DAMIEN HIRST Kupferstichkabinett: Between Thought and Action, White Cube, London, UK

Total Page:16

File Type:pdf, Size:1020Kb

DAMIEN HIRST Kupferstichkabinett: Between Thought and Action, White Cube, London, UK DAMIEN HIRST Kupferstichkabinett: Between Thought and Action, White Cube, London, UK Art, Galerie Haas und Fuchs, Berlin, Germany Née / Born - 1965 - Bristol, UK Have You Ever Really Looked At The Sun?, Haunch Vit et travaille/Lives and works - Devon, UK of Venison, Berlin, Germany Crash: Homage to JG Ballard, Gagosian Gallery, EDUCATION London, UK The Death, So What, Musée Maillol, Paris, France 1986-89 Goldsmiths College, University of London, For the Love of God, Palazzo Vecchio, Florence, Italy London, UK Medicine Cabinets, L & M Arts, New York, NY, USA PRINCIPALES EXPOSITIONS INDIVIDUELLES Poisons, Remedies Gagosian Gallery, Davies St., SELECTED SOLO EXHIBITIONS London, UK The Souls, Paul Stolper Gallery, London, UK 2016 New Religion, National Institution Museum of Cornucopia, Oceanographic Museum of Monaco, Contemporary Art, Skopje, Macedonia Monte Carlo, Monaco 2015 Artist rooms , The Pier Arts Centre, Stromness, UK End of An Era, Gagosian Gallery, New York, NY, LOVE, Paul Stolper Gallery, London, UK USA New Religion, Laznia Centre for Contemporary Art, Theology, Philosophy, Medicine, Justice, Galerie Andrea Gdańsk, Poland Caratsch, Zurich, Germany 2014 Black Scalpel Cityscapes , White Cube São Paolo, São Dark Trees, Galería Hilario Galguera, Leipzig, Paolo, Brazil Germany Schizophrenogenesis, Paul Stolper Gallery, London, Damian Hirst, Galerie de Bellefeuille, QC UK 2009 Nothing Matters, White Cube, London, UK Signification (Hope, Immortality and Death in Paris, Now No Love Lost, The Wallace Collection, London, UK and Then), Deyrolle, Paris, France Life, Death and Love, Galerie Rudolfinum, Prague, The Psalms, McCabe Fine Art, Stockholm, Sweden Czech Republic 2013 Relics, ALRIWAQ, Qatar Museums Authority, Requiem, PinchukArtCentre, Kiev, Ukraine Doha, Qatar Damien Hirst, Kiev Museum, Kiev, Ukraine Entomology Cabinets and Paintings, Scalpel Blade, White 2008 Damien Hirst, Goss Gallery, TX, USA Cube Honk Kong, Hong Kong For the Love of God, Rijksmuseum, Amsterdam, Paintings and Colour Charts, White Cube Hong Netherlands Kong, Hong Kong Beautiful Inside My Head Forever, Sotheby’s Auction, 2012 Two Weeks One Summer, Pinchuk Art Centre, Kiev, London, UK Ukraine Draw, Middlesbrough Institute of Modern Art, Artist Rooms, The New Art Gallery, Walsall, UK Middlesbrough, UK Two Weeks One Summer, White Cube Bermondsey, 2007 Damien Hirst, The Goss-Michael Foundation, TX, Bermondsey, UK USA Damien Hirst, Tate Modern, London, UK Damien Hirst, Galería Hilario Galguera and Museo Utopia, Paul Stolper Gallery, London, UK Nacional de San Carlos, Mexico, Mexico Damien Hirst: The Complete Spot Paintings 1986-2011, New Religion, Palazzo Pesaro Papafava, Venice, Gagosian Gallery, eleven locations worldwide Italy 2011 Gagosian Pop-UP !, Gagosian Gallery, London, UK Damien Hirst, Portland Art Museum, OR, USA Structure & Absence, White Cube Gallery, London, 2006 Corpus: Drawings 1981 - 2006, Gagosian Gallery, UK New York, NY, USA Forgotten Promises, Gagosian Gallery, Hong Kong, A Thousand Years & Triptychs, Gagosian Gallery, Hong Kong London, UK 2010 Tamed, Spanish Barn, Torre Abbey, Torquay, UK The Death of