ArtSlant - Current exhibits en-us 40 Patrick Caulfield - Alan Cristea Gallery - 31 Cork St - June 5th, 2013 - July 13th, 2013 <p style="text-align: justify;"><span style="font-size: small;">A prolific painter and printmaker closely related with the ‘Pop' Art Movement, Patrick Caulfield is best known for his ironic, iconic and vibrant depictions of modern life that reinvigorated traditional artistic genres such as still life. Stylistically, Caulfield's work draws upon a simplified visual language recalling sign painting and graphic art, depicting everyday objects using vibrant colour and streamlining their representation with a slick, black line; in doing so he transforms the banal in to emblems of mystery.</span></p> <p style="text-align: justify;"><span style="font-size: small;">He began his studies at Chelsea School of Art in 1956, one year below many of the originators of pop art, and continued at the Royal College of Art in the early 60s, where he studied alongside David Hockney and Allen Jones. His far-reaching influence can be seen in the practice of artists such as Julian Opie, and the world of graphic design and illustration. </span><br /> <br /><span style="font-size: small;">The exhibition at Alan Cristea will present a survey of Caulfield's prints, ranging from his very first print, Ruins (1964) to his last ever print, Les Demoiselles d'Avignon vues de derrière (1999).</span></p> Tue, 28 May 2013 10:26:11 +0000 Sheila Hicks - Alison Jacques Gallery - May 24th, 2013 - June 29th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong></strong></span></p> <blockquote> <p class="cms_gray" style="text-align: justify;">"I want the things that I make with this material to receive as much consideration as painting, sculpture, drawing, photography, so I make an effort to enter them into public viewing places... to elevate them further in the eyes of those who look at the art of our time".</p> <p style="text-align: justify;"><span style="font-size: small;"><strong></strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong></strong></span></p> <p class="cms_gray" style="text-align: left;">Sheila Hicks, 'The Weaving of Art', a film directed by Bernard Monsigny, Paris, 1987</p> </blockquote> <p style="text-align: justify;"><span style="font-size: small;"><strong>Alison Jacques Gallery</strong> is delighted to present <strong>Sheila Hicks</strong>'s first solo exhibition in the UK. The artist describes her work as 'unbiased weaves', a phrase which not only reflects her fascination for language and poetry but her interest in classifications. Crucial components of Hicks's language include colour with embedded texture, and structure that employs unexpected materials such as recycled and reappointed objects from hospitals, rubber bands and porcupine quills. She fuses ancient textile traditions with the Bauhaus principles of colour, form and scale.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Hicks also holds the firm belief that material be allowed to express its inherent nature. She avoids armatures, preferring to stack and twist her chosen materials: bound ropes, twisted skeins, steel wrapped bundles, intertwined lines of silk and cascading linen. Hicks's 'Minimes', a series of small, complex wall-based works, reflect her memories and observations of places and moments lived; whereas the large-scale monumental sculptures tackle complex architectural contexts often tumbling from ceilings or consuming the spaces in which they inhabit.</span></p> <p style="text-align: justify;"><span style="font-size: small;"></span><span style="font-size: small;">In the entrance and main gallery space Hicks will show several new works including </span><em style="font-size: small;">Procession Temuco</em><span style="font-size: small;"> which cascades in a parade of earth-coloured linens: pearl, luminous beige, chestnut brown, rust and deep red. In </span><em style="font-size: small;">Cordes Sauvages</em><span style="font-size: small;">, wrapped linen chords spring out of a hive in a riot of colours, disobeying any semblance of order, while twisted steel filaments and fractured medallions are woven and captured into the confines of natural linen canvasses in </span><em style="font-size: small;">Acier I </em><span style="font-size: small;">and</span><em style="font-size: small;"> II</em><span style="font-size: small;">. In contrast to these, </span><em style="font-size: small;">Compass Arica</em><span style="font-size: small;"> is almost sedentary: chalk-white linen bricks are precariously stacked into a huge mound, appearing to be hacked or carved, piled into glacial shapes while a weathered iron compass stands nearby as a sentry measuring time and place. In the second space, Hicks exhibits thirteen 'Minimes' indicating the importance of these intimate works, which she has consistently made throughout her practice. </span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Sheila Hicks</strong> (born Hastings, Nebraska in 1934) graduated with a BFA and MFA from Yale University and has lived and worked in Paris since 1964. Recent major exhibitions include the Sao Paulo Biennial curated by Luis Pérez-Oramas (2012) and a touring retrospective 'Sheila Hicks: 50 Years', organised by the Addison Gallery, Andover, MA and the Institute of Contemporary Art, Philadelphia (2012). A survey show of the 'Minimes' travelled from the U(P)M Museum of Decorative Arts, Prague to Museum Boijmans Van Beuningen (2012). In 2010 Hicks was awarded the Smithsonian Archives of American Art Medal.  Her work is currently on show at MoMA, New York as part of the displays from the permanent collection. Other museum acquisitions include Centre Pompidou, Paris; Stedelijk Museum, Amsterdam; Metropolitan Museum, New York; Philadelphia Museum of Art; and the Museum of Fine Arts, Boston.