ArtSlant - Recently added en-us 40 Carol Bove - David Zwirner, London - April 14th - May 30th <p style="text-align: justify;">David Zwirner is pleased to present the gallery&rsquo;s first exhibition with Carol Bove. On view at our London location, it features recent works by the New York-based artist, known for her simple yet intricate assemblages of found and made objects.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>The Plastic Unit&nbsp;</em>groups together large-scale sculptures made from natural and industrial materials, including slickly manufactured stainless steel &ldquo;glyphs,&rdquo; intricate metal curtains, I-beam structures, steel and concrete pedestals, shells, and peacock feathers. In line with Bove&rsquo;s broader practice, they are placed in careful relation both to one another and to the gallery space, with four works assigned to each room.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">On the ground floor,&nbsp;<em>Second Cartesian Sculpture</em>&mdash;an expansive steel net&mdash;divides the front space into two equal fields, thus creating a see-through separation between the other sculptures. One of these, a steel I-beam column supporting a human-sized piece of petrified wood, adds a sense of indeterminable temporality to the installation, and as such reinforces Bove&rsquo;s understanding of sculpture as durational. Her concrete pedestal with brass cubes blurs the definitions of sculpture and base, and appears a self-conscious response to modernist display methods. Its title,&nbsp;<em>I, quartz pyx, who fling muck beds</em>, is one of the few sentences ever constructed to include all letters of the alphabet just once (with the license of substituting i for j, and u for v).</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Four &ldquo;crushed glyphs&rdquo; in the adjacent room are presented on a low pedestal that covers most of the floor. In a departure from previous work, and in contrast to their rounded, white counterparts, the glyphs are brightly colored and irregularly shaped, appearing flexible despite their steel materiality. Distanced from the viewer by the pedestal, they appear like formal exercises in artistic style, but their visual presence is contradicted by the title of the arrangement&mdash;<em>Self Talk&mdash;</em>that challenges the ability to approach works without preconceived notions or an inner voice. Bove posits her glyphs in dialogue with public sculpture or so-called plop art, where individual works&rsquo; narratives often collude with their settings or remain obscure, thus making them appear out of place and even inappropriate. As a glyph typically refers to a symbol within a given context, for example a letter within the alphabet, Bove&rsquo;s sculptures appear like succinct fragments of a broader syllable that also takes into consideration the activity of creating the works.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">A white, tubular glyph is part of an arrangement on a wide pedestal in the upstairs gallery&mdash;the size of the curtain below it&mdash;which also comprises a shell and feather sculpture on its own pedestal, an I-beam with driftwood, and a silver curtain. Tens of thousands of small beads create a subtle pattern of triangles across the chains of the latter, but the intensely handcrafted work is almost invisible from some viewing perspectives, again drawing attention to shifting meanings and arbitrary interpretations.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">The four sculptures in the neighboring room are arranged directly on the floor, enabling viewers to walk amongst them and &ldquo;look with the body,&rdquo; as Bove puts it, rather than having to project oneself into a space, as demarcated by her pedestals. Like&nbsp;<em>Second Cartesian Sculpture</em>, a large steel structure called&nbsp;<em>Open Screen</em>divides space while maintaining open views of both sides, this time without the gridded net. Its geometric proportions contrast with&nbsp;<em>Circles</em>, a redwood burl through which Bove has inserted two steel pipes, mirroring the imprint of the physical support used to craft her concrete works. Another sculpture is an arrangement of steel I-beams that formed part of&nbsp;<em>Caterpillar&nbsp;</em>from 2013, the artist&rsquo;s installation on the then unfinished part of the High Line park in New York. Titled&nbsp;<em>Cow Watched By Argus</em>, its shape can vaguely be seen as figurative, alluding to the young woman metamorphosed into a cow by Zeus in an attempt to hide a love affair from Hera. Still skeptical, the latter hired the hundred-eyed Argus to watch the animal, but he was killed on Zeus&rsquo;s request. Hera subsequently took his eyes and sewed them onto the tail of her favorite bird, the peacock.