ArtSlant - Current exhibits en-us 40 Julian Opie - Alan Cristea Gallery- 34 Cork St - February 14th, 2013 - March 16th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The <strong>Alan Cristea Gallery</strong> is proud to present a solo exhibition of works by <strong>Julian Opie</strong> from 14 February - 16 March 2013, at 34 Cork Street. The show will comprise original editions from Opie's series <em>Winter</em>. and marks fifteen years of close collaboration between the artist and Alan Cristea. The Alan Cristea Gallery is the worldwide exclusive publisher of Julian Opie's limited edition prints and animations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">One of the leading figures in contemporary art, for over three decades Julian Opie has pushed the boundaries of portraiture, painting, and sculpture, seeking to break down what he believes to be illogical barriers between the disciplines. He has developed a unique formal language that combines the vernacular of everyday life with motifs inspired by art history. His restless fascination with and desire to utilise new techniques have long been supported by Alan Cristea, a gallerist focused on developing enduring and successful partnerships between artists and creative fabricators.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Opie takes the physical world as the starting point for his artistic practice, be it nature or human beings, which he first captures through an innovative drawing process using a camera and computer technology as his tools. Opie draws under and over digital photographs he takes from nature, creating multi-layered images with great depth. The highly distinctive depictions of the modern world that arise from this process juxtapose modern and classic sources, examining the nature of representation through a variety of media, including silkscreen, granite, and computer animation. Past works have seen Opie draw from influences as diverse as billboard signs, 18th-Century portraiture, popular comics and Japanese woodblock prints.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition at the Alan Cristea Gallery is an extension of the artist's recent film <em>Winter</em>. (2012) and sees him blend a similarly eclectic range of influences, from Google Maps Street View to 17th-Century Dutch landscape painting. Opie presents 75 prints laminated to glass, representing 75 sequential steps on a circular walk taken by the artist through the French countryside on a harsh but beautiful winter's day. Echoing the poetic ambience of the film, the exhibition is accompanied by the film's specially commissioned score written by Paul Englishby (award winning composer for A<em>n Education</em> and <em>Miss Pettigrew Lives for a Day</em>) and featuring vocals by the artist's wife, Aniela Opie.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Each panel measures 68 x 121 cm and is in an edition of three, with an additional artist's proof of each work. The use of lamination to glass references the architectural use of glass generally within the public realm and specifically within in Heathrow Airport's Terminal 5. The gallery walls will be almost completely panelled in glass for the exhibition, creating a surrounding panorama that is at once a pastoral landscape and a slick architectural surface. Viewed together, the panels also correspond to each still from Opie's film, enabling the viewer to explore the elegiac journey over and over again.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will be accompanied by a flip book illustrating all of the landscapes thereby allowing the reader to reanimate the circular walk. Copies of this book will be available to purchase through the gallery's <strong><a href="" target="_blank">online bookshop</a></strong> and through Opie's online shop <strong><a href="" target="_blank"></a></strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For more information, please <strong><a href="">contact us</a></strong>.</span></p> Thu, 07 Feb 2013 15:34:00 +0000 Richard Harrison - Albemarle Gallery - February 7th, 2013 - March 9th, 2013 <p>Richard Harrison</p> <p>07 Feb - 09 Mar 2013</p> <p></p> <p>New works by Richard Harrison: There are few artists today whose work reaches into the inner soul stirring our basic emotional instincts whilst evoking responses of amazement and admiration. His abstract landscapes are rich in colour and texture with generous lashings of paint, which ebb and flow on the canvas reflecting turbulence and often violent upheaval.