ArtSlant - Closing soon en-us 40 Sherrie Levine - Simon Lee - November 28th, 2012 - February 5th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Simon Lee Gallery</strong> is proud to present an exhibition of new work by the American artist <strong>Sherrie Levine</strong>. This body of work continues to develop the themes of reproduction, seriality and commodification, which have become the hallmarks of the artist’s practice over the past three decades. Levine has recurrently drawn on artistic antecedents to challenge the privileged status of originality which was established during the modernist era, positioning her as one of the most celebrated figures in the development of post-modernism.</span><br /> <br /><span style="font-size: small;"> In this exhibition a series of twelve copper mirrors lines the walls of the gallery, accompanied by twelve pink glass skulls displayed in vitrines. Levine refers to the ready-made by elevating a functional object of our daily routine, the mirror, to the status of artwork. Moreover, by beautifully crafting the mirror in luminous copper the artist transforms the mundane into the precious, raising the question of the commodification of art, and moving beyond her frequent practice of borrowing from previous artworks to incorporate a found object that is itself a mechanism of replication. The dimensions of the mirrors precisely reproduce those deployed by Levine in an earlier body of work which drew from iconic abstract paintings of early twentieth century. The mirrors accumulate accretions of the reflections momentarily captured in their glowing surfaces, as well as traces of Levine’s earlier work and, in turn, the anterior abstract paintings to which those earlier works refer. The mirrors reproduce their counterparts while literally reproducing the image of the viewer. As in many of her previous works, the artist brings the viewer face to face with their own preconceived hierarchy of cultural values and assumptions of artistic worth. The notion of linear artistic progression is shattered by the iterated mirrors, since their reflective surfaces allow us to see what is both in front and behind. Each mirror imaginatively propels its viewer forward into the seemingly infinite progression of possible reproductions that the artist’s practice engenders, whilst simultaneously pulling them backwards in a quest for the ‘original’ source or referent that underlines Levine’s oeuvre. </span><br /> <br /><span style="font-size: small;"> Still life and vanitas paintings are ‘quoted’ in the twelve translucent pink skulls. Levine reconfigures an image of mortality as an object of desire by rendering the skulls in lustrous pink glass, playing with the associated meanings of material and image and, true to her early works, problematising straightforward interpretations. The elegant glass and mahogany vitrines in which the skulls are displayed seem to manifest the museum in microcosmic form. This suggests the complex relationship between Levine’s works and the artworks they reference and, further, the network of artistic influences fostered by the advent of the museum. By emphasising the art historical imagery to which her own work refers, Levine makes visible the endless chain of referents made implicitly by all modernist artists. Echoing the sentiments of Rosalind Krauss in ‘The Originality and the Avant-Garde,’ Levine’s work furthers post-modernist discourse by belying the fictitious status of avant-gardist originality.</span><br /><span style="font-size: small;"> Levine has stated, “I wanted to put a picture on top of a picture.” This layered genealogy appears to propose a cumulative logic, however the artist’s work produces a cycle of repetitions that increases beyond mathematical reasoning. By presenting twelve palpably identical versions of both the mirrors and the skulls Levine strips bare the visual differences between the works, paradoxically serving to increase the work’s potential as markers of differentiation. The iterated objects oscillate between being experienced as a network and as individual objects. Within the exhibition they form a register of the viewer’s varied thoughts and experiences as they move around the space. Levine combines serial reproduction with exquisitely crafted seductive materials to produce an exhibition that offers a forthright provocation of our notions of artistic value. