ArtSlant - Recently added en-us 40 Lucy McLauchlan - Lazarides Rathbone Place - September 19th - October 18th <p class="Default" style="text-align: justify;">Lazarides Rathbone is pleased to announce <em>Marking Shadows</em>, a major new body of reflective work and multidisciplinary installation by Lucy McLauchlan. Distilling the beauty of visceral experience, <em>Marking Shadows</em> consolidates and extends McLauchlan&rsquo;s practice, developing her organic visual language whilst allowing her natural environment to steer a unique artistic direction.</p> <p style="text-align: justify;">McLauchlan&rsquo;s new series of architectural work continues her familiar textural aesthetic whilst pushing conventional boundaries and embarking on an explorative mark-making journey. Displacing her studio practice into local parklands and woods, amid her home city of Birmingham, the artist allows environmental factors to both inspire and influence the way in which she works. Tracing the contours and surface of the landscape, McLauchlan utilises found elements to dictate the method in which she constructs and experiments with her canvas and media.</p> <p style="text-align: justify;">Seeking to uncover fleeting moments of human intervention within natural surroundings, the artist&rsquo;s painterly abstractions represent intricate collisions suspended in time whilst documenting permanent re-appropriation of areas in which we inhabit. Transforming the most mundane moments into a soothing harmony of sweeping brush strokes <em>Marking Shadows</em> presents a full-scale body of work reminiscent of McLauchlan&rsquo;s engagement with the local community and intrinsic connection with the area. With a subtle nod towards current environmental issues Mclauchlan&rsquo;s new body of work is poignant and eloquently provocative without appearing obtrusive, illustrating the depth and breadth of her contemporary practice in both conceptual and stylistic realms.</p> Fri, 22 Aug 2014 07:46:46 +0000 Ian Francis - The Outsiders London - September 5th - October 4th <p class="Pa0" style="text-align: justify;">The Outsiders are proud to present <em>Endless Summer</em>, a discerning and eclectic showcase of narrative studies by mixed-media artist Ian Francis. <em>Endless Summer</em> comprises a unique body of intricate work created in response to the ever-changing fragility of modern life and contemporary issues facing the human condition. The uniformed vignettes provide multiple windows into a series of events and suspended snapshots in time, combining a myriad of open-ended narrative threads collectively displayed within the gallery space.</p> <p class="Pa0" style="text-align: justify;"><em>Endless Summer</em> marks the Bristol-based artist&rsquo;s special guest appearance at The Outsiders London, following his recent large-scale solo exhibition 10,000 Years From Now at Lazarides Rathbone. Continuing in his signature ultra-modern style Francis has carefully constructed alluring landscapes and unobtainable vistas with a complex combination of both abstraction and figuration, combining layered elements of both painting and drawing. The artist has meticulously depicted mysterious characters lost amid dramatic colour glazes, seemingly suspended within ambiguous cinematic scenes and illicit encounters.</p> <p class="Pa0" style="text-align: justify;">Each manipulated storyline is played out across identically sized panels, highlighting a frozen point in time within each unique study. By creating a series of disparate contemporary moments Francis continues his fascination with the idea of ongoing permanent utopia vs dystopian collapse, whilst referencing both sensationalist media and oversaturated online imagery. Intrigued by the circumstances enabling random selected images and ideas to coexist, the interdisciplinary artist questions the result of this fragile cross-section in time, whether they align or fall apart and their reference point in history in relation to our past and future.</p> <p style="text-align: justify;">In addition to the gallery exhibition the artist will also be participating in the globally acclaimed Nuit Blanche 2014, unveiling a distinctive moving image display in the front window of the gallery during the evening&rsquo;s programme across the capital.