BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Nathan Eastwood\, winner of the inaugural East London Painti ng Prize\, presents his solo exhibition Work / Recreation / Freedomat the Nunnery Gallery from 10 October to 21 December.

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The East Lo ndon Painting Prize has been created by The Legacy List\, the charity of Qu een Elizabeth Olympic Park with the Goldhill Family\, Zabludowicz Collectio n\, and in association with Bow Arts\, to honour the life and work of paint er and philanthropist Jack Goldhill\, and commemorates his major contributi ons to the east End. \;

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Eastwood was announced as the first win ner of the East London Painting Prize in May 2014. Selected from over 300 s ubmissions by artists from across east London\, Nathan received a life chan ging £\;10\,000 prize and the solo exhibition at the Nunnery Gallery.& nbsp\;

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Nathan Eastwood lives in Newham and has a studio in Bethnal Green. He graduated from Byam Shaw School of Fine Art in 2009\, and has gon e on to exhibit in a range of shows including the Royal Academy of Arts Sum mer Exhibition (2013)\, Contemporary British Painting at The Crypt\, St Mar ylebone (2013)\; and Towards a New Socio-Painting\, a Transition Gallery to uring show this year.

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Drawing inspiration from the Kitchen Sink Pai nters of the 1950s\, Eastwood&rsquo\;s paintings describe small moments in everyday life in meticulous detail\, from cleaning the bathroom to mulling thoughts over a cup of tea. Layering humbrol enamel paint on board and a gr ey palate\, Nathan builds up layers of paint to create images which are bot h photorealistic\, yet riddled with imperfections of trapped dust and hair and loose brushwork.

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Eastwood said: &ldquo\;Winning the East London Painting Prize has been a huge boost\, I&rsquo\;ve been able to invest a m uch larger proportion of time in painting and producing new works which are larger in scale.

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&ldquo\;At certain moments\, when making the bed\ , walking around in public spaces\, noticing rubbish scattered around\, pic king up the kids from school\, surfing the internet\, and watching question time\, I thinks yes\, this is real life. Real life in the sense of repetit ion of the same actions again and again\; activities and places visited. Th is is what I know and so this is what I want to paint. \; The paintings have become allegorical of the domestic and particular public spaces. The participation via social websites and the accessibility of a variety of pol itical positions permeates this experience of the everyday. Today the livin g room has become a voting booth.

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&ldquo\;I am really proud to pres ent my solo show at the Nunnery Gallery\, it&rsquo\;s an incredible opportu nity.&rdquo\;

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Claire Gevaux\, Head of Creative Programmes of The Le gacy List said: &ldquo\;Nathan&rsquo\;s work evokes the character and life of east London\, and we&rsquo\;re delighted to have been able to support th is next stage in his career through the East London Painting Prize. We wish him every success for the exhibition\, and his future career.&rdquo\;

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Rosamond Murdoch\, Director of the Nunnery Gallery said: &ldquo\;Our up coming exhibition of Nathan&rsquo\;s work Work / Recreation / Freedom refers to his observations about the relationship to work and how we si mulate rituals within the space of spare time. \; Nathan&rsquo\;s work isn't necessarily looking at the conventional workplace\, but domestic and sometimes leisure spaces. \; To me this speaks of a typically urban con cern which rounds off the Nunnery Gallery&rsquo\;s Year of the East London Painting with alacrity.&rdquo\;

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Michael Goldhill\, representative o f the Goldhill Family said:
&ldquo\;The selection of Nathan Eastwood as winner of the first East London Painting Prize is testament to the Goldh ill Family&rsquo\;s desire to support artists at all stages of their career s. My father would have been a proud advocate of the panel&rsquo\;s choice\ , and I&rsquo\;m looking forward to seeing more of his work in the forthcom ing show.&rdquo\;

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EXHIBITION DETAILS

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Natha n Eastwood: Work / Recreation / Freedom
Nunnery Gallery\, Bow Road\,& nbsp\;London E3 2SJ

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Private View 9 October (6-9pm) RSVP media@bowarts.com

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10 October \; &ndash\; \; 21 December 2014
Open Tue sday \; &ndash\; \; Sunday\, 10am &ndash\; 5pm \;

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Admis sion free
http://www.bowarts.org/nunnery/nathan-e astwood-work-recreation-freedom