God. Towards a Better Understanding of a Cream, KIASMA, Helsinki, Finland Life Without God Aboard the Ship of Fools, Galería Hilario Galguera, Mexico, Mexico 2005 New Religion, Paul Stolper, London, UK EXPOSITIONS DE GROUPE SÉLECTIONNÉES Damien Hirst. Works on Paper, Robert Sandelson, SELECTED GROUP EXHIBITIONS London, UK Damien Hirst, Astrup Fearnley Museet fur Moderne 2016 In the Cage of Freedom, Kunstmuseum Wolfsburg, Kunst, Oslo, Norway Wolfsburg, Germany Damien Hirst, Static Gallery, Liverpool. IL Sculpture on the move, Kunstmuseum Basel, The Elusive Truth!, Gagosian Gallery, New York, Basel, Switzerland NY, USA 2015 Self, Turner Contemporary, Margate, UK Damien Hirst. In A Spin, Gascoigne Gallery, Sleepless, The Bed in Art History and Contemporary Art, Harrogate, UK Belvedere, Vienna, Austria Damien Hirst – Works on Paper, Andipa Gallery, 2014 Late Harvest, Nevada Museum of Art, NV, USA London, UK ARTLOVERS: Stories of art in the Pinault collection, A Selection of Works by Damien Hirst from Various Grimaldi Forum, Monaco Collections, MFA Boston, Boston, MA, USA Leibhaftig, Arp Museum Bahnhof Rolandseck, 2004 Damien Hirst. Galerie Andreas Binder, Munich, Remagen, Germany Germany. 2013 Théâtre du Mondem, la maison rouge, Paris, France The Agony and the Ecstasy: Selected Works from 1989 – Discontinuous Line: Selections from the Norlinda and José 2004, Museo Archeologico Nazionale di Napoli, Lima Collection, Oliva Creative Factory, São João da Naples, Italy Madeira, Portugal 2003 Damien Hirst, La Caja Negra. Madrid, Spain 2012 AKA PEACE, ICA, London, UK Damien Hirst - Romance in the Age of Uncertainty, The Art of Chess, Saatchi Gallery, London, UK White Cube, London, UK 12 Rooms, Ruhr Triennale 2012, Museum Damien Hirst, Saatchi Gallery, London, UK Folkswang, Essen, Germany 2000 Focus on Damien Hirst. Astrup Fearnley Museum of 2011 The Luminous Interval, Guggenheim, Bilbao, Modern Art, Oslo, Norway Portugal Sadler's Wells, London, UK Modern British Sculpture, Royal Academy, London, Gagosian Gallery, New York, NY, USA UK Saatchi Gallery, London, UK Made in Britain: Contemporary Art from the British White Cube, London, UK Council Collection, Hong Kong Heritage Museum, 1999 Pharmacy, Tate Gallery, London, UK Hong Kong 1998 Museum of Contemporary Art. Chicago, IL, USA 2010 Made in Britain - Contemporary Art from the British 1997 Astrup Fearnley Museum of Modern Art, Oslo Council Collection 1980 - 2010, Sichan Museum, Norway Chengdu Helsinki City Art Museum, Helsinki, Finland Cream, KIASMA, Helsinki, Finland The Beautiful Afterlife. Bruno Bischofberger. Zurich, Kupferstichkabinett: Between Thought and Action, White Germany, Cube, London, UK 1996 No Sense of Absolute Corruption. Gagosian Gallery. Art, Galerie Haas und Fuchs, Berlin, Germany New York, NY, USA 2009 Who's Afraid of the Artists?, Palais des Arts de 1995 Pharmacy, Kukje Gallery. Seoul, South Korea Dinard, Dinard, France 1994 Pharmacy, Museum. Dallas, TX, USA Pot Luck, The New Art Gallery, Walsall, UK 1993 Visual Candy. Regen Projects. Los Angeles, CA, Passports: Great Early Buys from the British Council USA Collection, Whitechapel, London, UK Damien Hirst, Galerie Jablonka, Cologne, Germany 2008 You Dig The Tunnel, I’ll Hide The Soil, White Cube, 1992 Pharmacy. Cohen Gallery. New York, NY, USA London, UK 1991 In & Out of Love. Woodstock Street