</p> Fri, 22 Aug 2014 07:43:08 +0000 TWOONE - StolenSpace Gallery - September 11th - October 5th <div class="gallery-description"> <div style="font-family: Helvetica; font-size: 12px; margin: 0px;">Hiroyasu Tsuri aka TWOONE was born and raised in Yokohama, Japan. At the age of 18 he&nbsp;moved to Melbourne, Australia where he has now received a Distinguished Talent Visa.<br /> <br /> <div style="text-align: justify;">Drawing and crafting have always been a part of his life. He gained an early interest in art&nbsp;though skateboard graphics and graffiti culture. As soon as Hiroyasu moved to Melbourne, he&nbsp;quickly became a prominent part of the local street art scene that was rapidly growing at the&nbsp;time. In 2004 he received a diploma of Visual Art New Media from Swinburne TAFE. s.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">Hiroyasu's work often shows 'animal headed human bodied creatures', he calls this on going&nbsp;series "Phycological Portrait" which shows more of the inner character and personality, that exists&nbsp;timelessly and universally, as apposed to ones superficial outlook. Hiroyasu is also exploring ideas&nbsp;with his series titled "Metaphysical Landscape" which often features twisted and stylised still-life /&nbsp;landscapes that stimulate the metaphysical stories to the audience.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">With paintings &amp; sculptural pieces, this new body of work also explores movement. Since&nbsp;painting larger size murals, Hiroyasu started to notice the effects of his body movements on his&nbsp;work -&nbsp;I like seeing the tags, and marks made by artists while moving physically when they paint,&nbsp;its almost like you are seeing left over energy that the person created.&nbsp;</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">As well as celebrated solo shows in Australia, Hiroyasu has been involved in several prominent&nbsp;group exhibitions and has constant commissions for mural painting internationally.</div> </div> <div>&nbsp;</div> </div> Tue, 19 Aug 2014 18:07:49 +0000 James Reka - StolenSpace Gallery - September 11th - October 4th <div class="gallery-description"> <p style="background-color: #ffffff; margin: 0px; padding: 0px; font-size: 12px; font-family: Arial; text-align: justify;"><em>Trip The Light</em>&nbsp;is the latest solo exhibition by Melbourne-born, Berlin-based artist James Reka. Exploring the splendor of the female form in dance, his deft brushstrokes and fluid lines create a hypnotic dynamic movement that prances between his canvases. It is Reka's London debut and his first solo show at Stolenspace Gallery.&nbsp;</p> <p style="background-color: #ffffff; margin: 0px; padding: 0px; font-size: 12px; font-family: Arial; min-height: 14px; text-align: justify;">&nbsp;</p> <p style="background-color: #ffffff; margin: 0px; padding: 0px; font-size: 12px; font-family: Arial; text-align: justify;">First referenced in John Milton's 1645 poem&nbsp;L'Allegro, to "trip the light fantastic" alludes to those who dance without inhibition. Sashaying and cavorting across the canvas, Reka's female forms writhe with delight, moving to a silent rhythm from influences as diverse as Spanish flamenco guitars to the grimy clubs of Berlin's inner East. Born and raised in Melbourne, Australia, Reka's mother was a professional ballerina who once danced with the Russian ballet. The back alley German discoth&eacute;ques he now calls home could not be further from his upbringing in either geography or style, yet this fusion of elegance and grit is what draws audiences so passionately to his work.&nbsp;</p> <p style="background-color: #ffffff; margin: 0px; padding: 0px; font-size: 12px; font-family: Arial; min-height: 14px; text-align: justify;">&nbsp;</p> <p style="background-color: #ffffff; margin: 0px; padding: 0px; font-size: 12px; font-family: Arial; text-align: justify;">Using a multi-medium background that mimics the textured surfaces he paints on in the streets, Reka's clean lines and confident figures swagger off the canvas in the same way that the eye is drawn to the singular unrestrained dancer in a room full of two-steppers. They duck and sway in and out of monochrome darkness. His figures are enveloped within the movement of the painting, totally immersed in their own bliss while still projecting overt sensuality. They are the sirens of the nightlife, taunting and tempting the viewer to come and become lost in their fantasy.