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JOIN THE CONVERSATION

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#ELPP14 @TheLegacyList @BowArts

DTEND:20141221 DTSTAMP:20140922T202105 DTSTART:20141010 GEO:51.5291009;-0.0168888 LOCATION:The Nunnery\,181-183 Bow Road \nLondon\, E3 2SJ SEQUENCE:0 SUMMARY:Nathan Eastwood: Work / Recreation / Freedom\, Nathan Eastwood UID:357684 END:VEVENT BEGIN:VEVENT DTEND:210000 DTSTAMP:20140922T202105 DTSTART:180000 GEO:51.5291009;-0.0168888 LOCATION:The Nunnery\,181-183 Bow Road \nLondon\, E3 2SJ SEQUENCE:0 SUMMARY:Nathan Eastwood: Work / Recreation / Freedom\, Nathan Eastwood UID:357685 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Shine Artists
Tim Wright | A Public Exhibition
03 Oct - 25 Oct 2014
Tim Wright has been painting professionally for 30 years. He has worked as a lecturer in Fine Art at several London art school s\, particularly Chelsea School Of Art and the Motley Theatre Design School . He lives and works in London. In recent years Wright has gravitated towar ds a reaffirmation of portrait painting and the power of the individual as subject.

DTEND:20141025 DTSTAMP:20140922T202105 DTSTART:20141003 GEO:51.5080999;-0.1410338 LOCATION:Albemarle Gallery\,49 Albemarle Street \nLondon\, W1S 4JR SEQUENCE:0 SUMMARY:Tim Wright | A public Exhibition\, Tim Wright UID:357620 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pablo Atchugarry | the silent voice within
03 Oct - 25 Oct 2014

Internationally acclaimed sculptor Pablo Atchugarry&rsq uo\;s works form part of many major collections\, both public and private. His work is based on the principal that the natural beauty of marble is enh anced if the form remains simple. Atchugarry&rsquo\;s simplicity consists o f variations on linearity - while avoiding straight lines. The volumes do n ot have any sharp sides\, corners become inclinations\, grooves become plea ts.
He spends the majority of his year in Lecco\, Italy\, where he wor ks primarily in Cararra marble and Portuguese pink marble.

DTEND:20141025 DTSTAMP:20140922T202105 DTSTART:20141003 GEO:51.5080999;-0.1410338 LOCATION:Albemarle Gallery\,49 Albemarle Street \nLondon\, W1S 4JR SEQUENCE:0 SUMMARY:Pablo Atchugarry | The silent voice within\, Pablo Atchugarry UID:357619 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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The Institute of Ideas in partnership with the Nunnery Gallery \, Bow Arts Trust \; hosts:

\nA Round Table Debate: Cultural Regeneration or Gentrification?\n

Speakers: Alan Miller\, CEO of the Vibe Bar\; Feargus O&r squo\;Sullivan\, Journalist at Atlantic Media Magazine Citylab\; Emma Dent- Coad\, Leader of the Labour Group at London Borough of Kensington and Chels ea as well as academic\, and writer\; James Stevens\, Strategic Planner\, H ome Builders Federation.

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&n bsp\;

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Tickets: Free but pre-booking e ssential at http://culturalregeneration.eventbrite.co.uk

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 \;

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Cultu ral policy is seen as essential in helping to regenerate previously unfashi onable areas of east London and right across the capital. Every neighbourho od seems keen to emphasise its credentials as a creative\, artist-friendly hub and no urban space is complete without short-let &lsquo\;pop-up&rsquo\; shops and restaurants\, temporary cinemas or urban beaches. Supporters arg ue that such playful\, small-scale interventions can help &lsquo\;citizens take ownership of their city&rsquo\; and engender a community spirit seen a s sorely diminished after the 2011 riots.

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 \;

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Yet others are more sceptical about the merits of such schemes\, seeing them as invariabl y corporate sponsored examples of &lsquo\;hipster gentrification&rsquo\; wh ich undermines rather than bolsters civic engagement\, with even the creati ves of East London&rsquo\;s Tech City complaining development of the area w ill change its &lsquo\;unique character.&rsquo\;

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While many artists claim to be committed to being fri endly with residents and helping improve neighbourhoods\, the sceptics argu e that they are\, knowingly or unwittingly\, helping gentrification. CityLa b online magazine recently called it &lsquo\;Artwashing&rsquo\;: getting an area cleaned up before properties are bought up cheap\, existing residents removed and flats sold for the highest price possible.

