ArtSlant - Recently added http://www.artslant.com/lon/Events/show en-us 40 Lygia Clark - Alison Jacques Gallery - June 3rd - July 30th <p>Alison Jacques Gallery is pleased to announce a historical survey exhibition of works from the 1950s by Lygia Clark. This will be the artist&rsquo;s first solo presentation since the critically acclaimed retrospective <em>Lygia Clark: The Abandonment of Art 1948-1988</em> curated by Connie Butler and Luis P&eacute;rez-Oramas, at the Museum of Modern Art, New York (2014). It also follows the installation of <em>Fantastic Architecture</em>, at The Henry Moore Foundation (2014) and<em> Lygia Clark: Organic Planes </em>curated by Lisa Le Feuvre, at The Henry Moore Institute, Leeds (2014-2015).&nbsp;</p> <p>Born in Brazil, Lygia Clark (1920-1988) is one of the most pioneering artists of the twentieth century. Clark's groundbreaking work radically innovated the relationship between the art object and audience and has become a reference point for generations of artists pushing the limits of sculpture today. Her work has been acquired for major museum collections including Tate, London; The Museum of Modern Art, New York; The Art Institute of Chicago; Centre Pompidou, Paris and The Reina Sofia Museum, Madrid&nbsp;</p> <p>Lygia Clark was part of the neo-concrete movement, a splinter group of the 1950s Brazilian concrete art movement, calling for a greater sensuality, colour and poetic feeling in concrete&nbsp;art. In focusing on her work from the 1950s, we see the influence of her first visit to Paris in 1950 where she studied with key artists including Fernand L&eacute;ger. The drawing <em>Escadas (Stairs),</em>1951 is a clear indication of L&eacute;ger&rsquo;s influence on Clark but also of her interest in movement and a desire to break out from the restrictions of a static plane and strive for work that was more organic. It is this trajectory that we see in the graphite works from the early 1950s that continues into the group of 1957 monochrome gouaches <em>Planos em Superf&iacute;cie Modulada </em>(<em>Planes in Modulated Surface</em>). Throughout the decade, we see Clark&rsquo;s interest in colour via vibrant gouache works and a large turquoise painting <em>Superficie Modulada</em> (<em>Modulated Surface</em>)1955-57 made with industrial paint on board.</p> <p>From 1955, Clark showed her interest in three dimensional work and architecture through her painted wooden maquettes of interiors: <em>Maquete para interior nos.1 and 2</em> <em>(Maquette for interior no.1 and no.2).</em> These clearly reveal Clark&rsquo;s desire to expland from a two dimensional surface and fuse painting with architecture. Also on view is Clark&rsquo;s maquette for <em>Construa voc&ecirc; mesmo o seu espa&ccedil;o de viver (Build your own living space)</em>,1955 in which Clark shows her dream for an entire building in which the visitor can change the configuration of rooms via a series of sliding walls, demonstrating her vision of audience participation and a living or organic sculpture. &nbsp;</p> <p>In the late 1950s, Clark made her first study for a <em>Casulo (Cocoon)</em> in which a relief starts to lift off the wall, reflecting the idea of movement. All the works in the show lead to a crucial moment in 1959 when Clark made a balsa wood study for what would become her first <em>Bicho </em>(<em>Critter or Animal</em>) sculpture called <em>Caranguejo</em> (<em>Crab</em>). The <em>Bicho</em> series, which Clark went on to develop throughout the early 1960s, was formed from a series of metal plates joined by hinges. Laid flat, they formed a plane but when manipulated by an observer or participant, the hinges served as a backbone and the form of the <em>Bicho</em> changed according to the viewer&rsquo;s manipulation of the work. A <em>Casulo</em>, balsa wood study and the unique <em>Bicho </em>maquette for <em>Caranguejo</em> (<em>Crab</em>), all made in 1959, are included in this exhibition&nbsp;</p> <p>Important solo and group exhibitions during Clark&rsquo;s lifetime include the early S&atilde;o Paulo Biennials (1953-1967), the&nbsp;<em>Second Pilot Show of Kinetic Work,</em>&nbsp;curated by Guy Brett at Signals Gallery, London (1962);&nbsp;and a presentation, alongside Mira Schendel, at the Venice Biennale (1968)&nbsp;</p> <p>The only posthumous solo exhibitions outside Brazil before the MOMA, New York retrospective (2014) were<em> Lygia Clark</em>,&nbsp;Fundaci&oacute; T&agrave;pies Major, Barcelona (1997) which travelled to Marseille MAC; Serralves Foundation, Porto; Palais des Beaux-Arts, Brussels and the Imperial Palace, Rio de Janeiro; and <em>Lygia Clark: Estudos e Maquete</em>, Alison Jacques Gallery, London (2010). Clark was recently included in <em>Adventures of the Black Square, Abstract Art and Society 1915-2015</em>, curated by Iwona Blazwick and Magnus Petersens, Whitechapel Art Gallery, London (2015) and <em>Life Itself</em>, curated by Daniel Birnbaum, Moderna Museet, Stockholm.