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Sherrie Levine was born in Hazelton, Pennsylvania in 1947. She has held several solo exhibitions in major institutions in both the United States and Europe, including the Hirshhorn Museum and Sculpture Garden, Washington D.C. (1988), Kunsthalle Zürich (1991), San Francisco Museum of Modern Art (1991 and 2009), Philadelphia Museum of Art (1993), Portikus, Frankfurt (1994), Museum of Contemporary Art, Los Angeles (1995), South London Gallery (1996), MAMCO, Geneva (1996 and 1999), Museum Haus Lange, Krefeld (2010), and Whitney Museum of American Art, New York (2011). Levine divides her time between New York and Santa Fe. </span><br /> <br /><span style="font-size: small;"> For further information or high resolution images, please contact</span></p> Thu, 29 Nov 2012 11:55:30 +0000 Elizabeth Price - Contemporary Art Society - January 9th, 2013 - February 8th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>User Group Disco</em> (2009) by acclaimed British artist Elizabeth Price was recently donated by the Contemporary Art Society to the Scottish National Gallery of Modern Art, Edinburgh. Commissioned by Spike Island in Bristol, this important work by the recent Turner Prize winner is the second piece in a trilogy forming part of an on-going series that navigates the notional architecture and collection of a fictional museum, with this work being the ‘Hall of Sculptures’.</span> </p> Fri, 11 Jan 2013 16:56:54 +0000 Elizabeth Price - Contemporary Art Society - January 9th, 2013 - February 8th, 2013 <p>'USER GROUP DISCO' (2009) by acclaimed British artist Elizabeth Price was recently donated by the Contemporary Art Society to the Scottish National Gallery of Modern Art, Edinburgh. Commissioned by Spike Island in Bristol, this important work by the recent Turner Prize winner is the second piece in a trilogy forming part of an on-going series that navigates the notional architecture and collection of a fictional museum, with this work being the ‘Hall of Sculptures’. </p> Thu, 28 Feb 2013 18:40:51 +0000 Christiane Baumgartner, Michael Craig-Martin, Dexter Dalwood, Ian Davenport, Howard Hodgkin, Allen Jones, Paul Winstanley - Alan Cristea Gallery - 31 Cork St - January 5th, 2013 - February 9th, 2013 <p>Highlights from our 2012 publishing programme and new works.</p> Mon, 10 Dec 2012 15:42:12 +0000 Christiane Baumgartner, Michael Craig-Martin, Dexter Dalwood, Ian Davenport, Howard Hodgkin, Allen Jones, Paul Winstanley - Alan Cristea Gallery- 34 Cork St - January 5th, 2013 - February 9th, 2013 <p>Highlights from our 2012 publishing programme and new works. </p> Fri, 14 Dec 2012 14:46:42 +0000 Nadav Kander - Flowers | Cork Street - January 11th, 2013 - February 9th, 2013 <blockquote> <p style="text-align: justify;"><span style="font-size: small;"><em>Revealed yet concealed. Shameless yet shameful. Ease with unease. Beauty and destruction. These paradoxes are displayed in all my work; an inquiry into what it feels like to be human</em>. Nadav Kander</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;">Coated in white marble dust and set against the void of the photographer's studio, the subjects of Nadav Kander's <em>BODIES. 6 Women, 1 Man</em> serve as monumental studies of the human condition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Far from the airbrushed perfection that permeates images of nudity in popular culture, Nadav Kander presents us with honest photographs of the human form. The 'bodies' featured reference the forms of the classical and renaissance past, whilst modernising the genre of the nude to act as a tool for philosophical investigation. Faces turned from the viewer, but bodies offered completely, the forms invite the meditation and self-reflection customarily associated with religious iconography and tomb sculpture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Kander has cited Elizabethan notions of purity as an influence for his bleached treatment of the auburn haired bodies. The subjects are placed awkwardly, contorted and twisted or bowed reverently. In <em>Audrey with Toes and Wrist Bent</em> (2011) the form reclines, her toes and fingers curled uncomfortably from limbs. Flaws laid bare, the figure is exposed and vulnerable to our gaze. It is this sense of vulnerability, and of humanity stripped of its defences that Kander investigates as a point of beauty.</span></p> <blockquote> <p style="text-align: justify;"><span style="font-size: small;"><em>Wherever I may be, my pictures seek to expose the shadow and vulnerability that exists in all of us, and it is this vulnerability that I find so beautiful.</em> Nadav Kander </span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"><em>BODIES. 6 Women, 1 Man</em> develops the exploration of the human condition established by Kander in earlier work such as Yangtze - The Long River. Whether photographing the consequences of the incomprehensible development in modern-day China, or a white painted nude suspended against the darkness of his studio, his photographs are linked by their ‘compassionate ruthlessness’, and by the constant strive to explore the poeticism of life’s idiosyncrasies.