rsquo;t eating and I went out and got absolutely paralytically drunk, came home and didn&rsquo;t get out of bed for four days. I thought &lsquo;If I don&rsquo;t drink water soon, I&rsquo;m going to die&rsquo; but I was in a weird nihilistic place where I thought if I die it doesn&rsquo;t matter. But because I didn&rsquo;t want to die I got up, and then fell over, and crawled to the kitchen and managed to get some tap water and then kinda crawled back. When I looked at the room I thought &lsquo;Ughh!&rsquo; it was disgusting &ndash; it was so vile what I was looking at- it seemed so incredibly ugly. But then when I looked again I saw all of these things out of that room in a different place in my head and I thought&nbsp;&ndash; &lsquo;That&rsquo;s closed, that&rsquo;s finished&rsquo; and then once I had transported that death bed and took it somewhere else in my head it became something incredibly beautiful.<br /><em>Tracey Emin, The South Bank Show,&nbsp;2001</em></p> </blockquote> <p style="text-align: justify;">Best known for making works that convey experiences and events from her own life by using a range of media, read our <a href="" target="_blank">introduction to Tracey Emin</a> to find out more about the artist in her own&nbsp;words.</p> <p style="text-align: justify;">The display is curated by&nbsp;Elena Crippa and Leyla&nbsp;Fakhr.</p> <div class="field field-name-field-sponsor-info field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Lent by The Duerckheim Collection&nbsp;2015</p> </div> </div> </div> Fri, 29 May 2015 17:57:56 +0000 - Tate Modern - September 17th - January 24th, 2016 <p style="text-align: justify;">Whaaam! Pop! Kapow! This is pop art, but not as you know&nbsp;it.</p> <p style="text-align: justify;">Tate Modern is ready to tell a global story of <a href="" target="_blank">pop art</a>, breaking new ground along the way, and revealing a different side to the artistic and cultural&nbsp;phenomenon.</p> <p style="text-align: justify;">From Latin America to Asia, and from Europe to the Middle East, this explosive exhibition connects the dots between art produced around the world during the 1960s and 1970s, showing how different cultures and countries responded to the&nbsp;movement.</p> <p style="text-align: justify;">Politics, the body, domestic revolution, consumption, public protest, and folk &ndash; all will be explored and laid bare in eye-popping Technicolor and across many media, from canvas to car bonnets and pinball&nbsp;machines.</p> <p style="text-align: justify;">The exhibition will reveal how pop was never just a celebration of western consumer culture, but was often a subversive international language of protest &ndash; a language that is more relevant today than&nbsp;ever.</p> Fri, 29 May 2015 17:51:38 +0000 Arman, Peter Blake, Edmund de Waal, Damien Hirst, Howard Hodgkin, Andy Warhol - Sainsbury Centre for Visual Arts - September 12th - January 31st, 2016 <p style="text-align: justify;">This exhibition, organised by the Barbican, will feature the personal collections of major artists including Arman, Peter Blake, Edmund de Waal, Damien Hirst, Howard Hodgkin and Andy Warhol. It will examine the personal obsessions of artists and how their collections relate to their work.</p> Fri, 29 May 2015 17:43:13 +0000 Chantal Joffe, Ishbel Myerscough - National Portrait Gallery - June 11th - September 28th <p style="text-align: justify;"><em>Friendship Portraits</em>, a display of paintings and drawings by Chantal Joffe and Ishbel Myerscough, captures their very particular artistic collaboration. Self-portraits, portraits of each other and portraits of their children explore their lives and shared history from their student days to the present.</p> <p style="text-align: justify;"><em>Supported by the William Brake Charitable Trust</em></p> Fri, 29 May 2015 17:38:45 +0000 - National Portrait Gallery - July 1st - October 10th <p style="text-align: justify;"><em>Creative Connections</em> is a four-year project connecting young people with contemporary artists to create a series of new artworks inspired by the Gallery&rsquo;s Collection.</p> <p style="text-align: justify;">The spotlights for the third year of the project are the London borough of Camden and the portraits and biographies of people who have local connections. The project partner is Haverstock school and the artist is photographer Kate Peters. Together they explored the Gallery and its photographic Collection, the history of the borough and created new portraits in response to these. The students and Kate&rsquo;s work will be shown alongside the Gallery Collection in the display.</p> <p style="text-align: justify;"><em>Creative Connections </em>is generously supported by the Palley family</p> Fri, 29 May 2015 17:37:07 +0000 Ketaki Sheth - National Portrait Gallery - April 13th - August 31st <p style="text-align: justify;">One of India&rsquo;s leading contemporary photographers, Ketaki Sheth has a long-standing interest in questions of identity and representation. In her most recent project, shown here, she features the Sidi, a people of African descent living in India. With origins in historic trade routes, they have called India home since the seventeenth century, adopting many of the conventions of dress, food, and ceremony characteristic of the subcontinent. At the same time, they maintain a distinct identity and culture.