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">In the third floor gallery, Bove presents four canvases arranged together and covered entirely in peacock feathers, creating a continuous, almost dizzying composition. The feathers&rsquo; unique concurrence of ornament and function is encountered in some of Bove&rsquo;s other sculptures on view in the exhibition, recalling the blurred boundaries between the pedestal and its object and the dual function of the I-beams as support and sculpture.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Born in 1971 in Geneva to American parents,&nbsp;<strong>Carol Bove</strong>&nbsp;was raised in Berkeley, California and studied at New York University.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">In 2014, Bove debuted a new body of work alongside exhibition designs and sculptures by Italian architect Carlo Scarpa.&nbsp;<em>Carol Bove/Carlo Scarpa</em>&nbsp;is curated by the Henry Moore Institute in Leeds, England and produced in collaboration with Museion, Bolzano, Italy and Museum Dhondt-Dhaenens, Deurle, Belgium. Coinciding with the Zwirner presentation in London, the show is on view at the Henry Moore Institute from April 2 through July 12, 2015. It was first hosted by Museion (November 2014 &ndash; March 2015) and will travel to Museum Dhondt-Dhaenens (October 2015 &ndash; January 2016).</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Bove&rsquo;s work has been the subject of solo exhibitions at prominent institutions that include The Museum of Modern Art, New York; High Line at the Rail Yards, New York; The Common Guild, Glasgow (all 2013); Palais de Tokyo, Paris (2010); Horticultural Society of New York (2009); Blanton Museum of Art, Austin, Texas (2006); Kunsthalle Zürich; Institute of Contemporary Art, Boston (both 2004); and Kunstverein Hamburg (2003). Major group exhibitions include Documenta 13, Kassel, Germany (2012); 54th Venice Biennale (2011); and the Whitney Biennial, Whitney Museum of American Art, New York (2008).</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Work by the artist is represented in permanent collections worldwide, including the Fonds R&eacute;gional d&rsquo;Art Contemporain (FRAC) Nord-Pas de Calais, Dunkerque, France; The Museum of Modern Art, New York; Princeton University Art Museum, New Jersey; Wadsworth Atheneum Museum of Art, Hartford, Connecticut; and the Yale University Art Gallery, New Haven, Connecticut. She lives and works in Brooklyn, New York.</p> Fri, 27 Mar 2015 14:57:06 +0000 - Chisenhale Gallery - March 28th 3:00 PM - 4:00 PM <p style="text-align: justify;">A panel discussion to launch a new report,&nbsp;<em>Mapping Artists' Professional Development Programmes in the UK: Knowledge and Skills</em>&nbsp;by Rebecca Gordon-Nesbitt. This report has been commissioned by Chisenhale Gallery and supported by Paul Hamlyn Foundation, to map the range of professional development programmes currently offered by arts organisations across the United Kingdom. The paper serves to identify examples of best practice and to explore new ways of supporting artists.<br /><br /><strong>Please&nbsp;<a href="" target="_blank">click here</a>&nbsp;to read the&nbsp;report online, or&nbsp;<a href="" target="_blank">here</a>&nbsp;to order a print-on-demand publication.</strong><br /><br />Discussion chaired by Laura Wilson, Offsite and Education Curator, Chisenhale Gallery. Speakers include: Ed Atkins, artist; Marianne Forrest, artist and Co-Director,&nbsp;<a href="" target="_blank">Auto Italia</a>; Rebecca Gordon-Nesbitt, independent researcher; Donna Lynas, Director,&nbsp;<a href="" target="_blank">Wysing Arts Centre</a>; and Lena Nix, Artist Development Manager,&nbsp;<a href="" target="_blank">SPACE</a>.<br /><br /><em>This event is free, but booking is strongly advised. To book&nbsp;your place, please click&nbsp;<a href="" target="_blank">here</a>.</em>&nbsp;</p> Fri, 27 Mar 2015 14:46:50 +0000 - Whitechapel Gallery - April 25th 3:00 PM - 3:00 PM <p style="text-align: justify;">eter Townsend inherited the century-old&nbsp;<em>Studio</em>&nbsp;magazine in 1965, and over the following ten years transformed it into one of the most progressive art journals in Europe, pioneering many of the editorial strategies we take for granted today &ndash; including artists&rsquo; commissions, &lsquo;curated&rsquo; issues and multi-part critical essays.</p> <p style="text-align: justify;">Jennifer Higgie, writer and co-editor of&nbsp;Frieze,&nbsp;Jason Farago, writer and founding editor of the new art magazine&nbsp;<em>Even</em>, and&nbsp;Jo Melvin,&nbsp;curator of&nbsp;<em>Five Issues of Studio International</em>&nbsp;at Raven Row, discuss what it takes to (re)create a magazine from scratch &ndash; then and now &ndash; as well as foster the&nbsp;networks of artists, writers and readers needed to sustain it. They are&nbsp;joined by&nbsp;Alex Sainsbury&nbsp;and&nbsp;Antony Hudek&nbsp;from Raven Row.