</span></p> <p style="text-align: justify;"><strong><span style="font-size: small;"> </span></strong></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Nadav Kander</strong> (b. 1961) is best known for <em>Yangtze – The Long River</em>, for which he earned the prestigious Prix Pictet award in 2009. Other series include Obama’s People, a 52 portrait series commissioned by New York Times magazine, and his recent portraits for the National Portrait Gallery exhibition Road to 2012. Kander’s work is included in several public collections, and he has exhibited internationally at venues including Musee de L’Elysee, Lausanne, Museum of Photographic Arts, San Diego, Museum of Applied Arts, Cologne, Kennedy’s Museum, Berlin, The Photographers’ Gallery, London, Palais de Tokyo, Paris and Herzilya Museum of Contemporary Art, Israel.</span></p> Mon, 14 Jan 2013 09:32:13 +0000 - Flowers | Kingsland Road - December 4th, 2012 - February 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Group exhibition celebrating the career of Angela Flowers on the occasion of her 80th birthday</span></p> <p style="text-align: justify;"><span style="font-size: small;">Angela Flowers is one of the most prominent contemporary art dealers in the UK. She established her first gallery in an attic space above a left wing co-op in central London more than 40 years ago. Flowers Gallery now operates internationally out of three spaces: Shoreditch and Mayfair in London and Chelsea, New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Angela is credited with an intuition that has seen her pre-figure the BritArt explosion and trail-blaze the artistic route to East London. She is one of few gallerists to have succeeded in guiding her business through five recessions, and on the way has helped to launch the careers of artists including Ian Breakwell, Tom Phillips, Nicola Hicks and Penelope Slinger.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Quick to gain a reputation for presenting museum quality exhibitions, Angela has shown many of today’s most recognised names in art, among them Anish Kapoor, Anthony Gormley, Ron Mueck, Jake and Dinos Chapman, Tony Cragg, Richard Long, Marc Quinn and Anthony Caro. She was the first UK galleriest to show Lucian Freud’s Benefits Supervisor Sleeping and, always at the forefront of the Avant-garde, was staging exhibitions of performance art, installations and colour photography long before they were embraced by the wider art world.</span></p> <p style="text-align: justify;"><span style="font-size: small;">It was Angela’s belief in the power of new ideas that set her among the first to embrace what is now commonplace: an online gallery presence, and this same belief that led her to launch ‘Artist of the Day’: a single-day exhibition of work by one artist selected to show at the gallery by another artist, which continues to this day.</span></p> <p style="text-align: justify;"><span style="font-size: small;">By the time she opened her first gallery Angela Flowers had already studied to become a singer, worked in film, photography and advertising, proposed to photographer Adrian Flowers and given birth to three sons and a daughter.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Angela’s introduction to the professional art world came when her husband was asked to take photographs that would illustrate the catalogues of a group of artists living in St. Ives, among them Ben Nicholson, Barbara Hepworth, Roger Hilton and Terry Frost. Often paid in artworks rather than cash, the couple began to amass a collection and around this time people started to assume that Angela was somehow ‘in the business’.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A stint as Bookkeeper at the Institute of Contemporary Art followed before Angela set up the Lisle Street gallery. By September 1970 she had met and fell in love with the management writer Robert Heller. Heller and the theatrical impresario Michael White both became early Directors of the gallery, White commenting that he would back Angela whatever she did. With their help, Flowers moved to a more spacious gallery on Portland Mews.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Angela’s divorce from Adrian came through on her 40th birthday and led to a period of estrangement from her son, Matthew, who is now Managing Director at Flowers. In 1973 she became pregnant with Rachel Heller, who was born with Downs Syndrome and is now a successful practising artist.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The subsequent years have seen Angela go from strength to strength, moving her galleries to larger spaces, becoming a Senior Fellow at the Royal College of Art and being awarded an honorary doctorate by the University of East London.