Fine Art Reading List
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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 -
Charles Saatchi's 'Newspeak'
Charles Saatchi’s ‘Newspeak’ By Jackie Wullschlager Published: June 4 2010 22:15 | Last updated: June 4 2010 22:15 Is Charles Saatchi having fun? On the plus side, he is the biggest private collector in Britain. His Chelsea gallery is among the most beautiful and well-appointed in the world. It is relaxed, impious, free, and full, which matters because, as Saatchi often admits, “I primarily buy art to show it off.” He buys whatever he likes, often on a whim: “the key is to have very wobbly taste.” Yet for all the flamboyance with which he presents his purchases, it is not clear that he is convinced by them. “By and large talent is in such short supply mediocrity can be taken for brilliance rather more than genius can go undiscovered,” he says, adding that when history edits the late 20th century, “every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote.” These quotations come from a question-and-answer volume, My Name is Charles Saatchi and I am an Artoholic, published last autumn, and their tone of breezy disenchantment, combined with the insouciance with which his new show, Newspeak, is selected and curated, suggests that at 67 Saatchi is downgrading his game. After recent exhibitions concentrated on China, the Middle East, America and India, Newspeak It Happened In The Corner’ (2007) by Glasgow-based duo littlewhitehead returns to the territory with which he made his name as a collector in Sensation in 1997: young British artists. But whereas Sensation, tightly selected around curator Norman Rosenthal’s theme of a “new and radical attitude to realism” by artists including Hirst, Jake and Dinos Chapman, Rachel Whiteread, Marc Quinn, had a precise, powerful theme, Newspeak has a scatter-gun, unfocused approach. -
Georg Baselitz: Raw Views of a Painful Past
The New York Times February 26, 2014 GAGOSIAN GALLERY Georg Baselitz: Raw Views of a Painful Past Farah Nayeri Georg Baselitz in his studio. Credit Martin Müller/Gagosian Gallery LONDON — In the autumn of 1958, an East German art student ventured into an exhibition of American paintings and was staggered by what he saw. Hanging on wall after wall of a West Berlin academy were works by Jackson Pollock, Willem de Kooning and other Abstract Expressionists. “I found those pictures so overwhelming, so totally unexpected, so different from the experience of my own world at the time that I felt totally desperate, because I thought I’d never stand a chance of doing well compared to those painters,” Georg Baselitz recalled in an interview at the Gagosian Gallery here. “The dimensions, to us, were just huge: an expression of freedom,” Mr. Baselitz said, speaking through a translator. “Our canvases felt pathetic, tiny.” More than a half-century later, Mr. Baselitz carries that experience with him. Now 76, he is being honored with three London exhibitions: “Farewell Bill,” a tribute to De Kooning is at Gagosian through March 29; “Germany Divided: Baselitz and His Generation,” through Aug. 31 at the British Museum, features more than 40 of Mr. Baselitz’s works on paper; and he has lent some 16th-century prints to the Royal Academy of Arts’s “Renaissance Impressions: Chiaroscuro Woodcuts From the Collections of Georg Baselitz and the Albertina, Vienna,” which runs from March 15 through June 8. For much of his life, Mr. Baselitz has created work around one central theme: the pain of growing up in the ruins of Nazi Germany. -
CAN ART HISTORY DIGEST NET ART? Julian Stallabrass from Its
165 CAN ART HISTORY DIGEST NET ART? Julian Stallabrass From its beginnings, Internet art has had an uneven and confl icted relation- ship with the established art world. There was a point, at the height of the dot-com boom, when it came close to being the “next big thing,” and was certainly seen as a way to reach new audiences (while conveniently creaming off sponsorship funds from the cash-rich computer companies). When the boom became a crash, many art institutions forgot about online art, or at least scaled back and ghettoized their programs, and that forgetting became deeper and more widespread with the precipitate rise of con- temporary art prices, as the gilded object once more stepped to the forefront of art-world attention. Perhaps, too, the neglect was furthered by much Internet art’s association with radical politics and the methods of tactical media, and by the extraordinary growth of popular cultural participation online, which threatened to bury any identifi ably art-like activity in a glut of appropriation, pastiche, and more or less knowing trivia. One way to try to grasp the complicated relation between the two realms is to look at the deep incompatibilities of art history and Internet art. Art history—above all, in the paradox of an art history of the contemporary— is still one of the necessary conduits through which works must pass as they move through the market and into the security of the museum. In examining this relation, at fi rst sight, it is the antagonisms that stand out. Lacking a medium, eschewing beauty, confi ned to the screen of the spreadsheet and the word processor, and apparently adhering to a discred- ited avant-gardism, Internet art was easy to dismiss. -