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Some hail the rise of artist led cultural init iatives as a radical challenge to both the problems of austerity and the pe rceived stifling sanitisation of contemporary public life. Are playful\, sm all-scale interventions and urban explorations a challenge to the sanitised city\, or merely part of it? To what extent do they provide a means to nur ture the urban realm and engender community spirit?

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In any case\, is gentrification inevitable? \n

http://culturalregeneration.eventbrite.co. uk

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DTEND:210000 DTSTAMP:20140922T202105 DTSTART:190000 GEO:51.5291009;-0.0168888 LOCATION:The Nunnery\,181-183 Bow Road \nLondon\, E3 2SJ SEQUENCE:0 SUMMARY:Cultural Regeneration or Gentrification? UID:357592 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Nathan Eastwood\, winner of th e inaugural East London Painting Prize\, presents his solo exhibition W ork / Recreation / Freedom at the Nunnery Gallery from 10 October to 2 1 December.

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The East London Painting Prize has been created by The Legacy List\, the charity of Queen Elizabeth Olympic Park with the Goldhill Family\, Zabludowicz Collection\, and in ass ociation with Bow Arts\, to honour the life and work of painter and philant hropist Jack Goldhill\, and commemorates his major contributions to the eas t End. \;

\n

Eastwood was announced as the first winner of the East London Painting Prize in May 2014. Selected from over 300 submissions by artists from across east London\, Nathan rece ived a life changing £\;10\,000 prize and the solo exhibition at the N unnery Gallery. \;

\n

Nathan Eastwoo d lives in Newham and has a studio in Bethnal Green. He graduated from Byam Shaw School of Fine Art in 2009\, and has gone on to exhibit in a range of shows including the Royal Academy of Arts Summer Exhibition (2013)\, Conte mporary British Painting at The Crypt\, St Marylebone (2013)\; and Towards a New Socio-Painting\, a Transition Gallery touring show this year.

\n

Drawing inspiration from the Kitchen Sink Pa inters of the 1950s\, Eastwood&rsquo\;s paintings describe small moments in everyday life in meticulous detail\, from cleaning the bathroom to mulling thoughts over a cup of tea. Layering humbrol enamel paint on board and a g rey palate\, Nathan builds up layers of paint to create images which are bo th photorealistic\, yet riddled with imperfections of trapped dust and hair and loose brushwork.

\n

Eastwood said: &ldquo\;Winning the East London Painting Prize has been a huge boost\, I&rs quo\;ve been able to invest a much larger proportion of time in painting an d producing new works which are larger in scale.

\n

&ldquo\;At certain moments\, when making the bed\, walking arou nd in public spaces\, noticing rubbish scattered around\, picking up the ki ds from school\, surfing the internet\, and watching question time\, I thin ks yes\, this is real life. Real life in the sense of repetition of the sam e actions again and again\; activities and places visited. This is what I k now and so this is what I want to paint. \; The paintings have become a llegorical of the domestic and particular public spaces. The participation via social websites and the accessibility of a variety of political positio ns permeates this experience of the everyday. Today the living room has bec ome a voting booth.

\n

&ldquo\;I am real ly proud to present my solo show at the Nunnery Gallery\, it&rsquo\;s an in credible opportunity.&rdquo\;

\n

Claire Gevaux\, Head of Creative Programmes of The Legacy List said: &ldquo\;Natha n&rsquo\;s work evokes the character and life of east London\, and we&rsquo \;re delighted to have been able to support this next stage in his career t hrough the East London Painting Prize. We wish him every success for the ex hibition\, and his future career.&rdquo\;

\n

Rosamond Murdoch\, Director of the Nunnery Gallery said: &ldquo\;Our u pcoming exhibition of Nathan&rsquo\;s work Work / Recreation / Freedom< /em> refers to his observations about the relationship to work and how we s imulate rituals within the space of spare time. \; Nathan&rsquo\;s work isn't necessarily looking at the conventional workplace\, but domestic and sometimes leisure spaces. \; To me this speaks of a typically urban co ncern which rounds off the Nunnery Gallery&rsquo\;s Year of the East London Painting with alacrity.&rdquo\;