</span></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"><span style="font-size: small;">To view a poem written by Luis Pérez-Oramas inspired by the work of Sheila Hicks, please <a href="" target="_blank">click here.</a></span></p> <p style="text-align: justify;"><span style="font-size: small;">For more images of Sheila Hicks' works, please <a href="" target="_blank">click here.</a></span></p> Mon, 17 Jun 2013 17:02:36 +0000 John Lawrence, Roy Voss - ANDOR - June 1st, 2013 - June 29th, 2013 <p>Artists John Lawrence and Roy Voss have conceived the exhibition 'For What It Is' for ANDOR. Developed through collaborative processes, the exhibition features new works by both artists including sculptural installations and gallery texts informed and influenced by ANDOR's invitation, and by the specific architecture of the gallery spaces.<br /><br />John Lawrence lives and works in London. He graduated from the Royal Academy Schools in 2010. Selected recent exhibitions include Original Carbon Copy, FOLD Gallery, London, and SCREENING, Standpoint Gallery, London. In 2012 Lawrence also curated the video exhibition AFTER/HOURS/DROP/BOX at ANDOR.<br /><br />Roy Voss lives and works in London and is represented by Matt's Gallery, London. Recent exhibitions include Cast Matt's Gallery &amp; Dilston Grove, London; The London Open, Whitechapel Gallery; Switch at Baltic 39, Newcastle-upon-Tyne.<br /><br />The exhibition 'For What It Is' is kindly supported by Arts Council England as part of a series of gallery projects supporting artistic collaboration and the production of new artwork at ANDOR.</p> Wed, 22 May 2013 11:43:27 +0000 - Anise Gallery - June 7th, 2013 - June 22nd, 2013 <p><span style="color: #817e7e;"><a href="" rel="nofollow"><span style="color: #817e7e;"><em>From once being known affectionately as London’s Larder, through dereliction to desirability, the history of Shad Thames has been an ever evolving story. This exhibition is a celebration of the wonder of Shad Thames. In contrast to the contemporary photographs, selected from an array of submissions resulting from a competition set up by the Shad Thames Residents’ Association, there will be a display of archival material of the area pre re-development. </em></span></a></span></p> Fri, 31 May 2013 12:43:48 +0000 Leon Kossoff - Annely Juda Fine Art - May 8th, 2013 - July 6th, 2013 <p style="text-align: justify;"><span style="font-size: small;">A major exhibition of works by Leon Kossoff focusing on the artist’s drawings and paintings of London will go on show at Annely Juda Fine Art from<strong> </strong><strong>8 May - 6 July 2013</strong>.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is curated by Andrea Rose, Director, Visual Art, British Council and curator of Kossoff’s Venice Biennale exhibition in 1995.</span></p> <p style="text-align: justify;"><span style="font-size: small;">London is the city where Leon Kossoff was born and grew up, and which he has mined with extraordinary invention throughout his working life. </span><br /> <br /><span style="font-size: small;"> The exhibition includes over 90 drawings and 10 paintings, many rarely shown before, and spanning the artist’s career: from City bomb sites of the early 1950’s to recent drawings of Arnold Circus, a community of redbrick buildings off Shoreditch High Street that were London’s most radical experiment in social housing when they were unveiled in 1900. Kossoff’s London opens up between these two poles to reveal his feel for quickness and change: buildings on the point of demolition; the railway network as the process of electrification begins; swimming pools swarming with children; streets; schools; grand London churches that serve successive waves of immigrants (Huguenot, Jewish, Bengali); stations; back gardens, and trains - overground and underground - carrying millions of Londoners in and out of the city, day after day, as the city transforms itself around them.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Kossoff has said: “London seems to be in my bloodstream. It is always moving - the skies, the streets, the buildings. The people who walk past me when I draw have become part of my life."</span><br /> <br /><span style="font-size: small;"> The exhibition provides a unique opportunity to see Kossoff’s drawings and related paintings in such a historic sweep, and to inhabit the London that he has made peculiarly his own.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will be accompanied by a fully illustrated catalogue.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Following its exhibition at Annely Juda Fine Art, it will travel to Galerie Lelong, Paris; Mitchell-Innes and Nash, New York and L.A. Louver, Los Angeles.</span></p> Wed, 12 Jun 2013 16:44:25 +0000 Andrew Mansfield, Karl Blossfeldt, Stan Brakhage - Anthony Reynolds Gallery - May 22nd, 2013 - June 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Over ten years ago, Andrew Mansfield made a series of exquisite paintings derived from images in Karl Blossfeldt’s <i>Art Forms in Nature</i>. Blossfeldt’s work, first published in 1928, made a profound impact on the development of the photographic image in the 20 century and the current magnificent exhibition at The Whitechapel Gallery demonstrates the astonishing beauty of these images and their remarkable union of Arts and Crafts ornamentation with a new modernist formalist aesthetic. These works sit as happily with Moholy Nagy as they do with Owen Jones.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In a review of the first publication of Blossfeldt’s images, Walter Benjamin commented that ‘<i>Every calyx, every leaf confronts us with pictorial essentials which range through all stages of creation: metamorphosis in Nature has the final word.’