Gallery, Art Machines, Museum Tinguely, Basel, Switzerland London, UK Broad Contemporary Art Museum, LACMA, Los Angeles, CA, USA Turner Prize: A retrospective, Moscow Museum of Modern Art, Moscow, Russia Play Back, ARC/Musée de la Ville de Paris, Paris, 2001 Double Vision, Galerie für Zeitgenössische Kunst, France Leipzig, Germany Art Machines, Schirn Kunsthalle, Frankfurt, Freestyle. Werke Aus der Sammlung Boros, Germany Museum Morsbroich, Leverkusen, Germany Turner Prize Retrospective 1984 –2006, Tate Britain, Beautiful Productions. Art to play, art to wear, art to own, London, UK Whitechapel, London, UK Re-Object, Kunsthaus Bregenz, Bregenz, Austria 2000 Out There, White Cube², Hoxton, London, UK Relationships: Contemporary Sculpture, York Art Ant Noises, Saatchi Gallery, London, UK Gallery, York, UK Art in Sacred Spaces, St. Stephen’s Church, London, Aftershock: Contemporary British Art 1990-2006, UK Capital Museum, Beijing, China 1999 Fourth Wall. Turner on the Thames, Southbank, 2007 Beyond Belief, White Cube Masons Yard, London London, UK Stations of the Cross, Essl Museum of Fun de Siecle, Group Show, Walsall Museum and Contemporary Art, Vienna, Austria Art Gallery, Walsall, UK New Religion, Paul Stolper Gallery and Examining Pictures, Whitechapel Art Gallery, Wallspace, London, UK London, UK Superstition, Gagosian Gallery, Los Angeles, CA, 1998 Potrait of Our Times: An Introduction to the Logan USA Collection, San Francisco Museum of Modern Art, Superstition, Gagosian Gallery, London, UK San Francisco, CA, USA 2006 INFINITE PAINTING: Contemporary Painting and UK Maximum Diversity, Galerie Krinzinger, Benger Global Realism, Villa Manin Centro D’Arte Fabrik Bregenz, Bregenz, Austria Contemporanea, Passariano, Italy 1997 Turning Up #4, Kunstmuseum Wolfsburg, Modern Time. Work, Machineries and Automation in the Germany Arts of 1900, Commune di Genoa and Palazzo Package Holiday, Hydra Workshops, Hydra, Greece Ducale, Genoa, Italy Sunny Days / Critical Times. An Exhibition of Works 2005 Logical Conclusions, Pacewildenstein, New York, from the Bohen Foundation’s Collection, The Bohen NY, USA Foundation, New York, NY, USA Major Prints, John Berggruen Gallery, San 1996 Life/Live, Musee d’Art Moderne de la Ville de Francisco, CA, USA Paris, Paris, France Imageless Icons: Abstract Thoughts, Gagosian Gallery, Zeit-Spiegel I, Städtishces Museum Schloß London, UK Morsbroich, Leverkusen, Germany 2004 In-a-Gadda-da-Vida at Tate Britain, London, UK Other Men’s Flowers, Galerie Aurel Scheibler, Survey of Key Works from 1989-2004, Museo Cologne, Germany Nazionale Archaeologico, Naples, Italy 1995 The Reflected Image, Museo Pecci, Prato, Italy 2003 Bull’s Eye; Works from the Astrup Fearnley Collection, Brilliant! Art from London, Walker Art Centre, Arken Museum for Moderne Kunst, Arken, Minneapolis, MN, USA Denmark 1994 Virtual Reality, National Gallery of Australia, In Good Form; Recent Sculpture from the Arts Council Canberra, Australia Collection, Yorkshire Sculpture Park, Wakefield, UK Cocido Y Crudo, Reina Sofia, Madrid, Spain Dreams and Conflicts:
Recommended publications
  • PRESS RELEASE Los Angeles Collectors Jane and Marc