</p> <p>Forthcoming museum shows include: <em>Making and Unmaking</em>, curated by Duron Olowu, Camden Arts Centre, London (June &ndash; September 2016) and a major presentation of work as part of <em>The Shadow of Color</em> curated by Rita Kersting (December 2016 &ndash; April 2017), The Israel Museum, Jerusalem.&nbsp;</p> Tue, 03 May 2016 16:27:26 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Piero Manzoni, Marianne Vitale - Ibid. - April 26th - May 7th <p style="text-align: justify;">Ibid Gallery London is pleased to present&nbsp;<em>focus (1-8)</em>, a show of fortnightly rotating works by modern and contemporary artists in intimate dialogue.</p> <p style="text-align: justify;">The works shown from Ibid Gallery&rsquo;s collection will be chosen for their visual or conceptual ties with the historical work they are presented alongside. With this platform, the influence that the selected 20th century masters have had on recently established artists is acknowledged and a new dialogue is created between works decades apart by tracing the lineage of ideas. Furthermore, in placing these pieces in proximity to each other but simultaneously giving the viewer space to focus on each work individually, a deeper, imaginative experience is made possible and associations can be questioned.</p> <p style="text-align: justify;">Every two weeks there will be a new two-person show with themes of its own and in all instances of two artists who have never before been shown together on such a level. Ibid Gallery invites the viewer to revisit the space throughout the duration of the show and will be announcing the schedule on the website and Instagram.</p> <p style="text-align: justify;">The opening week will present Piero Manzoni&rsquo;s&nbsp;<em>Achrome (1960-61)&nbsp;</em>and Marianne Vitale&rsquo;s&nbsp;<em>Tongue and Groove (2)</em>, (2012).&nbsp;</p> Sat, 30 Apr 2016 17:53:29 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Frank Gerritz - Bartha Contemporary - May 13th - July 2nd <p>Bartha Contemporary is delighted to announce two coinciding exhibitions of recent works by German artist Frank Gerritz (b. 1964) at Bartha Contemporary in London and the Sleeper Art-Space in Edinburgh. The London exhibition (May 13 &ndash; July 2) will include two new pencil drawings on MDF alongside recent drawings on paper, the Edinburgh exhibition (May 13 &ndash; June 10) will showcase a single installation of a four-panel oil paint-stick on anodised aluminium work.&nbsp;<br /><br />For the past two decades, Gerritz has applied layers upon layers of graphite using soft Faber Castell 9B pencil marks on walls, paper and, as is the case in this instance, industrially manufactured MDF panels. &ldquo;Definition of Space | Four Center Connection (spread my wings)&rdquo; the key work in this exhibition and probably Frank Gerritz&rsquo;s most ambitious work on MDF to date, evolves from a concentred composition. Two elemental forms of opposing forces, placed side by side are separated by a devising line, formulate this seminal work.<br /><br />Gerritz&rsquo;s MDF drawings render light and modulate it to such an extent that the experience is akin to moving into a sculptural space. Similarly, the artist&rsquo;s works on anodized aluminium encompass a genuinely physical experience. Here the metal support turned into a body of light, at the same time offset and articulated by dark black areas of oil paint-stick, drawn onto the cool anodised aluminium surface. In this instance composed over four panels, &ldquo;Temporary Ground I Territory I The Sleeper&rdquo; exhibited in Edinburgh is spaced precisely along its horizontal axis. The initially flat appearance of the works pulls the viewer to its sides, revealing its three-dimensional composition. The work appears to float at a carefully calibrated distance from the wall, the resulting shadow-gap further elevating the sculptural nature of the piece.