</p> <p style="text-align: justify;">This event coincides with the current exhibition&nbsp;<a href="" target="_blank"><em>Five Issues of Studio International</em></a>&nbsp;at Raven Row, until 3 May.</p> Fri, 27 Mar 2015 14:43:18 +0000 Anna Parkina - Whitechapel Gallery - March 28th 3:00 PM - 4:00 PM <p style="text-align: justify;">Whether working with collage, performance or sculpture, Russian artist Anna Parkina&rsquo;s interest lies in the spaces between objects and forms. She is fascinated not by the details themselves, but in the dialogue that emerges between the details.</p> <p style="text-align: justify;">In The Dream of the Volunteer, she plays with light and shadow, weaving a performer&rsquo;s body together with image and fabric. The conversation appears between the image &ndash; a projection of a woman dancing among trees and fabric &ndash; and the reality of a similar dancer in space. The two aspects intersect, entering into a fight of sorts, each trying to find independence from the other. As the distance between image and reality grows and fluctuates, the viewer struggles to understand what is tangible fabric and body, and what is shifting light.</p> <p style="text-align: justify;">With music by pianist Sophie Agnel.<br /><br /><em>Text taken from&nbsp;<a href="" target="_blank"></a>.</em></p> Fri, 27 Mar 2015 14:38:46 +0000 David Shillinglaw - Scream - April 10th - April 28th <p><strong>Scream Editions</strong> are delighted to present <strong><em>You Are Here</em></strong>, a brand new exhibition by <strong>David Shillinglaw.</strong></p> <p><em>You Are Here</em> is a new body of work by the young energetic artist &ndash; ranging from large painted canvas, works on paper, wooden assemblages and installation. This body of work pulls together the last 10 years of Shillinglaw&rsquo;s practice &ndash; combining elements from his work on the street and in the gallery &ndash; but also remixing his own personal history &ndash; which propels his work into a fresh visual territory.</p> <p>Upon arrival, take the supplied map/graphic pamphlet, and use this tool to help you navigate through (or get lost in) the humour, texts, typography and metaphors that will undoubtedly end in a sensory overload--in the best way.</p> <p><span style="text-decoration: underline;">For further details about the exhibition and additional images, contact:</span></p> <p>Ruth Wilkinson | <a href="" rel="nofollow"></a> | +44 (0)20 7268 9851</p> <p>Exhibition Details; Scream | 27/28 Eastcastle Street | London | W1W 8DH</p> <p>10<sup>th</sup> April &ndash; 2<sup>nd</sup> May 2015 | Opening times | Monday to Friday 10am &ndash; 6pm or by appointment&nbsp;</p> <p><a href="" rel="nofollow">;</a></p> Fri, 27 Mar 2015 14:27:29 +0000 Group Show - CHARLIE SMITH london - April 3rd - May 9th <p style="text-align: justify;" align="left"><em>People try to put us down&nbsp;<br />(Talkin' 'bout my generation)</em></p> <table width="12" cellspacing="0" cellpadding="0" align="left"> <tbody> <tr> <td align="left" width="12">&nbsp;</td> </tr> </tbody> </table> <p style="text-align: justify;">▪&nbsp;The Who, 'My generation', (1965) (1)<br /><br /></p> <p style="text-align: justify;" align="left">Gustave Courbet once stated that he was 'not only a Socialist, but a Democrat and a Republican, as well: in a word, a supporter of the whole revolution, and above all a realist, that is to say a sincere lover of genuine truth' (2).</p> <p style="text-align: justify;" align="left">In T. J. Clark&rsquo;s book 'Image of the People&rsquo; (1999), Courbet is said to have disguised himself behind the mask of &lsquo;the savage&rsquo; in order to remain in the centre of the Parisian art world without actually being absorbed by it. Acting as rustic invader and outsider to La Brasserie Andler, which he frequented in the 1840's, he sustained his painting practice by gaining access to this glimpse of bourgeoisie life, to enable himself to comment on the social conditions of the time through his paintings of rural life. In Clark&rsquo;s book, he asks us to question, 'What is revolutionary art?' - such as Courbet's - and 'What were the effects of a particular revolution upon creative practice?'.</p> <p style="text-align: justify;" align="left">The term 'Anti-Social Realism', which acts as this exhibitions title, is not one that is commonly understood. It is intended to pose questions such as: is 'revolutionary' art a viable possibility today? What does it mean to be (anti) social in an increasingly interconnected but physically separated society? Can we, through archaic practices such as painting and sculpture, engage with notions of 'social realism&rsquo; now presented on a daily basis through the new silver-screen veneer of the digital age?