&nbsp;</p> <p style="background-color: #ffffff; margin: 0px; padding: 0px; font-size: 12px; font-family: Arial; min-height: 14px; text-align: justify;">&nbsp;</p> <p style="background-color: #ffffff; margin: 0px; padding: 0px; font-size: 12px; font-family: Arial; text-align: justify;">A series of painted found objects accompany these 10 large canvases - Reka has become known for his series of repurposed readymades. These rusted spray cans, bottles, pans and other miscellany are often found on his many scavenges around Berlin's abandoned warehouses. By taking the tools of the artists before him and repurposing them into new works of art, he is carrying the tradition of the street in the contemporary world.</p> <p style="background-color: #ffffff; margin: 0px; padding: 0px; font-size: 12px; font-family: Arial; min-height: 14px; text-align: justify;">&nbsp;</p> <p style="background-color: #ffffff; margin: 0px; padding: 0px; font-size: 12px; font-family: Arial; text-align: justify;">Reka's work has recently been exhibited in Stroke NYC, Melbourne and Denmark, and he has partaken in festivals around the world from Montreal to Hawaii. His work appears on walls and private collections in Tokyo, San Francisco and Paris, including in The National Gallery Of Australia's permanent collection.</p> </div> Tue, 19 Aug 2014 08:48:56 +0000 - St Martin-in-the-Fields - October 13th - November 9th <p style="text-align: justify;">The Group was formed over fifteen years ago by a number of people who were interested in Chinese art, especially painting with the purely traditional techniques and equipment.</p> <p style="text-align: justify;">The Group meet once a month and paint under the guidance of an experienced tutor.&nbsp; So whether you are a beginner or more experienced much can be gained from these workshops.&nbsp; Members are influenced in their work by amongst other things, books,&nbsp; lectures, workshops and demonstrations by Chinese artists, exhibition of Chinese art (both ancient and modern), visits to China and of course observation of nature.</p> <p style="text-align: justify;">Most members of the Group work within one of two recognised Chinese styles of painting: Gongbi (meticulous style) and Xieyi (spontaneous style).&nbsp; Some members of the Group also study and create Chinese calligraphy and seals.</p> <p style="text-align: justify;"><a href="" target="_blank"></a></p> Tue, 19 Aug 2014 08:43:03 +0000 Sunara Begum, Dunstan Perera - St Martin-in-the-Fields - September 29th - October 12th <p style="text-align: justify;"><em>Retracing the Eye: Giving a Voice to the Voiceless</em> is a new collaborative exhibition of etches, wood-cuts and photography by the visual artists, Sunara Begum and Dunstan Perera. These two British artists of Bangladeshi and Sri Lankan descent look at the work of Margaret Cameron, a pioneering English photographer, born in India over 150 years ago. The exhibition explores, researches and collects images taken by Cameron in Ceylon in order to re-imagine the life of her silent subjects over a century later. Both artists stage a new interpretation of Cameron&rsquo;s work by engaging the local community in a new relationship with the images, whilst documenting their stories and revealing their hidden narratives.The subjects in their work are a symbol of untold stories, they suggest the power of reclaiming the silenced voice that is all too often written out of human existence.</p> <p style="text-align: justify;"><a href="" target="_blank">&nbsp;</a></p> Tue, 19 Aug 2014 08:41:45 +0000 Ran Huang - Simon Lee - September 5th - October 4th <p style="text-align: justify;">Simon Lee Gallery is proud to present <em>An Experience Shaped by An Experience I Never Experienced - </em>Ran Huang&rsquo;s first solo exhibition in London. The exhibition includes an extensive body of new work including Huang&rsquo;s most recent film, <em>The Administration of Glory</em>, which was nominated in 2014 for the Short Film <em>Palme d&rsquo;Or </em>at the <em>67th Festival de Cannes</em>. While the strategies they employ are diverse, the works in the exhibition share a playful interest in the deconstruction of the notion and mechanisms of history, the sublimation of violence and the expression of creative anxiety.</p> <p style="text-align: justify;">A young artist based in Beijing, Huang&rsquo;s practise encompasses various media including film, video, painting installation and performance. Employing by turns elemental directness, economy of means, deadpan absurdity or whimsical appropriation, his works point less to a place of authority or mastery than to a persistent sense of constraint and the conundrum of self-denial.