&nbsp;<br /><br />Frank Gerritz has been exhibiting globally since the late 1980&rsquo;s, more recently a series of institutional exhibitions in Europe confirmed his invaluable contribution to contemporary art discourse. In 2007, the American art critic and poet Donald Kuspit called the artist &ldquo;The Last Abstract Hardliner&rdquo;, a title he doubtlessly retains to the present day.</p> Thu, 28 Apr 2016 10:06:27 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Takefumi Hori - Fiumano Projects - June 8th - July 2nd <p id="yui_3_17_2_1_1461766538455_539">FIUMANO PROJECTS is pleased to announce MIYABI 雅: Intransigent Elegance, the second UK solo exhibition by Japanese artist Takefumi Hori.</p> <p>Takefumi&rsquo;s practice is rich and varied in its execution with gold leaf being his media of choice. Working onto a base coat of gold acrylic paint, Takefumi layers clear gel mixed with pigment followed by gold leaf. The process of cutting, sanding and scratching then begins, repeated over and over again.</p> <p>His additive layering process with gold combined with the continual stripping back and scraping away of areas of paint results in work that progressively unfolds to the viewer over time. Each layer, revealed or concealed, gives the frontal surface of the painting temporality and visual impact. These are not works to be simply glanced at, the nuances and gradations warrant a more thoughtful and pensive gaze.</p> <p>MIYABI 雅: one of the traditional Japanese aesthetic ideals. In modern Japanese, the word is usually translated as elegance and/or refinement.</p> <p>Takefumi&rsquo;s balanced and harmonious paintings can be best described as Miyabi. His fundamental understanding of composition and the way our eyes, and therefore our minds, &lsquo;read&rsquo; results in works that are not only elegant and refined but also an expansion of the vocabulary of painting. The combination of the different Gold karat grades (eighteen, twenty-two and twenty-four) enables him to achieve a remarkable depth and variety of effects.</p> <p>Whereas Takefumi affixes no definitive prescribed meaning to gold he embraces its diverse historical and cultural associations; from Western wealth and opulence to the more East Asian allusion to enlightenment and inner peace. These are references all can share and they will each have a different degree of importance unique to the individual.</p> <p>Takefumi Hori was born 1978 in Tokyo. Having completed his studies in classical and contemporary calligraphy in 2004 he moved to New York where he continues to work from his vast studio in Brooklyn. Takefumi&rsquo;s works can be found in international private and corporate collections including Westwood Global Investments, Boston; Bloomingdales, Chicago; and ACTIV Financial Systems Inc, Yew York.</p> Wed, 27 Apr 2016 15:03:20 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Manolo Valdés - Marlborough Fine Art - June 10th - August 15th <p class="BODY"><strong>Marlborough Fine Art is pleased to present Manolo Vald&eacute;s&rsquo; first solo exhibition in the UK in over 10 years. Vald&eacute;s has exhibited with Marlborough&rsquo;s galleries for 25 years, primarily in New York, but also in Barcelona, London, Madrid, Monaco and Santiago. </strong></p> <p class="BODY">One of the most significant Spanish artists of the last century, <strong>Vald&eacute;s (b.1942, Valencia)</strong> works across drawing, painting, printmaking and sculpture. The exhibition brings together recent paintings, sculptures and works on paper that explore the artist's unique and distinct visual language.</p> <p class="BODY"><strong>Vald&eacute;s began his training as a painter at the age of 15 in Valencia. </strong>During the 1960s, he formed Equipo Cr&oacute;nica, an artistic team that used Pop Art to question the Spanish dictatorship of Franco and the history of art itself. After the group dissolved in 1981, Vald&eacute;s reinvented his work creating the figurative, expressive style centered on art historical motifs which he continues to be known for today. The artist lives between New York and Madrid and has exhibited extensively around the world, including representing Spain at the Venice Biennale in 1999. Major solo exhibitions of his work have been held at Guggenheim Bilbao (2002), Reina Sof&iacute;a in Madrid (2006), State Russian Museum in St Petersburg (2008) and the National Museum of China (2008) among other institutions. Monumental sculpture commissions have been completed for Madrid&rsquo;s Parque del Manzanares and airport. In 2010, sixteen large-scale bronze sculptures were exhibited in New York along Broadway and in 2012, the New York Botanical Garden&nbsp;exhibited 7 of his works.