DOCSLIB.ORG

Rachel Whiteread

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

RACHEL WHITEREAD BORN London, April 20, 1963. Lives and works in London. EDUCATION 1987-85 Slade School of Art, London 1985-82 Brighton Polytechnic, Brighton AWARDS 2007 August Seeling Sculpture Prize Winner, Foundation Wilhelm Lehmbruck Museum, Duisburg, Germany 2004 McBean Distinguished Lectureship and Residency, San Francisco Art Institute, San Francisco 2003 The NORD/LB Artist Award, The NORD/LB Norddeutche Landesbank. 1997 Award for Best Young Artist, Venice Biennale, Venice 1993 Recipient of Turner Prize, Tate Gallery, London 1993-92 DAAD Scholarship, Berlin *Created Commander of the British Empire (CBE) in 2006. SOLO EXHIBITIONS 2014 “Rachel Whiteread: Study for Room,” Museo d‟Arte Moderna di Bologna, Bologna, Italy (pamphlet) “Rachel Whiteread,” Gagosian Gallery, Geneva, Italy 2013 “Rachel Whiteread: Detached,” Gagosian Gallery, London, United Kingdom (catalogue) 2011 “Rachel Whiteread: Long Eyes,” Luhring Augustine, New York, NY (catalogue). “Rachel Whiteread: Looking On,” Lorcan O‟Neill, Rome, Italy 2010 “Rachel Whiteread,” Gagosian Gallery, London, United Kingdom. “Rachel Whiteread Drawings,” The Hammer Museum, Los Angeles, CA; traveling to Nasher Sculpture Center, Dallas, TX; Tate Britain, London (catalogue). “Rachel Whiteread,” Galerie Nelson-Freeman, Paris. 2009 “Rachel Whiteread,” Portland Art Museum, Portland, OR 2008 “Rachel Whiteread,” Gagosian, Los Angeles, CA (catalogue) “Rachel Whiteread,” Museum of Fine Arts, Boston, MA 2007 “Rachel Whiteread” August Seeling Prize Exhibition, Lehmbruck Museum, Duisburg, Germany “Rachel Whiteread,” Museo d‟Arte Contemporanea Donna Regina (MADRE), Naples. Curated by Mario Codognato. (exhibition catalog) “Rachel Whiteread,” Galleria Lorcan O‟Neill, Rome, Italy “Rachel Whiteread,” Centro de Arte Contemporáneo de Málaga, Málaga, Spain 2006 “Rachel Whiteread: Bibliography,” Luhring Augustine, New York. 2005 “Rachel Whiteread: Sculpture,” Gagosian Gallery, Los Angeles “Walls, Doors, Floors and Stairs”, Kunsthaus Bregenz, Bregenz, Austria “Embankment: Unilever Series,” Turbine Hall, Tate Modern, London, U.K. “Rachel Whiteread: Plastiken und Zeichnungen (Sculptures and Drawings),” Staatliches Museum Schwerin, Schwerin, Germany 2004 “Rachel Whiteread: Etchings,” Yorkshire Sculpture Park, West Bretton, Wakefield, U.K. “Rachel Whiteread in Brazil,” Museu de Arte Moderna, Rio de Janeiro, Brazil; traveled to Museu de Arte Moderna, São Paulo, Brazil 2003 Room 101, Victoria and Albert Museum, London Gallery Koyanagi, Tokyo, Japan Luhring Augustine, New York, NY 2002 Haunch of Venison, London, England Kukje Gallery, Seoul 2001 “Rachel Whiteread: Transient Spaces”, Deutche Guggenheim Berlin; traveled to The Solomon R. Guggenheim Museum, New York. “Monument”, Fourth Plinth Project, Trafalgar Square, London, England Serpentine Gallery, London; traveled to Scottish National Gallery of Modern Art, Edinburgh “Guggenheim Commissions,” Berlin, Bilbao, and New York 2000 “Watertower Drawings”, Luhring Augustine, New York, NY “Judenplatz: Place of Remembrance,” Vienna, Austria Rachel Whiteread 2 “Daybed,” A/D, New York 1999 Luhring Augustine, New York 1998 Anthony d‟Offay Gallery, London, England “Water Tower Project”, Public Art Fund, New York 1997 Tate Gallery, London Palacio Velázquez, Museuo Nacional Centro de Arte Reina Sofia, Madrid British Pavilion, 47th Venice Biennale, Venice 1996 “Rachel Whiteread: Sculptures,” Luhring Augustine, New York, NY “Rachel Whiteread: Demolished,” Karsten Schubert, London (in collaboration with Charles Booth- Clibborn) “Rachel Whiteread: Shedding Life,” Tate Gallery, Liverpool “Rachel Whiteread: Skulpturen/Sculptures 1988-1996,” Max Gandolph-Bibliothek, Salzburg; traveled to Herbert von Karajan Centrum, Vienna. 1995 “Rachel Whiteread: Skulpturen/Sculptures,” Institute of Contemporary Art, Philadelphia “Rachel Whiteread: Skulpturen/Sculptures,” Institute of Contemporary Art, Boston “Rachel Whiteread: Sculptures,” The British School at Rome, Rome “Rachel Whiteread: Untitled (Floor),” Karsten Schubert, London Museum Sztuki, Lodz, Poland 1994 “Rachel Whiteread: Skulpturen/Sculptures,” Kunsthalle Basel, Basel “Rachel Whiteread: Works on Paper”, Galerie Aurel Scheibler, Koln “Rachel Whiteread: Drawings”, Luhring Augustine, New York 1993 “Rachel Whiteread”, Options Series, Museum of Contemporary Art, Chicago “The Essex Girl Lecture”, Bruno Burnnet Fine Arts, Berlin; Galerie Claire Burrus, Paris “House”, project organized by ARTangel Trust, London “Rachel Whiteread: Zeichnungen,” DAAD Galerie, Berlin “Rachel Whiteread: Plaster Sculptures,” Luhring Augustine, New York, NY 1992 “Rachel Whiteread: Recent Sculpture,” Luhring Augustine, New York, NY “Rachel Whiteread: Escultures,” Sala Montcada de la Fundacio La Caixa, Barcelona, Spain “Rachel