</p> <p style="text-align: justify;">For <em>An Experience Shaped by An Experience I Never Experienced</em>, Huang has created a series of &ldquo;self-portrait&rdquo; paintings depicting Guinness World Record holders in their most famous appearances. The paintings draw on historical languages of figuration to re-imagine individual histories. Their status as fictive historical documents is made more uncertain by their titling as &lsquo;self-portraits&rsquo;. Huang&rsquo;s appropriation is not a proficient imitation of the original but is clumsy rhetoric, flawed and revealing in its sublimation and consumption of self-deceiving notions of history.</p> <p style="text-align: justify;"><em>Mute</em>, a Trivision billboard, takes another approach to the same questioning of historiography. Like the figurative language used in the &lsquo;self-portrait&rsquo; paintings, the &lsquo;period&rsquo; technology of the billboard&rsquo;s three part rotating sections situates the work in its own fictive historical moment, at the same time as its slogan calls to mind the circular and self-fulfilling mechanism of the way in which histories are written. A monumental stone, a flag metronome, a tool cart filled with various DIY weapons are also attempts to formalise irrationality, to form a denial of the artist&rsquo;s own belief in conceptual practice.</p> <p style="text-align: justify;">Creating a swirl of conflicting emotions and subjugation of power, Huang&rsquo;s latest film <em>The Administration of Glory </em>brings together five parallel narratives covering themes of deception, theft and violation, both sacred and mundane. Working from an obscure personal and autobiographical perspective, the film asserts the latent possibilities of drama, often exhibiting tensions between surface and story, where the seduction of image and narrative serve as a fa&ccedil;ade for the artist&rsquo;s interrogation of the conditions of artistic practice and the possibility of historical credibility.</p> <p style="text-align: justify;">Ran Huang (b.1982 in Xichang) lives and works in Beijing. In 2004, Huang graduated from the Birmingham Institute of Art and Design with a First Class BA (Hons) Fine Art degree. In 2007, Huang gained his MFA Fine Art degree at Goldsmiths College, London. He has participated in numerous international exhibitions at leading institutions such as The Jewish Museum, NY (2014), Central Academy of Art, Beijing (2014), The Tampa Museum Of Art (2014), UCCA, Beijing (2013), Kino der Kunst, Munich (2012), the Contemporary Art Museum, Houston (2012) and Kunstmuseum, Bonn (2011) as well as international biennial and triennial exhibitions.</p> Tue, 19 Aug 2014 08:39:32 +0000 Richard Serra - Gagosian Gallery - Davies Street - October 11th - November 22nd <p style="text-align: justify;">Gagosian London is pleased to present recent work by Richard Serra.</p> <p style="text-align: justify;">The Gagosian Gallery on Britannia Street will exhibit four monumental steel sculptures:</p> <p style="text-align: justify;"><em>Backdoor Pipeline</em> (2010)</p> <p style="text-align: justify;"><em>Ramble</em> (2014)</p> <p style="text-align: justify;"><em>Dead Load</em> (2014)</p> <p style="text-align: justify;"><em>London Cross</em> (2014)</p> <p style="text-align: justify;">The Gagosian Gallery on Davies Street will exhibit a single large-scale work on paper, <em>Double Rift #2</em> (2011).</p> <p style="text-align: justify;"><strong>Richard Serra</strong> was born in San Francisco in 1938. He studied at the University of California (Berkeley and Santa Barbara) and at Yale University. He has lived in New York since 1966. His first solo exhibitions were held at Galleria La Salita, Rome (1966), and at the Leo Castelli Warehouse, New York (1969). His first solo museum exhibition was presented at Pasadena Art Museum (1970). Serra has since participated in several Documenta exhibitions (Kassel, 1972, 1977, 1982, and 1987), and in the Venice Biennales of 1980, 1984, 2001, and 2013. Serra&rsquo;s work has been shown in numerous solo museum exhibitions at Stedelijk Museum, Amsterdam (1977); Centre Pompidou, Paris (1984); Museum of Modern Art, New York (1986 and 2007); and other museums in Europe, the U.S., and Latin America. In 2005, eight large-scale works were permanently installed at Guggenheim Museum Bilbao. A traveling survey of Serra&rsquo;s drawings was on view in 2011&ndash;12 at Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art; and Menil Collection, Houston. In April 2014, Serra installed a major permanent landscape sculpture in the desert of the Brouq Nature Reserve in western Qatar.