</p> <p>Using his immense knowledge of art history, Vald&eacute;s draws heavily on masters such as Vel&aacute;zquez, Rembrandt, Rubens and Matisse. He uses their practice as a pretext to bring significant historical works out of their original context and into the present. His figurative paintings combine materials such as thickly applied oil paint and hessian sacking, using a collage-like technique of cutting and sewing onto the canvas in relief. While perhaps best known for his prolific paintings, sculpture has been an integral part of the artist&rsquo;s practice since his early career. Working in wood, aluminium, bronze and iron, Vald&eacute;s&rsquo; sculptures reflect his aesthetic proposition as one of the most personal and thoughtful voices to address the history of art on the international scene.</p> <p>The works of Manolo Vald&eacute;s can be seen in numerous public and private collections including: Fonds National d&rsquo;Arts Plastiques, Paris, France;&nbsp;Fundaci&oacute;n Caja de Pensiones, Barcelona, Spain;&nbsp;Fundaci&oacute;n del Museo Guggenheim Bilbao, Bilbao, Spain;&nbsp;Instituto Valenciano de Arte Moderno, Centre Julio Gonzalez, Valencia, Spain; Kunsthalle, Kiel, Germany; Kunstmuseum, Berlin, Germany; The Metropolitan Museum of Art, New York, New York; Mus&eacute;e National d&rsquo;Art Moderne, Centre Georges Pompidou, Paris, France;&nbsp;Museo de Arte Contempor&aacute;neo Internacional Rufino Tamayo, Mexico City, Mexico; Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid, Spain; Museum of Modern Art, New York, New York; Veranneman Foundation, Kruishoutem, Belgium.</p> Wed, 27 Apr 2016 10:42:49 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - IMT Gallery - April 30th 6:00 PM - 9:00 PM <p style="text-align: justify;"><strong>Get ready!&nbsp;</strong>It's time to open a new chapter... For all you fancy bookworms out there we are thrilled to announce the launch of Sluice_magazine&rsquo;s new spring issue at the gallery on the 30th of April from 6 - 9pm. Join the #IMTeam and the #SluiceCrew for fun times!</p> <p style="text-align: justify;">What to expect? At Sluice_ the question is: what if we stepped sideways? What if we trailed off, or broke away out of mere curiosity? Discontinuity &ndash; in text, in art, in the world &ndash; can lead to new, formerly unimaginable creations. Sluice_magazine offers the opportunity for disruptions to take place.<br /><br />Sluice_magazine presents a collection of critical &lsquo;snapshots&rsquo; that engage with the &lsquo;what if&rsquo; of artistic creation.&nbsp;<strong>Nicole Sansone</strong>&nbsp;blows the dust off still-lifes and takes a fresh look at the genre through the eyes of the techno-savy and&nbsp;<strong>Gavin Wade</strong>&nbsp;talks all things&nbsp;<a href="http://imagemusictext.us4.list-manage.com/track/click?u=717ac3a27f6f239fa825da021&amp;id=4dbf4390ab&amp;e=64964bf53a" target="_blank"><strong>Eastside Projects</strong></a>.&nbsp;<a href="http://imagemusictext.us4.list-manage.com/track/click?u=717ac3a27f6f239fa825da021&amp;id=dfa5eb5633&amp;e=64964bf53a" target="_blank"><strong>Fungiculture</strong></a>, a psychedelic editorial collective, makes its mark on sluice__&rsquo;s debut centerfold with writing on Walter Benjamin&rsquo;s drug use and fortune-telling computers.<br /><br />Lucky you! Pick up a copy and catch our latest show by Mathew Parkin #Ibelieveinyou a new video installation following his pilgrimage to see an exhibition of work by Felix Gonzalez-Torres in Belfast.