Whiteread: Sculptures,” Stedelijk van Abbemuseum, Eindhoven, The Netherlands Centre Cultural, Fundacion Caja Pensiones, Barcelona Karsten Schubert, London 1991 Arnolfini Gallery, Bristol “Rachel Whiteread: Sculptures,” Karsten Schubert Ltd., London Rachel Whiteread 3 1990 “Ghost”, Chisenhale Gallery, London 1988 Carlisle Gallery, London GROUP EXHIBITIONS 2015 “On Paper: Spin, Crinkle, Pluck,” The Baltimore Museum of Art, Baltimore, MD “The Presence of Absence,” Berloni Gallery, London, England “Sleepless: Beds in History and Contemporary Art,” 21er Haus, Vienna, Austria (catalogue) “White,” Museum of Contemporary Art Jacksonville, Jacksonville, FL “Zabludowicz Collection: 20 Years,” Zabludowicz Collection, London, England 2015-2014 “Post-Pop: East Meets West,” Saatchi Gallery, London, UK (catalogue) 2014 “The Anne and Wolfgang Titze Collection,” Winter Palace and 21er Haus, Vienna, Austria (catalogue) "Art Lovers," Grimaldi Forum Monaco, Monaco (catalogue) “Branched: Trees in Contemporary Art,” Museum Sinclair-Haus, Bad Homburg, Germany (catalogue) “Body and Void: Echoes of Henry Moore in Contemporary Art,” Henry Moore Foundation, Perry Green, England* “The House,” Faggionato, London, England “Please Enter,” Franklin Parrasch Gallery, New York, NY (catalogue) “Pliage/Fold,” Gagosian Gallery, Paris, France “Ruin Lust,” Tate Britain, London, England (catalogue) “Something old, something new, something borrowed, something blue,” Fondazione Sandretto Re Rebaudengo, Turin, Italy 2013 “Atlas, Mucha, Kahrs, Whiteread,” Luhring Augustine, New York, NY “Atlas, Mucha, Kahrs, Whiteread,” Luhring Augustine Bushwick, Brooklyn, NY “Drawing Line into Form: Works on Paper by Sculptors from the collection of BNY Mellon,” Tacoma Art Museum, Tacoma, Washington “From Death to Death and Other Small Tales: Masterpieces from The Scottish National Gallery of Modern Art and the D. Daskalopoulos Collection,” The Scottish National Gallery of Modern Art, Edinburgh, Scotland (catalogue) “Homebodies,” Museum of Contemporary Art, Chicago, IL 2012 “Contemporary British Sculpture,” Van de Weghe Fine Art, New York, NY “Family Matters,” Laing Art Gallery, Newcastle, United Kingdom “The Feverish Library,” organized in cooperation with Matthew Higgs, Friedrich Petzel Gallery, New York “The Floor Show: Gravity and Materials,” Gagosian Gallery, Beverly Hills, CA “In Living Color,” The FLAG Art Foundation, New York, New York “Matters of Fact,” Hessel Museum of Art, Center for Curatorial Studies, Bard College, Annandale-on- Hudson, NY “Micro-Mania,” Gagosian, Paris, France “The near and the elsewhere,” PM Gallery, London, United Kingdom “The Family in British Art,” Museum Sheffield, Sheffield, United Kingdom Rachel Whiteread 4 “DECADE: Contemporary Collecting 2002–2012,” The Albright-Knox Gallery, Buffalo, NY 2011 “Dwelling,” Marianne Boesky Gallery, New York, New York “Nod Nod Wink Wink: Conceptual Art in New Mexico and Its Influences,” The Harwood Museum of Art, Mandelman-Ribak Gallery, Taos, New Mexico. “The House Without the Door,” David Zwirner, New York, NY 2010 “Abstraction and the Human Figure in CAM‟s British Art Collection,” Calouste Gulbenkian Foundation‟s Modern Art Centre, Lisgon, Portugal. “Mind and Matter: Alternative Abstractions, 1940s to Now,” The Museum of Modern Art, New York, NY “The Surreal House,” Barbican Art Gallery, London, England “They Knew What They Wanted,” Altman Siegel Gallery, John Berggruen Gallery, Fraenkel Gallery and Ratio 3, San Francisco. “Twenty Five,” Luhring Augustine, New York, NY. 2009-2011 “Mapping the Studio: Artists from the François Pinault Collection,” Punta della Dogana and Palazzo Grassi, Venice, Italy. 2009 “32 Pieces: The Art of Chess,” Reykjavik Art Museum, Reykjavik, Iceland (catalogue). “Automatic Cities: The Architectural Imaginary in Contemporary Art,” Museum of Contemporary Art San Diego, CA (catalogue) “British Subjects: Identity and Self-Fashioning, 1966-2008,” Neuberger Museum, Purchase, NY (catalogue) “elles@centrepompidou: Artistes Femmes Dans La Collection du Musee National D‟Art Moderne, Centre de Creation Industrielle,” Centre Pompidou, Paris, France (catalogue) 2008 “END GAME - British Contemporary Art from the Chaney Family Collection,” The Museum of Fine Arts, Houston, TX (catalogue). “Limited Editions: Boetti, Beuys, Burgin, Dine, Fulton, Havekost, Hirst, Hume, Marden, Paolini, Quinn, Sandback, Schifano, Tremlett, Tuttle, Whiteread,” Galleria Alessandra Bonomo, Rome, Italy. “Psycho Buildings: Artists and Architecture,” The Hayward, London, UK (catalogue). “Sparks! The William T. Kemper Collecting Initiative,” May 3 – July 20, 2008, The Nelson-Atkins Museum of Art, Kansas City, MO (catalogue) “The Lining of Forgetting: Internal and External Memory in Art,” February 10 – May 25, 2008, Weatherspoon Art
Recommended publications
  • Le Marché De L'art