</p> Mon, 28 Jan 2013 13:28:34 +0000 Maxwell Doig, Iain Faulkner, Stuart Luke Gatherer, Harry Holland, Alexander Klingspor, Enrico Robusti, Peter Welford - Albemarle Gallery - February 7th, 2013 - March 9th, 2013 <p>07 Feb - 09 Mar 2013 </p> <p></p> <p>Albemarle Gallery is pleased to announce a series of collective exhibitions, which will showcase a number of works by artists represented by the gallery. Under the banner of Albemarle Collective these shows will run in conjunction with solo exhibitions with the aim of introducing a larger variety of works by our artists throughout the year. </p> <p>Featured Artists:</p> <p>Maxwell Doig, Iain Faulkner, Stuart Luke Gatherer, Harry Holland, Alexander Klingspor, Enrico Robusti, Peter Welford</p> Mon, 28 Jan 2013 13:31:25 +0000 Patrick De Smet - Albemarle Gallery - March 5th, 2013 - March 16th, 2013 <p>Patrick De Smet</p> <p>05 Mar - 16 Mar 2013</p> <p></p> <p>Patrick De Smet was born in Eeklo, Belgium, in 1960. De Smet has an MA in Classics (Latin and Greek) and in Egyptology. In a previous life, he has worked in several Belgian and English museums and universities, in an art gallery and a theatre, and in IT. He is now a full-time fine art photographer, managing his "creative flow" from start to finish, from inspiration and idea to finished prints and exhibitions, being helped by the loving support of his muse.</p> Mon, 25 Feb 2013 12:30:22 +0000 Group Show - Albemarle Gallery - March 5th, 2013 - March 16th, 2013 <p>Albemarle Collective </p> <p>05 Mar - 16 Mar 2013 </p> <p></p> <p>Albemarle Gallery is pleased to announce a series of collective exhibitions, which will showcase a number of works by artists represented by the gallery. Under the banner of Albemarle Collective these shows will run in conjunction with solo exhibitions with the aim of introducing a larger variety of works by our artists throughout the year.</p> <p> </p> <p>Bae Joonsung, Ian Cumberland, Maxwell Doig, Iain Faulkner, Stuart Luke Gatherer, Harry Holland, Jayshree Kapoor, Rado Kirov, Alexander Klingspor, John Mccarthy, Steve McGinn, Peter Welford, Enrico Robusti, Eishin Yoza</p> Mon, 25 Feb 2013 12:33:20 +0000 Michael Bauer - Alison Jacques Gallery - February 22nd, 2013 - March 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><em>'Bauer's paintings are fragmented, sexual, feverish and funny; worlds within worlds that won't be pinned down. They make me think of filthy cities, and filthier minds; of lavish interiors, abandoned excavations, half-remembered rituals, snatches of music and inexplicable joy.' </em>Jennifer Higgie, 2008</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Alison Jacques Gallery</strong> is delighted to present <strong>Michael Bauer</strong>'s inaugural exhibition at the gallery, a new series of oil paintings entitled <strong><em>Slow Futures - H.S.O.P. - Opus</em></strong>. He employs an extraordinary range of mark-making in them - from heavy impasto to fine-brush doodles - layering diverse narrative clues as if engaged in some ardent form of reverse archaeology. In the middle of large canvases, Bauer builds rich amalgams of fascinating personal detritus, suspending tangled recollections of historical trivia, friends' anecdotes, forgotten bands, maligned painters' mistakes, and so on. All his paintings are fundamentally portraits, but they are portraits of memories.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bauer loves titles - the more deliberately obscure and diverse the better - and this series is no exception. The 'slow' of <em>Slow Future </em>refers to his pace in working, building layer upon layer, organically but never systematically, and because one of the things Bauer has always valued about painting is that it's slower than other media. <em>H.S.O.P</em>. is an<em> </em>acronym for the Hudson River School of painting - a 19<sup>th</sup> century fraternity of American landscape painters who hold no significance for Bauer other than the fact that they've become unfashionable and he likes the idea of "colonizing their memory". He fundamentally disagrees with the notion that painting itself has become obsolete and, by annexing a school devoted to it, seeks to re-emphasize that painting remains not only central to his future, but to <em>the</em> future. <em>Opus</em> is a typically self-deprecating Bauer addendum, a tongue-in-cheek nod to the fact that he doesn't see this or any other of his series as fitting into an ordered theory or composition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Bauer usually adds some kind of coding system to his paintings' surfaces, alluding to a faux structure at each of their premises. These have recently taken the form of colour-coded punctuation, but in most of the paintings here the only graphic notation he uses are deliberate red herrings: Bauer has painted small flags in their corners, chosen not because of any personal geographic or historical relevance, but because they are from lesser-known nations that he didn't recognise and are often confused with more prominent countries. What's particularly appealing to Bauer is that any flag, known or unknown, carries so much invented history. So, in addition to these being framing devices or heraldic elements for each painting, he wants them to function as "traps of meaning" in the context of all the other clues in the works.