</p> Wed, 27 Apr 2016 09:42:20 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Peter Clossick - APT Gallery - April 29th 5:30 PM - 6:15 PM Wed, 27 Apr 2016 09:41:14 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Catrin Morgan, Irene Vidal Cal, ANNE HARILD, Amy Goodwin, Hannah Rae Alton - APT Gallery - April 29th - May 15th <div style="text-align: justify;">Cassiopeia is Hannah Rae Alton (London), Catrin Morgan (Nottingham), Amy Goodwin (Cornwall) Irene Vidal Cal (Galicia, Spain), and Anne Harild (Copenhagen). Named after a constellation in the Northern hemisphere composed of five stars, the project aims to explore and foreground the importance of research and pursuing your interests, not just for artists but for everyone. As a group of collaborators their interests are in systems of knowledge, particularly those relating to communication and architectural structures.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;"><em>Cassiopeia: Hip</em>&nbsp;is the second part of the Cassiopeia project. As a set of collaborators who not only share research interests but also particular research methodologies, the exhibition is an opportunity to develop new ways of communicating these to the public.</div> <div style="text-align: justify;">&nbsp;</div> <div style="text-align: justify;">The Private View of Cassiopeia: Hip will coincide with&nbsp;<a href="http://t.ymlp69.com/uyhyaxaejumuavawmqacamsys/click.php" target="_blank">SLAM Last Fridays</a></div> Wed, 27 Apr 2016 09:35:50 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Tomma Abts - Greengrassi - April 27th - June 18th Wed, 27 Apr 2016 09:24:25 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list - IMT Gallery - April 30th 6:00 PM - 9:00 PM <p style="text-align: justify;"><strong>Get ready!&nbsp;</strong>It's time to open a new chapter... For all you fancy bookworms out there we are thrilled to announce the launch of Sluice_magazine&rsquo;s new spring issue at the gallery on the 30th of April from 6 - 9pm. Join the #IMTeam and the #SluiceCrew for fun times!</p> <p style="text-align: justify;">What to expect? At Sluice_ the question is: what if we stepped sideways? What if we trailed off, or broke away out of mere curiosity? Discontinuity &ndash; in text, in art, in the world &ndash; can lead to new, formerly unimaginable creations. Sluice_magazine offers the opportunity for disruptions to take place.<br /><br />Sluice_magazine presents a collection of critical &lsquo;snapshots&rsquo; that engage with the &lsquo;what if&rsquo; of artistic creation.&nbsp;<strong>Nicole Sansone</strong>&nbsp;blows the dust off still-lifes and takes a fresh look at the genre through the eyes of the techno-savy and&nbsp;<strong>Gavin Wade</strong>&nbsp;talks all things&nbsp;<a href="http://imagemusictext.us4.list-manage.com/track/click?u=717ac3a27f6f239fa825da021&amp;id=4dbf4390ab&amp;e=64964bf53a" target="_blank"><strong>Eastside Projects</strong></a>.&nbsp;<a href="http://imagemusictext.us4.list-manage.com/track/click?u=717ac3a27f6f239fa825da021&amp;id=dfa5eb5633&amp;e=64964bf53a" target="_blank"><strong>Fungiculture</strong></a>, a psychedelic editorial collective, makes its mark on sluice__&rsquo;s debut centerfold with writing on Walter Benjamin&rsquo;s drug use and fortune-telling computers.<br /><br />Lucky you! Pick up a copy and catch our latest show by Mathew Parkin #Ibelieveinyou a new video installation following his pilgrimage to see an exhibition of work by Felix Gonzalez-Torres in Belfast.</p> Wed, 27 Apr 2016 09:22:58 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Sarah Crowner - Simon Lee - May 14th 12:00 PM - 1:00 PM <p style="text-align: justify;">Two days after the official opening of&nbsp;<em>Plastic Memory</em>,&nbsp;Sarah Crowner will be in conversation with Amira Gad, Exhibitions Curator at the Serpentine Galleries in London. During her time at the Serpentine Galleries, Amira Gad has curated exhibitions by Simon Denny (2015), Jimmie Durham (2015), Lynette Yiadom-Boakye (2015), Julio Le Parc (2014) and Reiner Ruthenbeck (2014). Prior to this, Gad was Managing Curator &amp; Publications at Witte de With Center for Contemporary Art in Rotterdam where she worked from 2009 to 2014. Outside of the Serpentine Galleries, curated exhibitions include&nbsp;<em>Considering Dynamics &amp; the Forms of Chaos&nbsp;</em>with artists Angela Bulloch and Maria Zerres at the Sharjah Art Museum (2016);&nbsp;<em>Blue Times&nbsp;</em>at Kunsthalle Wien in Vienna, Austria (2014-2015). She was also curator at Fogo Island Arts of the conference series that took place on Fogo and in Vienna at the MAK.