    Le Marché De L'art

    LE MARCHÉ DE L’ART CONTEMPORAIN 2007/2008 LE RAPPORT ANNUEL ARTPRICE CONTEMPORARY ART MARKET THE ARTPRICE ANNUAL REPORT LE BILAN DES VENTES PUBLIQUES LES 500 ARTISTES ACTUELS LES PLUS COTÉS LE MARCHÉ DU DESIGN FOIRES ET GALERIES D’ART CONTEMPORAIN INTERNATIONALES : UN ÉTAT DES LIEUX INÉDIT LES DERNIÈRES TENDANCES Artprice et la FIAC, en partenariat avec Axa Art, ont le plaisir de vous communiquer le nouveau rapport sur le marché de l’art contemporain 2007/2008. Son in- croyable croissance durant les années 2000-2007 avait été analysée dans sa pré- Thierry Ehrmann cédente édition. Cette an- Président fondateur de Artprice née, alors que l’économie occidentale montre des signes d’essoufflement, le marché de l’art contemporain continue a afficher d’excellents résultats aux enchères, avec en toile de fond la montée en puissance de l’Asie et le Moyen-Orient, désormais acteurs incontournables sur l’avant-scène internationale. Artprice, leader mondial de l’information du marché de l’art, a analysé pour vous les tendances dans plus de 72 pays à partir de 2900 maisons de vente, écouté les galeries et étudié les résultats des artistes phares qui font vibrer les salles des ventes. page 2 Toute la cote de l’art sur Artprice.com • 290 000 catalogues de ventes aux enchères dans notre banque de données avec images en ligne. • 25 millions de résultats d’adjudication, prix et indices pour 405 000 artistes. • Les ventes futures de 2 900 maisons de ventes. • Les signatures et biographies d’artistes. • Estimations d’œuvres d’art. L E A D E R M O N D I A L D E L’ I N F O R M AT I O N S U R L E M A R C H E D E L’A R T Tèl : 04 72 42 17 06.
  • Anya Gallaccio

