SIMON STARLING Born
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Victoria Morton the Modern Institute, Aird's Lane 08
Victoria Morton The Modern Institute, Aird’s Lane 08 November 2014 – 17 January 2015 Victoria Morton’s practice has encompassed painting, sculptural assemblages, found objects, photography, and sound. Her recent paintings vary in scale, opacity, colour and spatiality, each distinctly painted composition has been developed with a degree of intricacy and intuition. Influenced by musical composition, colour perception, and everyday life, alongside personal narratives, historical and cultural references, Morton’s works explore a continuously unfolding visual, spatial and psychological experience. Within her paintings she re-evaluates the complexity of visual representation and physical experience through a combination of layering, fragmentation and movement. Each painting works through the mental exercise of creating, disrupting, reforming and extending compositions. This technique builds a sense of time into her work. Morton’s exhibition at Aird's Lane focuses entirely on painting. Presenting a cycle of five large-scale oil paintings which specifically respond to the space in terms of their size and installation, offering a site for reflection. Each painting forms a narrative with the next. These works softly draw upon issues of health, the science of optics and light, and the idea of ‘free will’, as well as notions of representation. With washes of colour and variation in tone, line and brush stroke, individual paintings present a range of different attitudes and intensities within the framework of the installation. Luminous thin layers of paint draw you in, while concentrated, spontaneous compositions require you to step back. Morton’s areas of interest are explored through the filter of her daily life and rely on both photography and impulse. -
SIMON STARLING Born in 1967 in Epsom, England Lives and Works In
SIMON STARLING Born in 1967 in Epsom, England Lives and works in Copenhagen EDUCATION 1990-1992 MFA Glasgow School of Art 1987-1990 BA (Hons) Photography Nottingham Polytechnic 1986-87 Maidstone College of Art AWARDS 2005 Turner Prize, Tate Britain, London, 2004 Nominee for The Hugo Boss Prize, Solomon R. Guggenheim Museum, New York, NY* 1999 Blinky Palermo Prize, Galerie Fur Zeitgenossiche Kunst, Leipzig, Germany Henry Moore Sculpture Fellowship, Duncan and Jordanstone College of Art, Dundee, UK Paul Hamlyn Foundation Award for Artists, London, UK SELECTED SOLO EXHIBITIONS 2018 ‘General Rehearsal’, Moscow Museum of Modern Art, Moscow Kanal-Centre Pompidou, Brussels ‘Thrill of Heights’, OK Offenes Kulturhaus, Linz ‘Manifesta 12 '5x5x5 Programme'’, Palermo, Italy ‘Double Take’, Last Tango, Zurich ‘Parcours’, Museum der Kulturen, Basel (As part of Art Basel 2018) 2017 ‘Stitched, Stretched, Cut, Carved, etc.’, neugerriemschneider, Berlin, Germany ‘The Liminal Trio plays the Golden Door’, Casey Kaplan, New York, US ‘Contemporary Art in Hospitals’, KØS, Køge, Denmark ‘A Synchronology: the contemporary and other times’, Hunterian Art Gallery, Glasgow, UK ‘A l'ombre du pin tordu’, Musée Régional d'Art Contemporain Occitanie / Pyrénées-Méditerranée – Sérignan, Francia 2016 ‘Simon Starling: Collected Works’, Rennie Collection, Vancouver, Canada ‘Simon Starling: At Twilight’, Japan Society, NY, US ‘At Twilight’, The Common Guild, Glasgow, UK ‘Red, Green, Blue, Loom Music’, Galleria Franco Noero, Turin, Italy ‘Zum Brunnen’, Kunstmuseum St. Gallen, -
M a R T I N B O Y
M A R T I N B O Y C E 1967 Born in Hamilton, Scotland Currently lives and works in Glasgow, Scotland Education 1995-1997 MFA, Glasgow School of Art 1996 California Institute for the Arts 1986-1990 BA Environmental Art, Glasgow School of Art Solo Exhibitions (* denotes catalogue) 2019 ‘A Thousand Future Blossoms’ Permanent Installation, 37, rue Sainte-Croix-de- la-Bretonnerie, Eataly Paris Marais, Paris An Inn For Phantoms Of The Outside And In, Mount Stuart, Isle of Bute, Scotland 2018 Esther Schipper Gallery, Berlin Martin Boyce: Hanging Gardes, A4 Art Museum, Chengdu, China * Remembered Skies, Tate Britain, London (site-specific permanent installation) 2017 All the Gravity, All the Air, Swiss Re, Zürich (public art