</p> Tue, 19 Aug 2014 08:34:04 +0000 Virgilio Ferreira, Henrik Malmström, Tereza Zelenkova, Lucy Levene - Flowers | Kingsland Road - September 10th - October 11th <p style="text-align: justify;"><em>Rebecoming </em>brings together newly commissioned works from four artists Virg&iacute;lio Ferreira, Henrik Malmstr&ouml;m, Tereza Zelenkova and Lucy Levene. Focusing on migration patterns between 1950 and 1980 from southern to central and northern Europe, it depicts fragments of the stories and environments of individuals who left their countries of birth to start a new life in new lands due to economic reasons.</p> <p style="text-align: justify;">The works explore issues related to family, labour, mobility, boundary, cultural heritage and social expectation. They also connect to instances of courage, upheaval, opportunity, unfreedom, self-respect, heroism and the dream of returning &lsquo;home&rsquo;, not withdrawing exploitation and poverty; the ultimate capitalistic ethic. By offering personal visions of lived experience, <em>Rebecoming </em>examines the contradictory nature of how the stage for temporary migration often became permanent.</p> <p style="text-align: justify;">An installation by Tereza Zelenkova (b.1985, Czech Republic) comprises photographs from <em>Girls &amp; Gloves </em>shot in the former London Brick factory in Bedford, England - a company that recruited 7,500 men from Italy to fill undesirable and repetitive jobs during the post-war reconstruction boom. Workers&rsquo; gloves and posters of women form Zelenkova&rsquo;s topology. Alongside portraits and images of the neighbouring housing estate Stewartby, they become imbued with emotional encryptions, offering relics of desperate optimism.</p> <p style="text-align: justify;">In <em>The Spaghetti Tree</em>, Lucy Levene (b.1978, UK) also responds to Bedford&rsquo;s Italian community, the largest concentration in the UK at 14,000 people. Attending events and accepting invitations to people&rsquo;s homes, she developed attachments and became involved in the families&rsquo; narratives. Her photographs call into question mythologies of what it means to be &lsquo;Italian&rsquo;, the nostalgic ideal of La Bella Figura while revealing the tensions in conventional modes of portraiture; the perfect and imperfect image.</p> <p style="text-align: justify;"><em>Being and Becoming </em>by Virg&iacute;lio Ferreira (b.1970, Portugal) brings out the inner feelings of his Portuguese subjects to open up a space for considering hybrid-identities and the polarity of living in-between cultures, languages, landscapes and borders. Using multiple exposures and diptychs, and by loading his imagery with metaphor, Ferreira&rsquo;s images evoke a sense of duality and lend tangible form to the condition of remembering.</p> <p style="text-align: justify;">Through the short film <em>Life&rsquo;s Work </em>Henrik Malmstr&ouml;m (b.1983, Finland) reflects on the mundane situations of various Portuguese inhabitants in Hamburg, Germany. Getting as close as possible yet aspiring to a neutral position, Malmstr&ouml;m conjures up the vivid presence of cleaners, sex workers, laundrette staff, religious worshippers and commuters. With deadpan humour and an unremitting gaze, the artist engages in the multitude of individual dreams that form one universal wish - to find happiness in life through comfort and material security.</p> Tue, 19 Aug 2014 08:31:08 +0000 Nadav Kander - Flowers | Kingsland Road - September 10th - October 11th <p style="text-align: justify;"><em>&ldquo;I will show you fear in a handful of dust&rdquo;</em></p> <p style="text-align: justify;">T.S. Eliot</p> <p style="text-align: justify;">Rooted in an interest in the &lsquo;aesthetics of destruction,&rsquo; Nadav Kander&rsquo;s most recent project <em>Dust </em>explores the vestiges of the Cold War through the radioactive ruins of secret cities on the border between Kazakhstan and Russia.