<strong></strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">Investigating failings - both Bauer's own and those of other painters - is another central element of this exhibition. As an adolescent, he copied the more expressive elements of "an awful Pointillist painter (his) dad collected" and returns to that here, relishing overused and flawed techniques from this and other artists, and, as he says, "focussing on their stupidities". Bauer has also brought more figurative elements into these new works, notably hands and feet, because he was never any good at rendering them as a young artist. Beyond revisiting failures, he uses his own unconscious acts in these works, often deliberately drawing with a brush "while (his) mind is somewhere else". He then invests time responding to these 'mistakes' in very particular, attentive ways. So, whilst Bauer isn't the slightest bit interested in rectifying them, the process of embracing and creating a kind of recycled beauty from the inappropriate and the rejected is absolutely central to his endeavours. Attempting to create resolved works would be disingenuous to Bauer's practice and to what he believes about painting, and one of the enduring fascinations in these works lies precisely in their remaining unfathomable. As Higgie puts it, 'A painting is not, and never has been, an will always choose to hide as much as it reveals'.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Michael Bauer</strong> (b. 1973, Erkelenz, Germany) studied at the Hochschule fur Bildende Kunst in Braunschweig, and now lives and works in New York. Notable solo exhibitions include <em>K-Hole (Frogs)</em>, Villa Merkel, Esslingen am Neckar (2011); Marquis Dance Hall, Istanbul (2010); Anthem, Kunsthaus Baselland, Basel (2009); and Kunstverein Bonn, Bonn (2007). Bauer is the subject of a substantial JRP Ringier monograph published in 2008, entitled <em>Borwasser</em>, with a lead essay by Jennifer Higgie and an interview with Stefanie Popp.</span></p> Sat, 09 Feb 2013 07:17:10 +0000 Pieterjan Ginckels - ANDOR - January 19th, 2013 - March 9th, 2013 <p>S.P.A.M. OFFICE is the first UK exhibition by Belgian artist Pieterjan Ginckels.   <br /><br />S.P.A.M. OFFICE appears to be a traditional modernist office setting; uniform office furniture has been made from cheap, low quality materials. S.P.A.M. Officers check e-mails, detect spam, print and file content in the S.P.A.M. Archive, poetically supporting the decorum of bureaucracy. They wear the uniform and logo of the ‘firm’, and monotonously disarm the spam to which the office is subjected.<br /><br />S.P.A.M. Officers become performers but also work for the artist. The officers' selections and archiving of spam messages enables Pieterjan Ginckels to reproduce the content and context of spam in his artworks. <br /><br />The exhibition's audience is invited to forward all their spam email to <a href="" rel="nofollow"></a>, as well as to come and watch the office at work.<br /><br />The performance of S.P.A.M. OFFICE was organised at Be-Part Center for Contemporary Art, Waregem, Belgium, (May 7th till May 15th 2011) and has been documented in the S.P.A.M. BOOK, published by Art Paper Editions.<br /><br />S.P.A.M. OFFICE at ANDOR represents Pieterjan Ginckels' first exhibition in the UK. Born in 1982 Pieterjan Ginckels lives and works in Brussels. He received the Center for Fine Arts Award at the 2011 Young Belgian Painters Award and has recently delivered solo projects in Aachen, Amsterdam, Antwerp, Cologne, Heerlen and Oostende. Ginckels first designed his characteristic ‘families’ of artworks in ‘1000 Beats’ (first built in 2008) and ‘PISTE’ (2010): installations with pronounced circular, multi-layered and cooperative aspects that generate metaphors in sound and image. He is represented in Amsterdam by Galerie de Expeditie where his solo exhibition runs until the 22nd of February, coinciding with Art Rotterdam where he has been selected as the <a href="" title="Art Rotterdam" rel="nofollow" target="_blank">Artist in Focus for 2013</a>. </p> Thu, 07 Feb 2013 17:17:36 +0000 Edwina Leapman - Annely Juda Fine Art - February 28th, 2013 - March 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Annely Juda Fine Art</strong> will be showing new paintings by <strong>Edwina Leapman</strong>, all painted in 2012. These works are a continuation of her sensitivity to colour, light and line. They show Leapman's process of working - the movement of the brush, the density of paint - and are built up in seemingly random accents creating rhythms that create the mood of each painting</span></p> Mon, 21 Jan 2013 15:28:10 +0000 Helen MacAlister - Art First Contemporary Art - February 28th, 2013 - April 6th, 2013 <p style="text-align: justify;"> ‘This exhibition penetrates deep into language. In so doing, it creates a new medium of itself that leaps gaps and generations… There are core elements of concrete poetry and the choice essentials of cryptic clues…’</p> <p style="text-align: justify;">Roddy Murray, Director of An Lanntair, Stornoway, commissioned MacAlister’s exhibition over 6 years ago and gave it time to evolve before launching it in the Summer of 2012. The extract above is from his introduction to an illustrated online catalogue (see link below) in which Duncan Macmillan’s essay and the artist’s illuminating reference notes expand eloquently on the ‘cryptic clues’. </p> <p style="text-align: justify;">MacAlister's elegant, reductive work is part of her overall exploration of a specific distilled cultural/political history. This substantial body of work . paintings, drawings, prints and glass . reflects her poetic use of language in which Gaelic and Scots are part of her subject matter. From the fact of language, built--]in bilingualisms and esentence landscapesf, the mountains, braes, roads and bays align themselves with single words or phrases in a visual encapsulation that fuses word with image.