Take It from Here, Contemporary Art

Total Page:16

File Type:pdf, Size:1020Kb

Take It from Here, Contemporary Art "I have so often stopped in surprise in front of a painting in a museum - in surprise, admiration and delight - and found it was a CAS donation. I hope the five works I have bought will similarly arrest people; leaving powerful, wondering impressions. " CELIA PLUNKETT buyerfor 1992 'There is nothing cosily reassuring about the new British art. Stubbornly insisting on asking hard questions, these clear-eyed men and women have no desire to provide comfort. At the same time, though, their vivacity and mordant humour are strangely heartening. The tough­ ness of their work generates its own exuberance, and promises well for their future development in a country 'Seldom can there have been a moment in recent times when so much innovative and which has so often done more to stifle visual art than exciting work has been produced by a great number of younger artists in Britain." nurture its essential strength." EDWARD LEE buyerfor 1994 RICHARD CORK buyer 1995 Peter Doig Concrete Cabin, 1991-92, oil on canvas Bridget Riley Untitled. 1991, oil on canv Douglas Gordon Hysterical, 1995, laser disc projection Basil Beattie Witness V/, 1992, oil and wax on cotton duck PURCHASES 1992-1995 CHRISTOPHER WILLIAMS CAROL MCNICOLL MICHAEL CRAIG MARTIN t Selj Portrait. 1991 LANGLANDS & BELL Mermaid Drowning Wendy. ANTONI MALINOVSKI ESTHER K NOBEL Mirror Ring 1993 Bouquet for Jan Bas Ader and Bowl, c IQ82 stoneware Glassoj Water Painting cibachrome transparency, glass Millbank Penitentiary. 1993 Bardo Yellow. 1993 The name oftta Contemporary Art '99* Two Rings, Brooch £ Bracelet 11 n hi steel sandblasted and Christopherd'Arcangeb, igg 1 MARY RESTIEAUX t red and black). 199/ aluminium frame and electrics MtiF glass powder coated inloui etching with aquatint Society buyer is shown in blue dispersion on canvas CAROL MCNICOLL hlai kened with zebrighi and wax mixed media aluminium fltdl Wallhanging. 1992 silk acrylic on canvas with objects JOHN DAVIES Wendy and Hook. 1992 Inscape. 1993 Jug and Cups Set. 1993 gold leaf back mirrot 1 indii aces works bought with a t Mapped Head. 1992 93 SIMON LEWIS ANGUS SUTTIE MICHAEL ROWE RICHARD LONG colour etching with aquatint dispersion on t anvas ceramic Henry Moore Foundation grant epoxy resin Where's Walter. 1993 MARTINA MARGETTS Conditions for Ornament. 1992 Untitled. 1991 KATE WHITEFORD JOHN MURPHY SIMON MOORE Cup. blue and white. 1991 oil and gesso on board ceramic SUSAN BOSENCE brass nnned finish Mississippi mud on pa|*er Black Line Drawing. 1991 Primal Sound. 1993 oil on canvas Green Cylinder. 1992 Step Inside Luv. 1993 glass 1992 Fabric Length, 1992 KEN CURRIE & ROMILLY BRIDGET RILEY charcoal and emulsion on AMIKAM TOREN JULIE WOOD wax resist and blot k printing 1993 oil and gesso on board SAUMAREZ-SMITH Untitled. 199/oil on canvas arches paper O/ the Times series ; 993 JIM PARTRIDGE Heartland. 1992 ANDY WARHOL DAVID NASH polished ceiamic RICHARD FRANCIS ALISON BRITTON Story from Glasgow, 1992 3 CECILY LOWENTHAL Black Line Drawing. 1992 PV A and newspaper pulponianvas CarvedSeal. 1992-93 hook ol 07 linoiuts by Currie in a Joseph Beuys. 1080 Ash Dome, Planted 1977. 1 hart oal and emulsion on oak JULIAN LETHBRIDGE Blue White Pol. 1991 KEITH COVENTRY leather binding by Saumarez Smith unique polaroid photograph Caen y-Coed. Maemwrog. arches paper Untitled, IQQI 132 earlhcnwarc Untitled I Single RomanSinglc JACQUELINE PONCELET GILL HEDLEY commissioned by Martina Margelts North Wales. 1093 RALPH TURNER oil and graphite on linen PETER CHATWIN & liza Minnelli. 1980 Black Line Drawing. 1993 Turningandlying Form. 108b Luton Fan}. 1993 KATE BLACKER IOQZ Part purchase by Martina pastel on paper charcoal and emulsion on RUSHTON AUST PAMELA MARTIN oil on canvas, glass wooden frame clay glaze and slip YASUMASA MORIMURA Margetts and part gilt from Paragon t Mars. Moon. Earth. 1993 SIMON PATTERSON an hes paper fight. 