    Anya Gallaccio

    ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition,
  • Anya Gallaccio

    Anya Gallaccio

    Anya Gallaccio 1963 Born in Paisley, Scotland Lives and works in London, UK Education 1985-1988 Goldsmiths’ College, University of London, UK 1984-1985 Kingston Polytechnic, London, UK Residencies and awards 2004 Headlands Center for the Arts, Sansalitos, California, US 2003 Nominee for the Turner Prize, Tate Britain, London, UK 2002 1871 Fellowship, Rothermere American Institute, Oxford, UK San Francisco Art Institute, California, US 1999 Paul Hamlyn Award for Visual Artists, Paul Hamlyn Foundation Award, London, UK 1999 Kanazawa College of Art, JP 1998 Sargeant Fellowship, The British School at Rome, IT 1997 Jan-March Art Pace, International Artist-In-Residence Programme, Foundation for Contemporary Art, San Antonio Texas, US Solo Exhibitions 2015 Lehmann Maupin, New York, US 2014 Stroke, Jupiter Artland, Edinburgh, UK SNAP, Art at the Aldeburgh Festival, Suffolk, UK Blum&Poe, Los Angeles, US 2013 This much is true, Artpace, San Antonio, Texas, US Creation/destruction, The Holden Gallery, Manchester, UK 2012 Red on Green, Jupiter Artland, Edinburgh, UK 2011 Highway, Annet Gelink Gallery, Amsterdam, NL Where is Where it’s at, Thomas Dane Gallery, London, UK 2010 Unknown Exhibition, The Eastshire Museums in Scotland including the Dick Institiute, the Baird Institute and the Doon Valley Museum, Kilmarnock, UK 2009 Inaugural Exhibition, Blum & Poe Gallery, Los Angeles, CA, US Lehmann Maupin Gallery, New York, US 2008 Comfort and Conversation, Annet Gelink Gallery, Amsterdam, NL That Open Space Within, Camden Arts Center, London, UK Kinsale
  • Where Do Ideas Come From?

    Where Do Ideas Come From?

    Where do ideas come from? Where do ideas come from? 1 Where do ideas come from? At Deutsche Bank we surround ourselves with art. International contemporary art plays its part in helping us to navigate a changing world. As a global bank we want to understand, and engage with, different regions and cultures, which is why the Deutsche Bank Collection features contemporary artists from all over the globe. These artists connect us to their worlds. Art is displayed throughout our offices globally, challenging us to think differently, inviting us to look at the world through new eyes. Artists are innovators and they encourage us to innovate. Deutsche Bank has been involved in contemporary art since 1979 and the ‘ArtWorks’ concept is an integral part of our Corporate Citizenship programme. We offer employees, clients and the general public access to the collection and partner with museums, art fairs and other institutions to encourage emerging talent. Where do ideas come from? 2 Deutsche Bank reception area with artworks by Tony Cragg and Keith Tyson Art in London The art in our London offices reflects both our local and global presence. Art enriches and opens up new perspectives for people, helping to break down boundaries. The work of artists such as Cao Fei from China, Gabriel Orozco from Mexico, Wangechi Mutu from Kenya, Miwa Yanagi from Japan and Imran Qureshi from Pakistan, can be found alongside artists from the UK such as Anish Kapoor, Damien Hirst, Bridget Riley and Keith Tyson. We have named conference rooms and floors after these artists and many others.
  • IAN DAVENPORT Press Highlights