commission) Light Years, The Modern Institute, Glasgow Beyond the Sea, Against the Sun, TELUS Garden, Vancouver (public art commission) Sleeping Chimneys. Dead Stars.,Tanya Bonakdar Gallery, New York Spotlight: Do Words Have Voices, 2011, Tate Britain, London 2016 Spook School, CAPRI, Düsseldorf, Germany Gasträume 2016, Zürich 2015 Martin Boyce, Museum für Gegenwartskunst Basel, Switzerland * Martin Boyce: When Now is Night, RISD Museum, Providence Inside rooms drift in and out of sleep / While on the roof / An alphabet of aerials / Search for a language, Galerie Eva Presenhuber, Zürich 2014 Stellar Remnants, Johnen Galerie, Berlin Galerie Eva Presenhuber, Zürich Billboard for Edinburgh: Martin Boyce, Ingleby Gallery, Edinburgh, Scotland 2013 Martin Boyce: It’s Over and Over, Tanya Bonakdar Gallery, New York All Over / Again -
220719 Media Release 2019 Female Artist Acquistions FINAL
Media Release 25 July 2019 From Claire Francis Phone: 0141 287 5548/ 07393 287295 Email: [email protected] GLASGOW MUSEUMS TACKLES GENDER EQUALITY IN CONTEMPORARY ART COLLECTION WITH NEW ACQUISITIONS BY LOCAL AND INTERNATIONAL FEMALE ARTISTS Glasgow Museums is delighted to announce 14 recent acquisitions for the city’s fine art collection which include sculpture, video, painting and works on paper by artists Sara Barker, Kate Charlesworth, Michelle Hannah, Sharon Hayes, Winnie Herbstein, Mandy McIntosh and the Feegie Needlers, Carol Rhodes, Kate V Robertson, Anne Robinson, Siân Robinson Davies and Camara Taylor. Acquired as part of a significant strand of Glasgow Museums collecting approach, developed in 2015 to address gender inequality, these works make an unequivocal statement about the value and quality of work by contemporary women and non-binary artists. The new acquisitions increase the number of works by women in the Glasgow Museums’ fine art collection, which already includes internationally renowned artists Karla Black, Christine Borland Anne Collier, Jacqueline Donachie, Jenny Holzer, Barbara Kruger, Victoria Morton, Charlotte Prodger and Hito Steyerl. These recent acquisitions have been made possible through the support of a number of grant funders and organisations supporting the development of public collections. Of particular importance is acquisition of the capsule collection of work by Carol Rhodes (1959 -2018) which includes the painting Land Levels and Rises. Although Rhodes was one of the most respected and admired painters in Scotland, her work was until now not represented in the civic collection of Glasgow, the city where she lived and worked. The acquisition of this painting, and a subsequent generous gift of a framed drawing and three prints, acknowledge her contribution to visual art in the city and her standing as a key British painter of the late 20th and early 21st century. -
Inside a Book a House of Gold – Artists' Editions for Parkett
INSIDE A BOOK A HOUSE OF GOLD – ARTISTS’ EDITIONS FOR PARKETT February 25 2012,Beijing, China UCCA is proud to present a major exhibition in collaboration with Parkett, opening on February 25th. Installed across three of four exhibition spaces at UCCA, “Inside a Book a House of Gold” takes its title from a poetic Editorial Contact: prescription by the most artistic of Chinese emperors, Song Zhenzong(968- 1022 CE). Inside this “house,” 212 edited works by 192 artists, produced in Sybella Chow collaboration with Parkett since the journal’s founded in Zurich in 1984, are +86 10 5780 0253 presented for the first time to a Chinese audience. +86 186 1115 7030 The works, which collectively offer a portrait of the situation and evolution of [email protected] contemporary art at the turn of the twenty-first century, are classified and exhibited according to the logic of domestic space, with a “Playroom,” a “Studio,” a “City,” and a “Wardrobe” framing a central “Garden.” The works Media/UCCA Members/VIP Preview: cover every possible medium including painting, photography, drawing, print, sculpture, video, and sound. Some distill the essence of a given th February 25 artist’s work; others reveal an unexpected dimension. Each of these rooms takes on a special feel and character, aided by walls of consciously different colors. Exhibition dates: February 26th – April 8th, The works on view are all part of Parkett’s ongoing collaboration projects, 2012 which to date also feature three or four in-depth texts on each artist, a total of 89 Parkett volumes and 1400 texts. -