    PRESS RELEASE Los Angeles Collectors Jane and Marc Nathanson Give Major Artworks to LACMA Art Will Be Shown with Other Promised Gifts at 50th Anniversary Exhibition in April (Image captions on page 3) (Los Angeles, January 26, 2015)—The Los Angeles County Museum of Art (LACMA) is pleased to announce eight promised gifts of art from Jane and Marc Nathanson. The Nathansons’ gift of eight works of contemporary art includes seminal pieces by Damien Hirst, Roy Lichtenstein, Frank Stella, Andy Warhol, and others. The bequest is made in honor of LACMA’s 50th anniversary in 2015. The gifts kick off a campaign, chaired by LACMA trustees Jane Nathanson and Lynda Resnick, to encourage additional promised gifts of art for the museum’s anniversary. Gifts resulting from this campaign will be exhibited at LACMA April 26–September 7, 2015, in an exhibition, 50 for 50: Gifts on the Occasion of LACMA’s Anniversary. "What do you give a museum for its birthday? Art. As we reach the milestone of our 50th anniversary, it is truly inspiring to see generous patrons thinking about the future generations of visitors who will enjoy these great works of art for years and decades to come,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “Jane and Marc Nathanson have kicked off our anniversary year in grand fashion.” Jane Nathanson added, “I hope these gifts will inspire others to make significant contributions in the form of artwork as we look forward not only to the 50th anniversary of the museum, but to the next 50 years.
    [Show full text]
  • Contemporary Art Society Annual Report 1993
    THE CONTEMPORARY ART SOCIETY The Annual General Meeting of the Contemporary Art Society will be held on Wednesday 7 September, 1994 at ITN, 200 Gray's Inn Road, London wcix 8xz, at 6.30pm. Agenda 1. To receive and adopt the report of the committee and the accounts for the year ended 31 December 1993, together with the auditors' report. 2. To reappoint Neville Russell as auditors of the Society in accordance with section 384 (1) of the Companies Act 1985 and to authorise the committee to determine their remunera­ tion for the coming year. 3. To elect to the committee Robert Hopper and Jim Moyes who have been duly nominated. The retiring members are Penelope Govett and Christina Smith. In addition Marina Vaizey and Julian Treuherz have tendered their resignation. 4. Any other business. By order of the committee GEORGE YATES-MERCER Company Secretary 15 August 1994 Company Limited by Guarantee, Registered in London N0.255486, Charities Registration No.2081 y8 The Contemporary Art Society Annual Report & Accounts 1993 PATRON I • REPORT OF THE COMMITTEE Her Majesty Queen Elizabeth The Queen Mother PRESIDENT Nancy Balfour OBE The Committee present their report and the financial of activities and the year end financial position were VICE PRESIDENTS statements for the year ended 31 December 1993. satisfactory and the Committee expect that the present The Lord Croft level of activity will be sustained for the foreseeable future. Edward Dawe STATEMENT OF COMMITTEE'S RESPONSIBILITIES Caryl Hubbard CBE Company law requires the committee to prepare financial RESULTS The Lord McAlpine of West Green statements for each financial year which give a true and The results of the Society for the year ended The Lord Sainsbury of Preston Candover KG fair view of the state of affairs of the company and of the 31 December 1993 are set out in the financial statements on Pauline Vogelpoel MBE profit or loss of the company for that period.