</p> <p style="text-align: justify;" align="left">In response, this exhibition attempts to pose pictorial possibilities and create tensions through the selected artworks, tackling notions of contemporary realism and in turn offering us a distant echo of a political reality. The wry misnomer of the exhibition title slips between many interwoven threads, simultaneously conjuring up images of 'anti-social behaviour orders' (ASBO), anarchist riots, or the solitary artist locked away from the world attempting to connect on a higher level. In this light, the exhibiting artists are presented as 'social mystics' (3) and it could be said that their work operates by a means of turning inwards to create social radiation.</p> <p style="text-align: justify;" align="left">It is often said that the path of artistic practice involves an inherent rejection of the exterior world. This service to humanity, whilst in rejection of it, is a contradiction that the exhibition also seeks to examine. There is a shared intention to address the contemporary political dilemma and our complex relation to reality through the conventions of art practice and the governing notions of social realism, such as those that existed in Courbet&rsquo;s time.</p> <p style="text-align: justify;" align="left">J.G. Ballard refers to the &lsquo;inter-zone&rsquo; (4) as an attempt to define contemporary reality from within the simulacrum of the digital age. By inhabiting this pneumatic intermediary realm, made of astral substance, cultural production posits between the rational mind (which partook of God) and the utterly unrelated material realm.</p> <p style="text-align: justify;" align="left">Here, the painted world often seems more real than the real; reality at times populated by phantasms, cartoon characters or surrealist totems. The programme of political resistance is&nbsp;</p> <p style="text-align: justify;" align="left">directly linked to the imagination, like projections charged with nervous afflictions, allergic reactions and insecurities brought on by Facebook updates and online monitoring by government security agencies.</p> <p style="text-align: justify;" align="left">The other worldliness of social media and the ever present threat to notions of reality of the digital age (where almost everything and anything seems possible) defines our reality, and by that definition what it means to pursue social and anti-social practices - artistically and behaviourally in the age of this &lsquo;inter-zone&rsquo;.</p> <p style="text-align: justify;" align="left">The search for a means to connect is one that remains today, much like in Courbet's times, and the desire to present the enigma of peasant politics with the confusions and dangers of class systems continues. Today, as we face echoes of the great depression - when economic turbulence fostered a heightened sense of social consciousness - these artists are banded together in their conviction that art must remain intrinsically social, whilst preserving a duty to question the binds of the social structures it exists within.&nbsp;<em>Juan Bolivar &amp; John Stark.</em></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <table width="100%"> <tbody> <tr> <td align="left" width="530"> <p style="text-align: justify;" align="left">(1) - Pete Townshend reportedly wrote the song on a train and is said to have been inspired by the Queen Mother who is alleged to have had Townshend's 1935 Packard Hearse towed off a street in Belgravia because she was offended by the sight of it during her daily drive through the neighbourhood. Townshend has also credited Mose Allison's 'Young Man Blues' as the inspiration for the song, saying 'Without Mose I wouldn't have written "My Generation"'.Townshend told Rolling Stone Magazine in 1985 that '"My Generation" was very much about trying to find a place in society.'&nbsp;<a href="" target="_blank"></a></p> <p style="text-align: justify;" align="left">(2) - Pierre Dupont BAC (quote source) - &lsquo;Image of the People: Gustave Courbet and the 1848 Revolution&rsquo; - T. J. Clark, 1999</p> <p style="text-align: justify;" align="left">(3) - 'Mystics are persons in society, even if hermits or cloistered monks or nuns. They speak the language of their society, eat the the common foods, are immersed in the day-to-day cultural mores of their time and place. However, they are not in society as everyone else of their time and age is, but persons with a particular "social radiation".' - 'Great Mystics and Social Justice: Walking on the Two Feet of Love' - Susan Rakoczy (Page 192)</p> <p style="text-align: justify;" align="left">(4) - 'I define Inner Space as an imaginary realm in which on the one hand the outer world of reality, and on the other the inner world of the mind meet and merge. Now, in the landscapes of the surrealist painters, for example, one sees the regions of Inner Space; and increasingly I believe that we will encounter in film and literature scenes which are neither solely realistic nor fantastic. In a sense, it will be a movement in the inter-zone between both spheres.'