</p> <p style="text-align: justify;">Priozersk (formally known as &lsquo;Moscow 10&rsquo;) and Kurchatov are closed cities, restricted military zones, concealed and not shown on maps until they were &lsquo;discovered&rsquo; by Google Earth. Enlisted to the pursuits of science and war, the sites were utilized for the covert testing of atomic and long distance weapons. Falsely claimed as uninhabited, the cities, along with nearby testing site &lsquo;The Polygon&rsquo; set the stage for one of the most cynical experiments ever undertaken. Scientists watched and silently documented the horrifying effects of radiation and pollution on the local population and livestock.</p> <p style="text-align: justify;">Demolished to preserve their military secrets, the areas now consist predominantly of the ruinous architecture and desolate landscapes featured in Kander&rsquo;s hauntingly beautiful photographs. A result of the Cold War and of the relentless quest for nuclear armaments, the ruins stand as&nbsp; accidental monuments to the melancholic, dark and destructive side of human nature.</p> <p style="text-align: justify;">Fascinated by the area&rsquo;s past and driven by discovery, Kander&rsquo;s photographs portray stark fact and bleak setting with a characteristic poeticism. Secrets seem to seep from the silence of the crumbling monuments, bowing under heavy grey skies.&nbsp; Describing what he saw as &lsquo;empty landscapes of invisible dangers&rsquo; Kander&rsquo;s images evoke his sense of awe and fear as he responded to these places and to the weight of their history.</p> <p style="text-align: justify;"><em>&lsquo;These images do not make beautiful what is not, they ask of us that we repurpose ourselves to accept a new order of both the beautiful and the real&rsquo; </em>Will Self</p> <p style="text-align: justify;">Nadav Kander (b. 1961, Israel) is best known for <em>Yangtze &ndash; The Long River</em>, for which he earned the prestigious Prix Pictet award in 2009. Other series include <em>Obama&rsquo;s People</em>, an acclaimed 52 portrait series commissioned by <em>New York Times Magazine</em>, and his recent portraits for the National Portrait Gallery exhibition <em>Road to 2012</em>. Kander&rsquo;s work is included in several public&nbsp; collections including National Portrait Gallery, Victoria and Albert Museum and the Frank Suss Collection, and he has exhibited worldwide at venues such as the Palais de Tokyo, the Herzilya Museum of Contemporary Art, Israel and the Mus&eacute;e De L&rsquo;Elysee, Lausanne. He was named International Photographer of the Year at the 7th Annual Lucie Awards in 2009 and has received awards from the Art Director&rsquo;s Club and IPA in the USA, the D&amp;AD and the John Kobal Foundation in the UK and Epica in Europe. <em>Dust </em>is exhibited concurrently at Les Rencontres d&rsquo;Arles 2014 as part of an exhibition of new work by Prix Pictet laureates.&nbsp;</p> Tue, 19 Aug 2014 08:27:00 +0000 John Kirby - Flowers | Cork Street - September 5th - October 4th <p class="Pa1" style="text-align: justify;">British painter John Kirby tackles the complexities of gender, sexuality and race through arresting and unnerving portraiture. Whilst many of his works are sublimated self-portraits, others nod to religious and cultural iconography, or act as coded memories of his own family. Kirby&rsquo;s surrealist style has drawn comparisons to Magritte, Hopper and Balthus.</p> <p class="Pa1" style="text-align: justify;">Flowers Gallery is pleased to announce an exhibition of new work by this celebrated painter, 5th September &ndash; 4th October at our Cork Street Gallery. <em>Play Time </em>includes a series of figures interacting with toys or in solitary poses reminiscent of forced childhood portraits. The doll-like expression of these youthful figures recalls Victorian family photography, endowing the subjects with an eerie stillness which is unsettling for the viewer.</p> <p class="Pa1" style="text-align: justify;">All sense of a youthful spirit and of the enjoyment of play is superseded by the darker anxieties of childhood. The normally unselfconscious exuberance of infancy is replaced by the reality of growing up, a period in which we must all come to terms with a confusing, frightening and alien world. These difficult internal conflicts are conveyed in the stiff body language and empty facial expressions of the artist&rsquo;s figures, nodding to Kirby&rsquo;s fascination with the paradoxes of the human condition.