Artist Keith Coventry discusses the relationship between architecture and his paintings with critic Owen Hatherley and writer Michael Bracewell. Margot Heller, director of the South London Gallery, chairs the discussion.
Taking as their starting point the schematic plans outside housing estates, Keith Coventry’s Estate Paintings employ the visual vocabulary of the Russian avant garde to show that the utopian ideals that led to the creation of widespread social housing have their roots in artistic abstraction. In these stark and compelling paintings, Coventry contends that the ultimate failing of the Modernist project was its inability to make real space for human living.
This talk coincides with the exhibition Keith Coventry: Twentieth Century Estates at Modern Collections, London.
Booking is essential. Book online or call 020 7703 6120.
Keith Coventry (born Burnley, 1958) is one of the most respected and widely known British painters of his generation. He was educated at Brighton Polytechnic and Chelsea College of Art. Included in the Royal Academy's seminal Sensation exhibition in 1997, Coventry's work is now held in distinguished private and museum collections worldwide. These include the British Council; Tate Modern; Arts Council of England; Walker Art Center, Minneapolis; and The Museum of Modern Art, New York. In 2010 Coventry was the recipient of the prestigious John Moores Painting Prize. He lives and works in London.
Owen Hatherley was born in Southampton in 1981. He is a freelance writer on architecture and cultural politics, and is the author of four books - Militant Modernism (Zero, 2009), A Guide to the New Ruins of Great Britain (Verso, 2010), Uncommon – An Essay on Pulp (Zero, 2011),A New Kind of Bleak – Journeys through Urban Britain (Verso 2012), and an e-book on squares in eastern Europe, Across the Plaza (Strelka, 2012).
Michael Bracewell is the author of six novels and three works of non-fiction, including the much acclaimed England Is Mine. His writing has appeared in The Penguin Book of Twentieth Century Fashion Writing andThe Faber Book of Pop. He also writes widely on modern and contemporary British art, and is a regular contributor to Frieze magazine. His recent publications include catalogue texts on the work of Richard Hamilton, Bridget Riley, Gilbert & George, John Stezaker and Damien Hirst. He was the co-curator of The Secret Public: The Last Days of The British Underground, 1977-1988, at Kunstverein Munchen in 2006, andGermany Is Your America at Broadway1602, New York in 2011. His most recent book, The Space Between: Selected Writings on Art, Edited by Doro Globus, was published by Ridinghouse in 2012.