British Art Since 1950 Introduction
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Philosophy in the Artworld: Some Recent Theories of Contemporary Art
philosophies Article Philosophy in the Artworld: Some Recent Theories of Contemporary Art Terry Smith Department of the History of Art and Architecture, the University of Pittsburgh, Pittsburgh, PA 15213, USA; [email protected] Received: 17 June 2019; Accepted: 8 July 2019; Published: 12 July 2019 Abstract: “The contemporary” is a phrase in frequent use in artworld discourse as a placeholder term for broader, world-picturing concepts such as “the contemporary condition” or “contemporaneity”. Brief references to key texts by philosophers such as Giorgio Agamben, Jacques Rancière, and Peter Osborne often tend to suffice as indicating the outer limits of theoretical discussion. In an attempt to add some depth to the discourse, this paper outlines my approach to these questions, then explores in some detail what these three theorists have had to say in recent years about contemporaneity in general and contemporary art in particular, and about the links between both. It also examines key essays by Jean-Luc Nancy, Néstor García Canclini, as well as the artist-theorist Jean-Phillipe Antoine, each of whom have contributed significantly to these debates. The analysis moves from Agamben’s poetic evocation of “contemporariness” as a Nietzschean experience of “untimeliness” in relation to one’s times, through Nancy’s emphasis on art’s constant recursion to its origins, Rancière’s attribution of dissensus to the current regime of art, Osborne’s insistence on contemporary art’s “post-conceptual” character, to Canclini’s preference for a “post-autonomous” art, which captures the world at the point of its coming into being. I conclude by echoing Antoine’s call for artists and others to think historically, to “knit together a specific variety of times”, a task that is especially pressing when presentist immanence strives to encompasses everything. -
Rose Wylie 'Tilt the Horizontal Into a Slant'
Rose Wylie Tilt The Horizontal Into A Slant 4 TILT THE HORIZONTAL INTO A SLANT TILT THE HORIZONTAL INTO A SLANT 5 INTRO Rose Wylie’s pictures are bold, occasionally chaotic, often unpredictable, and always fiercely independent, without being domineering. Wylie works directly on to large unprimed, unstretched canvases and her inspiration comes from many and varied sources, most of them popular and vernacular. The cutout techniques of collage and the framing devices of film, cartoon strips and Renaissance panels inform her compositions and repeated motifs. Often working from memory, she distils her subjects into succinct observations, using text to give additional emphasis to her recollections. Wylie borrows from first-hand imagery of her everyday life as well as films, newspapers, magazines, and television allowing herself to follow loosely associated trains of thought, often in the initial form of drawings on paper. The ensuing paintings are spontaneous but carefully considered: mixing up ideas and feelings from both external and personal worlds. Rose Wylie favours the particular, not the general; although subjects and meaning are important, the act of focused looking is even more so. Every image is rooted in a specific moment of attention, and while her work is contemporary in terms of its fragmentation and cultural references, it is perhaps more traditional in its commitment to the most fundamental aspects of picturemaking: drawing, colour, and texture. 8 TILT THE HORIZONTAL INTO A SLANT TILT THE HORIZONTAL INTO A SLANT 9 COMING UNSTUCK the power zing back and forth between the painting and us, the viewer? It’s both elegant It may come as a surprise to some, when and inelegant but never either ‘quirky’ or considering Wylie’s work that words like ‘power’ ‘goofy’. -
Artist of the Day 2016 F: +44 (0)20 7439 7733