    IAN DAVENPORT Press Highlights

    IAN DAVENPORT Press Highlights 509 West 27th Street New York NY 10001 + 1 212 563 4474 kasmingallery.com In the studio with abstract painter Ian Davenport Emily Tobin visits the abstract painter known for his cavalcade of bright hues and unconventional methods in his south London space EMILY TOBIN AUGUST 26, 2020 Photo by Joshua Monaghan Ian Davenport approaches paint like a scientist might approach a new specimen – it is something to be tested, something to explore and challenge. Painting has been the subject of his research for the best part of 30 years. He was a key figure in the Young British Artists scene in London in the Nineties and the youngest person to be nominated for the Turner Prize in 1991. Even back then, he was preoccupied by the relationship between shape, colour and material. ‘My paintings are about fluidity, movement, liquidity and how movement affects installations and spaces,’ he says. His studio in south London is something of a Tardis. Located off a residential street, it is a vast space that allows him to experiment with different techniques and scales. Ian creates many of his paintings by pouring paint down smooth surfaces in linear patterns. In a recent body of work, these kaleidoscopic lines puddle in swirls at the base of each painting, resulting in something nearing sculpture. There are the diagonal works in which paint is poured from opposite sides of the surface and merges in the middle, then there are the Splat pictures, which he creates by 509 West 27th Street New York NY 10001 + 1 212 563 4474 kasmingallery.com squirting paint onto a vertical hanging surface and letting it trickle into random patterns.
  • Venice's Giardini Della Biennale and the Geopolitics of Architecture

    Venice's Giardini Della Biennale and the Geopolitics of Architecture

    FOLKLORIC MODERNISM: VENICE’S GIARDINI DELLA BIENNALE AND THE GEOPOLITICS OF ARCHITECTURE Joel Robinson This paper considers the national pavilions of the Venice Biennale, the largest and longest running exposition of contemporary art. It begins with an investigation of the post-fascist landscape of Venice’s Giardini della Biennale, whose built environment continued to evolve in the decades after 1945 with the construction of several new pavilions. With a view to exploring the architectural infrastructure of an event that has always billed itself as ‘international’, the paper asks how the mapping of national pavilions in this context might have changed to reflect the supposedly post-colonial and democratic aspirations of the West after the Second World War. Homing in on the nations that gained representation here in the 1950s and 60s, it looks at three of the more interesting architectural additions to the gardens: the pavilions for Israel, Canada and Brazil. These raise questions about how national pavilions are mobilised ideologically, and form/provide the basis for a broader exploration of the geopolitical superstructure of the Biennale as an institution. Keywords: pavilion, Venice Biennale, modernism, nationalism, geopolitics, postcolonialist. Joel Robinson, The Open University Joel Robinson is a Research Affiliate in the Department of Art History at the Open University and an Associate Lecturer for the Open University in the East of England. His main interests are modern and contemporary art, architecture and landscape studies. He is the author of Life in Ruins: Architectural Culture and the Question of Death in the Twentieth Century (2007), which stemmed from his doctoral work in art history at the University of Essex, and he is co-editor of a new anthology in art history titled Art and Visual Culture: A Reader (2012).
  • The Art of Quotation. Forms and Themes of the Art Quote, 1990–2010

    The Art of Quotation. Forms and Themes of the Art Quote, 1990–2010

    The Art of Quotation. Forms and Themes of the Art Quote, 1990–2010. An Essay Nina Heydemann, Abu Dhabi I. Introduction A “Japanese” Mona Lisa? An “improved” Goya? A “murdered” Warhol? In 1998, the Japanese artist Yasumasa Morimura staged himself as Mona Lisa.1 Five years later, the British sibling duo Jake and Dinos Chapman ‘rectified’ Francisco de Goya’s etching series „The Disas- ters of War“ by overpainting the figures with comic faces.2 In 2007, Richard Prince spoke about his intention in the 1990s of having wanted to murder Andy Warhol.3 What is it in artists and artworks from the past that prompts so many diverse reactions in contempo- rary art today? In which forms do contemporary artists refer to older works of art? And what themes do they address with them? This paper is an extract of a dissertation that deals with exactly these questions and analyses forms and themes of art quotes.4 Many 1 In the series „Mona Lisa – In Its Origin, In Pregnancy, In The Third Place“ Yasumasa Morimura raised questions of his Japanese identity and hybrid sexuality based on Leonardo da Vinci’s masterwork. 2 Jake Chapman quoted in the Guardian: "We always had the intention of rectifying it, to take that nice word from The Shining, when the butler's trying to encourage Jack Nicholson to kill his family – to rectify the situation". Jones 2007, 11 or online at <http://www.theguardian.com/culture/2003/mar/31/artsfeatures.turnerprize2003> (15.12.2014). 3 Interview with Richard Prince in Thon – Bodin 2007, 31.
  • Michael Landy Born in London, 1963 Lives and Works in London, UK