1993 Angels Descending Stairs, 1991 Watermark II. 1992 unique polaroid photograph and gold leal HANS STOFER Press painted and printed union fabric corrugaied cardboard maps in len The Great Bear. 199/ LOIOUI photograph dyed and laminated sycamore DENNIS CREFFIELD Insect Basket. 1993 parts with box MARIA WONG lithograph print with aluminium CAROLINE BROADHEAD JENNY CRISP The Park: Autumn Equinox I. DAVID ELLIOTT mild steel sandblasted and SIMON PATTERSON PETRONILLA SILVER GRENVILLE DAVEY Carrol Neckpiece. 199/ and glass frame purchased with a Double Vision. 1992 93 laqi blackened with zebright and wax JP233H1CSO blue, 1992 Tray, 1992 willow and hazel TONY CARTER SUSAN HILLER 1 (gold) Table. 1991 gram from the Worshipful nylon wall installation PHILIP EGLIN t Hallgarten Blues. 1991 oil on canvas GuljtU. 1991 HANS STOFER oak Company of Painler Stamers PETER CHANG silver, coppet and brass MDF perspex bottles bronze wine Glass. Wire. Twig, and TIM ROLLINS & K.O.S Madonna col Bambino. 1093 SHIRAZEH HOUSHIARY dispersion and oil paint on wallpaper CATHY DE MONCHAUX PAULA REGO Bracelet. 1993 Second Study for Amerika paraffin wax. silver trumpet ninuth What I tell about me I tell abo it on canvas Saffron Brooches. 1993 stoneware The Never I and. 1992 + Defying death 1 ran away to piece cork .urvlii |mlyesterandpvc mild steel sandblasted and A Country House Near New CELIA PLUNKETT you. 1993 SUSAN HILLER the fucking circus. 1991 THOMAS EISL HELEN CHADWICK colour etching with aquatint MAGGI HAMBLING York. 1992 gi.iphueand ,KTVIK on paper on blackened with zehnghl and wax EILEEN COOPER + Loop My Loop. 199/ Cuff (2), /991 btass. velvet leather bolts snaps Light. 1992 Firsl Dragon. 1993 and glass acrylic on paper aluminium steel wood & aluminium Whisper. 1992 cibachronie transparency, glass, dispersion and oil pami on wallpa|ier screws and nvels High-hred clay and engobe pastel on paper aluminium Irameand electrics on canvas, gift of the artist I decided at once "Judgement can only be developed by that I was not constantly looking at a wide range of work going to aim for but among these works there are those the latest hot which have developed a certain recognisable young property point of order and completion, no matter (unless I how open ended the 'content' of the work happened to like might be. This. I think, is what 'museum it when I saw it) worthy' means and when choosing works nor was I I have used this criterion." interested in JANE LEE buyerfor 1995 attempting to gap-fill with established 'Early CAS buyers were told that 'a shilling well modern masters, spent today will go as far as a pound tomorrow.' even if it had been I hope that will be true of my purchases." possible with the CECILY LOWENTHAL buyerfor 1992 budget available. Age would be immaterial, and indeed the artists whose work I have bought span at least three dispafifc: generations. ANGELA WEIGHT buyerfor 1994 above Tracy Mackenna Couplets. 1995. computer animated text Gillian Wearing from the series Signs that say what you want them to say.. top Simon Patterson The Great Bear, 1992, lithograph print 1992-93, type-c print mounted on aluminium (Study for Cruising Disaster. EDWARD LEE Scattered Pirruresf 2) SUSAN HALLS JASPER MORRISON LOUGLAS GORDON COLIN NICHOLAS ^Corridor Personnel.(Springfield KATE BLEE Woven Scarj. 1995 '995 PETER DOIG colour photograph silkscreen Speckled While Horse. 1994 Green Bottles. 1994 t Hysterical. 1995 \" Itinerary, 1992 Hospital). 1994 nk on paper Untitled. 1995 100% wool ConcreteCabin. IQQI 92 poster booklet and cernlicaied stoneware glass video installation purchased with aery he on plastic tube transparency and lightbox Fine wool woven in Kashmir and hand oil on canvas index card Inspirational Picture Blue Horse. 1994 JIM PARTRIDGE F ichard Cork painted with acid dyes PHILIP REEVES HERMIONE WILTSHIRE stitched lace leaf MARK FRANCIS earthenware Tripod Picnic Perch. 1994 JOHN HOOPER Untitled. 1995 Stack. 1995 Introduce. 1993 SARA MACDONALD 1 994 Negative 14}. 1994 PETER DORMER Red Horse. 1994 oak and galvanised steel I Intitled (to Bernstein's "Big Fine wool woven in Kashmir and hand No 6 Double slump bowl oil on canvas FRED BAIER earthenware Stuff ). 