Fundraiser Catalogue As a Pdf Click Here

Total Page:16

File Type:pdf, Size:1020Kb

Fundraiser Catalogue As a Pdf Click Here RE- Auction Catalogue Published by the Contemporary Art Society Tuesday 11 March 2014 Tobacco Dock, 50 Porters Walk Pennington Street E1W 2SF Previewed on 5 March 2014 at the Institute of Contemporary Arts, London The Contemporary Art Society is a national charity that encourages an appreciation and understanding of contemporary art in the UK. With the help of our members and supporters we raise funds to purchase works by new artists Contents which we give to museums and public galleries where they are enjoyed by a national audience; we broker significant and rare works of art by Committee List important artists of the twentieth century for Welcome public collections through our networks of Director’s Introduction patrons and private collectors; we establish relationships to commission artworks and promote contemporary art in public spaces; and we devise programmes of displays, artist Live Auction Lots Silent Auction Lots talks and educational events. Since 1910 we have donated over 8,000 works to museums and public Caroline Achaintre Laure Prouvost – Special Edition galleries – from Bacon, Freud, Hepworth and Alice Channer David Austen Moore in their day through to the influential Roger Hiorns Charles Avery artists of our own times – championing new talent, supporting curators, and encouraging Michael Landy Becky Beasley philanthropy and collecting in the UK. Daniel Silver Marcus Coates Caragh Thuring Claudia Comte All funds raised will benefit the charitable Catherine Yass Angela de la Cruz mission of the Contemporary Art Society to purchase new works of contemporary art Gary Hume & Giorgio Locatelli Matthew Darbyshire for UK public collections. Sarah Jones Haris Epaminonda Tania Kovats www.contemporaryartsociety.org Christina Mackie Haroon Mirza Silke Otto-Knapp Toby Patterson Mick Peter Olivia Plender Elizabeth Price Fiona Rae David Raymond Conroy Michal Rovner Samara Scott Rose Wylie Thank You To Our Supporters Partners & Supporters Conditions of Business Auction Information Silent Auction & Pledge System The RE- Committee Heidi Baravalle Liz Bauza Philippa Bradley Daniela Colaiacovo Jeremy Deller Caroline Douglas Fiona Rae Sarah Elson Bob and Roberta Smith Antje Géczy John Stezaker Kira Heuer and Gavin Turk Linda Keyte Ambassadors Michael King Audrey Klein Livia Firth Martina Klemmer Honorary Chair Paula Lent Suling Mead Mark Stephens Valeria Napoleone Chairman, Contemporary Art Society Flavia Nespatti Midge Palley Caroline Douglas Veronique Parke Director Françoise Sarre Rapp Dasha Shenkman All welcome you to RE- Mark Stephens Cathy Wills Dina Wulfsohn Anita Zabludowicz Jill Zarzycki Chairman’s Welcome Director’s Introduction There are an extraordinary number of returns, I am indebted to my colleagues on the Board It is my great pleasure to welcome you to Our track record in identifying outstanding revisits, and repetitions of all kinds in the art of Trustees of the Contemporary Art Society; the Contemporary Art Society 2014 Annual artists early in their careers is exemplary: from world today including restaging exhibitions a dedicated, dynamic and driven group of Fundraiser. Now in its 6th successful year, Paul Gauguin’s painting Tahitians (circa 1891), and performances which give the viewer and individuals and I would like to thank them all this glamorous event is absolutely at the core gifted to Tate in 1917, to Laure Prouvost’s collector an opportunity to RE-interpret. With for the help they have given in creating what is of what we as an organisation work to achieve. Monologue, (2009), gifted to the Whitworth Art this gala, the Contemporary Art Society has now a fixture in the art world calendar. I am also in The Contemporary Art Society fundraises to Gallery last year, the Contemporary Art Society commissioned prominent established artists great admiration of the staff of the Contemporary place contemporary art in public collections has always championed the great talents of the as well as younger emerging artists to explore Art Society who work so hard, not just on the across the UK. For over 100 years we have age. None of this would ever have been possible these ideas: Re-imagine, Re-cycle, RE-style, fundraiser, but on all they continue to do to worked with the great museums and galleries without the enlightened patronage of our RE-create and RE-invent. The resulting work ensure that the organisation thrives and develops. in this country, supporting them in collecting supporters, many of them pioneering and well includes those where artists upcycle materials Caroline Douglas, our brilliant new Director, the most exciting art of their times and creating known collectors in their own right. You help in interesting ways and others where artists has given the gala RE-newed energy and expertise a permanent legacy for future generations. us to be the smart money. reinterpret previously