Simon Starling Geboren 1967 in Epsom (GB), Lebt Und Arbeitet In
Simon Starling Geboren 1967 in Epsom (GB), lebt und arbeitet in Kopenhagen (DK) AUSBILDUNG 1990-92 Glasgow School of Art 1987-90 Nottingham Polytechnic 1986-87 Maidstone College of Art 2005 Turner-Preis EINZELAUSSTELLUNGEN 2015 Simon Starling: Metamorphology, Musée d’art contemporain de Montréal, Montreal, Quebec Simon Starling: Pictures for an Exhibition, Musée d’art contemporain de Montréal, Montreal, Quebec Casa Luis Barragan, Mexiko 2014 Simon Starling: Metamorphology, Museum of Contemporary Art, Chicago, IL Simon Starling: Pictures for an Exhibition, Arts Club of Chicago, Chicago, IL Simon Starling: In Speculum, City Gallery, Wellington, Neuseeland The Expedition, Statens Museum for Kunst, Kopenhagen Project Gallery: Simon Starling, Pérez Art Museum, Miami, FL 2013 Loft Lift, Public Art Agency Sweden, Stockholm Open Stores no.3, Staatsgalerie Stuttgart, Stuttgart Phantom Ride, Tate Britain, London In Speculum, Monash University Museum of Art – MUMA, Caulfield East; Institute of Modern Art, Brisbane Simon Starling, Modern Art Oxford, Oxford Black Drop, Radcliffe Observatory, Oxford 2012 Triangulation Station A (40°44’49.17″ N 74°0’22.45″ W), Casey Kaplan, NY Triangulation Station B (52°31’39.61″ N 13°23’38.64″ E), neugerriemschneider, Berlin Reprototypes, Triangulations and Road Tests, Thyssen-Bornemisza Art Contemporary, Wien Trois cent cinquante kilogrammes par mètre carré, La Kunsthalle Mulhouse, Mulhouse Cedex, France, Transit of Venus, Radcliff Observatory, Oxford 2011 Simon Starling, Kunsthal Charlottenborg, Kopenhagen F as in -
Queens Park Music Club
Alan Currall BBobob CareyCarey Grieve Grieve Brian Beadie Brian Beadie Clemens Wilhelm CDavidleme Hoylens Wilhelm DDavidavid MichaelHoyle Clarke DGavinavid MaitlandMichael Clarke GDouglasavin M aMorlanditland DEilidhoug lShortas Morland Queens Park Music Club EGayleilidh MiekleShort GHrafnhildurHalldayle Miekle órsdóttir Volume 1 : Kling Klang Jack Wrigley ó ó April 2014 HrafnhildurHalld rsd ttir JJanieack WNicollrigley Jon Burgerman Janie Nicoll Martin Herbert JMauriceon Burg Dohertyerman MMelissaartin H Canbazerbert MMichelleaurice Hannah Doherty MNeileli Clementsssa Canbaz MPennyichel Arcadele Hannah NRobeil ChurmClements PRoben nKennedyy Arcade RobRose Chu Ruanerm RoseStewart Ruane Home RobTom MasonKennedy Vernon and Burns Tom Mason Victoria Morton Stuart Home Vernon and Burns Victoria Morton Martin Herbert The Mic and Me I started publishing criticism in 1996, but I only When you are, as Walter Becker once learned how to write in a way that felt and still sang, on the balls of your ass, you need something feels like my writing in about 2002. There were to lift you and hip hop, for me, was it, even very a lot of contributing factors to this—having been mainstream rap: the vaulting self-confidence, unexpectedly bounced out of a dotcom job that had seesawing beat and herculean handclaps of previously meant I didn’t have to rely on freelancing Eminem’s armour-plated Til I Collapse, for example. for income, leaving London for a slower pace of A song like that says I am going to destroy life on the coast, and reading nonfiction writers everybody else. That’s the braggadocio that hip who taught me about voice and how to arrange hop has always thrived on, but it is laughable for a facts—but one of the main triggers, weirdly enough, critic to want to feel like that: that’s not, officially, was hip hop. -
Graeme Todd – Resume