&nbsp;<br />- J.G Ballard</p> </td> </tr> </tbody> </table> <p style="text-align: justify;" align="left"><em>&nbsp;</em></p> <p style="text-align: justify;" align="left"><em>&nbsp;</em></p> Fri, 27 Mar 2015 14:18:08 +0000 Tal R - Victoria Miro Gallery - April 23rd - May 30th <p style="text-align: justify;">Victoria Miro is delighted to present&nbsp;<em>Chimney school of sculpture</em>, an exhibition of new work by the Copenhagen-based artist Tal R.</p> <p style="text-align: justify;"><br />Tal R has often used the word 'kolbojnik', meaning leftovers in Hebrew, to describe his practice of sourcing and collecting a wide range of imagery, figurative and abstract, from high and low culture. Installed collectively, Tal R&rsquo;s works can give the impression of a group show, as adherence to a single aesthetic style is eschewed in favour of a non-hierarchical exploration of material and form. This will be explored in the exhibition, which stages sculptures alongside furniture works and a series of paintings and works on paper.</p> <p style="text-align: justify;">The lower gallery will be populated by a disparate collection of ceramic, creature-like sculptures. Tal R has employed a process of Raku firing, an ancient technique which originated in sixteenth-century Japan. The process produces notoriously unpredictable results &ndash; the clay&rsquo;s surface is blackened or whitened according to the intensity of its exposure to the smoke and is liable to crack or even explode, a volatility that has drawn the artist to the material.<strong>&nbsp;</strong></p> <p style="text-align: justify;">Alongside the Raku sculptures will be a number of minimalist sculptures of fabric-covered wood. These larger-than-life flumes, with candy-cane stripes and built-in air vents, call to mind to the industrial chimney. However, these works are divorced from any functioning system. Instead they suggest a joyfulness that rebukes a factory logic of inputs and outputs, and embody a stranger and less quantifiable process.<strong>&nbsp;</strong></p> <p style="text-align: justify;">Tal R is also known for producing unique, hand-made sofas, or &lsquo;opiumbeds&rsquo;, which are made from old and new rugs sourced throughout Scandinavia and treated with paint and dye in the studio. A&nbsp;</p> <p style="text-align: justify;">number of these patchworked pieces of furniture will provide another perspective from which to view &ndash; or from which to be viewed by &ndash; the sculptures. Exploring the domestic quality of furniture as an artistic medium, Tal R plays with the boundary between art and life. Neither the practical purpose of these works nor their aesthetic qualities take categorical precedence. The idea of the opium bed suggests a hazy, latent space of unfettered thinking, the functional object delineating a non-functional space of thought.&nbsp;<strong>&nbsp;</strong></p> <p style="text-align: justify;">The upstairs floor of the gallery space will be taken up with a self-contained corridor structure stretched&nbsp;over with canvas material. Within it are paintings and works on paper, all depicting a closed blind. Repeated across the walls of an enclosed space, this representation of shuttered vision conveys a visceral sense of interiority and positions the viewer in an ambiguous space that is neither inside nor outside.</p> Thu, 26 Mar 2015 15:55:59 +0000 Fiona Rae - Timothy Taylor Gallery - April 22nd - May 30th <p style="text-align: justify;">Timothy Taylor Gallery is delighted to announce its fourth solo exhibition by British artist Fiona Rae.</p> <p style="text-align: justify;">This new series of greyscale paintings from 2014&ndash;2015 marks an exciting and significant development in Rae&rsquo;s practice. Each painting&rsquo;s composition predicates a notional figure, whose existence is simultaneously manifested and denied in a theatre of direct performative mark-making. These are abstract compositions teetering on the edge of figuration, expressively rendered in black, white and tones of grey. Within this rigorous and strategic system of hue reduction and subtle balancing of tonal relationships, Rae has nevertheless created an intensely colourful and dynamic suite of paintings that embody both the tropes of high modernist idealism and the distanced manipulations of a Photoshop-inflected present.