</i> Mansfield’s paintings take up the challenge implied by this observation, absorbing the image into the paint to the point where the one is the genesis of the other; a blurred precision where the sweep of the brush stroke drags the paint over the plant’s silhouette and surface becomes form. The captured nature idealized in Blossfeldt becomes in Mansfield’s work the blurred evocation of that natural form conjured out of the paint whilst still retaining the photo-mechanical aesthetic of the source.<i> ‘The difference between technology and magic’ (Benjamin). </i>This is the first time this series of paintings has been exhibited.</span></p> <p style="text-align: justify;"><span style="font-size: small;">As a further dimension to our assembly of closely observed flora, for one week only we are screening a classic film by Stanley Brakhage, <i>The Garden of Earthly Delights (1981)</i>. As Brakhage said: ‘<i>At the time I made The Garden, I was very annoyed with Hieronymus Bosch’s painting of the same name, which envisions nature as puffy and sweet, while the humans are suffering these torments. After all, nature suffers as well. As a plant winds itself around, in its desperate reach for sunlight, it undergoes its own torments. We are not the only ones in the world.’</i> Blossfeldt’s plants are specimens under the microscope, laid out for visual dissection (the Surrealists were attracted by the morbid sadism with which Blossfeldt decapitates his flowers). In Brakhage’s collaged film a panic struck hoard of foliage scrambles for life imprisoned in the projector’s beam. The pathological stillness of Blossfeldt is complemented by the agitation of Brakhage. Mansfield’s hand-made paint surface mediates their condition.</span></p> <p class="exhibition" align="left"><strong>A Garden of Delights: Andrew Mansfield, Karl Blossfeldt, Stan Brakhage - An Encounter</strong></p> <p class="exhibition_dates" align="left"><strong>22 May - 30 June </strong><strong>(Brakhage 3-15 June only)</strong></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> Mon, 17 Jun 2013 17:06:05 +0000 Group Show - APT Gallery - May 2nd, 2013 - June 30th, 2013 <p>One Submission | Two shows | Two selectors</p> <p></p> <p><span style="font-size: medium;"><strong> 2 x Opening Receptions: Sat 4 May 3-6pm and Sat 8 June 3-6pm 2013</strong></span></p> <p><span style="font-size: medium;"><strong>Selected by Paul Noble 2-26 May | Selected by Ceri Hand 6-30 June 2013</strong></span></p> <p><em>See link below to see which are artists were selected by which selector.  Some were selected by both and will be in both exhibitions.</em></p> <p></p> <p>A.P.T has launched the fifth Creekside Open competition for visual artists living or working in the UK. Two exhibitions are selected from one open submission. </p> <p><br />The anonymous selection will be made independently by Paul Noble for the first exhibition in May 2013 and Ceri Hand for the second exhibition in June 2013.  Both exhibitions will be held at the A.P.T Gallery on Creekside, Deptford, London SE8 4SA.</p> <p>A.P.T set up the Creekside Open in 2005 to celebrate its tenth anniversary and since its inception the Creekside Open has become one of London's foremost open competitions for visual artists. <br /><br />2005 | Eileen Cooper RA and David Tremlett (May exhibition)<br /><br />2007 | Matthew Collings &amp; Emma Biggs (May exhibition) and Victoria Miro (June exhibition)<br /><br />2009 | Jenni Lomax (May exhibition) and Mark Wallinger (June exhibition)<br /><br />2011 | Dexter Dalwood (May exhibition) and Phyllida Barlow (June exhibition)</p> <p><a href="" title="Creekside Open 2013" rel="nofollow" target="_blank"></a></p> <p>Opening Hours: Thursday to Sunday from 12noon to 5pm</p> Thu, 09 May 2013 15:23:28 +0000 JOSEPH STEELE, Nicola Frimpong - arebyte gallery - June 4th, 2013 - June 23rd, 2013 <p>"The world is beautiful, but has a disease called man". Friedrich Nietzsche</p> <p><br />In a jolting new exhibition, artists <strong>Steele</strong> and <strong>Frimpong</strong> (aka <strong>Freeakpong</strong>) collaborate and join together in a savage-like force, forming an alliance against humanity. Their somewhat violent works comment upon everything they believe is wrong with the world (and that's a lot). They seem to hate us all - white, black, religious, atheist, homosexual, bisexual, heterosexual; relationships, families, babies...every single form of humanity, every single one of us, and whatever category we might fall under, they despise. <br /><br />Both artists expose the worst in us, the audience. Both together as an artistic team and as individual artists, they describe how wrong we are, and remind us of our felonies and misdeeds, of our immorality and our ignorance. Nothing is ever good; negativity is inescapable and flows through every part of us into the deepest, darkest corners of ourselves, polluting our souls. <br /><br /><strong>Freeakpong</strong>'s child-like watercolour drawings explicitly confront and expose our innermost fears, darkest thoughts and corrupt fantasies. Sexism, hatred and political error are especially prevalent themes and play important roles within her obsessively detailed work. We are often caught off-guard as a spectator and pushed into feeling like the heroine character of the painting: defenceless, hopeless and naked, void of any excuses or answers - we have all done wrong. <br /><strong>Steele</strong>'s work, on the other hand, isn't a representation of fantastical occurrences. He creates first-hand scenes within space, where the space is his canvas. He creates tangible experiences with which the audience can interact with, drawing them in, to become part of them almost instantaneously. Ever wanted to be a porn star or a suicide bomber?! His central installation will decimate everything we believe in by freezing a moment in time; he glorifies a bomb and kneels appraisingly to the bomber, inviting you to do the same.