    [Show full text]
  • Gagosian Gallery
    Artsy April 2, 2019 GAGOSIAN How Takashi Murakami Got His Start as an Artist Scott Indrisek “At the studio I rented for $80 a month on Lorimer Street in Brooklyn, uncertain whether I would have anything to eat the next day.” © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy of Gagosian. In the second installment of a new series, we continue to shine a light on the tumultuous early days of artists who have since become household names. Takashi Murakami, 57, may now be an international art star and a cultural icon, but he was once a disgruntled student, bored with his conservative schooling and dreaming of better things. Indeed, when he was just starting out, Murakami claimed no special status as an artist. “I was never particularly talented at drawing or painting,” he said; hard work, practice, and determination would sharpen those skills. He had his first solo show in 1989, at Tokyo’s Ginza Surugadai Gallery, and began traveling from his native Japan to New York City around that time. Murakami always thought of New York as one of the art world’s vital centers, and he was willing to struggle in order to absorb what it had to offer. He recalled once renting a studio on Lorimer Street in Brooklyn for a mere $80 a month (“uncertain whether I would have anything to eat the next day,” he added). In 1994, he landed a residency in the prestigious PS1 International Studio Program. These early experiences helped shape Murakami’s unique artistic vision. The hyperconfident artist would eventually become a global brand, his manga-inspired creations taking over the world—one wild sculpture and painting at a time.
    [Show full text]
  • Press Release
    Press Release Abigail Lane Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) Victoria Miro Gallery, 4 October – 10 November 2001 The exhibition is organized by the Milton Keynes Gallery in collaboration with Film and Video Umbrella The Victoria Miro Gallery presents a major solo exhibition of work by Abigail Lane. Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) extends her preoccupation with the fantastical, the Gothic and the uncanny through a trio of arresting and theatrical installations which are based around film projections. Abigail Lane is well known for her large-scale inkpads, wallpaper made with body prints, wax casts of body fragments and ambiguous installations. In these earlier works Lane emphasized the physical marking of the body, often referred to as traces or evidence. In this exhibition Lane turns inward giving form to the illusive and intangible world of the psyche. Coupled with her long-standing fascination with turn-of-the-century phenomena such as séances, freak shows, circus and magic acts, Lane creates a “funhouse-mirror reflection” of the life of the mind. The Figment explores the existence of instinctual urges that lie deep within us. Bathed in a vivid red light, the impish boy-figment beckons us, “Hey, do you hear me…I’m inside you, I’m yours…..I’m here, always here in the dark, I am the dark, your dark… and I want to play….”. A mischievous but not sinister “devil on your shoulder” who taunts and tempts us to join him in his wicked game. The female protagonist of The Inclination is almost the boy-figment’s antithesis.
    [Show full text]
  • Conrad Shawcross
    CONRAD SHAWCROSS Born 1977 in London, UK Lives and works in London, UK Education 2001 MFA, Slade School of Art, University College, London, UK 1999 BA (Hons), Fine Art, Ruskin School of Art, Oxford, UK 1996 Foundation, Chelsea School of Art, London, UK Permanent Commissions 2022 Manifold 5:4, Crossrail Art Programme, Liverpool Street station, Elizabeth line, London, UK ​ ​ 2020 Schism Pavilion, Château la Coste, Le Puy-Sainte-Réparade, France ​ ​ ​ ​ ​ ​ ​ ​ Pioneering Places, Ramsgate Royal Harbour, Ramsgate, UK ​ ​ 2019 Bicameral, Chelsea Barracks, curated by Futurecity, London, UK ​ 2018 Exploded Paradigm, Comcast Technology Centre, Philadelphia, USA ​ 2017 Beijing Canopy, Guo Rui Square, Beijing, China ​ 2016 The Optic Cloak, The Energy Centre Greenwich Peninsula, curated by Futurecity, London, UK ​ Paradigm, Francis Crick Institute, curated by Artwise, London, UK ​ 2015 Three Perpetual Chords, Dulwich Park, curated and managed by the Contemporary Art Society for ​ Southwark Council, London, UK 2012 Canopy Study, 123 Victoria Street, London, UK ​ 2010 Fraction (9:8), Sadler Building, Oxford Science Park, curated and managed by Modus Operandi, Oxford, ​ UK 2009 Axiom (Tower), Ministry of Justice, London, UK ​ 2007 Space Trumpet, Unilever House, London, UK ​ Solo Exhibitions 2020 Conrad Shawcross, an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK ​ ​ Escalations, Château la Coste, Le Puy-Sainte-Réparade, France ​ ​ ​ ​ ​ ​ ​ ​ Celebrating 800 years of Spirit and Endeavour, Salisbury Cathedral, Salisbury,