</p> <p style="text-align: justify;">Alongside these paintings, a series of small-scale charcoal drawings will be shown &ndash; a new expressive medium for the artist &ndash; and one upon which her wit and restless invention are brought dramatically to bear. Inspired by a variety of sources from Chen Rong&rsquo;s thirteenth-century&nbsp;<em>Nine Dragons</em>&nbsp;to Robert Rauschenberg&rsquo;s&nbsp;<em>Erased de Kooning Drawing</em>&nbsp;(1953), Rae challenged herself to find a way of representing the figure that synthesised its historical traditions with the contemporary existential experience of self:</p> <p style="text-align: justify;"><em>I wanted to be de Kooning making a Woman drawing or painting, and at the same time I wanted to be Rauschenberg erasing it. That seemed to me to be the perfect answer to the problem of allowing oneself to make a drawing of a figure without disappearing into the past. Doing it and undoing it until some kind of image just about arrives. With the paintings, I had the same notion of erasure, while at the same time both longing to make a figure appear and wishing to remain in the field of abstraction.</em></p> <p style="text-align: justify;">(Fiona Rae in conversation with Martin Herbert, 2015)</p> <p style="text-align: justify;">Fiona Rae graduated from Goldsmiths College, London in 1987; took part in the ground-breaking exhibition<em>Freeze</em>&nbsp;in London&rsquo;s Docklands in 1988 and was shortlisted for the Turner Prize in 1991. Over the last 25 years, Rae&rsquo;s work has been included in numerous exhibitions in museums, public institutions and galleries worldwide. Group exhibitions include&nbsp;<em>Hybrids</em>, Tate Liverpool, UK (2001);&nbsp;<em>Painting Pictures</em>, Kunstmuseum Wolfsburg, Germany (2003);&nbsp;<em>Fiction@Love</em>, Shanghai Museum of Contemporary Art, China and Singapore Art Museum (2006);&nbsp;<em>Pictograms</em>, Kunstmuseum Stuttgart, Germany (2006);&nbsp;<em>Classified</em>, Tate Britain, London, UK (2009). Solo exhibitions include Carr&eacute; d&rsquo;Art, Muse&eacute; d&rsquo;Art Contemporain de N&icirc;mes, France (2002&ndash;2003); Leeds Art Gallery, UK; The New Art Gallery Walsall, UK; Towner, Eastbourne, UK (2012&ndash;2013); and&nbsp;<em>Painter, Painter: Dan Perfect, Fiona Rae</em>, Nottingham Castle Museum &amp; Art Gallery, UK and Southampton City Art Gallery, UK (2014).</p> <p style="text-align: justify;">Fiona Rae&rsquo;s work is represented in public and private collections internationally, including Fonds National d&rsquo;Art Contemporain, Paris, France; Fundaci&oacute; &ldquo;la Caixa&rdquo;, Barcelona, Spain; Hamburger Bahnhof, Berlin, Germany; Hirshhorn Museum and Sculpture Garden, The Smithsonian Institution, Washington, D.C.,&nbsp;USA; Mudam Luxembourg; Mus&eacute;e National d&rsquo;Art Moderne, Centre Pompidou, Paris, France; Tate Collection, UK.</p> <p style="text-align: justify;">Rae was elected to the Royal Academy of Arts, London (2002); served as a Tate Artist Trustee (2005&ndash; 2009); and was appointed Professor of Painting at the Royal Academy Schools, London (2011).</p> <p style="text-align: justify;">The exhibition is accompanied by a fully illustrated catalogue featuring a conversation between Martin Herbert and Fiona Rae.</p> Thu, 26 Mar 2015 15:52:29 +0000 Robert Therrien - Gagosian Gallery - Davies Street - April 14th - May 30th <p style="text-align: justify;">Gagosian London is pleased to present an exhibition of three sculptures by Robert Therrien.<br /><br />Therrien's work has clear links to the generation of Pop and Conceptual artists that preceded him, while attesting to his affinities for folk culture, cartoons, and American design. Working in two and three dimensions with great attention to the effects of scale, he transforms elements from the culture of everyday life into artworks that evoke classical archetypes. Given its evident concern with childhood narratives, his art invites psychological interpretation while remaining firmly objective due to its uncanny proximity to the real, and its relationship with the minimal.&nbsp;<em>No title (Table leg)</em>&nbsp;(1993) was a significant breakthrough, marking a shift from less representational works. This was followed by&nbsp;<em>Under the Table</em>(1994), an enormous wooden kitchen table and chair set, which further defined this pivotal moment in his development. By recreating everyday objects with veracity but on a giant scale, he dramatically altered the relationship of viewer to artwork.