</p> <p style="text-align: justify;"> The large landscapes are monochrome, in a range of muted colours. <em>Bealach nam Ba</em> is a rich brown, for instance, while <em>The Lido, Campbeltown bay is golden yellow</em>. In this case the colour is a compound of translingual and verbal- visual pun playing on 'bay', the Gaelic <em>buidhe</em>, yellow, and <em>buidheachas</em>, gratitude. The paintings themselves consist of a layer of multiple marks, of signs, light and dark, and in detail chaotic, but which, overlaid on the raw image behind them, reveal its outlines. The drawings, which sometimes relate directly to the paintings, work the same way with a mass of fine pencil marks from whose confusion the image emerges. </p> <p style="text-align: justify;">Small glass pieces with words sandblasted onto them take the same horizontal post card format as the prints, yet their transparent simplicity, as Macmillan suggests, is wonderfully telling: <em>Cold air in the nostrils</em> is an eloquent, poetic metaphor, indivisibly word and image. The wavy surface of ice-blue glass embodies the words.</p> <p style="text-align: justify;"> From a group of three proverbs, we have the spare black and white digital prints, such as: </p> <p style="text-align: justify;"><em>Dh'ith e chuid den bhonnach-shodail- he ate his share of the flattery bannock.</em></p> <p style="text-align: justify;"> The visual/verbal potency of these tiny prints embody the same charge as the choice of specific landscape in the dominant two meter wide paintings. Ben Dorain is hung with its ‘diptych’ if one can call it that, the small canvas at its side, painted with the words of the exhibition’s title <em>At the Foot o’ Yon Excellin’ Brae</em>. This phrase is taken from Hamish Henderson’s essay of the same title, on the language of Scots Folksong, and is one of the keys to MacAlister’s whole project. </p> <p style="text-align: justify;">Helen MacAlister trained in Fine Art at Duncan of Jordanstone College of Art, Dundee. Subsequent awards and scholarships enabled her to work in Paris and Rome, with further residencies in Italy and the States, including Bellagio and MacDowell. She is represented by Art First and has work in public and private collections in the UK and the USA.</p> Thu, 07 Feb 2013 15:46:45 +0000 William Stein - Art First Contemporary Art - February 28th, 2013 - April 6th, 2013 <p style="text-align: justify;">William Stein’s practice as a painter centres on the tension between rigid formalism and intuitive, ‘automatic’,-­‐mark-­‐making.-­‐These-­‐conflicting disciplines combine in exquisite compositions of line and colour across the smooth surfaces of Stein’s gessoed panels. Stein also weaves the written word into his work through a kind of concrete poetry that feeds into drawing. The paintings themselves bear echoes of this as lines of pseudo ‘text’ float across the planes of colour and geometric form.</p> <p style="text-align: justify;">Each panel reaches its point of completion only after a process of near total obliteration and re--] imagination. Layers of paint and pigment are sanded back, scored into and obsessively reworked. The resulting paintings, quiet and elegantly poised, belie the violence inherent in their creation.</p> <p style="text-align: justify;"> In works such as <em>Domain</em> – the largest in the show and an experiment in scale for Stein on these new gesso surfaces – the elements of sharply defined and purposeful cubic and circular forms cluster together, overlapping and interrupting one another to create a complex network of pencil line and score-­‐ marks. This latticework hovers in and out of focus with the overarching bold brushstrokes that dominate the painting’s foreground. The work as a whole suggests the struggle between elements of the psyche to push themselves to the fore, and as both a painting and a message the work shifts as the viewer’s gaze drifts across its cloud-­‐like surface.</p> <p style="text-align: justify;">This ambiguity and interplay of forces asserts itself in a more singular way in the smaller panels – in the audacity and sharp edged brilliance of the raised square of yellow and titanium white that intrudes on the otherwise muted and delicate surface of the work Soon, and in the poured, monotone, roughly sanded backdrop to the exacting and brightly highlighted linear forms that balance lightly on the surface of the work <em>Dream</em>.