examined concepts. and has brought to this challenge a pragmatic as well as enlightened approach. Dida Tait has “… I feel strongly that every penny one can The theme of this year’s event – RE- This was our starting point and it lends itself superbly orchestrated this event with her usual save ought to be given to young artists. At least was suggested by Antje Géczy and evokes well to the fascination today, well beyond the finesse and positivism. For the first time we are we who really feel the beauty and wonder of inspiring notions of environmentalism as confines of the artworld, for a RE-interpretation delighted to have formally collaborated with art ought to help them. There are heaps of well as acknowledging the necessity to reach of beliefs, assumptions and of ways of making. the Institute of Contemporary Arts (ICA) with people who understand philanthropy … and back into our past to re-purpose ideas for the We have seen recycling and sustainability in whom we of course share very similar objectives young creators have such a terrible struggle.” contemporary world. The committee has been every industry and nowhere more visible than by supporting the exhibition and work of Lady Ottoline Morrell, 1909 steered this year with enormous intelligence, in fashion. So it seemed that Livia Firth, well contemporary artists in the UK. The ICA kindly acuity and panache by the wonderful Veronique known for her work with Eco-Age promoting hosted our preview evening on the 5 March and we Parke who has gathered around her a powerful ethical, sustainable fashion would be a fantastic are grateful to Gregor Muir, Malcolm Colin-Stokes group of people to encourage the generosity ambassador for this event. We are honoured and the ICA team. of a very distinguished group of artists and to have Livia Firth as Honorary Chair. gallerists. We would like to extend our warmest Finally, we at the Contemporary Art Society are thanks to Veronique, Sarah Elson and all the most especially grateful to our sponsors Goldlake, other members of the committee for their tireless Lavazza, Lexington Partners and Sotheby’s work on our behalf. We offer our most heartfelt without whom none of this would be possible. thanks to all those artists who have donated work, and most particularly to the five artists Mark Stephens who have agreed to be our Ambassadors for the Chairman, Contemporary Art Society Gala and for the next year. Our warmest thanks go to Jeremy Deller, Fiona Rae, Bob and Roberta Smith, John Stezaker and Gavin Turk whose advocacy for the Contemporary Art Society will be so invaluable. I am sure you will have an entertaining and exciting evening. I know you will be as enthusiastic as we are about the works in our auction, and I hope you will enjoy knowing that you are supporting the mission of the Contemporary Art Society now and into the future. Caroline Douglas Director, Contemporary Art Society The Contemporary Art Society and the RE- Committee are grateful to the artists and galleries who have generously contributed artwork for RE- in support of the Contemporary Art Society. Live Auction Lot No. Lot No. Caroline Achaintre Alice Channer KLOWS 2013 Maxi, Mini, Midi, Midi, Midi Hand-tufted wool, 270 3 150 cm (sky blue and cream) 2012 Estimate Cast and powder coated aluminium on oak dowel, 70 3 38 3 47 cm £8,000 – £12,000 Known for her tribal-like ‘tufted’ sculpture, Caroline Achaintre’s practice shares a relationship with fine art and contemporary applied art. Achaintre’s recent exhibitions include Decorum: Artists’ Carpets & Tapestries Estimate at Musée d’Arte Moderne de la Ville de Paris (2014). £8,000 – £12,000 During Spring 2014 she will be artist-in-residence at Camden Arts Centre and later in the year she will present a solo exhibition at Tate Britain as part of Tate BP Contemporary Projects. A new work kindly donated by This is one of a group of the artist and Arcade Gallery. several attempts by Alice Channer to make sculptures of smoke rings. These works have taken different forms, but all involve casting the edges (wristbands, cuffs, necks) of stretchy clothing in aluminium in the form of smoke rings. Channer’s work traces the disappearance, mutation and possible evolution of a body in post-industrial environments. Recent solo exhibitions include Invertebrates at The Hepworth Wakefield andSoft Shell at Kunstverein Freiburg, Germany. A work kindly donated by the artist and the Approach, London. Lot No. Lot No. Roger Hiorns Michael Landy Untitled 2014 Saint Catherine Wheel 6 2012 Book and copper sulphate, approx. 24 3 15 3 4 cm Photographic paper, pencil, paint, 86 3 153 cm Michael Landy’s drawings the saints’ (Saints Alive, 2013). and graphic works are the He has recently exhibited foundation of his practice. at The National Gallery, Part of a generation of artists London; Thomas Dane that emerged in the 1990s, Gallery, London; Whitworth he has publicly destroyed Art Gallery, Manchester and Estimate all his personal possessions South London Gallery.