PRESS RELEASE T: +44 (0)20 7439 7766 ARTIST OF THE DAY 2016 F: +44 (0)20 7439 7733 21 Cork Street 20 June - 2 July 2016 London W1S 3LZ Monday - Friday 11am - 7pm [email protected] Saturday - 11am - 6pm www.flowersgallery.com Flowers Gallery is pleased to announce the 23rd edition of Artist of the Day, a valuable platform for emerging artists since 1983. The two-week exhibition showcases the work of ten artists, nominated by prominent figures in contemporary art. The criteria for selection is talent, originality, promise and the ability to benefit from a one-day solo exhibition of their work at Flowers Gallery, Cork Street. “Every year we look forward to encountering the unknown and unpredictable. The constraint of time to install and promote an exhibition for one day only ensures there is a tangible energy in the gallery, with each day’s show incomparable to the other days. Artist of the Day has given a platform and context to artists who may not have exhibited much before, accompanied by the support and dedication of their selectors. The relationship between the selector and the artist adds an intimate power to the installations, and as a gallery we have gone on to work with many of the selected artists long term.” – Matthew Flowers Past selectors have included Patrick Caulfield, Helen Chadwick, Jake & Dinos Chapman, Tracey Emin, Gilbert & George, Maggi Hambling, Albert Irvin, Cornelia Parker, Bridget Riley and Gavin Turk; while Billy Childish, Adam Dant, Dexter Dalwood, Nicola Hicks, Claerwen James and Seba Kurtis, Untitled, 2015, Lambda C-Type print Lynette Yiadom-Boakye have featured as chosen artists. -
Grayson Perry
GRAYSON PERRY Born in Chelmsford in 1960 Lives and works in London SOLO EXHIBITIONS 2017 The Most Popular Art Exhibition Ever!, Serpentine Galleries, London; travelling to Arnolfini, Bristol (2017) 2016 Hold Your Beliefs Lightly, Bonnefantenmuseum, Maastricht, The Netherlands; travelling to ARoS Aarhus Art Museum, Aarhus, Denmark My Pretty Little Art Career, Museum of Contemporary Art, Sydney 2015 Provincial Punk, Turner Contemporary, Margate Small Differences, Pera Museum, Istanbul, Turkey 2014 Who are You?, National Portrait Gallery, London Walthamstow Tapestry, Winchester Discovery Centre 2013 - 2017 The Vanity of Small Differences (UK Art Fund/British Council National and International Tour): Sunderland Museum & Winter Gardens, Tyne and Wear; Manchester Art Gallery, Manchester; Birmingham Museum and Art Gallery, Birmingham; Walker Art Gallery, Liverpool; Leeds City Art Gallery, Leeds; Victoria Art Gallery, Bath; The Herbert Museum and Art Gallery, Coventry; Croome Park, Worcester; Beaney House of Art and Knowledge, Canterbury; Izolyatsia Platform for Cultural Initiatives, Kyiv, Ukraine; Museum of Contemporary Art Vojvodina, Novi Sad, Serbia; National Gallery, Pristina, Kosovo; Art Gallery of Bosnia and Herzegovina, Sarajevo, Bosnia 2012 The Vanity of Small Differences, Victoria Miro Gallery, London The Walthamstow Tapestry, William Morris Gallery, Walthamstow 2011 Grayson Perry: The Tomb of the Unknown Craftsman, The British Museum, London Grayson Perry, Louis Vuitton Maison, London Grayson Perry: Visual Dialogues, Manchester Art -
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. -
Londra Al Centro Dell Scena Artistica: La Yung British Art Dalla Conferenza Del 12-05-2011 Del Prof
Londra al centro dell scena artistica: La Yung British Art Dalla conferenza del 12-05-2011 del prof. Francesco Poli a cura del prof. Mario Diegol i Sensation e la YBA (Young British Artists) Il 28 dicembre del 1997 presso la Royal Academy of Art di Londra il collezionista d’arte contemporanea Charles Saatchi organizza la mostra Sensation in cui espone le opere della Yung British Art. La mostra è, in seguito, riproposta a Berl ino e New York e diventa, grazie all’abilità manageriale di Saatchi e alla sua rete di contatt i sviluppata negl i anni precedenti con la sua att ività di pubbl icitario, l’evento artistico del momento e un riferimento importante per il mercato dell’arte portando alla ribalta una serie di giovani art isti inglesi come: Jake & Dinos Chapman, Adam Chodzko, Mat Coll ishaw, Tracey Emin, Marcus Harvey, Damien Hirst, Gary Hume, Michael Landy, Abigail Lane, Sarah Lucas, Chris Ofil i, Richard Patterson, Simon Patterson, Marc Quinn, Fiona Rae, Sam Taylor-Wood, Gavin Turk, Gill ian Wearing, Rachel Whiteread. Gl i artist i della Yung British Art propongono opere che sol itamente tendono a stupire e a provocare lo spettatore. Sono giovani nati negl i anni sessanta che impiegano linguaggi differenti non sempre omologabil i alle tradizional i espressioni plastiche e visive anche se ne recuperano a volte i material i (la pittura, la scultura in marmo) mischiandoli o alternandol i all’impiego di oggetti, fotograf ie, material i plastici, stoffe ecc.. Il manifesto della mostra Sensation con cui evocano e amplificano storie personal i e collettive dove il soggetto e il contenuto prevalgono sulla forma: una forma a volte iperreal istica, in altri casi mostruosa e raccapricciante ampl ificata da dimensioni che possono assumere una scala monumentale. -