24.7 94 26.7 94 MMGELA WEIGHT FLORIS VAN DEN BROECKE mixed media gouache ink. collage painted with acid dyes Tripod. 1994 a rylic on canvas gift from rhe unique photograph, glass wood unsandblasted surface 5AV1D AUSTEN MONA HATOUM Thrown Rider 111. IQQS STC Table. 1994 LUBNA CHOWDHRAY artist SUTTON TAYLOR Jntitled. 1993 t A couple (oj swings). 1993 wood MI>F gold leaf, lac quer ceramic raku bred acrylic reinforced vinyl reinforced Extended Shelf Life. 1995 RICHARD CORK Redbowl, with gold spots. 1992 glass and stainless steel chains MICHAEL BRENNAND MATTHEW HILTON resin JOHN HOOPER LINDA THEOPHILUS moulded and modelled porc elain ill and charcoal on linen earthenware WOOD (Intitled (after seeing BRIDGET SMITH LINDSAY ANDERSON 1ASIL BEATTIE CRAIGIE HORSFIELD Antelope Table. 1087 Grown for Flavour. 1995 Stack O'Lee. 1994 Picasso's "L Atelier"of 1932- Empire (Blue). 7995 Waving. 1994 Witness VI. 1992 Magda Mierwa, ul Nawojki. polished aluminium stained moulded and modelled porcelain fabric acrylic and wood 38), 27 4 94 8.6.94 c lypepnnlonMDF limewood decorated with oils GIFTS TO THE CAS Krakow. August 1084. IQ88 sycamore and stained MDF 1995 SAM TAYLOR WOOD Added Vitamins. 1995 ill and wax on cotton duck a-rylic and oil on canvas LOUISE BALDWIN MICHAEL KERR RONALD CARTER DANNY LANE 5 Revolutionary Seconds 11.1995 tOSA LEE unique photograph JANE LEE Glimpse. 1993 moulded and modelled porcelain Ceramic Dish Stiick, 1994 Dwarf Chair. 1994 C ALLUM INNES colour photo IQQI STEVEN PIPPIN TONY BEERS GILLIAN WEARING hand stitched paper, felt acrylic paint CYNTHIA COUSENS earthenware with a copper and high Reflection, English ash wood Pepetition I Violei/Grey), 1995 alkaline frit glaze, gift from Penelope til on canvas t Vacuum. 1994 f Two Static Slates oil on canvas from the series "Signs that say mixed media Necklace Studies: Winter 1-6, NIGEL COATES RICHARD LA TROBE perspex, aluminium television 2 pan aluminium extrusion what you want them to say and POLL Y BINNS Govett UA1N MILLER Noah Armchair.
Recommended publications
  • Artists' Lives
    National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS
    [Show full text]
  • CV New 2020 Caronpenney (CRAFTSCOUNCIL)
    Caron Penney Profile Caron Penney is a master tapestry weaver, who studied at Middlesex University and has worked in textile production for over twenty-five years. Penney creates and exhibits her own artist led tapestries for exhibition and teaches at numerous locations across the UK. Penney is also an artisanal weaver and she has manufactured the work of artists from Tracey Emin to Martin Creed. Employment DATES October 2013 - Present POSITION Freelance Sole Trader BUSINESS NAME Atelier Weftfaced CLIENTS Martin Creed, Gillian Ayres, Hauser & Wirth Gallery, Campaign for Wool, Simon Martin & Pallant House Gallery TYPE OF BUSINESS Manufacture of Tapestry DATES 2016, 2017 & 2018 POSITION Special Lecturer EMPLOYER Central Saint Martins, University of Arts London LEVEL BA Hons Textile Design TYPE OF BUSINESS Education DATES January 2014 - July 2015 POSITION Consultant EMPLOYER West Dean Tapestry Studio, W. Sussex, PO18 0QU CLIENTS Basil Beattie, Hayes Gallery, Craft Study Centre for ‘Artists Meets their Makers’ exhibition, Pallant House. TYPE OF BUSINESS Manufacture of Tapestry DATES December 2009 - October 2013 POSITION Director EMPLOYER West Dean Tapestry Studio, W. Sussex, PO18 0QU RESPONSIBILITIES The main duties included directing a team of weavers, while creating commissions, curating exhibitions, developing new innovations, assisting with fundraising, and creating a conservation and archiving procedure for the department. CLIENTS Tracey Emin, White Cube Gallery, Martin Creed, Hauser & Wirth Gallery, Historic Scotland. TYPE OF BUSINESS Manufacture of Textiles/Tapestry DATES 2000 - Present POSITION Short Course Tutor EMPLOYERS Fashion and Textiles Museum, Ashmolean Museum, Morley College, Hauser & Wirth Somerset, Ditchling Museum , Fleming Collection, Charleston Farmhouse, West Dean College, William Morris Gallery, and many others.