\n

&nbs p\;

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Michael Goldhill\, representative of the Goldhill Family said:
&ldquo\;The selection of Nathan Eastwoo d as winner of the first East London Painting Prize is testament to the Gol dhill Family&rsquo\;s desire to support artists at all stages of their care ers. My father would have been a proud advocate of the panel&rsquo\;s choic e\, and I&rsquo\;m looking forward to seeing more of his work in the forthc oming show.&rdquo\;

DTEND:20141221 DTSTAMP:20140922T202105 DTSTART:20141010 GEO:51.5291009;-0.0168888 LOCATION:The Nunnery\,181-183 Bow Road \nLondon\, E3 2SJ SEQUENCE:0 SUMMARY:Work / Recreation / Freedom\, Nathan Eastwood UID:357588 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140922T202105 DTSTART:180000 GEO:51.5291009;-0.0168888 LOCATION:The Nunnery\,181-183 Bow Road \nLondon\, E3 2SJ SEQUENCE:0 SUMMARY:Work / Recreation / Freedom\, Nathan Eastwood UID:357589 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Feet of Those is a new series of paintings by Alastair Gordon commissioned by London City Mi ssion to celebrate their 180th anniversary.

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For the last six months Gordon has worked alongside London City Miss ion as they work with Londoners with greatest need including the homeless\, street workers and drug addicts. The Feet of Those celebrates the ongoing work of London City Mission with an eye to the work of those who h ave gone before them.

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The Feet of Those can be read as a form of portrait or incomplete inventory of th ose who work for London City Mission during their anniversary year\, taking their shoes as a starting point. Gordon has painted 70 new works represent ing a cross section of the charity team.

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Gordon&rsquo\;s painting strongly references a form of illusionistic pa inting that proliferated in Northern Europe in the 1600s. A specific form o f trompe l&rsquo\;oeil called quodlibet (as it falls). His faithfu l representations and compositions might be understood within the context o f the collection\, referencing the theatrical spectacle of the cabinet of c uriosities or perhaps\, more specifically\, contemporary museum displays wh ere an assortment of artifacts are presented with both apparent objectivity and through the subjective lens of the curator. The grain of the wooden ground becomes part of the painting\, causing the image to o scillate between artifact and artifice.  \;  \;  \;  \; &nb sp\;  \;  \;  \;  \;  \;  \;  \;  \;  \ ;  \;  \;  \;  \;  \;  \;  \;  \;  \; & nbsp\;  \;  \;  \;  \;  \;  \;  \;  \; &nbs p\;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; \;

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Alastair Gordon is artist in residence and gallery manager for HUSK\, East London. He was recently selected for th e Threadneedle painting prize\, Shoosmiths Art prize and The Open West 2014 . His work is represented by Bearspace gallery in Deptford and features in several international collections.

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London City Mission is a Christian charity who offer mentori ng and support to Londoners in need. Their work includes support to the hom eless\, street workers\, single parents\, ethnic minorities and community m embers on benefit. For more information about the charity visit www.lcm.org.uk

DTEND:20141005 DTSTAMP:20140922T202105 DTSTART:20140924 GEO:51.5291009;-0.0168888 LOCATION:The Nunnery\,181-183 Bow Road \nLondon\, E3 2SJ SEQUENCE:0 SUMMARY:The Feet of Those\, Alastair Gordon UID:357586 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140922T202105 DTSTART:180000 GEO:51.5291009;-0.0168888 LOCATION:The Nunnery\,181-183 Bow Road \nLondon\, E3 2SJ SEQUENCE:0 SUMMARY:The Feet of Those\, Alastair Gordon UID:357587 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Bor n in London in 1969\, Steve McQueen first began making artworks using the m edium of film and video during his student years. \; Over the last twen ty years\, McQueen has been the author of some of the most seminal works of film and video designed for gallery-based presentation\, as well as three feature films made for \;cinematic release. \;In both expressions o f the medium\, the artist's signature is evident and this new work further extends the range of McQueen's enquiry into the image and image making. As is evident from even his earliest works - McQueen conjures monumental filmi c moments with an extreme economy of means. His work hovers between the spe cific and the universal\, the literal and the abstract evading definition a nd multiplying experiential and interpretive possibilities.