Stephen Willats
PRESS RELEASE STEPHEN WILLATS THE WORLD AS IT IS AND THE WORLD AS IT COULD BE 7 May - 12 June 2010 From the 1960's until today, London-based conceptual artist Stephen Willats has concentrated on ideas that today are ever-present in contemporary art: communication, social engagement, active spectatorship, and self-organization. Stephen Willats has situated his pioneering practice at the intersection between art and other disciplines such as sociology, cybernetics, systems research, learning theory, communications theory and computer technology. Victoria Miro is delighted to present new and unseen works by Stephen Willats in THE WORLD AS IT IS AND THE WORLD AS IT COULD BE. This exhibition furthers Willats' interrogation of social interactions and the polemics of contemporary life in urban society. Through his ongoing preoccupation with developing a new graphic language that establishes continuity between film, photography, text and drawings, here Willats takes the idea of a journey through two parallel realities, the world as it is - the world we live in - and its transformation into the world as it could be. Via this strategy, Willats explores the idea of art as something that motivates people to change their perceptions of reality, to embrace the notion that the world in which they live could be quite different, that one can effect change. The exhibition features a large new installation Cybernetic Still Life (2010), comprised of a monumental wall drawing that incorporates film projections, as well as several photographic and text based works. Employing a diagrammatic framework to express fluidity and transience in relationships - concepts that define the locus of production and exchange of information - these new works explore the very human side of perceptions, our relationships to each other and our tendency to stereotype and make instant assumptions based on brief glimpses into the lives of others. -
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, -
Art and Design Advanced Unit 4: A2 Externally Set Assignment
Pearson Edexcel GCE Art and Design Advanced Unit 4: A2 Externally Set Assignment Timed Examination: 12 hours Paper Reference 6AD04-6CC04 You do not need any other materials. Instructions to Teacher-Examiners Centres will receive this paper in January 2016. It will also be available on the secure content section of the Pearson Edexcel website at this time. This paper should be given to the Teacher–Examiner for confidential reference as soon as it is received in the centre in order to prepare for the externally set assignment. This paper may be released to candidates from 1 February 2016. There is no prescribed time limit for the preparatory study period. The 12-hour timed examination should be the culmination of candidates’ studies. Instructions to Candidates This paper is given to you in advance of the examination so that you can make sufficient preparation. This booklet contains the theme for the Unit 4 Externally Set Assignment for the following specifications: 9AD01 Art, Craft and Design (unendorsed) 9FA01 Fine Art 9TD01 Three-Dimensional Design 9PY01 Photography – Lens and Light-Based Media 9TE01 Textile Design 9GC01 Graphic Communication 9CC01 Critical and Contextual Studies Candidates for all endorsements are advised to read the entire paper. Turn over P46723A ©2016 Pearson Education Ltd. *P46723A* 1/1/1/1/1/1/c2 Each submission for the A2 Externally Set Assignment, whether unendorsed or endorsed, should be based on the theme given in this paper. You are advised to read through the entire paper, as helpful starting points may be found outside your chosen endorsement. If you are entered for an endorsed specification, you should produce work predominantly in your chosen discipline for the Externally Set Assignment. -
Art Catalogue Introduction