</p> <p style="text-align: justify;">That poetry and the written word enter and inspire the work is not surprising, as each painting is composed almost as a poem – hinting at meaning through its repeated form and symbolism – without ever allowing itself to be pinned down. An artists’ book edition accompanies Stein’s paintings and drawings, and in the brief glimpses of single, gestural words isolated on the page there is an echo of Stein’s intention in paint – to create entire landscapes, but to leave open the route and the journey through them.</p> <p style="text-align: justify;">William Stein studied for his MFA in painting at the Slade School of Fine Art, graduating with Distinction in 2009. He has been shortlisted for the Jerwood Painting Fellowship, the Marmite Prize for painting, the BOC Emerging Artist Award and the Adrian Carruthers Studio Award (Slade). He was awarded the Euan Uglow Memorial Scholarship (2008) and the Arts Council of England Award in 2004.</p> Thu, 07 Feb 2013 15:51:18 +0000 Robert Rauschenberg, Jasper Johns, Marcel Duchamp - Barbican Art Gallery - February 14th, 2013 - June 9th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Exploring one of the most important chapters in the history of contemporary art, <i>The Bride and the Bachelors: Duchamp with Cage, </i><i>Cunningham, </i><i>Rauschenberg and Johns</i> focuses on <strong>Marcel Duchamp </strong>’s American legacy, tracing his relationship to four great modern masters – composer, <strong>John Cage</strong>, choreographer, <strong>Merce Cunningham, </strong>and visual artists<strong> Robert Rauschenberg </strong>and <strong>Jasper Johns</strong>. </span><br /><br /><span style="font-size: small;">Encountering Duchamp and his work in the early stages of their careers, each of the younger artists embraced key elements of his ideas and practice, resulting in a seismic shift in the direction of art in the 1950s and ‘60s. Characterised by the integration of art and life, the work of Cage, Cunningham, Rauschenberg and Johns heralded the advent of Pop Art. </span><br /><br /><span style="font-size: small;"><i>The Bride and the Bachelors </i>features around 90 works, some by Rauschenberg and Johns are being shown in the UK for the first time. The selection reflects the artists’ multiple levels of engagement across the disciplines of art, dance, and music. </span><br /><br /><span style="font-size: small;">Leading contemporary artist <strong>Philippe Parreno </strong>has devised a dynamic experiential staging of the exhibition inspired by the choreography of Cunningham and music of Cage, featuring two Yamaha Disklavier pianos playing live Cage scores, while the ‘ghost’ of the dancers can be heard pounding the floor. The soundscape is also punctuated by Parreno’s own interpretation of Cage’s famous 4’ 33”. </span><br /><br /><span style="font-size: small;">Live dance ‘Events’ are performed on Thursday evenings and weekends throughout the duration of the exhibition by students and graduates from<strong> London Contemporary Dance School </strong>and dancers from <strong>Richard Alston Dance Company</strong>. </span><br /><br /><span style="font-size: small;">Special ticketed dance events taking place in the gallery setting include Cunningham's <i>RainForest</i> (1968), presented by Rambert Dance Company and Richard Alston Dance Company performing mixed pieces of his repertoire. Both are followed by a Q&amp;A with Mark Baldwin and Richard Alston respectively. </span><br /><br /><span style="font-size: small;">The exhibition is curated by Carlos Basualdo and organised by the Philadelphia Museum of Art in association with Barbican Art Gallery. The exhibition has been developed with the full co-operation of Jasper Johns, Robert Rauschenberg Foundation, John Cage Trust, Merce Cunningham Trust and Association Marcel Duchamp. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Dance Curator: Jeannie Steele. Presented in association with The Place, with the kind assistance of Richard Alston Dance Company and London Contemporary Dance School.</span> </p> Tue, 01 Jan 2013 17:59:39 +0000 Jill Baroff, Stefana McClure, Winston Roeth, Phil Sims, Hadi Tabatabai, Beat Zoderer - Bartha Contemporary - February 8th, 2013 - March 23rd, 2013 <p style="text-align: justify;">Bartha Contemporary Ltd. &amp; Joost van den Bergh Ltd. are delighted to announce a joint exhibition of Tantric drawings and objects juxtaposed with recent works by contemporary artists Jill Baroff, Rudolf de Crignis, Stefana McClre, Mike Meiré, Winston Roeth, Kate Shepherd, Phil Sims, Hadi Tabatabai and Beat Zoderer. The exhibition will be held at Bartha Contemporary’s space at 25 Margaret Street, off Regent Street.<br /><br />The Indian term tantra is generally linked with mystery and mysticism as well as with sex, magic and hocus-pocus in the West.<br /><br />Indeed, tantrism is connected with all these and even more. Buddhism, Hinduism,
Taoism, Jainism, Vajrayana, Bönpo, Ayurveda and Shamanism are some of the