</p> <p class="Pa1" style="text-align: justify;">As is typical of Kirby&rsquo;s style, the majority of the artist&rsquo;s solitary figures are set against sparse backgrounds, evoking a sense of loneliness and melancholy. These isolated hybrid child-adults and transgendered, doll-like figures, point out the flaws in our rose-tinted view of youth, and suggest that the child inside us may not be such a carefree spirit after all.</p> <p class="Pa1" style="text-align: justify;">John Kirby has spent his artistic career stripping away the defences behind which adults have learned to hide. His paintings describe, allegorically, the suffering of people squeezed into the straightjackets of religious, sexual and social norms. This new exhibition continues to explore these themes through menacing and hauntingly beautiful work.</p> <p class="Pa1" style="text-align: justify;">ABOUT JOHN KIRBY</p> <p style="text-align: justify;">Born in Liverpool in 1949, Kirby was raised Catholic and served as an alter boy before spending a stint as a shipping clerk. He then travelled to Calcutta to work in a children&rsquo;s home run my Mother Theresa. Upon returning to England, Kirby settled in London where he found employment first as a social worker and then as a probation officer. It was not until the 1980s, when he was already in his thirties, that Kirby decided to attend art school - enrolling first at Central Saint Martin&rsquo;s School of Art and then at the Royal Academy of Arts. John Kirby has been exhibited internationally and his works are held in several public collections including the Tate Gallery, London, the Victoria and Albert Museum, London, and the private collection of David Hockney. A major retrospective of the artist&rsquo;s work was held at the Walker Art Gallery, Liverpool, in 2012, the city of his birth.</p> Tue, 19 Aug 2014 08:21:46 +0000 Pete Fowler - Beach London - September 5th - September 28th <p style="text-align: justify;">*Pete Fowler returns to Beach for his second solo show in September, with a new body of painted works.</p> Tue, 19 Aug 2014 08:16:24 +0000 - Tate Modern - November 17th 6:30 PM - 8:30 PM <div class="content clearfix"> <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;">In the early 1980s the German artist Sigmar Polke became a dedicated scholar of pigment manufacture. He favoured highly toxic, banned or otherwise exotic substances, but as a modern day alchemist he shrouded his knowledge in mystery. This evening&rsquo;s talk is based on a rare interview between Polke and Pia Gottschaller which took place in 2001, in which the artist revealed some of his literary sources. Join us for a unique opportunity to hear Gottschaller discuss whether the artist&rsquo;s fascination with imperial purple dye or meteorite dust is relevant for our understanding of his works and how they contribute to the continuing, intentional changes that the paintings undergo over time. Ticket price includes entry to the <em>Alibis: Sigmar Polke</em>&nbsp;exhibition.</p> </div> </div> </div> <div class="field field-name-field-exhibits field-type-node-reference field-label-hidden"> <div class="field-items"> <div class="field-item even" style="text-align: justify;">This event is related to the exhibition <a href="" target="_blank">Alibis: Sigmar Polke 1963&ndash;2010</a></div> <div class="field-item even" style="text-align: justify;">Talk by Pia Gottschaller followed by Private View of the exhibition</div> </div> </div> </div> Sat, 16 Aug 2014 10:13:18 +0000 - Tate Modern - November 3rd 6:30 PM - 8:00 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 public event aims to situate the artist Sigmar Polke and his significance within a wider art historical context before unpicking the complex layers of his diverse practice and raising questions around what makes his art of such contemporary relevance today. Polke took a wildly different approach to art-making, from his responses to consumer society in the 1960s to his interest in travel and communal living in the 1970s and his increasingly experimental practice after 1980. Joined by artists and art historians, this discussion centers around key questions addressing Polke&rsquo;s status as a painter, the politics and ethics of his encounters with other cultures, his relationship to German history and the legacy of his experimental practice on a younger generation of&nbsp;artists.