<br /><br />"This is the pit of my soul. I spit my thoughts and in feelings onto the canvas. It's disgusting to see". Freeakpong<br /><br />"I am terrified that I exist. I fill my work with violence and anger as a distraction". Joseph Steele    <br /><br /><br /><br /></p> Thu, 02 May 2013 13:37:58 +0000 Margaret Hunter - Art First Contemporary Art - May 15th, 2013 - June 21st, 2013 <p style="text-align: justify;"><span style="font-size: small;">Berlin is a radically transformed city from the one <strong>Margaret Hunter</strong> came to know when she moved there in 1985. She witnessed the heady moments in 1990 when in a triumphant celebration of the defeat of communism, the Wall was pulled down, and she joined 119 international artists to mark this precise moment of liberation with paintings, on a specific section of the previously inaccessible eastern side of the wall. Joint Venture portrays two heads, the two Germanies, lying side by side surrounded by small figures responding to their new situation.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The East Side Gallery, as it came to be known, is now an international memorial for freedom, 1.3 km long and to commemorate Germany’s unification and a twentieth anniversary, a renovation was completed in 2009 to international acclaim.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Reconnected in this way with an earlier work, Hunter has recreated a version of her Wall painting, this time on large sheets of paper. It is the focus of her new show, which includes sculptures in wood and metal and a series of vibrant drawings and richly coloured and textured panel paintings.</span></p> Mon, 29 Apr 2013 09:43:23 +0000 Will Maclean - Art First Contemporary Art - May 15th, 2013 - June 21st, 2013 <p style="text-align: justify;"><span style="font-size: small;">This exhibition of intimate works by <strong>Will Maclean</strong> is a variation of the School of Art History’s exhibition at St Andrew’s University in November 2012. In the accompanying catalogue, Tom Norman’s illuminating essay places the two groups of new small works into the mainstream context of Maclean’s overall project.</span><br /> <br /><span style="font-size: small;"> The Post Card Series and The Lantern-Slide Series incorporate elements of layering and collage, and both the cards and the slides are in themselves culturally defining ‘totems’ as Normand explains, deriving from Maclean’s childhood. Whereas the postcards refer to travel in a seafaring community, the lantern slides reference aspects of the war at sea during the period 1939–45.</span><br /> <br /><span style="font-size: small;"> <em>‘In reflecting upon this exhibition of small works, it is important to recognise the immense scale of the vision that is presented’</em>, Normand remarks. </span><em><span style="font-size: small;">‘Maclean has explored, in an evocative visual language, the everyday narratives of the Gaelic community; the life and work of a people, the stories of a diaspora, the spirit-world of a margianalised community. In consequence the works in this exhibition both look and feel like reliquaries, holding the relics and tributes of an entire culture.</span>’</em></p> Mon, 29 Apr 2013 09:44:56 +0000 Geoffrey Farmer - Barbican Art Gallery - March 28th, 2013 - July 28th, 2013 <p style="text-align: justify;"><span style="font-size: small;">Developed over a three-year period, <strong>Geoffrey Farmer</strong>’s <i>The Surgeon and the Photographer </i>will be shown for the first time in its completed form for its UK premiere. </span><br /><br /><span style="font-size: small;">The work consists of hundreds of puppet-like figures, composed of images cut from old books and magazines mounted onto fabric forms, and is accompanied by a new film commission. His work blends the collage and assemblage traditions of Hannah Höch and Robert Rauschenberg, the element of chance employed by John Cage and Merce Cunningham, and an animist perspective from Pacific Northwest Coast cultures.</span></p> Tue, 14 May 2013 17:39:50 +0000 Henrik Eiben - Bartha Contemporary - May 17th, 2013 - June 22nd, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Bartha Contemporary</strong> is delighted to announce German artist <strong>Henrik Eiben</strong>’s (b. 1975, Tokyo) first UK solo exhibition entitled ‘<strong><em>Now’s the Time</em></strong>’. The exhibition will feature new sculptures as well as abstract paintings and works on paper. Please join us for the private view on Thursday May 16th from 6.30 – 8.30PM. Exhibition continues until June 22th 2013.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For his first solo-exhibition at Bartha Contemporary, Henrik Eiben developed a suite of new works, which reflect on the architecture of the gallery space and reference several key works, which were recently shown at the Hamburger Kunsthalle and Kunstraum Alexander Bürkle in Freiburg.</span><br /><span style="font-size: small;">An elegant elongated suspended metal sculpture dominates the front space. It’s airy linear composition navigates the room and implies both direction and volume. Unlike Alexander Calder’s dynamic Mobiles this static work, a metal line drawn in space, conveys a notion of movement. It is this self-contradicting quality that signifies many of Eiben’s works. Influenced by an American minimalist aesthetic the artist’s installations, works on paper as well as sculptures evolve intuitively from a reduced geometric vocabulary. Often further matched by the use of unorthodox materials, mixing fabrics ranging from cheap fake leather to cashmere felts or knitted wool with everyday construction materials as well as applying a variety of painting techniques. The works pristine appearance is not undermined by this surprising mix of materials but rather plays with pre-conceived attributes of craftsmanship and inherent materialistic values.