Group Exhibition
GALERIE THADDAEUS ROPAC GROUP EXHIBITION SEX AND THE BRITISH SALZBURG VILLA KAST 15 Apr 2000 - 03 Jun 2000 SLAP AND TICKLE A perspective on the sexual content of British Art since the 1960s An exhibition under the curatorship of Norman Rosenthal and Max Wigram Great art has often been inspired and driven by Eros. When we talk about eroticism and sex in art, we touch the most original source of artistic inspiration. Important intemationally renowned British artists such as Francis Bacon, Lucian Freud or David Hockney have repeatedly used sex as a leitmotif for their works, indeed their work has even depended on it. Far from being uptight about sex, these artists have explored areas of sexual practice with a graphic opemiess that never shies away from controversy. Besides significant works by Gilbert + George this exhibition brings together the most sensual exhibits of a younger generation of artists, showing fascinating representations of erotic and sexual motifs in art. The explosive development of British art since 1990 owes much to the Vanguard, which paved the way in the 1960s and l970s. Sex has become even more of a major theme in the work of the so-called YBA's (Young British Artists). Sex is nothing to shy away from nor is its fantasy to be disputed because of its frank inclusion in much of contemporary British work. Using the contemporary energy of shock and more traditional ideas of beauty this exhibition contains some extremely explicit and provocative works. It confronts issues of pomography, homosexuality and amorality with a directness that will subsequently make the British and sex appear in a new light. -
Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene -
PUBLICATIONS Spring 2012 CORNERHOUSE PUBLICATIONS SPRING 2012 INDEX to FEATURED PUBLISHERS
PUBLICATIONS Spring 2012 CORNERHOUSE PUBLICATIONS SPRING 2012 INDEX TO FEATURED PUBLISHERS Welcome to our new catalogue featuring 156 titles from many of the most innovative Arnolfini 1 galleries, museums and publishers working in contemporary visual arts. We are Art Editions North 1 particularly pleased to have been appointed distributor for Blain|Southern, Lisson Gallery, Blain|Southern 1 Parasol unit, and Tatton Park Biennial, and new titles from these publishers are featured. Cornerhouse 2 Our list encompasses all the visual arts including architecture, art theory and education, Drawing Room 3 design, digital media, fashion, film and video, painting, photography, performance and DuMont Buchverlag 3 sculpture. We have over 2,700 titles currently available. If you require further details or if Ffotogallery 4 you want to order any of these titles, please contact us or visit our online bookstore. Firstsite 5 GlobalArtAffairs Publishing 5 For further information about our services, please contact Paul Daniels, Publications Haunch of Venison 5 Director. Hayward Publishing 7 Cornerhouse Publications Information as Material 9 JRP|Ringier* 10 70 Oxford Street, Manchester M1 5NH, England Kerber Verlag** 19 Publications Director Paul Daniels Verlag der Buchhandlung Walther König 25 Lisson Gallery 39 Arnolfini Art Editions North Blain|Southern orders / customer services contact Debbie Fielding, James Brady or Suzanne Davies distributed by Cornerhouse world-wide distributed by Cornerhouse world-wide distributed by Cornerhouse world-wide trade orders -
WES HILL Hipster Aesthetics: Creatives with No Alternative
Wes Hill, Hipster Aesthetics: Creatives with no alternative WES HILL Hipster Aesthetics: Creatives with no alternative ABSTRACT What is a hipster, and why has this cultural trope become so resonant of a particular mode of artistic and connoisseurial expression in recent times? Evolving from its beatnik origins, the stereotypical hipster today is likely to be a globally aware “creative” who nonetheless fails in their endeavour to be an exemplar of progressive cultural taste in an era when cultural value is heavily politicised. Today, artist memes and hipster memes are almost interchangeable, associated with people who are desperate to be fashionably distinctive, culturally literate or as having discovered some obscure cultural phenomenon before anyone else. But how did we arrive at this situation where elitist and generically “arty” connotations are perceived in so many cultural forms? This article will attempt to provide an historical context to the rise of the contemporary, post-1990s, hipster, who emerged out of the creative and entrepreneurial ideologies of the digital age – a time when artistic creations lose their alternative credence in the markets of the creative industries. Towards the end of the article “hipster hate” will be examined in relation to post- critical practice, in which the critical, exclusive, and in-the-know stances of cultural connoisseurs are thought to be in conflict with pluralist ideology. Hipster Aesthetics: Creatives with no alternative Although the hipster trope is immediately recognisable, it has been allied with a remarkable diversity of styles, objects and activities over the last two decades, warranting definition more in terms of the attempt to promote counter-mainstream sensibilities than pertaining to a specific aesthetic as such. -