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Angela Flowers will turn 80 years old in December; in celebration the gallery will launch a new website and open a special exhibition, running from 4 December 2012 to 9 February 2013, which will present works by a large cross-section of artists she has worked with over the years. In showing this wide number of artists, practising in varying mediums, Angela will bring together some of the many strands of Flowers’ colourful history; the exhibition is both a nod to an exciting past and a reminder that more is yet to come.</span></p> <p style="text-align: justify;"></p> Mon, 19 Nov 2012 16:34:20 +0000 Group Show - Flowers | Kingsland Road - January 12th, 2013 - February 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>Square to Circle &amp; Back</em> presents a group exhibition of abstract prints in various media, by Flowers Gallery and affiliated artists. Featuring new prints by Carol Robertson and including work by Prunella Clough, Bernard Cohen, Terry Frost, Albert Irvin, Yumi Katayama, Michael Kidner, John McLean, Tom Phillips, Jack Smith, Richard Smith &amp; Trevor Sutton. The title, conceived by Michael Kidner, describes the monochromatic triptych exhibited and inspired the curatorial system, a study of the Square to Circles and Back to a square.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>SQUARE</strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Noun</em></span><br /><span style="font-size: small;"> •     plane figure with four equal straight sides and four right angles:</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>CIRCLE</strong> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Noun</em></span><br /><span style="font-size: small;"> •    round plane figure whose boundary (the circumference) consists of points equidistant from a fixed point (the centre):</span></p> <p style="text-align: justify;"><span style="font-size: small;">[<em>no object</em>] (<strong>circle back</strong>) move in a wide loop back towards one's starting point.</span></p> Sat, 26 Jan 2013 15:06:17 +0000 Kim Rugg - NETTIE HORN - December 7th, 2012 - February 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>NETTIE HORN</strong> is pleased to present the second solo exhibition by British artist <strong>Kim Rugg</strong>, featuring a new body of work which is inspired by her exploration into mass produced images and icon-carriers such as newspapers, stamps, museum postcards as well as within mass media technologies including television, the internet or social networks. Reflecting on the spread of consumerism through its products and technology, Rugg questions the power of the images, their representation as well as the way they promote a certain reality. </span><br /> <br /><span style="font-size: small;"> From analytic newspaper decipherments to postcard "re-masterisations" as well as the dematerialisation of digital and internet images, Rugg questions the impact and reliability of "hyperreality" – a notion that Jean Baudrillard develops in <em>Simulacra and Simulation</em>, in which he explains that this notion of hyperreality is "<em>a symptom of the postmodern era caused by the increased infiltration of technology into the masses. As post industrial technology, particularly the mass media, becomes more integrated into our lives than ever before, the imitations of reality represented in these media come to be given more credibility than the realities they are intended to imitate</em>".</span><br /> <br /><span style="font-size: small;"> Through a tenacious attention to detail, Rugg's newspaper pieces transgress conventional systems by obliterating what is conceived to be the important element: "the content". Deconstructed and rearranged according to new orders or text codes, the artist explores new codes of reading while maintaining the integrity of her subjects as objects. Rugg is interested in the evolution of language emerging from modern day technology - for example, the character restrictions generated by social networks, such as Twitter, inspired the translation of a front page of the Guardian into "text speak", a phonetic and shorthand method of writing. With this new series of newspaper pieces, Rugg questions the semantics and orthography of linguistics by using an object, which is, in essence a vehicle for a standardised and conformist use of the English language.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The overall definition of an artwork is defined by elements such as medium and format, which have sometimes been sacrificed when the artwork itself has been re-formated for "mass sharing" purposes. Few of us are lucky enough to travel to museums around the world to see original artworks, so we rely on catalogues or postcards to experience the works of the masters. Photographed and re-formated in order to be popularized, the art postcard conveniently reduces every artwork to fit into the same format - thus Guernica will appear to be the same size as Van Gogh's irises. Kim Rugg's postcard piece, "<em>49 postcards</em>" is a scaling up of the postcard back to the actual size of Van Gogh's "<em>Wheat field with Cypresses</em>" which can be seen at the Metropolitan Museum in New York.