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Many of Eiben’s pieces at first appear as clearly defined abstract art-works, however on closer inspection their often skilfully hidden sub-context reveals a broader and more nuanced approach to abstraction. The clever interaction between distinctly different mediums as well as highly contrasting colour schemes allow Eiben an artistic freedom, which result in exceptionally engaging works of art.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Henrik Eiben lives and works in Hamburg, Germany but was born in Tokyo in 1975.  He studied in USA, The Netherlands and Germany and has exhibited across Europe and the US.</span></p> Fri, 10 May 2013 16:06:40 +0000 Gavin Turk - Ben Brown Fine Arts Ltd - April 26th, 2013 - June 14th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>Ben Brown Fine Arts</strong> presents a major solo exhibition of <strong>Gavin Turk</strong>’s highly influential works to coincide with the long - awaited publication of the first monograph of the artist. Entitled The Years, to signify over two decades of remarkable output with deep er r esonances throughout art history, the exhibition features a number of works that have never been shown before in the UK, as well as new pieces inspired by the distinct methods and styles of two 20th Century Italian masters: Lucio Fontana and Michelangelo Pistoletto. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Turk’s artworks frequently bear his own name or image but also refer to the works of artists before him. He paradoxically began his career with a blue heritage plaque announcing his own demise and posthumous recognition, but his subsequent work has drawn on art - historical icons to play with the idea of various reincarnations. Among the most recognisable on display is <em>Triple Pop Black and White</em> (2011), a variant o n Turk’s famous waxwork<em> Pop</em> (1993), in which the artist portrays himself as Sid Vicious in the gunslinging pose of Warhol’s ‘ Elvis ’ . In this latest work, Turk’s appropriation of Warhol comes full circle with the use of the same silkscreen process. By contr ast, <em>Oscar II</em> (2000), a curious bust of Turk with a shotgun nose and bulging eggs for eyes, draws on the figure in <em>Magritte’s L’ellipse</em> . </span></p> <p style="text-align: justify;"><span style="font-size: small;">Symbolising life, creation and originality, eggs recur in new works inspired by Fontana’s <em>buchi</em> (‘holes’) and <em>tagli</em> (‘slashes’) series . Turk’s ovoid canvases are punctured with painstaking precision to spell his initials , as part of his on - going exploration of process and authorship. Similarly, b roken egg shells fixed to a canvas spell out Turk’s signature in <em>One Thousand, Two Hundred and Thirty - Four Eggs</em> (1997). O n the surface the work is a statem ent of artistic identity, but it also acknowledges its debt to Belgian Surrealist Marcel Broodthaers and the textured white canvasses of Manzoni’s ‘Achrome’ paintings. </span></p> <p style="text-align: justify;"><span style="font-size: small;"> At the exhibition Turk will also premier e a new work inspired by the defining ‘Mirror Paintings’ Pistoletto began in the Sixties. <em>Pistoletto’s Rubbish (</em>2013) cleverly fuses the highly polished surfaces associated with the Italian master with a silkscreened im age of Turk’s own iconic bi n bag sculptures. This latest work adds another layer of illusion to the artist’s subversion of the rules of commercial art. Turk pioneered a new British trompe l’oeil when he first began casting bronze sculptures that he then painted to look like ephemera or urban waste. While Refuse (2012) is an exquisitely detailed sculpture that resembles a bin bag, <em>Habitat (Zingy Purple)</em> (2004) and<em> Burnt Out</em> (2008) make provocative reference s to sleeping rough. </span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the past 25 years, Turk has solidified a reputation for challenging notions of value and the myth of artistic integrity. Th e exhibition at Ben Brown Fine Arts runs from 26 April to 14 June 2013 and surveys with acuity over two decades of i nfluential a nd significant work . It will accompany a monograph of the artist published by Prestel on 26 April . Featuring numerous colour illustrations, this impressive vol ume includes Turk’s major works since the early 1990s, an original essay by Iain Sinclair , contex tu alizing the artist’s work under t he umbrella of psycho - geography – including the impact of London on Turk’s personae – and an introductory essay by Judith Collins. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Gavin Turk</strong> was born 1967 in Guildford and went to the Royal College of Art in London. In his MA exhibition show,<em> Cave</em> (1991), he presented a whitewashed studio space containing only a blue heritage plaque commemorating his presence. Though refused a degree, his subs equent notoriety attracted the attention of Charles Saatchi and he became part of a loosely associated group known as the ‘Young British Artists’ (YBAs). He has since been represented by many major galleries throughout the world and is known for pioneering many forms of contemporary British sculpture now taken for granted, including the painted bronze, the waxwork, the recycled art - historical icon and the use of rubbish in art. He was recently commissioned to make several public sculptures including <em>Nail</em> (2011) , a 12 - metre sculpture next to St Paul’s Cathedral in the City of London.