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Certain iconic McQueen works stem from \;unflinc hing observation of the body - often his own - \;with ambiguous \;c arnal \;undertones. Others drawn from a potent\, at times bleak\, polit ical consciousness addressing specific historical moments. This new commiss ion\, created with the support of Espace Louis Vuitton Tokyo and unveiled f or the first time in Europe\, brings together these various strands. \; It delivers the viewer into a highly sensory space with the potential \ ;for epiphany or self-revelation. \;

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 \;

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Steve McQueen was born in London in 1969. His work has been collected by museums throughout the worl d\, not least Tate Gallery\, London\, MoMA New York\, The Art Institute of Chicago\, Chicago and the Musee National d'Art Moderne George Pompidou\, Pa ris. He represented Britain at the Venice Biennale in 2009.  \;A recent and highly acclaimed survey of his work traveled from the Art Institute of Chicago to the Schaulager\, Basel. McQueen's won Camera d'Or at the Cannes Film Festival in 2008 for his \;feature film 'Hunger'\, the only Briti sh director to be granted the prize. McQueen won two BAFTAs for his latest feature '12 Years a Slave' and which has been nominated for nine Oscars. &n bsp\;Having been appointed \;Officer of the Order of the British Empire (OBE\, 2002)\, he \;was created Commander of the Order of the British Empire (CBE) in the 2011 New Year Honours for services to the visual arts.< /p>\n

Steve McQueen lives and works in Amst erdam.

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A catalogue will accompany the exhibition with a new essay by Jean Fisher.

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An opening \;reception will take place on 13 October from 6.30- 8.30 pm at 3 &\; 11 Duke Street\, St. James's.

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 \;

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DTEND:20141115 DTSTAMP:20140922T202105 DTSTART:20141014 GEO:51.5073382;-0.1377801 LOCATION:Thomas Dane Gallery\,3 & 11 Duke Street First Floor\nLondon\, SW1Y 6BN SEQUENCE:0 SUMMARY:Solo Exhibition\, Steve McQueen UID:357584 END:VEVENT BEGIN:VEVENT DTEND:203000 DTSTAMP:20140922T202105 DTSTART:183000 GEO:51.5073382;-0.1377801 LOCATION:Thomas Dane Gallery\,3 & 11 Duke Street First Floor\nLondon\, SW1Y 6BN SEQUENCE:0 SUMMARY:Solo Exhibition\, Steve McQueen UID:357585 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141123 DTSTAMP:20140922T202105 DTSTART:20141011 GEO:51.531381;-0.0516313 LOCATION:The Approach\,47 Approach Road Bethnal Green\nLondon\, E2 9LY SEQUENCE:0 SUMMARY:Who Buries Who\, Amanda Ross-Ho UID:357583 END:VEVENT BEGIN:VEVENT DESCRIPTION:

*Stephen Friedman Gallery is d elighted to announce a solo exhibition by Tom Friedman which will open duri ng Frieze week in London. His fourth exhibition with the gallery will inclu de entirely new works featuring wall and floor sculptures and large install ations.

DTEND:20141115 DTSTAMP:20140922T202105 DTSTART:20141014 GEO:51.51069;-0.1411156 LOCATION:Stephen Friedman Gallery\,11/25-28 Old Burlington Street \nLondon\ , W1S 3AN SEQUENCE:0 SUMMARY:Solo Exhibition\, Tom Friedman UID:357581 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140922T202105 DTSTART:180000 GEO:51.51069;-0.1411156 LOCATION:Stephen Friedman Gallery\,11/25-28 Old Burlington Street \nLondon\ , W1S 3AN SEQUENCE:0 SUMMARY:Solo Exhibition\, Tom Friedman UID:357582 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141115 DTSTAMP:20140922T202105 DTSTART:20141014 GEO:51.5099923;-0.1437169 LOCATION:Sprüth Magers London\,7A Grafton Street \nLondon\, W1S 4EJ SEQUENCE:0 SUMMARY:Some Pheasants in Singularity\, Andro Wekua UID:357579 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140922T202105 DTSTART:180000 GEO:51.5099923;-0.1437169 LOCATION:Sprüth Magers London\,7A Grafton Street \nLondon\, W1S 4EJ SEQUENCE:0 SUMMARY:Some Pheasants in Singularity\, Andro Wekua UID:357580 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Simon Lee Gallery is proud to present an exhibition of new paintings by Mel Bochner. This is the artist&r squo\;s first solo exhibition with the Gallery\, and the first presentation of his paintings in London since the critically acclaimed exhibition M el Bochner: If the Colour Changes at The Whitechapel Gallery in 2012.< /p>\n