</span></p> <p style="text-align: justify;"><span style="font-size: small;">From this reflexion on the impact of the media, a number of questions emerge relating to the influence of this phenomenon upon reality as well as their relationship. The evolution of the photojournalistic image for example is a current interest in Rugg's practice. Camera phones have made the medium more democratic and as a result photography has come closer to the action - witnesses also become participants in history. The work "<em>Are you sitting comfortably</em>" presents two images sourced from the internet, depicting scenes of recent historical revolts. Although poor in quality, these pictures were rapidly propelled around the world and the impact and realism of these images are a result of the photographer's closeness to the events taking place. The high pixilation of these images inspired Rugg to transfer them into tapestries, an ancient technique previously used to depict historical events such as battles and coronations. The tapestries representing these powerful images are presented onto re-upholstered furniture in order to hint back to the domestic setting where we are more commonly used to consuming them.</span></p> Mon, 14 Jan 2013 09:46:30 +0000 Christie Brown - Freud Museum London - November 23rd, 2012 - February 10th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Artist and ceramicist <strong>Christie Brown</strong> responds to the <strong>Freud Museum</strong> in two key ways. Firstly, Brown is intrigued by the significance and nature of Freud’s large collection of figurative antique artefacts. Her second focus is on the idea that since human beings project a range of emotions onto objects, these objects have a life of their own. Drawing parallels between falling asleep and leaving the museum or studio, she suggests that inanimate objects may become animated in ways that are beyond our control, like dreams.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The title of the show implies a narrative slightly out of our control where unlikely connections and associations can occur. The figures make reference to Freud’s definitions of the term ‘dream-work’, such as displacement, representation, condensation and compensation. Drawn to the archaeology metaphor which Freud used to present his psychoanalytic theory to the world, Brown focuses on his large collection of figurines and the figure as a receptacle for human emotions. Choosing to study a few obscure figures that are harder to view in their cases or were not selected as favourites on Freud's desk, Christie Brown has developed a crowd of characters to create a work entitled 'Sleepover'. This will be displayed in the Exhibition Room, once Freud’s bedroom, where the group will hint at an uncanny animated narrative that has been interrupted but which may resume at any time when we leave the room.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Other smaller works will also refer to the archaeology metaphor. These include 'My Desk' – a collection of personal reference objects that inform her practice, 'I Pray Again, Again..' a large group of small porcelain children cast from modern day ex-voto figures and Eros who inevitably lies on the couch in need of some coherent inner structure. A small group of shabti faience figures based on Brown’s own teddy bear completes this intervention.</span><br /> <br /><span style="font-size: small;"> 'DreamWork' is part of a major 3 year Arts and Humanities Research Council (AHRC) funded project, Ceramics in the Expanded Field, funded through the University of Westminster. The project aims to explore the relationship between ceramic art intervention and museum collections. (See website <a href=""></a>)</span></p> <p style="text-align: justify;"><span style="font-size: small;">The wider project includes several outcomes of practice-based research and dissemination, including the website which houses information and invites regular essays from key thinkers in the field. Outcomes also include 3 symposia, (one to be held at the Freud Museum in January 2013), an international 3-day conference at the end of the project in 2104, an anthology of essays published by New Ashgate and 3 major exhibitions of artworks by the 3 key researchers.' DreamWork' at the Freud Museum is one of these.