Frieze London 2018: Announcing Highlights Including Talks, Projects, Solo and Themed Gallery Presentations, New Curators and Museum Collaborations
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London After Brexit
GLOBAL CITIES London After Brexit BY RICHARD BARKHAM, Ph.D., CRE, DENNIS SCHOENMAKER, Ph.D., AND SIENA CARVER As a former imperial capital, London has had About the Authors global significance for about 300 years, but over the last 30, it has seen particular success. Although Richard Barkham, Ph.D., CRE, is a specialist in macro and real estate its global roles as a financial center and business economics. He joined CBRE in 2014 management hub are generally held up as the key as Executive Director and Global Chief reasons behind its success, there are many more Economist. Prior to taking up his position qualities that make London a pre-eminent global city. with CBRE, Richard was a Director of Research for the Grosvenor Group — an international business For some, the recent Brexit vote was a signal from the with circa $10 billion of capital under management in real estate. He rest of the country that London’s dominance needs to was also a non-Executive Director of Grosvenor Fund Management be kept in check, that the financial industry should where he was involved in fund strategy, risk analysis and capital not be given preferential treatment or incentives, raising. Richard is the author of two books and numerous academic and other industries and regional centers need to get and industry papers. In 2012 he published Real Estate and Globalisation (Wiley Blackwell, Oxford), which explains the a larger slice of the investment ‘pie.’ Seven months impact on real estate markets of the rise of emerging markets such as on, we are starting to see whether these effects will China and Brazil. -
Born 1975, Bakenberg, ZA Currently Lives and Works in Paris, FR
Born 1975, Bakenberg, ZA Currently lives and works in Paris, FR EDUCATION 1998 Rijksakademie van Beeldende Kunsten, Amsterdam, NL RESIDENCIES 2017/2019 Cite Internationale des Arts, Paris, FR 2016 Kadist Art Foundation, Paris, FR 2015 Thami Mnyele Residency, Amsterdam, NL 2008 Résidences Internationales aux Récollets, Paris, FR 2002 The Fabric Workshop & Museum, Philadelphia, US Triangle Arts Trust, Grand- Rivière, TT SOLO EXHIBITIONS 2018 Relatives, Blain|Southern, London UK 2017 Fugitive, Stevenson, Johannesburg, ZA 2016 Ellipses, Stevenson, Cape Town, ZA MiniSurvey, Frieze, New York, US 2014 The Jealous Lover, ifa-Galerie Stuttgart; ifa-Galerie Berlin, DE 2013 Counterpoints: Moshekwa Langa, In and Out of Africa, Krannert Art Museum, University of Illinois, Urbana-Champaign, US Mogalakwena, Goodman Gallery, Cape Town, ZA 2012 Ramokone, Goodman Gallery, Johannesburg, ZA 2011 Marhumbini: In an Other Time, Kunsthalle Bern, CH 2010 Black Maria, Galerie Mikael Andersen, Copenhagen, DK Wuthering Heights, Galerie Mikael Andersen, Berlin, DE 2009 Rose Coloured Glasses, Bernier/Eliades Gallery, Athens, GR Thresholds, Goodman Gallery, Johannesburg, ZA 2008 Miracle in the Rain, Taché-Lévy Gallery, Brussels, BE 2007 Encounters: Moshekwa Langa - Homeland, Modern Art Oxford, UK The Inheritance of Loss, Goodman Gallery, Cape Town, ZA 2006 The man who cast no shadows, Taché-Lévy Gallery, Brussels, BE Terms of Endearment, Galeria Bonomo, Rome, IT 2005 Moshekwa Langa, MAXXI, Museo nazionale delle arti del XXI secolo, Rome, IT Backlash Blues, Goodman Gallery, -
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. -
Moshekwa Langa
Buchanan Building 46 7th Avenue Prinsengracht 371B [email protected] 160 Sir Lowry Road Parktown North 1016 HK Amsterdam www.stevenson.info 7925 Cape Town 2193 Johannesburg The Netherlands +27 21 462 1500 +27 11 403 1055 +31 62 532 1380 @stevenson_za MOSHEKWA LANGA. Born 1975, Bakenberg, South Africa Lives in Amsterdam, the Netherlands EDUCATION Rijksakademie van Beeldende Kunsten, Amsterdam, the Netherlands SELECTED SOLO EXHIBITIONS Andrew Kreps Gallery, New York, USA Stevenson, Cape Town, South Africa Blain Southern, London, UK Stevenson, Johannesburg, South Africa , Stevenson, Cape Town, South Africa Mini Survey, Frieze, New York, USA ifa-Galerie Stuttgart; ifa-Galerie Berlin, Germany Krannert Art Museum, University of