<br /><br />In sculptures, paintings, and drawings, Therrien continuously recycles and recasts his canon of common objects and images to create new enigmas. Here, variations on three of these persistent motifs&mdash;stacked pots and pans, double-hung &ldquo;Dutch&rdquo; doors, and oval serving trays&mdash;comprise a puzzling domestic scenario. In&nbsp;<em>No title (Pots and pans II)</em>&nbsp;(2008), twenty-five dramatically enlarged pots, pans, and lids are stacked into a teetering tower almost three meters high. Although the extraordinary scale of each element is immediately obvious, the perfect replication of their handles and metallic sheen prolongs the illusion. No title (Black Dutch door) (1993&ndash;2013), a monochromatic abstraction of a farmhouse staple, evokes Minimalist tropes in its binary division of space, while also memorializing a defining feature of Therrien's childhood home.&nbsp;<em>No title (Black oval)</em>&nbsp;(1980&ndash;2012) is a serving platter whose interior is filled with black enamel: an intermediate void&mdash;at once useless tableware, dark mirror, and non-representational painting. By reimagining the possibilities of the readymade, Therrien continues to render the familiar uncanny.<br /><br /><strong>Robert Therrien</strong>&nbsp;was born in Chicago in 1947, and lives and works in Los Angeles. Selected solo museum exhibitions include Museum of Contemporary Art, Los Angeles (1984); Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid (1991&ndash;92); Contemporary Arts Center, Cincinnati (1997); Los Angeles County Museum of Art (2000, SITE Santa Fe, New Mexico; Contemporary Art Museum, Houston; and Museo de Arte Contempor&aacute;neo de Monterrey, Mexico, through 2001); Museum of Contemporary Art, San Diego (2007); Kunstmuseum Basel Kupferstichkabinett (2008); Scottish National Gallery of Modern Art, Edinburgh (2010); De Pont Museum, Tilburg, The Netherlands (2011); Tate Liverpool (2011); The Broad Contemporary Art Museum at Los Angeles County Museum of Art (2011); and Albright-Knox Art Gallery, Buffalo, NY (2013). Public collections include MoMA and Whitney Museum of American Art, New York; Albright-Knox Art Gallery, Buffalo, NY; MCA, Chicago; LACMA, MoCA, and Getty Museum, Los Angeles; Walker Art Center, Minneapolis; Tate Gallery, London; and Centre Pompidou, Paris. Since 2009, Therrien's work has toured with the &ldquo;ARTIST ROOMS&rdquo; collection of international contemporary art.<br /><br />&ldquo;<a href="" target="_blank">Robert Therrien</a>,&rdquo; an exhibition of three new installations in the form of freestanding rooms, will be on view at The Contemporary Austin, Texas, from May 9&ndash;August 30, 2015.</p> Thu, 26 Mar 2015 15:44:42 +0000 Tom Lovelace - Flowers | Kingsland Road - April 17th - May 16th <div class="WordSection1"> <p style="text-align: justify;">Flowers Gallery is pleased to present a solo exhibition of recent work by Tom Lovelace. <em>This Way Up </em>is the artist&rsquo;s most comprehensive exhibition to date, featuring work from 2012-2015.</p> </div> <p style="text-align: justify;">Working at the juncture between photography, sculpture and performance, Tom Lovelace&rsquo;s interdisciplinary practice explores the fundamentals of photography by extending beyond traditional notions or boundaries of the medium. The architecture of time and light, along with an exploration of function and form are examined through unexpected manipulations of everyday materials and objects.</p> <p style="text-align: justify;">Marking a progression from his most recent series, the <em>In Preparation </em>photographs, in which Lovelace documented his attempts to tame and extend a collection of makeshift plinths, <em>This Way Up </em>presents a collection of work which manifests through a cross-referencing of image, object and the artist&rsquo;s intervention.</p> <p style="text-align: justify;"><em>&ldquo;Lovelace trained as a fine art photographer, but has always been drawn to its intersection with other media, and is well aware of the resulting paradoxes and polemics. Most people experience R. Mutt&rsquo;s Fountain (1917) via the photograph of Alfred Stieglitz, for example; and it is only via photographs that one can get an inkling of The Lovers (1988), a 90-day performance in which Marina Abramovic&acute; and Ulay approached each other from opposite ends of The Great Wall of China. Many continue to argue that the photograph is the mere skeleton after the feast and can be no substitute for direct viewing of a three-dimensional object, or a time-based performance. Lovelace&rsquo;s solution is subtler and more elegant, involving finely crafted photographs-as-sculptures, or photographs-as-performances.