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Christie Brown</strong> is Professor of Ceramics and supervisor on the graduate programme at the University of Westminster. She joined the University in 1993 and was awarded the title of Professor in 2001 for her international contribution to ceramics. Her recent solo show, 'Collective Traces; A Response to the Petrie Museum', funded by the AHRC, was shown at the Institute of Archaeology in London in 2006, in the Taiwan Biennale July 2010 and in the Egyptian Galleries at the Manchester Museum from 2007-12. She was artist in residence at Hunter College, New York in 2006 and at The International Ceramics Research Centre in Denmark in 2009. She has exhibited widely in the UK and abroad and her work is in several private and public collections including the Victoria and Albert Museum UK and the Mint Museum, USA. Her next project is a group show in the Sir John Soane's Museum in 2013</span></p> Thu, 27 Sep 2012 10:20:07 +0000 Daria Martin, Erik van Lieshout - Maureen Paley - February 7th, 2013 - February 10th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Maureen Paley is pleased to announce the first of two screenings at the gallery featuring films by Daria Martin and Erik van Lieshout that will be shown in London for the first time. The second screening will present the work of Morgan Fisher from 4 – 7 April following the solo show at the gallery by Michael Krebber from 16 February – 31 March. The films will be on show during gallery opening hours.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Daria Martin</strong> <em>Sensorium Tests</em>, 16mm, 10 mins, 2012</span><br /><span style="font-size: small;">Funded by

 The Wellcome Trust
 &amp; Arts Council England</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Sensorium Tests</em> is Martin’s most recent film and was shown for the first time as part of her solo exhibition at MK Gallery, Milton Keynes, in 2012. In the film Martin (born 1973) questions how sensations might be created and shared between people and objects through the real-life neurological phenomenon of synaesthesia – the joining together of normally separate perceptions such as ‘hearing colors’, ‘smelling words’ and ‘tasting shapes’. The film specifically focuses on Martin’s research into ‘mirror-touch synaesthesia’. Set in a laboratory a woman is tested for her capacity to respond to sensory stimuli while two researchers, hidden behind a one-way mirror, look on.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Previous solo exhibitions include Sensorium Tests, MK Gallery, Milton Keynes, UK, 2012; Three M Commission: Minotaur, touring exhibition at Museum of Contemporary Art, Chicago, New Museum, New York, Hammer Museum, Los Angeles, 2009-10; Manifesta 7, Trentino – South Tyrol, Italy, 2008; S.M.A.K., Ghent, 2007; Stedelijk Museum, Amsterdam, 2006, Kunsthalle Zürich, 2005, and the Kunstverein in Hamburg, 2005. Martin’s trilogy of films <em>In the Palace</em> (2000), <em>Birds</em> (2001) and <em>Close Up Gallery</em> (2003) were acquired by the Tate and were on display at Tate Britain in 2008. In 2013 she will have a solo show, One of the Things That Makes Me Doubt at ACCA: Australian Centre for Contemporary Art, Melbourne.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Erik van Lieshout</strong> <em>Janus</em>, HD video, 51 minutes, 2012</span></p> <p style="text-align: justify;"><span style="font-size: small;">Through a series of monologues filmed in the artist’s studio that are set against an investigation into the life a deceased man called Janus, van Lieshout questions his role as an artist and addresses the reduction of arts grants in his film <em>Janus</em>. Van Lieshout (born 1968) had bought the contents of Janus’ house after his death and interviews family and friends living in the surrounding working-class area of Rotterdam-Zuid. The footage of Janus’ environment is also interlaced with fragments of an interview between van Lieshout and actor Marien Jongewaard where he focuses on his own self-image as an artist against a backdrop of economic crisis.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Previous solo exhibitions include Commission, MMK Museum für Moderne Kunst, Frankfurt, 2012; Erik makes Happy, BAWAG Contemporary, Vienna, 2011; How Can I Help You, Hayward Gallery Project Space, London, 2011; Im Netz, Ludwig Museum, Cologne
, 2009; Homeland Security, Projekt am Museumsplatz, Städtische Galerie im Lenbachhaus, Munich, 2007 and Guantánamo Baywatch, Hammer Projects, Hammer Museum, UCLA, Los Angeles, 2007. Recent group exhibitions include Manifesta 9, The European Biennial of Contemporary Art, Genk, Limburg