The exhibition will consist of a new body of word paintings on velvet. Of his velvet paintings Bochner has writt en:

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&ldquo\;I began making paintings on velvet in 2005. The initial impulse came from a book on incunabula (prin ting before the invention of movable type). In most cases these books and b roadsheets were woodblocks printed on paper\, but a few were printed on clo th. That gave me the idea of trying to print directly on various kinds of u nprimed textiles&mdash\;linen\, cotton\, silk\, etc. Unfortunately\, withou t primer\, paint was absorbed into their porous surfaces. Velvet\, much to my surprise\, was the only material that kept the paint up. And while it wa sn&rsquo\;t my intention\, the kitschy aura of paintings-on-velvet (Elv is!) was an unexpected but not unwelcome bonus.

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Since Jackson Pollock\, one of the directions painting has taken has been to exploit the expressiveness of paint itself. But while Pol lock proclaimed &ldquo\;no chaos\, damn it!&rdquo\; it is the surrender of control that frees the paint to express its paintness. In the velv et paintings the paint is delivered to the surface indirectly. First a comp uter-controlled laser engraves the text into a thick acrylic sheet\, which will serve as a printing matrix. Then\, letter by letter\, the words are ha nd-filled with pure oil paint\, sometimes up to a pound per letter. Finally \, the velvet is laid face down on the plate\, placed in a hydraulic press\ , and subjected to 750 tons of vertical pressure. With so many uncontrollab le variables (temperature\, humidity\, viscosity\, and pressure) there is n o predicting what the paint will do. The paint&rsquo\;s chemistry\, its &ld quo\;fluids and ground-up stones\,&rdquo\; determines\, beyond any dictates of good or bad taste\, what the final painting will look like. Under press ure the paint\, with nothing to prevent it\, bleeds freely into weirdly mar bleized puddles. The more viscous colors spurt out of the letters\, while t he densely pigmented ones emerge in wrinkled globs. The random smudging and smearing render some words unreadable\, obliterate others\, and further es trange them from any &ldquo\;necessary and sufficient&rdquo\; meaning. When the velvet is pulled off the plate\, the result is always a surprise\, som etimes a jolt.&rdquo\;

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-Mel Bochner\, Some thoughts on Color\, Language\, Painting and Blah\, Blah\, Blah\, 2007 / 2013

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Mel Bochner was born in Pittsburgh\, Pennsylvania in 1940. He lives and works in New York\, NY. He received a BFA degree from the Carnegie Institute of Technology in 1962 (major in painting\; minor in philosophy). He has taught aesthetics\, art history and sculpture at the School of Visual Arts\, New York\, since 1965. In 2001 he was the Adjunct Professor at Yale University\, New Haven. His f irst one-man exhibition was held at the Visual Arts Gallery at the School o f Visual Arts in 1966. Mel Bochner&rsquo\;s work has been featured in numer ous international exhibitions including\, most recently\; Mel Bochner: Stro ng Language\, Jewish Museum\, New York (2014)\, Mel Bochner: If the Colour Changes\, Whitechapel Gallery\, London (2012). This exhibition travelled to Haus der Kunst\, Munich\, Germany (2013)\; and Fundaç\;ã\;o de Serralves\, Porto\, Portugal (2013)\, In the Tower: Mel Bochner\, National Gallery of Art\, Washington D.C. (2011). His work is included in many majo r public and private collections internationally\, including\; Tate\, Londo n\; Centre Georges Pompidou- Musé\;e national d&rsquo\; art moderne\, Paris\; Whitney Museum of American Art\, New York\; MoMA - Museum of Moder n Art\, New York\; National Gallery of Art\, Washington\; Carnegie Museum\, Pittsburgh\; MOCA\, Los Angeles\; Los Angeles County Museum of Art\, Los A ngeles.