philosophies, religions and sciences that were somehow influenced by tantrism.<br /><br />Tantras expand doctrines on the creation and destruction of the universe, the worship of certain deities, spiritual exercises, secret rituals, magical powers and meditation.<br /><br />Three words in Indian tantrism are related, also phonologically: tantra (the philosophy), mantra (the knowledge through sound) and yantra (the means to leading a tantric existence).<br />Many of the diagrams, mandalas and symbols, represented in Indian tantrism are of Jain origin and deal mainly with cosmographic themes. Jains have always made clear diagrams and maps of the world (Jambudvipa) and the cosmos (Lokapurusa). Jains described in the smallest of detail the macro as well as the micro-cosmos, using notions equivalent to light-years and atoms, long before western scientists discovered them.<br /><br />For this exhibition we have chosen to juxtapose selected tantric objects and drawings with works by contemporary artists, which both directly or indirectly relate and reflect on some of the notions of tantric art.<br /><br />Abstract in appearance the circular tide drawings by the New York artist Jill Baroff are depictions of tidal movements at specific geographic locations. Similar to the
astrological studies these drawings render and explore natural phenomena of cosmic origins.<br /><br />The late Swiss painter Rudolf de Crignis who together with his partner Michael Paoletta collected tantric drawings for many years is a perfect example how the study of yantra has attracted and bridged artistic practices over many centuries.<br /><br />Hence it comes as no surprise that reviews and essays concerning the work of American painters James Howell, Phil Sims, Winston Roeth and Kate Shepherd refer to apparent aesthetic similarities between their paintings and early tantric art.<br /><br />Literal references equally play an important role; Mike Meiré has been referencing
Indian philosophical writing for the titles of his work, which is routed in tantrism.
Equally much of Beat Zoderer’s early work shown here is heavily influenced by his experience traveling in India at the beginning of his career.<br /><br />This exhibition is the result of a shared passion for both Indian Tantric and Western Contemporary Art.</p> <p style="text-align: justify;">Hence it comes as no surprise that reviews and essays concerning the work of American painters James Howell, Phil Sims, Winston Roeth and Kate Shepherd refer to apparent aesthetic similarities between their paintings and early tantric art.</p> <p style="text-align: justify;">Literal references equally play an important role; Mike Meire has been referencing Indian philosophical writing for the titles of his work, which is routed in tantrism. Equally much of Beat Zoderer's early work shown here is heavily influenced by his experience traveling in India at the beginning of his career.</p> <p style="text-align: justify;">This exhibition is the result of a shared passion for both Indian Tantric and Western Contemporary Art.</p> Wed, 06 Feb 2013 16:29:25 +0000 - Beaconsfield - February 20th, 2013 - April 20th, 2013 <p>Venue-wide exhibition. Monoculture, combines participatory sculptural objects and a small farm.</p> <p> </p> <p>Challenger is concerned with mass objectification of the self and asks her audience to join her in questioning the level of control being wielded by a supposedly 'free' environment like the internet. Themes of habitual performance, viral infiltration and feminine identity link earlier forms of human control by pseudo-sexual torture (exacted upon women who asserted their individuality) with cultural homogenisation on a global scale.</p> <p> </p> <p><b>Tamsyn Challenger</b> has been in residence with Beaconsfield between June 2012 and February 2013. Monoculture expands beyond the galleries and works on the public in a truly viral way through online interaction and time-based events off-site. </p> Sat, 13 Apr 2013 12:31:25 +0000 CANDIDA HÖFER - Ben Brown Fine Arts Ltd - February 12th, 2013 - April 12th, 2013 <p style="text-align: justify;"><span style="font-size: small;">German photographer <strong>Candida Höfer</strong> will make a noticeable return to London with a major solo show featuring thirteen new monumental works at Ben Brown Fine Arts. Magnificent interiors of palaces, opera houses, libraries, theatres from Northern Italy are the focus of this new series, produced over the past two years, which follows her earlier group of works made in Southern Italy in 2009.  These photographs highlight Northern Italy’s most pivotal architectural spaces in Mantova, Vicenza, Sabbioneta, Venice and Carpi. As in her previous series, these photographs are devoid of human presence, yet the interiors are public spaces created with the intention of holding large numbers of people. Höfer instinctually chooses these locations with respect to their history, architecture and functionality.</span></p> Wed, 23 Jan 2013 16:35:40 +0000 Kurt Schwitters - Bernard Jacobson Gallery - January 28th, 2013 - April 3rd, 2013 <blockquote> <p style="text-align: justify;"><span style="font-size: small;">"I could see no reason why used tram tickets, bits of driftwood, buttons and old junk from attics and rubbish heaps should not serve well as materials for paintings; they suited the prupose just as well as factory-made paints... It is possible to cry out using bits of old rubbish, and that's what I did, gluing and nailing them together."