Graeme Todd – Resume BORN: 1962 Born in Glasgow RESIDENCE: Dunbar, East Lothian, U.K. EDUCATION: John Florent Stone scholar, Edinburgh College of Art, 1989-1990 Duncan of Jordanstone College of Art, Dundee, 1979-1985 SOLO EXHIBITIONS: 2018 Street Hermit, Summerhall, Edinburgh Graeme Todd, Laure Genillard Gallery, London Street Hermit, Galleria Alessandra Bonomo, Rome 2015 The View from Now Here, Eagle Gallery, London 2013 New Works, Galleria Allesandra Bonomo, Rome 2012 New Works, Guestroom, Brussels 2010 Blank Frank, Mummery + Schnelle, London 2009 Other Side Of The Sky, Gallerie Brigitte Weiss, Zurich Laure Gennilard Presents Graeme Todd, Guest Room, Brussels 2007 K.W.A.N.G, Galerie Brigitte Weiss, Zurich 2006 Galerie S65, Cologne Galleria Alessandra Bonomo, Rome 2005 Hanshin Loop, Andrew Mummery Gallery, London Galerie Brigitte Weiss, Zurich The Seeing Field, Edinburgh Printmakers Gallery 2004 Osaka Contemporary Art Centre, Osaka Angles Gallery, Santa Monica 2003 Andrew Mummery Gallery, London Galerie Brigitte Weiss, Zurich 2002 Galleria Alessandra Bonomo, Rome Kunsthaus, Glarus Galleria Bonomo, Bari 2001 Andrew Mummery Gallery, London Galerie Brigitte Weiss, Zurich 2000 Gallery Side 2, Tokyo Landscapes, Galleria Bonomo, Rome Mount Hiddenabbys, Fruitmarket Gallery, Edinburgh and Leeds Metropolitan University Gallery, Leeds 1998 Andrew Mummery Gallery, London 1997 From Not Island Made Island, the changing room, Stirling 1994 Collective Gallery, Edinburgh 1993 Bower, Pier Arts Centre, Stromness 1989 Seagate Gallery, Dundee SELECED GROUP -
Bios for Web Site
Bios: 2014 CHAUTAUQUA FACULTY/VISITING ARTISTS IN RESIDENCE Resident faculty (rf) teach from 1 to 7 weeks during the summer at Chautauqua. Visiting lecturers and faculty (vl, vf) are at Chautauqua for periods ranging from 1 to 5 days. LISA CORINNE DAVIS: Faculty, Hunter College "Lisa Corinne Davis' paintings occupy a point somewhere between cartooning and cartography, abstraction and figuration. Her carefully articulated images are oddly familiar but essentially ephemeral, visually resonant but also deliberately enigmatic. Davis’ subject has always been the exploration of racial, social, and psychological identity. She has developed her own vocabulary for rendering the world, a lexicon that expresses her personal experience as an African-American woman in the 21st Century, and, by extension, that of an individual in modern society. While subtly avoiding the clichés of special identity politics—if anything, challenging them—Davis provides the viewer with an evocative visual code for deciphering his own environment." (P. Hoban) Davis received her Master of Fine Arts degree from Hunter College and her Bachelor of Fine Arts from Pratt Institute. Her work has been exhibited nationally including exhibitions at June Kelly Gallery, Marlborough Gallery, Spanierman Modern, the Bronx Museum, and Von Lintel Gallery. She is currently represented by Gerald Peters Gallery New York, NY Galerie Gris in Hudson, NY and The Mayor Gallery, London. Her work is included in many collections, including that of The Museum of Modern Art in New York, the J. Paul Getty Museum in Los Angeles, The National Museum of Women in the Arts in Washington, D.C., The Fine Arts Museum of San Francisco, and the Victoria and Albert Museum in London. -
Download Press Release
Sadie Coles HQ Victoria Morton Sadie Coles HQ, 1 Davies Street Pedal Point February 2021 Victoria Morton’s solo exhibition, Pedal Point, comprises a new body of work on canvas in which she distils her multi- layered and analytic approach to painting. Referencing the musical notion of the ‘pedal point’ – a sustained note, during which the harmony and dissonance above it evolve – these recent compositions synthesise rational structure with intuitive expression. Across large and small-scale formats, the canvasses extend the conscious explorations central to Morton’s physical, performative process, counterbalanced with psychological expression. Through this approach, pictorial planes are mapped and contoured through aggregates of freely formed pools of colour, interwoven with linear structures and accumulations of near-pointillist brushstrokes. Shifting between the fluid and the concrete, these abstracted landscapes teem with kinetic tension and desire, simultaneously conjuring, and eluding, literal interpretation. In places Morton engages a loosely defined schemata, examining notions of organic form through the material process of painting itself. Developing techniques that evolved in connection with a recent commission by The Stem Cell Institute in Cambridge, the artist allows pools of oil paint to naturally amass, swell and evaporate across the canvas surface, creating a suspended image parallel to that of a developing photograph. The emergent cellular formations evolve as cosmic landscapes, in which space dilates, shifts, recedes and contracts. Elsewhere improvised ‘automatic’ markings, inspired by musical notations, are reconfigured by networks of diagrammatic or clustered brushstrokes, interpolating the abstract scenery with a spatial rationale of dance-like movement. Morton consciously references a painting lineage that extends from American action painting, biomorphic abstraction, Russian Constructivism and the geometric De Stijl aesthetic of Mondrian. -