Art Catalogue Introduction Welcome to the inaugural Green Creates… art exhibition. Artistic expression, in its many forms, has existed in every age, every culture, and every country. Art can be both rooted in history and a catalyst for change. It connects us to the past, expresses our views of the present and suggests new ideas and visions for the future. As such, it is only fitting that we should call upon the support of the arts’ community today, as we stand on the brink of an uncertain future, attempting to hold onto the values and achievements that make us proud to be British, whilst working towards a new and better tomorrow. ‘‘Green’ suggests healthy options and therefore Green Creates… is an opportunity for the arts community to show their support for the Green Party, our policies healthy outcomes. Green issues should be the first and our work, but also an example of art as a social commentary in a time of social, economic and political consideration in everything from housing, to health unrest. The theme of Green Voices called for artists to express their opinions on the issues of the day and they to education and beyond.’’ have produced work that encompasses everything from climate change to the ephemeral beauty of nature. Ralph Steadman We are delighted at the richness and diversity of the work that we have on display and to welcome you to this celebration of some of the different interpretations of what it means to be green today. Best wishes, Jonathan Bartley and Caroline Lucas Co-Leaders - Green Party of England and Wales 4 -
Grayson Perry: a Time-Line
Grayson Perry: A Time-line Grayson Perry: The Pre-Therapy Years Grayson Perry is one of the UK’s leading artists. The exhibition at the Holburne Museum focuses on his early work, from 1981 to 1994, when he employed various media and made his first works in clay. After a series of exhibitions in various small galleries, in 1994 his first mainstream show signaled his establish- ment, securing what he describes as his distinctive identity as ‘the transvestite potter’. Perry grew up in suburban Essex and sought refuge from a troubled childhood in an imaginary world ruled over by his teddy bear, Alan Measles. At Portsmouth Polytechnic and later, living in a London squat, he was part of a post-Punk group of artists, musicians and film-makers, particularly the Neo Naturists, a per- formance art collective connected to the New Romantic club scene. Perry has described this early period as the ‘pre-Therapy years’, a time when he explored his complex identity through his art, expressing an anger which would later be resolved through psychotherapy. His imagery could be deliberately shocking, sometimes combining Nazi symbols (a trait of British Punk), reli- gious iconography and graphic scenes of unorthodox sexual activity. At the same time, his work satirised such social themes as class and gender and, especially, the conventions of the art world of which he was increasingly a part. Grayson Perry’s Biography 1960 Grayson Perry born 24 March in Chelmsford, Essex 1963 Aged 3, he contracts measles. During his illness he bonds with a teddy bear, naming him Alan Measles. -
Chapman for the Duo’S Retrospective in Istanbul Which Had Been on Display During 10/2/2017-7/5/2017
This article was commissioned by the art gallery ARTER (Istanbul, Turkey) and the artists Jake & Dinos Chapman for the duo’s retrospective in Istanbul which had been on display during 10/2/2017-7/5/2017. For further information on the show, please click here. Reviewed by the artists and the editors of the exhibition monograph, this essay was originally written in English. Both the English original and the Turkish translation was published in this monograph. In line with the commissioning brief, the article attempts to provide a critical review of the Chapmans’ art practice while also locating the duo’s artworks within an original theoretical framework. Jake & Dinos Chapman ANLAMSIZLIK ÂLEMİNDE — IN THE REALM OF THE SENSELESS CHAPMAN 23-01-17.indd 3 23.01.2017 17:59 Jake & Dinos Chapman Anlamsızlık Âleminde In the Realm of the Senseless Genel Yayın Yönetmeni | Editor-in-Chief Bu yayın, Jake ve Dinos Chapman’ın Arter’de 10 Şubat–7 Mayıs İlkay Baliç 2017 tarihleri arasında gerçekleşen “Anlamsızlık Âleminde” adlı sergisine eşlik etmektedir. Editör | Editor Süreyyya Evren This book accompanies Jake and Dinos Chapman’s exhibition “In the Realm of the Senseless” held at Arter between İngilizceden Türkçeye çeviri 10 February and 7 May 2017. Translation from English to Turkish Süreyyya Evren [12-15] Anlamsızlık Âleminde Özge Çelik - Orhan Kılıç [22-27] In the Realm of the Senseless Zafer Aracagök [34-45] Jake & Dinos Chapman Münevver Çelik - Sinem Özer [60-75] 10/02–07/05/2017 Küratör | Curator: Nick Hackworth Türkçe düzelti | Turkish proofreading Emre Ayvaz Teşekkürler | Acknowledgements İngilizce düzelti | English proofreading Hussam Otaibi Anna Knight ve tüm Floreat ekibi | and everyone at Floreat John McEnroe Gallery Inc.