    [Show full text]
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
    [Show full text]
  • Sturm Und Drang : JONAS BURGERT at BLAIN SOUTHERN GALLERY DAFYDD JONES : JONAS BURGERT at JONAS BURGERT I BERLIN
    FREE 16 HOT & COOL ART : JONAS BURGERT AT BLAIN SOUTHERN GALLERY : JONAS BURGERT AT Sturm und Drang DAFYDD JONES JONAS BURGERT I BERLIN STATE 11 www.state-media.com 1 THE ARCHERS OF LIGHT 8 JAN - 12 FEB 2015 ALBERTO BIASI | WALDEMAR CORDEIRO | CARLOS CRUZ-DÍEZ | ALMIR MAVIGNIER FRANÇOIS MORELLET | TURI SIMETI | LUIS TOMASELLO | NANDA VIGO Luis Tomasello (b. 1915 La Plata, Argentina - d. 2014 Paris, France) Atmosphère chromoplastique N.1016, 2012, Acrylic on wood, 50 x 50 x 7 cm, 19 5/8 x 19 5/8 x 2 3/4 inches THE MAYOR GALLERY FORTHCOMING: 21 CORK STREET, FIRST FLOOR, LONDON W1S 3LZ CAREL VISSER, 18 FEB - 10 APR 2015 TEL: +44 (0) 20 7734 3558 FAX: +44 (0) 20 7494 1377 [email protected] www.mayorgallery.com JAN_AD(STATE).indd 1 03/12/2014 10:44 WiderbergAd.State3.awk.indd 1 09/12/2014 13:19 rosenfeld porcini 6th febraury - 21st march 2015 Ali BAnisAdr 11 February – 21 March 2015 4 Hanover Square London, W1S 1BP Monday – Friday: 10.00 – 18.00 Saturday: 10.00 – 17.0 0 www.blainsouthern.com +44 (0)207 493 4492 >> DIARY NOTES COVER IMAGE ALL THE FUN OF THE FAIR IT IS A FACT that the creeping stereotyped by the Wall Street hedge-fund supremo or Dafydd Jones dominance of the art fair in media tycoon, is time-poor and no scholar of art history Jonas Burgert, 2014 the business of trading art and outside of auction records. The art fair is essentially a Photographed at Blain|Southern artists is becoming a hot issue.