, 2012 and Melanchtopia, Witte de With, Center for Contemporary Art, Rotterdam, 2011.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Van Lieshout is the recipient of a Tiger Award for Short Films 2013 for <em>Janus</em> at the 42nd International Film Festival Rotterdam.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For further information please contact Rory Mitchell at</span></p> Fri, 01 Feb 2013 17:54:58 +0000 - Royal College of Art - February 6th, 2013 - February 10th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Students from the School of Fine Art will show their work in progress at both Battersea and Kensington galleries. Includes work from the programmes of Painting, Photography, Printmaking and Sculpture.</span></p> Fri, 11 Jan 2013 11:05:53 +0000 - Royal College of Art - Battersea, Dyson Building - February 6th, 2013 - February 10th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Students from the School of Fine Art will show their work in the Battersea and Kensington galleries. Includes work from the programmes of Painting, Photography, Printmaking and Sculpture.</span></p> Wed, 06 Feb 2013 15:49:55 +0000 - Royal College of Art - Battersea, Dyson Building - February 7th, 2013 - February 10th, 2013 <div style="text-align: justify;"><span style="font-size: small;">As part of the School of Fine Art work in progress show in Kensington, students from Painting, Photography, Printmaking and Sculpture are using the Dyson Building gallery to display preparatory material, such as sketches, drawings, etchings and other works that show the artistic making process. </span></div> <div style="text-align: justify;"><span style="font-size: small;"><strong>Open 12 noon-5.30pm.</strong></span></div> Wed, 06 Feb 2013 15:26:36 +0000 Dave Muller - The Approach - January 16th, 2013 - February 10th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>The Approach</strong> is pleased to present<strong><em> Death Disco</em></strong>, an exhibition of new works by <strong>Dave Muller</strong>. <em>Death Disco</em> expands upon several familiar and more recent threads of the artist’s musically obsessed and multivalent art practice, namely death and celebration. Muller addresses feelings of loss and excess, reveling in a sort of joyful morbidity. Through depictions of personal yet emblematic objects, from unoccupied drum sets and stacks of CDs by famous musicians (recently deceased) to his own family photographs, Muller commemorates subjects who are conspicuous in their absence. Though social at his core, Muller avoids direct portrayal of people, choosing instead to direct our attention to the objects and ephemera left in their wake. Tracing elements of humanity through the unique stamp we each leave on the material world, he constructs an intricate multi-faceted portrait of both individuals and society as whole.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The show is comprised of eight paintings and a mixed media music catalogue. The works <em>She’s Not There</em> and <em>Where I’m at Is… (#5, blue)</em>, marry the basic concepts of ‘music’ and ‘absence’, ideas that are further intertwined throughout the show. She’s Not There is a portrait formed through an indication of what is missing or extracted from it, in this case the image of Muller’s wife, and <em>Where I’m At Is.. (#5, blue)</em> is a document made in October 2006 of Muller’s continuously expanding music archive; a snapshot of a dead moment in time.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Three large scale framed works from the new Empty Drum Kit series appear in the exhibition, each depicting a drum kit once played by a now deceased musician or ‘dead’ band (now permanently disbanded). Focusing on the narrative quality of the now inert instrument, Muller creates indirect portraits of drummers Karen Carpenter, John Bonham and Keith Moon. We envision these musicians playing these drums, meaning the works can be understood not only as still lifes but as portrayals of now still lives.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Double diptych, <em>This American’s Top Forty</em> (2012), chronologically arranges the painted spines of a selection of CDs into a vertical timeline that charts musicians who’ve died within the last year. Incorporating a pop-cultural reference to the American weekly music charts radio show and National Public Radio’s This American Life, this accumulation of objects also offers a way for us to recount the passing of time or tell a story through the physical signifiers of cultural, in this case musical, production.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The familiar motif of the disco ball, recurrent in Muller’s work, appears twice in <em>Death Disco</em>. There is </span><span style="font-size: small;">an obvious musical association with these objects, but Muller is also drawn to them as a compositional device, again employed in the pursuit of inadvertent portraiture. The fragmentation of our view of the subject is extreme, like a wrongly pieced together puzzle, and the main indication of their personal nature is found in the title. Like the <em>Empty Drum Kits</em>, these paintings activate our imagination: movement is implied rather than directly depicted- the spinning of the ball and the rotating reflections of the environment and ultimately the mental assembling together of seemingly disparate symbols into a logical visual order.