    [Show full text]
  • Aftershock: the Ethics of Contemporary Transgressive
    HORRORSHOW 5 The Transvaluation of Morality in the Work of Damien Hirst I don’t want to talk about Damien. Tracey Emin1 With these words Tracey Emin deprived the art world of her estimation of her nearest contemporary and perhaps the most notorious artist associated with the young British art phenomenon. Frustrating her interviewer’s attempt to discuss Damien Hirst is of course entirely Emin’s prerogative; why should she be under any obligation to discuss the work of a rival artist in interview? Given the theme of this book, however, no such discursive dispensation can be entertained. Why Damien Hirst? What exactly is problematic about Hirst’s art? It is time to talk about Damien. An early installation When Logics Die (1991) provides a useful starting point for identifying the features of the Hirstean aesthetic. High-definition, post- mortem forensic photographs of a suicide victim, a road accident fatality and a head blown out by a point-blank shotgun discharge are mounted on aluminium above a clinical bench strewn with medical paraphernalia and biohazard material. Speaking to Gordon Burn in 1992, the artist explained that what intrigued him about these images was the incongruity they involve: an obscene content yet amenable to disinterested contemplation in the aesthetic mode as a ‘beautiful’ abstract form. ‘I think that’s what the interest is in. Not in actual corpses. I mean, they’re completely delicious, desirable images of completely undesirable, unacceptable things. They’re like cookery books.’2 Now remember what he’s talking about here. Sustained, speculative and clinically detached, Hirst’s preoccupation with the stigmata of decomposition, disease and mortal suffering may be considered to violate instinctive taboos forbidding pleasurable engagement with the spectacle of death.
    [Show full text]
  • Stephen Snoddy
    Stephen Snoddy During his precocious student years at Belfast College of Art, Stephen Snoddy never stopped painting. Driven by a powerful urge to explore and define his own vision of the world, this energetic young man produced an impressive body of work. It eventually ensured that he graduated with an MA in 1983, but within 4 years Snoddy put down his brushes. He did not pick them up again for over 20 years, and pursued instead a distinguished career as the director of maJor galleries across Britain. All the creative dynamism which had fuelled his youthful paintings became channelled into curating ambitious exhibitions and building collections. Then, quite suddenly, he experienced a mind-altering revelation. In 2012 his mother gave him a book (8 x 8) containing the series of 64 monoprints he had made way back in 1981 which had been produced serially over a few days. Monoprints differ from editioned prints in that only one impression is taken from a plate; reusing the plate for multiple unique prints allowed Snoddy to incorporate the erasures, palimpsests, and ghosts of previous explorations into subsequent work that became 8 sets of 8 monoprints. Leafing through these exuberant images, all of which had retained their original freshness, Snoddy felt overwhelmed and galvanised. The vision he had managed to develop as a student stirred his imagination once again. The sensuous monoprints made him determined to recover this creative impulse and pursue it further. So he began looking objectively back through slides of all his student paintings, rediscovering the sheer intensity which had driven him to produce such a prolific outpouring of early work.