Illinois, Urbana-Champaign, USA Goodman Gallery, Cape Town, South Africa Goodman Gallery, Johannesburg, South Africa Kunsthalle Bern, Switzerland Galerie Mikael Andersen, Copenhagen, Denmark Galerie Mikael Andersen, Berlin, Germany Bernier/Eliades Gallery, Athens, Greece Goodman Gallery, Johannesburg, South Africa Taché-Lévy Gallery, Brussels, Belgium Modern Art Oxford, UK Goodman Gallery, Cape Town, South Africa Taché-Lévy Gallery, Brussels, Belgium Galeria Bonomo, Rome, Italy MAXXI, Museo nazionale delle arti del XXI secolo, Rome, Italy Goodman Gallery, Johannesburg, South Africa Gallery SAW, Ottawa, Canada Kunstverein Düsseldorf, Germany Contemporary Arts Center, Cincinnati, USA Galerie Ascan Crone - Andreas Osarek, Berlin, Germany South African National Gallery, Cape Town, South Africa Galerie Tanya Rumpff, Haarlem, -
Bush Writings Post-Blue
HOW LATITUDES BECOME FORMS JUST HOW DID LATITUDES BECOME FORMS? ON MARCH 7, 2002, Philippe Vergne, Douglas Fogle, Olukemi Ilesanmi, and Aimee Chang engaged in a roundtable discussion of the Walker Art Center’s global initiative and the mounting of the exhibition How Latitudes Become Forms: Art in a Global Age.1 Following is an edited version of that conversation. Aimee Chang: Let’s start with the title of the show … Philippe Vergne: It was the result of a process that started with a discussion about what the exhibition should be and whether or not we should look at a specific theme. We went through many, many options; Once Upon a Place and Total Architecture were two early possibilities. Douglas Fogle: When we first started organizing the exhibition, we used the notion of “metropole” as a struc- turing principle, relating to the cities we were visiting, but that quickly fell out as a strategy. PV: Another idea was to use the show as a reflection of how art practice changes when we change locations. We tried The Third Place, making a distinction between place and space, after the theory of Homi Bhabha.2 We tried Globalism, using that word like the word modernism to see if a comparable shift could be identified in the development of late twentieth-century art. None of these initial ideas were completely satisfying. In the end, we did not want the show to be about a specific theme, to illustrate a theme. We wanted to keep our eyes and minds as open as possible when we were traveling and identifying artists. -
Programme: 2014-2015
Programme: 2014-2015 Exhibitions David Tremlett 3 Drawing Rooms 4 December 2013 – 21 April 2014 David Tremlett (b. 1945) is best known for his large-scale site-specific wall drawings of geometric arrangements: abstract compositions of arcs, circles, trapezoids, text and line. Using pastel pigment applied by hand, Tremlett makes these compositions directly on architectural surfaces. They are orchestrated to shift the viewer’s comprehension of a built environment, opening out, expanding and reducing, creating new vistas, geometric rhythms and pauses. While at once being formally constructed compositions of purely abstract elements which emanate the sensual joy of colour, and illustrate relationships between straight and curved lines, they speak too of things experienced, seen and done by the artist. Jamal Penjweny 19 February – 21 April 2014 An exhibition of work by emerging artist Jamal Penjweny from Iraqi Kursdistan, including a number of photographic series that are as poignant and smart as they are formally straightforward. Saddam is Here consists of twelve images of Iraqi people in familiar surroundings, each holding a life-size picture of Saddam Hussein’s face in front of their own. Saddam’s likeness becomes a mask obscuring any expression of emotion, any gaze, or possibility of sure identification and individuality. It is ludicrous, hilarious and at the same time absolutely ominous, pointing up the insidious influence of a dictator. Another Life, a short film by Penjweny, follows some days in the lives of Iraqis smuggling alcohol from Iraq into Iran. It has the grainy appeal of covert cell phone footage, and is very matter-of-fact in its editing. -
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. -
Introducing the 10 Shortlisted Ghetto Film School Fellows for the Inaugural Deutsche Bank Frieze Los Angeles Film Award 2020