&rdquo; David Evans </em></p> <p style="text-align: justify;">The raw, often found, materials that Lovelace draws our attention to are practical apparatus found in both the home and on the construction site. In <em>This Way Up</em>, these are reconsidered and reconfigured as photographic objects, creating conditions which disrupt both their original identity and application. <em>Untitled Red (</em>date unknown - 2014<em>) </em>is a naturally occurring photogram created using sections of felt, which were once hung on the exterior walls of a theatre in Umbria, Italy. The fabric had absorbed and soaked the sun&rsquo;s rays over time, tracing the placards and signs placed upon them. Lovelace removed and reframed the panels, &lsquo;fixing&rsquo; the image under ultra-violet protected glass. The initial period of exposure is unknown, rendering the work simultaneously bound by time and timeless.</p> <p style="text-align: justify;">Taking common support structures, such as the picture frame or the stool, Lovelace re-organizes and subverts their functional hierarchies. Works such as <em>Stargazing on Black, </em>2015 and <em>Monteluco Sole, </em>2013 collapse the notion of the object&rsquo;s usefulness altogether - their formal reduction showcases what Lovelace has called a further &lsquo;controlled slippage&rsquo; into a minimal, abstract image plane.</p> <p style="text-align: justify;">The title of the exhibition references an instruction found on cardboard packaging. This is usually accompanied by two bold arrows pointing upwards, yet the works in this exhibition have no such accompanying signs. In <em>This Way Up</em>, Lovelace creates highly-orchestrated encounters between the fixed and the ephemeral, in which order, orientation and purpose are engaged in a continual state of push and pull.</p> <p style="text-align: justify;">ABOUT TOM LOVELACE</p> <p style="text-align: justify;">Tom Lovelace lives and works in London. He studied Photography at the Arts University Bournemouth, receiving First Class Honours; and Art History at Goldsmiths College, London. Recent exhibitions include <em>Against Nature, </em>(Photo50, London Art Fair, 2015); <em>PROJECT 05 </em>(Contemporary Art Society, London 2014), <em>The Opinion Makers </em>(Londonewcastle Project Space, London 2014), <em>Blog Reblog </em>(Austin Center for Photography, Texas 2014) <em>Totem and Taboo </em>(Unseen Amsterdam 2013), <em>Uncommon Ground </em>(Flowers Gallery, London 2012), <em>Work Starts Here </em>(Son Gallery, London 2012), <em>Ristruttura </em>(Project B Gallery, Milan 2012) and <em>Gouge </em>(Centre for Photography, Aarhus, Denmark 2011). Lovelace has previously exhibited at the Royal West of England Academy, ICA London, Oriel Davies Gallery and Karst.</p> <p style="text-align: justify;">Lovelace was the recipient of the Surface Gallery prize in 2008, and a Rhubarb Bursary with related exhibitions at Rhubarb East, Birmingham and Flowers Gallery, London in 2009. In 2012 Lovelace was awarded an Anna Mahler Residency in Spoleto, Italy, where he continues to research the history of the photogram and the concept of the readymade. Most recently he took residence in Aarhus, Denmark as part of the forthcoming European Capital of Culture Programme with a related exhibition and book forthcoming in 2017. Following <em>This Way Up</em>, Lovelace will embark on a residency at Lendi Projects, Switzerland, followed by group exhibitions at the New Art Centre, Salisbury and Golden Thread Gallery, Belfast. His book <em>Work Starts Here </em>is currently held in the Tate Artists&rsquo; Books Collection.</p> Thu, 26 Mar 2015 15:40:59 +0000 Shezad Dawood - fig-2 - March 30th - April 5th <p>For his week at fig-2, Shezad Dawood uses the text of his forthcoming novella as a conceptual starting point, weaving diverse strands of visual and literary references into an immersive virtual tapestry. &lsquo;The Room&rsquo; is a digital animation that questions how we read and experience both the physical and the intangible. Mirroring the space of the ICA Studio, the animation takes the viewer on an epoch-spanning satirical journey into occult conspiracy and the true powers that govern the world. Alongside the interior/exterior space of the animation, Dawood is showing a new painting and accompanying woodcuts that chart an analogue, and analogous development of the project in more traditional media, as a fluid continuum of critical gestures and craft.</p> Thu, 26 Mar 2015 15:47:09 +0000 Peter Howson - Flowers | Kingsland Road - April 17th - May 16th Thu, 26 Mar 2015 15:34:20 +0000 Lana Locke, Hannah Campion, Lady Lucy, Andrew Mania, Vanessa MITTER, Eleanor Moreton - APT Gallery - March 27th 6:30 PM - 8:30 PM <p style="text-align: justify;">Curator Emily Purser will be joined by artists from our current exhibition Strange Attraction to discuss the work and concerns from the show.</p> Thu, 26 Mar 2015 15:31:57 +0000 Doris A. Day - The Agency gallery - March 21st - April 17th Thu, 26 Mar 2015 15:24:47 +0000