</span><br /><span style="font-size: small;">-Kurt Schwitters</span></p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Jacobson Gallery</strong> is proud to announce its forthcoming exhibition of collages and assemblages by the German painter, sculptor, typographer and writer <strong>Kurt Schwitters</strong> (1887 Hanover - 1948 Kendal), one of the pioneers of European Modernism. The exhibition will run from 28th January to 30th March 2013 and coincide with the Tate's <em>Schwitters in Britain</em> exhibition opening to the public on 30th January.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Schwitters was a significant figure in European Dadaism. Influenced by Expressionism and Cubism, he created his own form of Dada in Hanover called <em>Merz</em>, after the syllable 'merz' taken from an ad for the <em>Kommerz- und Privatbank</em>. <em>Merz</em> soon became a catch-all phrase to describe all of his creative activities covering not only art, but also abstract drama and poetry, cabaret, music, photography and architecture. He was a noted performer and a prolific writer, also publishing the innovative Merz journal that appeared intermittently from 1923-32.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Schwitters is most famous for his abstract collages which he began to make in the winter of 1918/19 using found and everyday objects such as labels, bus tickets, fabric and bits of broken wood. They were born out of his post-war feeling: 'Everything had broken down and new things had to be made out of the fragments; and this is Merz.'</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will comprise around twenty works dating from 1920 to 1947. Highlights include his collages from the 1920s such as <em>Untitled (Katan or 703)</em>, c.1921;<em>Mz 26, 45 Sch</em>., 1925-26 and <em>JOS.MA</em>, 1927. Works from this period are characterized by a gradual move to more rectilinear, simpler compositions with cleaner, sharper lines and the use of large blocks of single colours, taking inspiration from the new generation of Constructivists from Eastern Europe and the Netherlands, especially his friends El Lissitzky and Theo van Doesburg. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Other highlights include later works such as <em>Collage with playing card</em>, 1940 and <em>C50 Last Birds and Flowers</em>, 1946, incorporating fragments from packaging and newspapers reflecting British life as well as assemblages such as <em>Eye on Cheese</em>, 1944-47 and <em>Golf Tee</em>, 1947 incorporating organic material and objects found on a beach, such as wax, drift wood and pebbles, replacing the mass produced ephemera of previous years reflecting his move away from London to rural Cumbria in 1945. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Schwitters' undogmatic and non-elitist art, by elevating the rejected, the discarded and the useless to fine art, inspired such post-war pioneers as Jasper Johns, Robert Rauschenberg, Eduardo Paolozzi, Richard Hamilton and Joseph Beuys; and he is now seen as the grandfather of many post-1945 art movements, from Pop Art to Conceptual, Installation and Performance Art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Work by Kurt Schwitters can be seen in many art museums, including the Museum of Modern Art in New York; the Centre Pompidou in Paris; Museum Ludwig in Cologne; the Tate in London and the Armitt Museum in Ambleside. The largest and most important collection of his work, along with a reconstruction of the first Merzbau room, can be found in the Sprengel Museum in Hanover, Germany, which also has an extensive Kurt Schwitters archive.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Schwitters in Britain</em> can be seen at Tate Britain, London, from 30th January to 12th May 2013. The exhibition focuses on the artist's British period, from his arrival in Britain as a refugee in 1940 until his death in Cumbria in 1948 and includes over 150 collages, assemblages and sculptures.</span></p> <p style="text-align: justify;"><span style="font-size: small;">*Easter Closure: Friday 29 March - Monday 1 April</span></p> Mon, 01 Apr 2013 16:56:04 +0000 Howard Hodgkin - Bernard Jacobson Gallery - March 2nd, 2013 - March 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Jacobson Graphics</strong> is pleased to announce an exhibition of limited edition prints by <strong>Howard Hodgkin</strong>, which focuses on the first two decades of his printmaking. The exhibition shows the artist's early collaboration with Bernard Jacobson, who published most of the prints on display.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition covers Hodgkin's early output between 1966 and 1986, starting with his early experiments in printmaking such as the series '5 rooms.' In subsequent series the artist introduced the use of hand-colouring and enlarged prints to an oversized dimension, finally achieving a sculptural quality and lushness which became a signature component of his printmaking practice.