Frieze Los Angeles Press Release December 19, 2019 Introducing the 10 Shortlisted Ghetto Film School Fellows for the Inaugural Deutsche Bank Frieze Los Angeles Film Award 2020 Today Frieze and Deutsche Bank announce the ten shortlisted fellows that will headline the inaugural Deutsche Bank Frieze Los Angeles Film Award. Presented in partnership with award-winning, non-profit film academy Ghetto Film School (GFS), the initiative offers a platform and development program for ten emerging, Los Angeles-based filmmakers aged 20-34 years old. Frieze Los Angeles takes place February 14 – 16, 2020 at Paramount Pictures Studios in Hollywood. Launched in 2019, Frieze Los Angeles brings together more than 70 galleries from around the world and is supported by global lead partner Deutsche Bank for the second consecutive year. The ten shortlisted fellows are as follows: Danielle Boyd, Mya Dodson, Michelle Jihyon Kim, Nabeer Khan, Silvia Lara, Alima Lee, Timothy Offor, Toryn Seabrooks, Noah Sellman and Nicole L. Thompson. The recipient of the award, selected by a jury of leading art and entertainment figures including Doug Aitken, Shari Frilot, Jeremy Kagan, Sam Taylor Johnson and Hamza Walker will be announced at a ceremony on February 13 at Paramount Pictures Theatre and receive a $10,000 prize. Selected from an open call throughout Los Angeles, the ten shortlisted fellows completed an intensive three-month program at GFS each producing a short film in response to Los Angeles’ vibrant art, culture and social landscape. The resulting 10 short films will be screened at the Paramount Pictures Theatre throughout the fair, February 14-16, 2020. -
Damien Hirst E Il Mercato Dell'arte Contemporanea: La Carriera Di Un Young British Artist
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Economia e Gestione delle Arti e delle attività culturali Tesi di Laurea DAMIEN HIRST E IL MERCATO DELL'ARTE CONTEMPORANEA: LA CARRIERA DI UN YOUNG BRITISH ARTIST Relatore Prof. Stefania Portinari Laureanda Martina Pellizzer Matricola 816581 Anno Accademico 2012 / 2013 1 INDICE INTRODUZIONE p. 3 CAPITOLO 1 ALCUNE RIFLESSIONI SUL MERCATO DELL'ARTE CONTEMPORANEA: ISTITUZIONI E STRUTTURE DI PROMOZIONE E VENDITA 1 L'Evoluzione del sistema delle gallerie e della figura del gallerista p. 3 2. Il ruolo dei musei p. 19 3 Il ruolo dei collezionisti p. 28 4 Le case d'asta p. 36 CAPITOLO 2 DAMIEN HIRST: DA A THOUSAND YEARS (1990) A FOR THE LOVE OF GOD (2007) 1 Il sistema dell'arte inglese negli anni Novanta: gli Young British Artist …........p. 41 2 Damien Hirst una carriera in ascesa, da “Frezze” alla retrospettiva presso la Tate Modern p. 47 3 I galleristi di Damien Hirst p. 67 CAPITOLO 3 IL RUOLO DEL MERCATO DELL'ARTE NELLA CARRIERA DI DAMIEN HIRST 1 L'asta di Sotheby's: “Beautiful inside my head forever” p. 78 2 Rapporto tra esposizione e valore delle opere dal 2009 al 2012..............................p. 97 CONCLUSIONI p. 117 APPENDICE p. 120 BIBLIOGRAFIA p. 137 2 INTRODUZIONE Questa tesi di laurea magistrale si pone come obiettivo di analizzare la carriera dell'artista inglese Damien Hirst mettendo in evidenza il ruolo che il mercato dell'arte ha avuto nella sua carriera. Il primo capitolo, dal titolo “Alcuni riflessioni sul mercato dell'arte contemporanea”, propone una breve disanima sul funzionamento del mercato dell'arte contemporanea, analizzando in particolar modo il ruolo di collezionisti, galleristi, istituzioni museali e case d'asta, tutti soggetti in grado di influenzare notevolmente la carriera di un artista, anche se in maniera differente. -
High Jinks and Black Jokes: the Art of Sian Bonnell by Mark Haworth-Booth
High Jinks and Black Jokes: the Art of Sian Bonnell by Mark Haworth-Booth Sian Bonnell was born in London in 1956 and attended a Catholic primary school where she learned about guilt and the soul. Sian saw the soul clearly. It was suspended inside her like a white table-cloth or sometimes a doily. Hers urgently needed washing. A plastic glow-in-the-dark Virgin Mary gleamed from her bedside table. Sian studied sculpture at Chelsea School of Art in 1978-81. She opened up to the extraordinary opportunities available in those relatively grant-rich days – when most materials came free - and to the stimulus offered by London’s galleries and