</span></p> <p style="text-align: justify;"><span style="font-size: small;"> </span></p> <p style="text-align: justify;"><strong><span style="font-size: small;">Gavin Turk Monograph Launch: Thursday 25 April, 5-6pm</span></strong></p> Wed, 12 Jun 2013 06:40:04 +0000 Robert Motherwell - Bernard Jacobson Gallery - June 5th, 2013 - August 30th, 2013 <p style="text-align: justify;"><span style="font-size: small;">"Regardless of the medium, whether it is in Eliot or Picasso or a TV thirty-second advertisement, I think collage is the twentieth century's greatest creative innovation"</span><br /><span style="font-size: small;">-Robert Motherwell</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Bernard Jacobson Gallery</strong> is proud to announce its forthcoming exhibition&nbsp;<strong><em>Robert Motherwell: Collage</em></strong>, the most comprehensive exhibition of Motherwell's collages ever to be held. The exhibition will run from 5 June - 27 July, and will coincide with the Peggy Guggenheim Collection's upcoming exhibition&nbsp;<em>Robert Motherwell: The Early Collages</em>, which opens concurrently with the Venice Biennale in late May. In acknowledgment of this revolutionary 20th century invention, these two exhibitions survey its most important American practitioner.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In 1943 three young American painters, Jackson Pollock, William Baziotes and Robert Motherwell, were approached by Peggy Guggenheim and asked to produce work for the first exhibition of collages in the United States, at her Art of This Century gallery in New York. Motherwell was only in his 20s - the youngest of the three painters - but his powerful new experiments were exhibited alongside the great European modernists including Picasso, Ernst, Miro, Braque, and Arp. As he recounts, "Pollock and I didn't really know much about collage except that you pasted things on. We were both intimidated by the project, so we decided to try it together." Pollock and Baziotes soon abandoned the form, but Motherwell discovered a passion and aptitude for the medium which spurred him to continue with it throughout his career. As he says, "I felt a magical release. I took to it, as they say, as a duck to water."</span></p> <p style="text-align: justify;"><span style="font-size: small;">Motherwell's major innovation with the form is the torn paper edge - a technique that reflected his love of working with paper, and his commitment to automatism. Further, he worked on a much larger scale than his European counterparts had attempted, and Americanized the medium to reflect his views that "in Europe...people take it much more for granted that certain things are for certain people. But in America, people believe everything is for everyone, including abstract act." To this end, Motherwell believed collage to be "a necessary invention", in which "one has the whole world and human history as subject matter, juxtaposition inconceivable before modern times."</span></p> <p style="text-align: justify;"><span style="font-size: small;">While the upcoming Guggenheim show focuses on his 1940s collages, the exhibition at Bernard Jacobson Gallery presents over thirty works from the 1950s up until 1991, the year of his death. In his 1960s collages, Motherwell incorporated "everyday" fragments, echoing Schwitters' merz technique developed 40 years earlier. Collages such as&nbsp;<em>Bowes &amp; Bowes, Cambridge (</em>1966), which includes a torn mailing wrapper from the Cambridge booksellers, and&nbsp;<em>La Cuisiniere</em>&nbsp;(1967), featuring a shopping bag from a Madison Avenue kitchen supply store, are examples of this.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In the 1970s and 80s, Motherwell developed entire series of collages. The collage elements in these later works were often cut and torn fragments of proofs of his own prints that he embellished with gestural brushstrokes and painted compositions, and are demonstrative of his work with the torn edge. This technique of incorporating print fragments occurs in works such as&nbsp;<em>French Revolution Bicentennial No. 5</em>&nbsp;(1987),&nbsp;<em>Irish Book</em>(1989), and the haunting&nbsp;<em>Night Dream</em>&nbsp;(1988).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Other highlights from the exhibition include the earliest work from 1959,&nbsp;<em>Sun and Sea</em>;<em>Collaged Wall VI&nbsp;</em>(1986), which incorporates sheet music from lifelong friend and composer Arthur Berger's Trio for Guitar, Violin and Piano (1972);&nbsp;<em>U.S. Art, New York, NY</em>&nbsp;(1962), which Motherwell originally intended as being part of his Beside the Sea series before adding the collage element; and&nbsp;<em>Open, Bolton Landing&nbsp;</em>(1969), which served as a model for his elegy to the sculptor David Smith,&nbsp;<em>Open No. 121 (Bolton Landing Elegy)&nbsp;</em>now in the collection of the Tate.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Robert Motherwell continues the trajectory of modern European visionaries Picasso, Braque, Schwitters, and Matisse, and his advancements with American collage are unrivalled. As Robert Hughes suggests, in making collage Motherwell became "the only artist since Matisse in the fifties to alter significantly the syntax of this quintessentially modernist medium."</span></p> Mon, 22 Jul 2013 16:47:35 +0000 Sheree Hovsepian - Bischoff/Weiss - May 8th, 2013 - June 29th, 2013 <div class="description"> <p style="text-align: justify;" align="justify"><span style="font-size: small;">"I wish only to indicate…that, as the language or vocabulary of photography has been extended, the emphasis of meaning has shifted-shifted from <i>what the world looks like</i> to <i>what we feel about the world</i> and what we <i>want</i> the world to mean."