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Hodgkin became a printmaker in the 1960s and has since been impassioned with the process, inventing new techniques and methods to develop his idea of printmaking.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Howard Hodgkin started his printmaking career with lithographs as the process was very similar to the directness of applying paint to a canvas. In <em>Girl on a Sofa</em>, <em>Bedroom</em> and <em>Indian Room</em> we see interiors with brightly coloured geometric shapes, sometimes recognizable as human figures or organic forms. After a voyage to India his interest turned towards capturing a variety of views: views from his train window while crossing the country, views through shutters, or views out of a window into a landscape. He also started painting borders around the image, which function as windows.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">With hand-colouring, Hodgkin brought directness and spontaneity to his prints. As a result the texture became much richer with the colour bleeding into the printing ink - a chance encounter which Hodgkin encouraged and accepted. The hand-colouring could take place at any stage of the printing process and in the final print the many layers of paint and ink become indistinguishable under the opulence of the final texture. However, Hodgkin started to question the autographic mark and decided to take on assistants who would execute the hand-colouring following his instructions. He mused, "I want the language to be as impersonal as possible. [...] I want to make marks that are anonymous as well as autonomous."</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">The oversized print <em>Bleeding</em> in the exhibition, with its richness of colour, shows a development towards bolder prints. It is one of only two prints with preparatory studies. Featuring his New York apartment, it contains decorative designs that are inspired by Indian art as well as the Alhambra in Granada. His long-lived fascination with Indian culture and the Indian landscape finds here an almost figurative expression.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Later under the guidance of his new printer Jack Shirreff, Hodgkin introduced the use of carborundum to his printing. It allowed for deeper colours on a slightly embossed paper. As in <em>Red Listening Ear</em> and <em>Blue Listening Ear</em>, the texture becomes bolder and the hand-colouring of increasing importance in these prints.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Howard Hodgkin was born in 1932 in London. He started his career as a painter and became a prolific printmaker. He represented Britain at the Venice Biennale in 1984 and won the Turner Prize in 1985.  He had many important exhibitions in museums around the world, including  the Metropolitan Museum of Art in New York in 1995, and a major touring retrospective at Tate Britain, London; the Irish Museum of Modern Art, Dublin; and the Reina Sofia, Madrid in 2006. His work can be found in the collections of major museums, including MOMA, New York; Tate, London; and the Metropolitan Museum of Art, New York.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Notes to Editors</strong></span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">Bernard Jacobson Gallery was founded in 1969, publishing and distributing prints by artists including Robyn Denny, Lucian Freud, David Hockney, Leon Kossoff, Henry Moore, Richard Smith, Ed Ruscha and William Tillyer. By the mid 1970s, having established himself as one of the major dealers in the international print boom, Jacobson began to show paintings and sculpture. The early 1980s saw the gallery open branches in Los Angeles and New York, expanding the range of international artists to include West Coast American artists such as Joe Goode and Larry Bell as well as modern British masters such as David Bomberg, Ivon Hitchens, Peter Lanyon, Ben Nicholson, William Scott, Stanley Spencer and Graham Sutherland. From 1977, the gallery moved more firmly into American and international art, with shows of artists such as Kenneth Noland, Jules Olitski, Larry Poons and Frank Stella. Recently, the gallery has held shows by the American artists Robert Motherwell and Helen Frankenthaler, Robert Rauschenberg, Roy Lichtenstein and Tom Wesselmann, while European painters include Bram Bogart and Pierre Soulages and British artists William Tillyer, Bruce McLean and Marc Vaux.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">In 2011 the gallery opened a new space in New York on East 71st Street with an inaugural exhibition entitled <em>60 Years of British Art </em>followed by <em>21 Americans</em>, the latter showing work by major American artists including Robert Motherwell, Helen Frankenthaler, Roy Lichtenstein and Robert Rauschenberg. Bernard Jacobson Gallery also has a strong presence at major international art fairs participating at The Armory Show, New York; Expo Chicago; Frieze Masters, London; and the prestigious Art Basel fairs in Hong Kong, Basel and Miami Beach.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Mon, 01 Apr 2013 16:56:53 +0000