    [Show full text]
  • THBT Social Disgust Is Legitimate Grounds for Restriction of Artistic Expression
    Published on idebate.org (http://idebate.org) Home > THBT social disgust is legitimate grounds for restriction of artistic expression THBT social disgust is legitimate grounds for restriction of artistic expression The history of art is full of pieces which, at various points in time, have caused controversy, or sparked social disgust. The works most likely to provoke disgust are those that break taboos surrounding death, religion and sexual norms. Often, the debate around whether a piece is too ‘disgusting’ is interwoven with debate about whether that piece actually constitutes a work of art: people seem more willing to accept taboo-breaking pieces if they are within a clearly ‘artistic’ context (compare, for example, reactions to Michelangelo’s David with reactions to nudity elsewhere in society). As a consequence, the debate on the acceptability of shocking pieces has been tied up, at least in recent times, with the debate surrounding the acceptability of ‘conceptual art’ as art at all. Conceptual art1 is that which places an idea or concept (rather than visual effect) at the centre of the work. Marchel Duchamp is ordinarily considered to have begun the march towards acceptance of conceptual art, with his most famous piece, Fountain, a urinal signed with the pseudonym “R. Mutt”. It is popularly associated with the Turner Prize and the Young British Artists. This debate has a degree of scope with regards to the extent of the restriction of artistic expression that might be being considered here. Possible restrictions include: limiting display of some pieces of art to private collections only; withdrawing public funding (e.g.
    [Show full text]
  • Gagosian Gallery
    Financial Times January 20, 2020 GAGOSIAN Living with Damien Hirst and friends Robert Tibbles was an early collector of the Young British Artists — now he is preparing to sell many of his acquisitions Melanie Gerlis Caption (TNR 9 Italicized) Everyone likes to say that they discovered an artist before they were famous, but in the case of the London bond salesman Robert Tibbles, the claim is true. Back in the 1980s, the late art dealer Karsten Schubert introduced Tibbles to the work of an art student called Damien Hirst. Alongside Charles Saatchi, Tibbles then became one of the now-superstar artist’s first buyers. So began an intense, 15-year collecting spree, mostly of works by Hirst and other Young British Artists. These now dominate Tibbles’s Victorian ground-floor flat in London’s leafy Kensington, where an early Hirst spot painting, “Antipyrylazo III” (1994), has loomed almost too large over the living room fireplace since Tibbles bought it in the year it was made. Hanging nearby is another early purchase — Hirst’s degree-show medicine cabinet “Bodies” (1989) — a work that demonstrates Tibbles’s aptitude for picking the right time in the art market as well as the debt markets. He bought the cabinet for £600 (again, in the year it was made) and now, as Tibbles prepares to sell much of his YBA collection at auction at Phillips in London, the cabinet is valued between £1.2m and £1.8m. “There’s no question that the medicine cabinet and other works were not liked or understood by many of my friends.
    [Show full text]
  • Gagosian Gallery
    Artforum January, 2000 GAGOSIAN 1999 Carnegie International Carnegie Museum of Art Katy Siegel When you walk into the lobby of the Carnegie Museum, the program of this year’s International announces itself in microcosm. There in front of you is atmospheric video projection (Diana Thater), a deadpan disquisition on the nature of representation (Gregor Schneider’s replication of his home), a labor-intensive, intricate installation (Suchan Kinoshita), a bluntly phenomenological sculpture (Olafur Eliasson), and flat, icy painting (Alex Katz). Undoubtedly the best part of the show, the lobby is also an archi-tectural site of hesitation, a threshold. Here the installation encapsulates the exhi-bition’s sense of historical suspen-sion, another kind of hesitation. Ours is a time not of endings but of pause. My favorite work, viewed through the museum’s huge glass wall, was the Eliasson, a fountain of steam wafting vertically from an expanse of water on a platform through which trees also rise up. It’s a heart-throbbing romantic landscape. Romantic, but not naive: The work plays on the tradition of the courtyard fountain, and the steam is piped from the museum’s heating system. Combining the natural and the industrial in a way peculiarly appro-priate to Pittsburgh on a quiet Sunday morning in early autumn, it echoed two billows of steam (or, more queasily, smoke?) off in the distance. When blunt physical fact achieves this kind of lyricism, it is something to see. Upstairs in the galleries, Ernesto Neto’s Nude Plasmic, 1999, relies as well on the phenomenology of simple form, but the Brazilian artist avoids Eliasson’s picturesque imagery.