</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">-  Aaron Siskind</span></p> <p style="text-align: justify;" align="justify"></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Photography has lately become an unstable term, a fluid category that describes a wide variety of practices between pure image (infinitely reproducible and untethered from its role as an index to the real world of things) and pure material (monoprints made without camera or negative). In Sheree Hovsepian's work the collapse of photography as a categorical definition is not a crisis, but a binding of the eye and the body - of likeness (what the world looks like) to sensation (what we feel about the world).</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">There are several distinct yet interrelated aspects of Hovsepian's practice: the positive, color negative worked on in multiple exposures; the black and white photogram; and the cast bronzes fabricated from pieced-together wax. Each of these series has a physical, performative element linked to direct action or what Cartier-Bresson called "the decisive moment," the simultaneous recognition of an event and the precise organization of its forms.</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">The photograms begin as shapes that Hovsepian cuts quickly from large sheets of construction paper that are then used to mask areas of light-sensitive paper during exposure to artificial light. Fox Talbot (1800-1877) called the unique photogram, which cannot be reprinted, "photogenic drawing," but rather than using it to mechanically perfect the eye, Moholy-Nagy (1895-1946) developed it as a means to explore light itself as a plastic medium, "painting-with-light." Hovsepian's "Domes" respond to this aspect of the technique, registering light passing through a swift, arcing incision that she makes with the full length of her arm. The immediacy of her movements builds an intentional link to gestural abstraction and the title of the series, "Haptic Wonders," further emphasizes the importance of touch and the body to the process and scale of the work.</span></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">The largest prints in this grouping are subject to the limits of the artist's reach and the endurance of the medium. At this size, the paper buckles in the darkroom and resists flattening. These are some of the small visual clues that we are looking at a photograph rather than a drawing. The thin, animated curves and monolithic apertures are made first by Hovsepian's blade, but we are aware from the quality of the line and the blurred edges that this is an afterimage, an interpretation of the artist's spontaneous movements in the studio.</span></p> <p style="text-align: justify;" align="justify"></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Hovsepian's austere appropriation of a gesture more commonly associated with abstract painting brings with it an acute awareness of time and the contingency of experience. As a medium, photography is often awarded a privileged relation to time, especially to the past tense: memory, history and death. Hovsepian's gestures, on the other hand, invoke a continuous present. Photography such as this, constantly under negotiation, finds affiliation and affinity with other forms of mark-making.</span></p> <p style="text-align: justify;" align="justify"></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">In contrast, Hovsepian's "Sleight of Hand" series may seem to rely on a relatively rigid set of rules. Hovsepian photographs an object against the studio wall, and then moves it between exposures, creating a graduated final image of increasing color saturation. But the subject here, like the "Haptic Wonders," is the effect of light and time in space, a "light-chronology." Although these two modes of her practice have a minimal, bare quality, her abstractions are utilitarian rather than pious. Setting aside modernist abstract painting's refusal of language and representation, Hovsepian invites her viewer toward identification and enjoyment.</span></p> <p style="text-align: justify;" align="justify"></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">We find evidence of her acceptance in the ambiguous title "Domes" - a simultaneous reference to a basic geometric shape and comical, almost anachronistic, slang for the head. Hovsepian not only embraces these language games and visual associations, she treats them as guides, following them suggestively to the next step. When she recognized the shapes from her photograms as strangely mute, mysterious heads, she projected them into three-dimensions, fully realized in bronze. For something so solid, these bronze forms remain as provisional as the rest of her work - sculpted from wax scavenged from another artist's studio floor, the material melts away in the lost-wax casting process, leaving just this single impression of its existence.</span></p> <p style="text-align: justify;" align="justify"></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">In each of these projects, we see Hovsepian aware of how inescapable the eye is from the body in space. The entire exhibition explores the mutability between two kinds of photography, one an extension of vision and a kind of scientific manipulation of experience, the other rooted in irreducible, physical relationships. That these experiments find themselves suddenly expressed in three-dimensions is unsurprising. Moholy-Nagy wrote, "Real spatial experiences rest in simultaneous interpenetration of inside and outside, above and beneath, on the in and out flowing of space relationships, on the often invisible play of forces present in the materials."