</p> </div> </div> </div> <div class="field field-name-field-sponsor-info field-type-text-long field-label-hidden" style="text-align: justify;"> <div class="field-items"> <div class="field-item even"> <p><em>With support from the Goethe-Institut London and Centre for the Study of Contemporary Art, University College London and the Embassay of Switzerland in the United&nbsp;Kingdom</em></p> </div> </div> </div> <div class="field field-name-field-exhibits field-type-node-reference field-label-hidden"> <div class="field-items"> <div class="field-item even" style="text-align: justify;">This event is related to the exhibition <a href="" target="_blank">Alibis: Sigmar Polke 1963&ndash;2010</a></div> </div> </div> Sat, 16 Aug 2014 10:11:04 +0000 Sigmar Polke - Tate Modern - October 9th - February 8th, 2015 <p style="text-align: justify;"><a href="">Sigmar Polke</a> was one of the most insatiably experimental artists of the twentieth century.&nbsp;<br /><br />This retrospective is the first to bring together the unusually broad range of media he worked with during his five-decade career &ndash;&nbsp;not only painting, drawing, photography, film and sculpture, but also notebooks, slide projections and photocopies. He worked in off-the-wall materials ranging from meteor dust to gold, bubble wrap, snail juice, potatoes, soot and even uranium, all the while resisting easy&nbsp;categorisation.&nbsp;</p> <p style="text-align: justify;">Polke&rsquo;s relentlessly inventive works range in size from the intimacy of a notebook to monumental paintings. He took a wildly different approach to art-making, from his responses to consumer society in the 1960s to his interest in travel, drugs and communal living in the 1970s and his increasingly experimental practice after&nbsp;1980.&nbsp;</p> <p style="text-align: justify;">Beneath Polke&rsquo;s irreverent wit, promiscuous intelligence, and chance operations lay a deep scepticism of all authority. It would be impossible to understand this attitude, and the creativity that grew out of it, without considering Polke&rsquo;s biography and its setting. In 1945, near the end of World War II, his family fled Silesia (in present-day Poland) for what would soon be Soviet-occupied East Germany, and then escaped again, this time to West Germany, in&nbsp;1953.</p> <p style="text-align: justify;">Polke grew up at a time when many Germans deflected blame for the atrocities of the Nazi period with the alibi, &lsquo;I didn&rsquo;t see anything&rsquo;. In various works in the exhibition, Polke opposes many Germans of his generation&rsquo;s tendency to ignore the Nazi past, as if picking off the scab to reopen the&nbsp;wound.</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;"><em>The exhibition is organised by The Museum of Modern Art, New York, with Tate Modern,&nbsp;London.</em></p> <p style="text-align: justify;"><em>Organised by Kathy Halbreich, Associate Director, The Museum of Modern Art, with Mark Godfrey, Curator, International Art, Tate Modern, and Lanka Tattersall, Curatorial Assistant, Department of Painting and Sculpture, The Museum of Modern&nbsp;Art.</em></p> <p style="text-align: justify;"><em>Curated at Tate Modern by Mark Godfrey, Curator, International Art, with Kasia Redzisz, Assistant Curator, Tate&nbsp;Modern.</em></p> </div> </div> </div> Sat, 16 Aug 2014 10:08:33 +0000 Richard Tuttle - Tate Modern - October 14th - April 6th, 2015 <p style="text-align: justify;">Tate Modern&rsquo;s Turbine Hall has played host to some of the world&rsquo;s most striking and memorable works of contemporary art. Now, this vast space welcomes the largest work ever created by renowned American sculptor <a href="" target="_blank">Richard Tuttle</a> (b&nbsp;1941).</p> <p style="text-align: justify;">Entitled <em>I Don&rsquo;t Know Or The Weave of Textile Language.</em>, this newly commissioned sculpture combines vast sways of fabrics designed by the artist from both man-made and natural fibres in three bold and brilliant&nbsp;colours.</p> <p style="text-align: justify;">The commission is part of a wider survey of the artist taking place in London this autumn and comprising a major exhibition at the Whitechapel Gallery surveying five decades of Tuttle&rsquo;s career and a sumptuous new publication rooted in the artist&rsquo;s own collection of historic and contemporary&nbsp;textiles.</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;"><em>Organised by Tate Modern in association with the Whitechapel&nbsp;Gallery</em></p> </div> </div> </div> Sat, 16 Aug 2014 10:05:42 +0000