theatres. She arrived at Chelsea the term after Helen Chadwick left, met her briefly and saw all of her major installations over the next few years. There are interesting resonances between the two artists – for example in their teasing feminism, their use of domestic items for art-making (both made startling transformations of cleaning materials), the use of high and low technologies and their gleeful interest in bad taste and black jokes. Like many students at the time, Sian found much to admire in the work of Eva Hesse, shown at the Whitechapel Art Gallery in 1979. Hesse demonstrated, among many other things, a simple but useful truth - that the same objects could be used in a variety of separate art works. Although Sian has a broad appreciation of Western art, including a passion for Piero della Francesca, she has a predilection for intimiste, domestic artists such as Chardin, Morandi, Gwen John and Winifred Nicolson. -
The Darkness Needs to Cry
Washington University in St. Louis Washington University Open Scholarship Graduate School of Art Theses Graduate School of Art Spring 5-14-2020 The Darkness Needs to Cry Damaris Dunham [email protected] Follow this and additional works at: https://openscholarship.wustl.edu/samfox_art_etds Part of the Art and Design Commons Recommended Citation Dunham, Damaris, "The Darkness Needs to Cry" (2020). Graduate School of Art Theses. ETD 143. This Thesis is brought to you for free and open access by the Graduate School of Art at Washington University Open Scholarship. It has been accepted for inclusion in Graduate School of Art Theses by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. Dunham 1 The Darkness Needs to Cry By Damaris Dunham A thesis presented to the Sam Fox School of Design and Visual Arts Washington University in St. Louis In partial fulfillment of the requirements for the degree of Master of Fine Arts Director of the Graduate School of Art Patricia Olynyk Thesis Advisor Monika Weiss Primary Advisors Jamie Adams | Cheryl Wassenaar | Monika Weiss Graduate Committee Michael Byron | Richard Krueger Dunham 2 Contents Introduction 3 Painting Transitions, Transformations, and the Terrifying 5 Layering, Touching, Sculpting. Lack and Excess | Void and Grotesque 21 Attraction and Repulsion in my Three-Dimensional Paintings 37 Hiding, Discovering, Darkening. The Affect of the Hidden 45 Naming the Complexity of the Hidden 55 Conclusion 63 Endnotes 64 Bibliography 66 Dunham 3 Introduction I am an artist interested in the subconscious, the uncanny, and the space of dreams. I make large scale, three-dimensional paintings that are both minimalist and baroque, non- representational and yet evoke the body as well as landscape. -
15 February 2020, Cape Town
CONTEMPORARY ART 15 February 2020 CT 2020/1 2 Contemporary Art including the Property of a Collector Saturday 15 February 2020 at 6 pm Bubbly and canapés from 5 pm VEnuE abSEntEE anD TELEPHonE biDS Quay 7 Warehouse, 11 East Pier Road Tel +27 (0) 21 683 6560 V&A Waterfront, Cape Town +27 (0) 78 044 8185 GPS Co-ordinates: 33°54’05.4”S 18°25’27.9”E [email protected] PREVIEW payMEnt Thursday 13 and Friday 14 February Tel +27 (0) 21 683 6560 from 10 am to 5 pm +27 (0) 11 728 8246 Saturday 15 February from 10 am to 6 pm [email protected] LEctuRES anD WalKaboutS conDition REpoRTS See page 10 [email protected] ENQuiRIES anD cataloGUES www.straussart.co.za +27 (0) 21 683 6560 +27 (0) 78 044 8185 contact nuMBERS DURinG PREVIEW anD auction ILLUSTRATED CATALOGUE: R220.00 Tel +27 (0) 78 044 8185 All lots are sold subject to the conditions of business +27 (0) 72 337 8405 printed at the back of ths catalogue PUBLIC AUCTION BY DIRECTORS F KILBOURN (EXECUTIVE CHAIRPERSON), E BRADLEY, CB STRAUSS, C WIESE, J GINSBERG, C WELZ, V PHILLIPS (MD), B GENOVESE (MD), AND S GOODMAN (EXECUTIVE) 4 Contents 3 Sale Information 6 Directors, Specialists, Administration 8 Map and Directions 9 Buying at Strauss & Co 10 Lectures and Walkabouts 12 Contemporary Art Auction at 6pm Lots 1–102 121 Conditions of Business 125 Bidding Form 126 Shipping Instruction Form 132 Artist Index PAGE 2 Lot 21 Yves Klein Table IKB® (detail) LEFT Lot 53 William Kentridge Small Koppie 2 (detail) From the Property of a Collector 5 Directors Specialists Administration