When the Personal Is Made Political: Left Political Art Timeline, 1980-1989
_______________________________________________________ _______________________________________________________ When the Personal Is Made Political: Left Political Art Timeline, 1980-1989 Posted: 04/16/2012 4:32 pm G. Roger Denson Cultural critic, essayist, novelist and screenwriter published with Parkett This is Part 4 of the Timeline of Left Political Art, 1980-1989. See Part 1, 1900-1944, Part 2, 1945-1966, and Part 3, 1967-1979, on Huffington Post. It may have been in the 1960s and the 1970s that the American Left enjoyed a tempestuous love affair with the mainstream media, what with its widespread support of Civil Rights, its dissent against the wars in Southeast Asia, and its vibrant counterculture. But it was in the 1980s and 1990s that the Left made deeper and more permanent changes in the fabric of society with regard to gaining substantial ground in terms of the social liberties and political balance gained legislatively, economically and institutionally in the expansion of the racial, gender and sexual emancipation movements. The Left also developed deeper and more nuanced theoretical and cultural productions both in the institutions of higher education and in the arts almost without the notice of the media. It was, after all, the period in which the West saw the Liberal policies and funding of the social and educational programs implemented in the 1960s and 1970s come to fruition in the generation that grew up watching and admiring the activists and counterculture of the 1960s and 1970s. For visual artists in their twenties and thirties, this meant that the 1980s afforded them networks of publicly funded publications and alternative exhibition and screening spaces throughout North America and Western Europe for the exchange of ideas from a Left perspective. -
Christopher Williams Born 1956 in Los Angeles
This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Christopher Williams Born 1956 in Los Angeles. Lives and works in Cologne, Chicago, and Los Angeles. EDUCATION & TEACHING 2008 - present Professor, Kunstakademie Düsseldorf 1981 M.F.A., California Institute of the Arts, Valencia 1978 B.F.A., California Institute of the Arts, Valencia SOLO EXHIBITIONS 2020 Christopher Williams: Footwear (Adapted for Use), David Zwirner, New York 2019 Christopher Williams - MODEL: Kochgeschirre, Kinder, Viet Nam (Angepasst zum Benutzen), C/O Berlin 2018 Christopher Williams: Normative Models, Kestner Gesellschaft, Hanover [catalogue] 2017 Christopher Williams: Books Plus, ARCHIV, Zurich Christopher Williams: Models, Open Letters, Prototypes, Supplements, La Triennale di Milano, Milan Chirstopher Williams: Open Letter: The Family Drama Refunctioned? (From the Point of View of Production), David Zwirner, London Christopher Williams. Stage Play. Supplements, Models, Prototypes, Miller’s, Zurich [organized by gta exhibitions, ETH Zurich] Christopher Williams: Supplements, Models, Prototypes, Corbett vs. Dempsey, Chicago Christopher Williams: Supplements, Models, Prototypes, ETH Zurich, Institute gta, Zurich 2016 Christopher Williams, Capitain Petzel, Berlin 2014 Christopher Williams. For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 19), David Zwirner, New York [artist publication] Christopher Williams: The Production Line of Happiness, Art Institute of Chicago [itinerary: The Museum of Modern Art, New York; Whitechapel Gallery, London] [catalogue] Christopher Williams: The Production Line of Happiness, Galerie Mezzanin, Vienna Christopher Williams: The Production Line of Happiness, Musée d’art moderne et contemporain (MAMCO), Geneva [part of Des histoires sans fin/Endless stories series] 2013 Christopher Williams, Volker Bradtke, Düsseldorf Christopher Williams.