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Michael Landy Born in London, 1963 Lives and Works in London, UK
    Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian
    [Show full text]
  • Henry Moore Grants Awarded 2016-17
    Grants awarded 2016-17 Funding given by Henry Moore Grants 1 April 2016 – 31 March 2017 New projects Pallant House Gallery, Chichester, Exhibition: The Mythic Method: Classicism in British Art 1920-1950, 22 October 2016-19 February 2017 - £5,000 Fundação Bienal de São Paulo, Exhibition: Heather Phillipson and Ruth Ewan's participation in 32nd Bienal de São Paulo - Live Uncertainty, 7 September-11 December 2016 - £10,000 Serpentine Gallery, London, Exhibition: Helen Marten: Drunk Brown House, 29 September-20 November 2016 - £7,000 Auto Italia South East, London, Exhibition: Feral Kin, 2 March-9 April 2017- £2,000 Art House Foundation, London, Exhibition: Alison Wilding Arena Redux, 10 June-9 July 2016 - £5,000 Parasol Unit Foundation for Contemporary Art, London, Exhibition: Robert Therrien: Works 1975- 1995, 2 October-11 December 2016 - £5,000 South London Gallery, Exhibition: Roman Ondak: The Source of Art is in the Life of a People, 29 September 2016-6 January 2017 - £7,000 York Art Gallery (York Museums Trust), Exhibition: Flesh, 23 September 2016-19 March 2017 - £6,000 Foreground, Frome, Commissions: Primary Capital Programme: Phase 1, 8 September 2016-31 January 2017 - £6,000 Barbican Centre Trust, London, Exhibition at The Curve: Bedwyr Williams: The Gulch, 29 September 2016-8 January 2017- £10,000 Glasgow Sculpture Studios, Exhibition: Zofia Kulik: Instead of Sculpture, 1 October-3 December 2016 - £5,000 Tramway, Glasgow: Exhibition/Commission: Claire Barclay: Yield Point, 10 February-9 April 2017 - £3,000 Nasher Sculpture Center,
    [Show full text]
  • Gillian Wearing 28 March – 17 June 2012, Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9)
    Gillian Wearing 28 March – 17 June 2012, Galleries 1, 8 & Victor Petitgas Gallery (Gallery 9) The Whitechapel Gallery presents the first major international survey of Turner Prize-winning British artist Gillian Wearing’s photographs and films which explore the public and private lives of ordinary people. Fascinated by how people present themselves in front of the camera in fly- on-the-wall documentaries and reality TV, Gillian Wearing explores ideas of personal identity through often masking her subjects and using theatre’s staging techniques. This major exhibition surveys Wearing’s work from the early photographs Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say (1992–3) to her latest video Bully (2010) and also includes several new photographs made specially for the Whitechapel Gallery exhibition. Visitors to the exhibition enter a film set-style installation showcasing photographs and films in ‘front and back stage’ areas. Highlights include a striking photograph of the artist posing as her younger self, Self-Portrait at 17 Years Old (2003), Dancing in Peckham (1994), a film which blurs the boundaries between public space and private expression as Wearing dances in the middle of a shopping mall, and the UK premiere of recent film Bully (2010). New photographic works shown for the first time include two portraits of Wearing as artists August Sander and Claude Cahun as part of her ongoing series of iconic photographers, as well as still lives of flowers, looking back to th the rich symbolism of the great age of 17 century Dutch painting.
    [Show full text]
  • New Works on Video by Young British Artists to Open at the Museum of Modern Art
    The Museum of Modern Art For Immediate Release December 1997 NEW WORKS ON VIDEO BY YOUNG BRITISH ARTISTS TO OPEN AT THE MUSEUM OF MODERN ART New Video from Great Britain December 16,1997-February 1,1998 New Video from Great Britain, a survey of the remarkable new wave of work that has emerged from London and Glasgow in recent years, opens at The Museum of Modern Art on December 16, 1997. The program presents notable work by already established figures, such as Sam Taylor-Wood and Douglas Gordon, as well as emerging artists, some of whom are showing in New York for the first time. The two-hour program will be shown continuously in the Garden Hall Video Gallery on the Museum's third floor through February 1, 1998. The exhibition highlights the continuing penchant for conceptual- and performance-based works among young British video artists. Addressing themes of the body, personal identity, and subjectivity in ways that are provocative and playful, ironic and insightful, these works reveal an easygoing familiarity with popular culture that characterizes much of contemporary British life. "Simply and spontaneously shot (often on little more than a domestic camcorder), these 20 or so pieces have a visual impact, flair and invention that belies their low-tech origins and reverberates long after each tape has played," writes Steven Bode, Director of the Film and Video Umbrella, London, who organized the exhibition in conjunction with Barbara London, Associate Curator, and Sally Berger, Assistant Curator, Department of Film and Video, The Museum of Modern Art. -more- 11 West 53 Street, New York, New York 10019 Tel: 212-708-9400 Fax: 212-708-9889 2 "At first glance the young artists in this show appear to use the video camera to capture ordinary gestures, such as simply putting on clothes.