    [Show full text]
  • Bortolami Gallery Through June 15Th, 2019.” Art Observed, May 30Th, 2019, Illus
    BORTOLAMI Virginia Overton (b. 1971 in Nashville, Tennessee) Lives and works in Brooklyn, New York Education 2005 University of Memphis, TN, MFA 2002 University of Memphis, TN, BFA Solo Exhibitions 2019 Água Viva, Bortolami, New York, NY Francesca Pia, Zürich, Switzerland (forthcoming) 2018 Built, Don River Valley Park, Toronto, Canada secret space, Biel, Switzerland Built, Socrates Sculpture Park, Queens, NY Virginia Overton, University of Memphis Fogelman Galleries, Memphis, TN 2017 Why?! Why Did You Take My Log?!?!, Museum of Contemporary Art, Tucson, AZ 2016 Winter Garden, Whitney Museum of American Art, New York, NY White Cube Bermondsey, London, England Sculpture Gardens, Whitney Museum of American Art, New York, NY The Aldrich Contemporary Art Museum, Ridgefield, CT 2015 White Cube, London, England 2014 Flat Rock, Museum of Contemporary Art North Miami, North Miami, FL 2013 Westfälischer Kunstverein, Munster, Germany Kunsthalle Bern, Bern, Switzerland Mitchell-Innes & Nash, New York, NY 2012 The Kitchen, New York, NY Deluxe, The Power Station, Dallas, TX 2011 Freymond-Guth, Zürich, Switzerland 2010 Untitled (Milano), N.O. Gallery, Milan, Italy Cheekwood Museum of Art, Nashville, TN True Grit, Dispatch, New York, NY 2008 Moving on South, curated by Dana Orland, White Box, New York, NY This Is Not A Ladder, Artlab at AMUM, Memphis, TN 39 WALKER STREET NEW YORK NY 10013 T 212 727 2050 BORTOLAMIGALLERY.COM BORTOLAMI 2007 Skytracker, Powerhouse, Memphis, TN Selected Group Exhibitions 2019 Downtown Painting, curated by Alex Katz, Peter
    [Show full text]
  • Related Press 10 Unmissable Exhibitions As London's Galleries
    Culture Whisper 10 unmissable exhibitions as London's galleries reopen 8 April 2021 10 unmissable exhibitions as London's galleries reopen London's commercial galleries are reopening from 12 April with the gradual easing of lockdown and we can't wait to don our walking shoes. Here are our top exhibition picks. But remember to check the gallery websites before visiting, as many will require pre-booking ahead of your visit. Stephen Friedman Stephen Friedman gallery is re-opening with three vibrant shows. Inspired by the rainforests of South America, Luiz Zerbini’s exhibition of paintings will bring some Brazilian colour to London this April as he explores the relationship between nature and humanity. A group exhibition titled Threadbare will tackle gender, sexuality and race with arresting installations by Jonathan Baldock, Huguette Caland, Jeffrey Gibson and Tau Lewis. Stephen Friedman Gallery will also be launching a group show at The London House of Modernity, celebrating all things Nordic. All of these exhibitions will open 13 April. David Zwirner On 15 April David Zwirner will be opening its doors again with two exhibitions. At 24 Grafton Street a posthumous show of works by Antiguan polymath Frank Walker will demonstrate the range and depth of this little- known artist’s work. In the gallery’s upper room you can take in the strange and sometimes haunting works of Luc Tuymans. Created during lockdown, these works speak of introspection and a worldview mediated through the distorted lens of the internet. Gagosian On 12 April, Gagosian will be re-opening its London sites. At 6–24 Britannia Street you can catch Damien Hirst’s Fact Paintings and Fact Sculptures, an exhibition which will bring together 15 years worth of hyperreal paintings and sculptures, taking in world events, together with elements from the artist's personal life, such as the birth of his son.
    [Show full text]