</span></p> <p style="text-align: justify;" align="justify"></p> <p style="text-align: justify;" align="justify"><span style="font-size: small;">Text by Rachel Furnari</span></p> </div> Mon, 10 Jun 2013 14:46:28 +0000 Bill Viola - Blain|Southern - London Hanover Square - June 5th, 2013 - July 27th, 2013 <p style="text-align: justify;"><span style="font-size: small;">The Directors of Blain|Southern are delighted to present <strong><em>Frustrated Actions and Futile Gestures</em></strong>, a museum-scale exhibition of nine new works by the internationally renowned video artist<strong> Bill Viola</strong>. Created between 2012 and 2013, both on location and in the artist’s studio in Southern California, the exhibition presents three distinct bodies of works; the <em>Frustrated Actions</em>, the <em>Mirage</em> and the <em>Water Portraits </em>series. Through these works, Viola engages with complex aspects of human experience, including mortality, transience and our persistent, yet ultimately futile attempts to truly and objectively understand ourselves and the meaning of our brief lives. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The Chapel of Frustrated Actions and Futile Gestures </em>(2013), from which the exhibition derives its name, incorporates a grid of nine horizontal screens that depict figures perpetually repeating various activities. Presented in real time, we witness a man pulling a cart up a hill, only to let it roll back down again as soon as he reaches the top – a palpable reference to Albert Camus’ <em>The Myth of Sisyphus</em>, a philosophical essay based on the Greek myth, which calls into question the significance of our daily accomplishments. In another screen, we observe a man continuously digging and refilling a hole in the ground at night.  The central panel shows a glass bowl being filled with water from a jug, which slowly seeps out through a crack in the glass until it has emptied – at which point the bowl is then refilled. Every action is repeated in ritualistic fashion, gradually and purposefully, rendering each unsuccessful endeavour all the more poignant. </span></p> <p style="text-align: justify;"><span style="font-size: small;">The three works that complete the <em>Frustrated Actions </em>series engage with ideas relating to the subconscious, the perception of ‘self’ and the ephemerality of life. In <em>Man Searching for Immortality/Woman Searching for Eternity</em> (2013) a man and woman in the later stages of their lives emerge out of the darkness, pausing to explore their own naked bodies with torches, a daily routine search for disease and decay. The figures are projected onto two seven-foot high black granite slabs, suggestive of tombstones, which evoke a sense of impending mortality. The diptych, <em>Man with His Soul</em> (2013) presents us with a man sitting on a chair, waiting, though we will never discover exactly what he is waiting for. The left hand screen – in high-definition video – depicts his conscious self, while the right – shot in grainy black and white – portrays his soul, his inner being. Thus, the viewer is confronted with a juxtaposition of physical and psychological realities. <em>Angel at the Door </em>(2013) continues to explore this theme of the ‘inner self’; a cycle develops whereby a man hears a knocking at the door, but each time he opens it, he finds no one there – only a dark void. When he opens the door for the final time, however, there is an explosion, revealing a mirror image of himself – offering a thought-provoking insight into man’s inevitable and unavoidable confrontation wtih his ‘inner self’.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Four works from the <em>Mirage </em>series<em>, Ancestors </em>(2012), <em>The Encounter </em>(2012), <em>Walking on the Edge </em>(2012) and <em>Inner Passage</em> (2013), were recorded at El Mirage – a six-mile long, dry lake bed in the Mojave Desert. Presented in horizontal and vertical formats, they portray figures from a distance through the distorting haze of a mirage, becoming increasingly visible as they walk towards the camera. Shot in high definition and slowed down, the vast arid landscape takes centre stage, as the travellers navigate the strong winds and the searing heat of the desert.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The Dreamers</em> (2013) consists of seven individual screens, which depict underwater portraits of people who appear to be sleeping. Presented in the gallery on the lower-ground floor, and accompanied by the gentle sounds of water, the viewer is led to feel as if they themselves are submerged with these figures. In this spiritual, immersive subterranean environment, ultimate interpretation is left for the viewer to define, through the lens of their own experiences.</span></p> <p style="text-align: justify;"><span style="font-size: small;">For over forty years, Viola’s practice has continuously transformed our understanding of video as an artform, expanding its technological scope and historical relevance. He draws from a range of influences, including Eastern and Western art and the spiritual traditions of Zen Buddhism, Islamic Sufism and Christian mysticism, to express fundamental truths underpinning human existence. Bill Viola’s profound visual language captures and expresses thoughts, feelings and memories that have a universal appeal, offering viewers a vehicle for the exploration and contemplation of their own circumstances and emotions.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition will be accompanied by a fully illustrated catalogue, with an introduction by Blain|Southern’s Head Curator and Director of Exhibitions, Mario Codognato, and edited by Kira Perov.</span></p> Mon, 06 May 2013 16:12:45 +0000