Watch with Saatchi
Watch with Saatchi Painting had its last, much-trumpeted revival in the early 1980s, with the Royal Academy exhibition A New Spirit in Painting, jointly curated by Nicholas Serota and Norman Rosenthal. In the two decades since, it hasn't been lost exactly, but it has sometimes been overlooked, especially during the heyday of the artists with whom Charles Saatchi was previously closely associated. The latest exhibition at the Saatchi Gallery, however, announces unequivocally the international survival - indeed, triumph - of paint. Walking around the gallery, it becomes clear that surface, rough pigment and neo- expressionism are all back in fashion. You are immediately confronted by a big room of paintings by Peter Doig. It is exceptionally powerful, full of the mournful narrative of middle Canada, pine forests and snow and the memory of watery sunlight. The large rotunda room, which includes slightly tricksy paintings by Martin Kippenberger and Jörg Immendorf, is less impressive. But this might be because their best work has been kept back to be installed in a corridor of old GLC committee rooms - not least Kippenberger's Paris Bar Berlin, a neo-Edward Hopper painting of the bar he had previously decorated and installed with his own works. Marlene Dumas's work is rather cold and dispassionate: images of childhood and prepubescent sexuality that are deeply ambiguous in their intent. But Hermann Nitsch's paintings are unexpectedly exciting. He goes back to 1950s action painting: huge canvases violently attacked with red paint. Dealing with birth, death and violence, his work revives the idea of paint as a medium to move the emotions. -
Michael Landy Selected Biography Born in London, 1963 Lives And
Michael Landy Selected Biography Born in London, 1963 Lives and works in London, UK 1985-88, Goldsmith's College Solo Exhibitions 2015 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 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 Three-piece, Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia H.2.N.Y, Alexander and Bonin, New York 2004 Welcome To My World built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, London, UK 2000 Handjobs (with Gillian Wearing), Approach Gallery, London, UK 1999 Michael Landy at Home, 7 Fashion Street, London, UK 1996 The Making of Scrapheap Services, Waddington Galleries, London, UK Scrapheap Services, Chisenhale Gallery, London; Electric Press Building, Leeds, UK (organised by the HenryMoore -
You Cannot Be Serious: the Conceptual Innovator As Trickster
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: You Cannot be Serious: The Conceptual Innovator as Trickster Author: David W. Galenson URL: http://www.nber.org/chapters/c5791 Chapter 8: You Cannot be Serious: The Conceptual Innovator as Trickster The Accusation The artist does not say today, “Come and see faultless work,” but “Come and see sincere work.” Edouard Manet, 18671 When Edouard Manet exhibited Le Déjeuner sur l’herbe at the Salon des Refusés in 1863, the critic Louis Etienne described the painting as an “unbecoming rebus,” and denounced it as “a young man’s practical joke, a shameful open sore not worth exhibiting this way.”2 Two years later, when Manet’s Olympia was shown at the Salon, the critic Félix Jahyer wrote that the painting was indecent, and declared that “I cannot take this painter’s intentions seriously.” The critic Ernest Fillonneau claimed this reaction was a common one, for “an epidemic of crazy laughter prevails... in front of the canvases by Manet.” Another critic, Jules Clarétie, described Manet’s two paintings at the Salon as “challenges hurled at the public, mockeries or parodies, how can one tell?”3 In his review of the Salon, the critic Théophile Gautier concluded his condemnation of Manet’s paintings by remarking that “Here there is nothing, we are sorry to say, but the desire to attract attention at any price.”4 The most decisive rejection of these charges against Manet was made in a series of articles published in 1866-67 by the young critic and writer Emile Zola. -
British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000
British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth Cover image: Installation View, Simon Starling, Project for a Masquerade (Hiroshima), 2010–11, 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Sensational Cities, John J.