    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
  • Resource What Is Modern and Contemporary Art

    Resource What Is Modern and Contemporary Art

    WHAT IS– – Modern and Contemporary Art ––– – –––– – – – – – – – – – – – – – – – – – – – – – – – – – – ––– – – – – ? www.imma.ie T. 00 353 1 612 9900 F. 00 353 1 612 9999 E. [email protected] Royal Hospital, Military Rd, Kilmainham, Dublin 8 Ireland Education and Community Programmes, Irish Museum of Modern Art, IMMA THE WHAT IS– – IMMA Talks Series – – – – – – – – – – – – – – – – – – – – – ? There is a growing interest in Contemporary Art, yet the ideas and theo- retical frameworks which inform its practice can be complex and difficult to access. By focusing on a number of key headings, such as Conceptual Art, Installation Art and Performance Art, this series of talks is intended to provide a broad overview of some of the central themes and directions in Modern and Contemporary Art. This series represents a response to a number of challenges. Firstly, the 03 inherent problems and contradictions that arise when attempting to outline or summarise the wide-ranging, constantly changing and contested spheres of both art theory and practice, and secondly, the use of summary terms to describe a range of practices, many of which emerged in opposition to such totalising tendencies. CONTENTS Taking these challenges into account, this talks series offers a range of perspectives, drawing on expertise and experience from lecturers, artists, curators and critical writers and is neither definitive nor exhaustive. The inten- What is __? talks series page 03 tion is to provide background and contextual information about the art and Introduction: Modern and Contemporary Art page 04 artists featured in IMMA’s exhibitions and collection in particular, and about How soon was now? What is Modern and Contemporary Art? Contemporary Art in general, to promote information sharing, and to encourage -Francis Halsall & Declan Long page 08 critical thinking, debate and discussion about art and artists.
  • Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P

    Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P

    contemporary art magazine issue # sixteen december | january twothousandnine Spedizione in a.p. -70% _ DCB Milano NOVEMBER TO JANUARY, 2009 KAREN KILIMNIK NOVEMBER TO JANUARY, 2009 WadeGUYTON BLURRY CatherineSULLIVAN in collaboration with Sean Griffin, Dylan Skybrook and Kunle Afolayan Triangle of Need VibekeTANDBERG The hamburger turns in my stomach and I throw up on you. RENOIR Liquid hamburger. Then I hit you. After that we are both out of words. January - February 2009 DEBUSSY URS FISCHER GALERIE EVA PRESENHUBER WWW.PRESENHUBER.COM TEL: +41 (0) 43 444 70 50 / FAX: +41 (0) 43 444 70 60 LIMMATSTRASSE 270, P.O.BOX 1517, CH–8031 ZURICH GALLERY HOURS: TUE-FR 12-6, SA 11-5 DOUG AITKEN, EMMANUELLE ANTILLE, MONIKA BAER, MARTIN BOYCE, ANGELA BULLOCH, VALENTIN CARRON, VERNE DAWSON, TRISHA DONNELLY, MARIA EICHHORN, URS FISCHER, PETER FISCHLI/DAVID WEISS, SYLVIE FLEURY, LIAM GILLICK, DOUGLAS GORDON, MARK HANDFORTH, CANDIDA HÖFER, KAREN KILIMNIK, ANDREW LORD, HUGO MARKL, RICHARD PRINCE, GERWALD ROCKENSCHAUB, TIM ROLLINS AND K.O.S., UGO RONDINONE, DIETER ROTH, EVA ROTHSCHILD, JEAN-FRÉDÉRIC SCHNYDER, STEVEN SHEARER, JOSH SMITH, BEAT STREULI, FRANZ WEST, SUE WILLIAMS DOUBLESTANDARDS.NET 1012_MOUSSE_AD_Dec2008.indd 1 28.11.2008 16:55:12 Uhr Galleria Emi Fontana MICHAEL SMITH Viale Bligny 42 20136 Milano Opening 17 January 2009 T. +39 0258322237 18 January - 28 February F. +39 0258306855 [email protected] www.galleriaemifontana.com Photo General Idea, 1981 David Lamelas, The Violent Tapes of 1975, 1975 - courtesy: Galerie Kienzie & GmpH, Berlin L’allarme è generale. Iper e sovraproduzione, scialo e vacche grasse si sono tra- sformati di colpo in inflazione, deflazione e stagflazione.
  • David Thorpe : a Rare Beast Maureen Paley