    [Show full text]
  • FRONT DESK / BACK Office
    FRONT DESK / BACK OffIce The secret world of galleries in xxx candid pictures and two texts. There’s something not quite the past five years, but allready right about commercial galleries. since the 1990s I look at the They are a kind of schizophrenic back rooms – the other side of space. On the one hand they the art machine – and became explicitly present things with an obsessed by the understatement intellectual and immaterial val- of the façades, the messy, clut- ue, while on the other hand it is tered desks in the small galleries clear that one could eventually and the cold professionalism of possess these things; the expe- the major players’ offices, and, rience has a price tag attached. above all, the uniformity of the They represent two different re- design. They all have the same alities or systems: the discourse MacBooks and iMacs, the same and the market. The discourse desk lamp by Michele de Lucchi is more at home in art institu- and the same designer furniture tions and artist- and curator-run by Charles & Ray Eames, Arne spaces, where looking at art is Jacobsen and Dieter Rams. not corrupted by finance. Selling Have you ever taken a good is, of course, the commercial look at the front desks? It was gallery’s main function, but the at Air de Paris that I first saw a discourse is equally important. gallery position its office partly It is for this reason that looking as a front desk in the midst of and buying are kept apart and the white cube.
    [Show full text]
  • CV 2010! Between Times
    Clare Strand CV Born 1973! Living and working in Brighton Uk.! www.clarestrand.co.uk! http://clarestrand.tumblr.com! !www.macdonaldstrand.co.uk.! ! ! Solo Exhibitions! 2015 ! Grimaldi Gavin. london . (Title TBC)! 2014! Further Reading. National Museum Of Krakow. Photomonth, Krakow.! 2013! Arles Discovery Award. Rencontre Arles. France.! 2012! Tacschenspielertrick, Forum Fur Fotografie, Cologne. Germany.! 2011! Sleight, Brancolini Grimaldi Gallery, London.! 2009! Clare Strand Fotographie Und Video, Museum Fur Photograhie Braunschweig,! Germany.! Clare Strand Fotographie Und Video, Museum Folkwang, Essen, Germany.! 2008! Clare Strand Recent Works, Fotografins Hus, Stockholm Sweden.! 2005! The Betterment Room – Devices for Measuring Achievement, Senko Studio. Denmark.! 2003! Gone Astray, London College of Communication, London.! 2000! Wasted, Galleri Image, Aarhus, Denmark.! 1998! Seeing Red, Museum of Photography Film and Television, Bradford, England; Imago! Festival, Universidad Salamanca, Spain; Viewpoint Gallery, Salford, England and! Royal Photographic Society, Bath England.! 1997! !The Mortuary, F-Stop Gallery, Bath.! ! Group Exhibitions.! 2015! A History of Art, Archetecture, Design from the 1980’s until Today. curated by Christiane Macel. Center Pompidou. Paris France.! European Portraits ( working title) The Centre of Fine Arts, Brussels, Bozor, Nedermands Fotomuseum , Rotterdam and The National Museum of Photography in Thessaloniki .! 2014! (Mis) Understanding Photography, Folkwang Museum, Essen, Germany. Curated by Florian Ebner!
    [Show full text]
  • BRIAN SEWELL, LESLIE WADDINGTON and ART of the NINETIES: the COLLECTORS THAT DEFINED LONDON's ART WORLD from the 1950S TO
    PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE : 2 6 SEPTEMBER 2 0 1 6 BRIAN SEWELL, LESLIE WADDINGTON AND ART OF THE NINETIES : THE COLLECTORS THAT DEFINED LONDON’S ART WORLD FROM THE 1950s TO PRESENT DAY Top Row (L to R): Matthias Stomer, Brian Sewell and John Craxton, Middle Row (L to R): Leslie Waddington, Jean Dubuffet and Francis Picabia, Bottom Row (L to R): Douglas Gordon, Damien Hirst and Glenn Brown London – This autumn Christie’s will offer works from three private collections that trace the development and trajectory of the London art scene from the 1950s to present day. This begins with the collection of Brian Sewell, the Evening Standard’s late art critic, who was a Specialist in the Old Master Department at Christie’s in the 1950s and 60s, having graduated in Art History at the Courtauld Institute, and nurtured a keen appetite for Renaissance works that span the 1500s through to Modern British artists of the mid-20th century. He built up a distinctive collection and 248 lots will be offered on 27 September including paintings by the Flemish artist Matthias Stomer, works on paper by the likes of Daniele da Volterra and Joseph Anton Koch, and the British Modernism of Duncan Grant and Eliot Hodgkin. One of the most influential collectors that developed London’s tastes was Leslie Waddington, who arrived in the city in 1957 and went on to become one of the most prominent fine art dealers in modern times, introducing the art world to artists from Jean Dubuffet to Patrick Caulfield, bringing the British and European aesthetic to America for the first time, and American Abstract Expressionism to London.
    [Show full text]