DTEND:20141114 DTSTAMP:20140922T202105 DTSTART:20141014 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:GOING OUT OF BUSINESS! (and other recent paintings on velvet)\, Mel Bochner UID:357577 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140922T202105 DTSTART:180000 GEO:51.5081809;-0.14304 LOCATION:Simon Lee\,12 Berkeley Street \nLondon\, W1J 8DT SEQUENCE:0 SUMMARY:GOING OUT OF BUSINESS! (and other recent paintings on velvet)\, Mel Bochner UID:357578 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A picture is no substitute for anything: his gesture moved us to tears1

To consider a possible substitute for a picture is to acknowledge the missi ng elements of a represented moment. A Picture is No Substitute is a group exhibition that places an onus on the structural surround of the represente d\, where acts of removal\, intentional absence and obstruction are as equa lly important as the represented. Bringing together works by Rachal Bradley \, Marie Lund and Hannah Weinberger the exhibition meditates on a repudiati on of authorship\, and an acknowledgement of absence and half-finished stor ies within modes of representation\, production and exchange.

Cu rated by Ellen Greig.


1 \;A Pi cture Is No Substitute for Anything was a sporadic collaboration betwe en Louise Lawler and Sherrie Levine\, from (1981&ndash\;2). In keeping with Lawler and Levine&rsquo\;s own interest in reference and appropriation\, t he artists adapted this phrase from a statement made by Hollis Frampton to Carl Andre\, &ldquo\;a photograph is no substitute for anything&rdquo\;\, p ublished in 12 Dialogues\, 1962-1963.

DTEND:20141206 DTSTAMP:20140922T202105 DTSTART:20141015 GEO:51.5378591;-0.0762501 LOCATION:Seventeen\,270-276 Kingsland Road \nLondon\, E8 4DG SEQUENCE:0 SUMMARY:A Picture is No Substitute\, Hannah Weinberger\, Marie Lund\, Racha l Bradley UID:357575 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140922T202105 DTSTART:180000 GEO:51.5378591;-0.0762501 LOCATION:Seventeen\,270-276 Kingsland Road \nLondon\, E8 4DG SEQUENCE:0 SUMMARY:A Picture is No Substitute\, Rachal Bradley\, Marie Lund\, Hannah W einberger UID:357576 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A WIG AND A MAN ARE SEEN WALKING AWAY FROM CAMERA\, TOWARDS THE WATER. HE CARRIES AN I KEA BAG. THE WIG HAS A PAIR OF WHITE TRAINERS.

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PHIL: This is an invisible woman\, there&rsqu o\;s no official term for what she is but historically there are many like her. She was a figure in a landscape until someone erased her\, content awa re filled her\, and removed her from the scene.

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THE WIG IS AN INVISIBLE WOMAN. SHE STOPS\, AN D TURNS AROUND\, TAKING HER TIME.

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INVISIBLE WOMAN: Hi PHIL.

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PHIL: Hi.

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CUT TO THE INVISIBLE WOMAN AND HER PARTNER SITTING ON A BLANKET. S HE READS A COPY OF THE INVISIBLE MAN AND HE LOOKS STRAIGHT INTO CAMERA. THE RE IS A BANANA TO THE LEFT OF THEM.

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INVISIBLE WOMAN: How are things?

\n

PHIL: You know\, ok. We have an audience by the w ay.

\n

INVISIBLE WOMA N CLOSES HER BOOK\, PUTS IT DOWN\, AND CROSSES HER FEET.

\n

IW: Oh. Thanks for letting me know.

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PHIL: Does that change th ings for you?

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IW: Indefini tely. Up until now\, I&rsquo\;ve been completely invisible.

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PHIL: Well\, until before you were.

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IW: Right. I&rsquo\;ve been thi s way for a long time\, and it&rsquo\;s getting hard to remember that part of me.

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PHIL: How old are y ou anyway?

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CUT TO INVISIBLE WOMAN PEELING A BANANA.

\n

IW: Pretty old.

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PHIL: Your hair doesn&rsquo\;t look old.

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IW: I haven&rsquo\;t had it for long.