    David Thorpe : a Rare Beast Maureen Paley

    David Thorpe : A Rare Beast Maureen Paley 8 June - 22 July 2012 Review by Henry Little Libidinous, bulbous plants, groaning patterned monoliths, crafted vertebrae and a fleshy length of oak: David Thorpe’s exhibition marries Victorian artisanal creed with the science-fiction, fantasy landscapes of previous years. Earlier works from the middle of the last decade depicted precarious architecture and emblematic civilisations in the wilderness, alone, but romantic and picturesque. Here, we see this peculiar world up close. A monument on eight wooden legs, just tall enough to make you feel small, occasionally asserts itself with a low groan. This seems strange, emanating from a rustic, ornate wall facsimile, devotedly inlaid with looping foliage patterns and constructed in antiquated wattle and daub. Its near neighbour, an upright screen with domestic dark brown tiles with a white foliage pattern, is comparably emphatic in its love of Victorian design. Like the highly influential nineteenth-century writer and critic John Ruskin (1819 - 1900), Thorpe’s current body of work foregrounds a fascination with the relationship between art and nature. And, more specifically, the tension and difference between imitating and recording nature. Ruskin was a keen advocate of botanical illustration, in fact championing these humble craftsmen as artists, not merely ‘illustrators’, and was an avid water-colourist himself. In Thorpe’s botanical watercolours, we see this same impetus to record accurately, but instead of known plants we are presented with fantastical specimens derived, as we may suppose, from the artist’s own universe. These works, if you are so inclined, are truly exceptional. ‘Ecstatic Hangings’ (2012) bears the erotic fruit of the work’s title.
  • Listed Exhibitions (PDF)

    Listed Exhibitions (PDF)

    G A G O S I A N G A L L E R Y Anish Kapoor Biography Born in 1954, Mumbai, India. Lives and works in London, England. Education: 1973–1977 Hornsey College of Art, London, England. 1977–1978 Chelsea School of Art, London, England. Solo Exhibitions: 2016 Anish Kapoor. Gagosian Gallery, Hong Kong, China. Anish Kapoor: Today You Will Be In Paradise. Gladstone Gallery, New York, NY. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor. Lisson Gallery, Milan, Italy. Anish Kapoor. Museo Universitario Arte Contemporáneo, Mexico City, Mexico. 2015 Descension. Galleria Continua, San Gimignano, Italy. Anish Kapoor. Regen Projects, Los Angeles, CA. Kapoor Versailles. Gardens at the Palace of Versailles, Versailles, France. Anish Kapoor. Gladstone Gallery, Brussels, Belgium. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor: Prints from the Collection of Jordan D. Schnitzer. Portland Art Museum, Portland, OR. Anish Kapoor chez Le Corbusier. Couvent de La Tourette, Eveux, France. Anish Kapoor: My Red Homeland. Jewish Museum and Tolerance Centre, Moscow, Russia. 2013 Anish Kapoor in Instanbul. Sakıp Sabancı Museum, Istanbul, Turkey. Anish Kapoor Retrospective. Martin Gropius Bau, Berlin, Germany 2012 Anish Kapoor. Museum of Contemporary Art, Sydney, Australia. Anish Kapoor. Gladstone Gallery, New York, NY. Anish Kapoor. Leeum – Samsung Museum of Art, Seoul, Korea. Anish Kapoor, Solo Exhibition. PinchukArtCentre, Kiev, Ukraine. Anish Kapoor. Lisson Gallery, London, England. Flashback: Anish Kapoor. Longside Gallery, Yorkshire Sculpture Park, West Bretton, England. Anish Kapoor. De Pont Foundation for Contemporary Art, Tilburg, Netherlands. 2011 Anish Kapoor: Turning the Wold Upside Down. Kensington Gardens, London, England. Anish Kapoor: Flashback. Nottingham Castle Museum, Nottingham, England.