&nbsp;</p> <p style="text-align: justify;"><span style="color: #333333; font-family: Arial, Helvetica, sans-serif; line-height: 14px;">&nbsp;</span></p> Wed, 27 Apr 2016 07:34:12 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Sarah Crowner - Simon Lee - May 13th - June 18th <p class="Default" style="text-align: justify;">Simon Lee Gallery is proud to present a new series of stitched paintings alongside a ceramic tile mural and floor installation by New York based artist Sarah Crowner, in her first solo show in the UK.</p> <p class="Default" style="text-align: justify;">Sarah Crowner draws on art, fashion, graphic design, theatre and performance to create dynamic works that recall 20th century geometric abstraction and modernism.</p> <p class="Default" style="text-align: justify;">The exhibition title <em>Plastic Memory </em>references a term used in ceramics to describe the visual evidence of how wet clay has been kneaded, stretched and manipulated with these traces remaining apparent or &ldquo;remembered&rdquo; in the material, even once the object is fired. Whilst the title clearly relates to the ceramic medium of the new wall and floor works in the exhibition, it also neatly conjures Crowner&rsquo;s relationship to history, materials and the hand-made. She treats the past, the natural world and popular culture as a medium; zooming in, rotating, reversing, cropping, repeating, mirroring, shrinking and enlarging the familiar to engage the viewer, revealing connections between micro and macro, individual and context.</p> <p class="Default" style="text-align: justify;">On entering the gallery the viewer is greeted by a celadon green tile wall mural with a stitched painting hung on top. This vibrant, shimmering work sets the tone for the exhibition as Crowner questions the nature of painting, its materials and limits. A glazed-white terracotta tiled platform bisects the gallery floor, inviting viewers to walk over it to view the other paintings in the exhibition. Elevated as a false floor, the pentagon patterned tiles are at once a stage and a kind of purposeful geometric abstraction, encouraging the viewer to become part of the composition of the works. The formal echo between the tessellation of the tiles and the composition of the stitched paintings, between grout and seams, further establishes a relationship between the floor and wall, situating the viewer at the heart of the installation. The tile pattern is based on a pentagon with five different length sides, (recently discovered by mathematicians), which can only repeat when the tile is matched with its mirror. The two reflecting tiles suggest an open book, butterfly wings, or leaf-like panels and beautifully illustrate Crowner&rsquo;s interest in systems and patterns, production and reproduction, in culture and nature.</p> <p style="text-align: justify;">Crowner embraces the idea of painting as object; both the painting and the tile works in the exhibition embody the experience of architecture and space, at once within themselves as objects and through their display. Each individual stitched fragment of canvas and each hand-crafted tile is a unique element, a world within a world, yet reliant upon its neighbour in order to contribute to a greater whole. These animated abstract constructions speak simply and seductively of connection, opposition, separation, hierarchy, transition and assimilation.</p> <p style="text-align: justify;">To create her new stitched or &lsquo;sliced&rsquo; paintings, Crowner deconstructs and reconstructs her own existing paintings, reconfiguring shapes, colours and contrasting textures and allowing the sewing machine generated seams to remain visible, like plant veins or arteries. She uses a self-designed &lsquo;curve machine&rsquo; to create arc templates on pattern paper for canvas to be cut from, before painting and stitching them to other raw canvas or linen segments. She paints sections in saturated colour &ndash; from tomato red to Prussian blue - to imply a presence, a shape, a possibility. Made from soft canvas, the paintings have a velvety surface, whilst the contrasting tiles are glassy and crisp, creating clear clacks when walked upon. This deliberate relationship to the tactile, to craft and the artist&rsquo;s performative engagement with her medium suggests a three-dimensional, physical, relationship to the image and speaks to the viewer of action and the potentiality of painting.</p> <p style="text-align: justify;">Witty, playful and optimistic, Sarah Crowner&rsquo;s investment in materials and use of colour as form deliberately seduce the viewer, evoking desire and reflecting her interest in how painting can engage the body.