&nbsp;</p> <p style="text-align: justify;">There are currently about 70,000 Sidi living in India. Descended from sailors, traders, and slaves, some continue to think of Africa as an ancestral homeland, but nearly all consider themselves Indian in every other way. Most live in the western state of Gujarat and the southern state of Karnataka.</p> <p style="text-align: justify;">Sheth&rsquo;s photographs are true portraits&mdash;insightful pictures of personalities living in Sidi communities.&nbsp;At the same time, her project&nbsp;explores the complexity of&nbsp;national and cultural&nbsp;identity and how this might shift over time, questions that relate&nbsp;closely to the Collection in National Portrait Gallery.&nbsp; With a group such as the Sidi, how does one begin to separate issues of nationality, ethnicity, and culture? And how much of personal identity is shaped by tradition and context?&nbsp; As touching as Sheth&rsquo;s photographs are, they also remind us how complicated portraits can be.</p> <p style="text-align: justify;"><em>This display is supported by the Tia Collection</em></p> <p style="text-align: justify;"><strong>PUBLICATION</strong></p> <p style="text-align: justify;">An illustrated book titled <strong><em>A Certain Grace: The Sidi, Indians of African Descent</em></strong>, which includes an introduction by Mahmood Mamdani, is available from the National Portrait Gallery Shop or <a href=",%20Indians%20of%20African%20Descent&amp;x=7&amp;y=16&amp;_ga=GA1.3.161497709.1426583942&amp;showProductDetails=7917">online</a>.&nbsp;</p> <p style="text-align: justify;">Published by Photoink, 2013.</p> Fri, 29 May 2015 17:35:35 +0000 Aubrey Beardsley - National Portrait Gallery - July 14th - March 1st, 2016 <p style="text-align: justify;">A focus on the illustrator and writer, Aubrey Beardsley (1872-1898). In a short life of intense and fevered activity, Beardsley produced many original and highly-finished black-and-white drawings for process block reproduction. His designs were frequently grotesque, morbid and erotic and include illustrations of Alexander Pope's <em>Rape of the Lock </em>(1895) and Oscar Wilde's <em>Salome</em> (1894).&nbsp; He was also art editor for <em>The Yellow Book</em> (1894&ndash;5) and, with Arthur Symons, produced <em>The Savoy</em> (1896).&nbsp; Beardsley was known for his elegance, charm and witty conversation and became a cult figure of the decadent aesthetic movement. He became embroiled in the scandal surrounding Oscar Wilde&rsquo;s arrest for committing &lsquo;indecent acts&rsquo; and in 1895 was sacked from the <em>Yellow Book</em>, after which he fled to France.&nbsp; Beardsley died of tuberculosis, which had plagued him since his youth, on 16 March 1898 aged only twenty-five.</p> Fri, 29 May 2015 17:33:51 +0000 - National Portrait Gallery - May 12th - January 24th, 2016 <p class="Default" style="text-align: justify;">The works in these two component displays are drawn from around 2500 photographs from the nineteenth and twentieth centuries generously donated by Terence Pepper, Senior Special Adviser on Photographs. Curators&rsquo; Choice is a tribute to his skills of detection and identification, and his eye for an overlooked or mis-identified sitter or photographer, as well as his interest in charting cultural life in all its variety.</p> <p class="Pa0" style="text-align: justify;">Terence&rsquo;s long and illustrious career at the National Portrait Gallery as Curator of Photographs and Head of the Photographs Collection (1978-2013) has left its mark in the remarkable body of photographic works acquired for the Collection in this period. Terence&rsquo;s expertise, energy and enthusiasm transformed the Gallery&rsquo;s photographic holdings, and today the Photographs Collection comprises over 250,000 portraits by leading photographers including many that he has helped bring back to prominence.</p> <p class="Pa0" style="text-align: justify;">This selection, taken from the gift, has been made by staff who worked with Terence Pepper over a number of years: Georgia Atienza, Clare Freestone, Imogen Lyons, Constantia Nicolaides and Helen Trompeteler.</p> <p class="Default" style="text-align: justify;">The display in<strong> Room 24</strong> shows photographs from the Victorian and Edwardian periods. Beginning with cartes-de-visite and continuing with cabinet cards, stereoscopic cards, cigarette cards and postcards, presented broadly chronologically, the selection reflects Terence&rsquo;s recognition and championing of the popular forms of photography that helped drive the medium&rsquo;s development during the nineteenth-century and which are integral to its history.</p> <p style="text-align: justify;">The themes covered in the display in <strong>Room 31</strong> aim to reflect Terence&rsquo;s career, his appreciation of the arts, his championing of press prints as an invaluable record of key historic moments, his breadth of knowledge of popular culture, notably from the 1960s, as well as the defining exhibitions he curated.</p> Fri, 29 May 2015 17:31:37 +0000