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PHIL: Well\, you know what they say about older women&hellip\;

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IW: &hellip\; t hey become invisible.  \;  \;  \;  \;  \;  \;   \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; &nb sp\;  \;  \;  \;  \;  \;  \;  \;  \;  \ ;  \;  \;  \;  \;  \;  \;  \;  \;  \; & nbsp\;  \;  \;  \;  \;  \;  \;  \;  \; &nbs p\;  \;  \;  \;  \;  \;  \;  \;  \;  \;  \; \;

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DTEND:20141206 DTSTAMP:20140922T202105 DTSTART:20141015 GEO:51.5378591;-0.0762501 LOCATION:Seventeen\,270-276 Kingsland Road \nLondon\, E8 4DG SEQUENCE:0 SUMMARY:Hyperlinks\, Cécile B. Evans UID:357573 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140922T202105 DTSTART:180000 GEO:51.5378591;-0.0762501 LOCATION:Seventeen\,270-276 Kingsland Road \nLondon\, E8 4DG SEQUENCE:0 SUMMARY:Hyperlinks\, Cécile B. Evans UID:357574 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141112 DTSTAMP:20140922T202105 DTSTART:20141013 GEO:51.5249699;-0.0943618 LOCATION:Modern Art\,4-8 Helmet Row \nLondon\, EC1V 3QJ SEQUENCE:0 SUMMARY:Solo Exhibition\, Karla Black UID:357571 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140922T202105 DTSTART:180000 GEO:51.5249699;-0.0943618 LOCATION:Modern Art\,4-8 Helmet Row \nLondon\, EC1V 3QJ SEQUENCE:0 SUMMARY:Solo Exhibition\, Karla Black UID:357572 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20141123 DTSTAMP:20140922T202105 DTSTART:20141016 GEO:51.5248993;-0.0555948 LOCATION:Laura Bartlett Gallery\,4 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:F for Fibonacci\, Beatrice Gibson UID:357569 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20140922T202105 DTSTART:180000 GEO:51.5248993;-0.0555948 LOCATION:Laura Bartlett Gallery\,4 Herald Street \nLondon\, E2 6JT SEQUENCE:0 SUMMARY:F for Fibonacci\, Beatrice Gibson UID:357570 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aleah Chapin&rsquo\;s highly a nticipated new paintings will go on view for the first time in an exhibitio n titled: Maiden\, Mother\, Child &\; Crone at Flowers Cork Str eet gallery\, London from October 8th &ndash\; November 8th\, 2014. Aleah i s renowned for her ongoing &lsquo\;Aunties Project&rsquo\;\, which comprise s figural depictions of a group of the same women she has known all her lif e\, capturing them unashamedly nude with a playful\, exaggerated and Rubene sque figural style. Her new exhibition is centred around a theme that deriv es from several schools of thought\, but predominantly Neopaganism\, where each stage in a woman&rsquo\;s life cycle is symbolized.

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Her new works therefore are multi-generatio nal\, observing the female body at differing stages of life\, both as separ ate phases and as part of a larger and necessary whole. The questions they raise are how life affects us as we age and how life circumstances add to t he aging process. They also expand on the archetypal female image to includ e a more complete portrayal.

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Chapin focuses on the exploration of the intricate relationships betwee n a range of generations\, and the vital importance of each. She also confr onts social expectations and assumptions of our actions as we age &ndash\; what society expects and how people react when those expectations are not m et\, or are challenged.

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A BOUT ALEAH CHAPIN

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Born in 1986\, Alea h Chapin grew up on an island north of Seattle and has been painting since she was a child. She received her BFA from Cornish College of the Arts in 2 009 and her MFA from the New York Academy of Art in 2012. She attended a re sidency at the Leipzig International Art Programme in Germany and has exhib ited her work in the US\, the Netherlands\, Germany and the UK. She has bee n the recipient of several awards including the Posey Foundation Scholarshi p\, Elizabeth Greenshields Foundation Grant\, a Postgraduate Fellowship fro m the New York Academy of Art and the BP Portrait Award at the National Por trait Gallery in London in 2012. She lives and works in Brooklyn\, NY.

DTEND:20141108 DTSTAMP:20140922T202105 DTSTART:20141008 GEO:51.510137;-0.1410576 LOCATION:Flowers | Cork Street\,21 Cork Street \nLondon\, W1S 3LZ SEQUENCE:0 SUMMARY:Maiden\, Mother\, Child & Crone \, Aleah Chapin UID:357568 END:VEVENT END:VCALENDAR