</p> <p class="Default" style="text-align: justify;">Sarah Crowner was born in Philadelphia in 1974 and lives and works in Brooklyn, New York. She received her BA from the University of California, Santa Cruz and her MFA from Hunter College, New York. Her work has been included in group exhibitions at the Jewish Museum, New York (2015); Museum of Fine Arts, Boston (2014); Walker Art Center, Minneapolis (2013); WIELS, Contemporary Art Centre, Brussels, Belgium (2013); ICA, Philadelphia (2013); Zacheta National Museum of Art, Warsaw, Poland (2013); Museum of Modern Art, New York (2013); and the 2010 Whitney Biennial, Whitney Museum of American Art, New York. Recent solo exhibitions include <em>Everywhere the Line is Looser</em>, Casey Kaplan, New York (2015); <em>Interiores</em>, Travesia Cuatro, Guadalajara, Mexico (2014); <em>Motifs</em>, Galerie Catherine Bastide, Brussels, Belgium (2014); <em>The Wave</em>, Nicelle Beauchene Gallery, New York (2014); <em>Rehearsal</em>, Galerie Nordenhake, Stockholm, Sweden (2012); <em>Acrobat</em>, Nicelle Beauchene Gallery, New York (2011); <em>Ballet Plastique</em>, Catherine Bastide, Brussels, Belgium (2011). Her work is held in the collections of Museum of Modern Art, New York and the Walker Art Canter, Minneapolis.</p> <p style="text-align: justify;">From 16 April 2016, her work will be the subject of a major solo exhibition, <em>Beetle in the Leaves</em>, at MASS MoCA, North Adams, MA.</p> Wed, 27 Apr 2016 07:32:02 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Luther Price - Vilma Gold - May 7th - June 4th Wed, 27 Apr 2016 07:21:46 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Oliver Osborne - Vilma Gold - May 7th - June 4th Wed, 27 Apr 2016 07:21:13 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list Frank Gerritz - Bartha Contemporary - May 13th - July 2nd <p style="text-align: justify;">Bartha Contemporary is delighted to announce two coinciding exhibitions of recent works by German artist Frank Gerritz (b. 1964) at Bartha Contemporary in London and the Sleeper Art-Space in Edinburgh. The London exhibition (May 13 &ndash; July 2) will include two new pencil drawings on MDF alongside recent drawings on paper, the Edinburgh exhibition (May 13 &ndash; June 10) will showcase a single installation of a four-panel oil paint-stick on anodised aluminium work.&nbsp;<br /><br />For the past two decades, Gerritz has applied layers upon layers of graphite using soft Faber Castell 9B pencil marks on walls, paper and, as is the case in this instance, industrially manufactured MDF panels. &ldquo;Definition of Space | Four Center Connection (spread my wings)&rdquo; the key work in this exhibition and probably Frank Gerritz&rsquo;s most ambitious work on MDF to date, evolves from a concentred composition. Two elemental forms of opposing forces, placed side by side are separated by a devising line, formulate this seminal work.<br /><br />Gerritz&rsquo;s MDF drawings render light and modulate it to such an extent that the experience is akin to moving into a sculptural space. Similarly, the artist&rsquo;s works on anodized aluminium encompass a genuinely physical experience. Here the metal support turned into a body of light, at the same time offset and articulated by dark black areas of oil paint-stick, drawn onto the cool anodised aluminium surface. In this instance composed over four panels, &ldquo;Temporary Ground I Territory I The Sleeper&rdquo; exhibited in Edinburgh is spaced precisely along its horizontal axis. The initially flat appearance of the works pulls the viewer to its sides, revealing its three-dimensional composition. The work appears to float at a carefully calibrated distance from the wall, the resulting shadow-gap further elevating the sculptural nature of the piece.&nbsp;<br /><br />Frank Gerritz has been exhibiting globally since the late 1980&rsquo;s, more recently a series of institutional exhibitions in Europe confirmed his invaluable contribution to contemporary art discourse. In 2007, the American art critic and poet Donald Kuspit called the artist &ldquo;The Last Abstract Hardliner&rdquo;, a title he doubtlessly retains to the present day.</p> Wed, 27 Apr 2016 07:06:46 +0000 http://www.artslant.com/lon/Events/list http://www.artslant.com/lon/Events/list