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Dave Muller’s recent solo exhibitions include: Yeah, Yeah, Yeah, Yeah, Blum &amp; Poe, Los Angeles, CA (2012); Dave Muller, Anthony Meier Fine Arts, San Francisco, CA (2010); Allover, Not Over at All (adventures in field recordings), Gladstone Gallery, Brussels, Belgium (2009); I Like Your Music I Love Your Music, Museo de Arte Contemporaneo de Castilla y Leon, Spain (2008); Piles and Globes, Likes and Loves, Blum &amp; Poe (2007); I WANT IT LOUDER, Gladstone Gallery, New York (2006). Recent group shows include: Broodwork: It’s About Time, Otis College of Art and Design, Los Angeles, CA (2011); Abstract Now and Then, Berkeley Art Museum &amp; Pacific Film Archive, University of California, Berkeley, CA (2011); Echoes - La musique faite image, Centre Culturel Suisse, Paris, France (2011); Skin Fruit: Selections from the Dakis Joannou Collection, New Museum, New York, NY (2010); Jeremy Deller: Marlon Brando, Pocahontas and Me, Aspen Art Museum, Aspen, CO (2008) Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago, IL (2007); The Whitney Biennial, (2004)</span></p> Sat, 19 Jan 2013 14:46:23 +0000 Antony Gormley - White Cube, Bermondsey - November 28th, 2012 - February 10th, 2013 <div class="expandable"> <div class="text ff"> <p style="text-align: justify;"><span style="font-size: small;"><strong>White Cube Bermondsey</strong> is pleased to present ‘Model’, an exhibition of major new works by <strong>Antony Gormley</strong>. Challenging the physical possibilities of the gallery space, this ambitious exhibition investigates our experience of architecture through the body and of the body through architecture.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Made in direct response to the space of the South Galleries is the vast, new work Model (2012), which is also the title of the exhibition. Fabricated from 100 tonnes of weathering sheet steel, the work is both sculpture and building, human in form but at no point visible as a total figure. Visitors will be able to enter the work through a 'foot' and journey through its inter-connected internal chambers, the sculpture demanding that we adjust our pace and bend our bodies to its awkward yet absolute geometry. The experience of this analogy for the 'dark interior of the body' is guided by anticipation and memory and the direct and indirect light which penetrates the structure and which leads us on, as if through a labyrinth.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The central corridor of the gallery will hold new sculptures built of solid iron blocks whose uncompromising orthogonals belie their emotional punch. Propping up the architecture, articulating a corner or lying flat on the ground, these dark works test the bounding condition of the space. Their sculptural language is highly reduced, in some cases so schematic that the body form is rendered purely abstract, but without any loss of human empathy.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition also features a selection of Gormley's working models, installed on a series of tables. Revealing processes that can be both playful and disciplined, the installation suggests a workshop full of ideas and procedures, methods and materials. </span></p> <p style="text-align: justify;"><span style="font-size: small;">These works, together with a series of new expansion pieces, create an exhibition which powerfully extends Gormley's exploration of the body as a site of transformation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Born in London in 1950, Antony Gormley’s solo shows include Centro Cultural Banco do Brasil, São Paulo, Rio de Janeiro and Brasilia (2012), Deichtorhallen, Hamburg (2012), The State Hermitage Museum, St Petersburg (2011), Kunsthaus Bregenz, Austria (2010), Hayward Gallery, London (2007), Malmö Konsthall, Sweden (1993) and Louisiana Museum of Modern Art, Humlebæk, Denmark (1989). Major public works include Angel of the North (1998, Gateshead, England), Another Place (2005, Crosby Beach, England) and Exposure (2010, Lelystad, The Netherlands). He has also participated in major group shows such as the ‘Venice Biennale’ (1982 and 1986) and ‘Documenta 8’, Kassel, Germany (1987). Gormley won the Turner Prize in 1994 and was made an Officer of the British Empire in 1997. Since 2003 he has been a member of the Royal Academy of Arts and since 2007 a British Museum Trustee.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A publication to accompany the exhibition, with an essay by art historian and critic, Michael Newman, will be available in January 2013. Please contact <a href=""></a> for further information.</span></p> </div> </div> Thu, 29 Nov 2012 11:32:00 +0000