Recommended publications
  • Tate Report 2009–2010 – Text Only
    Tate Report 2009–10 Contents Introduction 03 Art and Ideas / Collection Acquisitions 10 Collection care 12 Research 14 Acquisition highlights 16 Art and Ideas / Programme Tate Britain 34 Tate Modern 36 Tate Liverpool 39 Tate St Ives 41 Calendar 43 Audiences / Learning Families and young people 47 Adult programmes and live events 49 Audiences / Beyond Tate Online and media 54 Tate National 56 Tate International 59 1 Improving Tate Developing staff 62 Operational effectiveness 63 Sustainable practice 63 Funding and trading 64 Future Developments 69 Financial Review 72 Donations, Gifts, Legacies and Sponsorships 75 2 Introduction We are committed to enriching people’s lives through their encounter with art. And so, this year Tate again reached out across the country and to the world beyond – through our galleries, partnerships and online – to invite people to look again at the familiar, and to think about the new experiences offered by the art of our own time. Broadening global and artistic perspectives Our environment is characterised by rapid technological, social and economic change. We have therefore been strengthening our foundations and broadening our perspectives to ensure we continue to stimulate audiences and engage their attention, making art relevant to their lives today. The emergence of new art centres across the world and an art world which is increasingly complex and interconnected oblige us to re-examine our focus on traditional geographical areas of interest. Significant acquisitions this year included a group of thirteen contemporary works by artists from Algeria, Lebanon, Turkey, Iran and Egypt, as well as important works by artists including Do-Ho Suh, Chen Zhen and Santu Mofokeng.
    [Show full text]
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Michael Landy Born in London, 1963 Lives and Works in London, UK
    Michael Landy Born in London, 1963 Lives and works in London, UK Goldsmith's College, London, UK, 1988 Solo Exhibitions 2017 Michael Landy: Breaking News-Athens, Diplarios School presented by NEON, Athens, Greece 2016 Out Of Order, Tinguely Museum, Basel, Switzerland (Cat.) 2015 Breaking News, Michael Landy Studio, London, UK Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK (Cat.) Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam, The Netherlands Three-piece, Galerie Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia (Cat.) H.2.N.Y, Alexander and Bonin, New York, USA (Cat.) 2004 Welcome To My World-built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK (Cat.) 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, Artangel Commission, London, UK (Cat.) 2000 Handjobs (with Gillian
    [Show full text]
  • Download Press Release Here
    ! For Immediate Release 1 May 2019 Artists Announced for New Contemporaries 70th Anniversary Constantly evolving and developing along with the changing face of visual art in the UK, to mark its 70th anniversary, New Contemporaries is pleased to announce this year's selected artists with support from Bloomberg Philanthropies. The panel of guest selectors comprising Rana Begum, Sonia Boyce and Ben Rivers has chosen 45 artists for the annual open submission exhibition. Since 1949 New Contemporaries has played a vital part in the story of contemporary British art. Throughout the exhibition's history, a wealth of established artists have participated in New Contemporaries exhibitions including post-war figures Frank Auerbach and Paula Rego; pop artists Patrick Caulfield and David Hockney; YBAs Damien Hirst and Gillian Wearing; alongside contemporary figures such as Tacita Dean, Mark Lecky, Mona Hatoum, Mike Nelson and Chris Ofili; whilst more recently a new generation of artists including Ed Atkins, Marvin Gaye Chetwynd, Rachel Maclean and Laure Prouvost have also taken part. Selected artists for Bloomberg New Contemporaries 2019 are: Jan Agha, Eleonora Agostini, Justin Apperley, Ismay Bright, Roland Carline, Liam Ashley Clark, Becca May Collins, Rafael Pérez Evans, Katharina Fitz, Samuel Fordham, Chris Gilvan- Cartwright, Gabriela Giroletti, Roei Greenberg, Elena Helfrecht, Mary Herbert, Laura Hindmarsh, Cyrus Hung, Yulia Iosilzon, Umi Ishihara, Alexei Alexander Izmaylov, Paul Jex, Eliot Lord, Annie Mackinnon, Renie Masters, Simone Mudde, Isobel Napier, Louis Blue Newby, Louiza Ntourou, Ryan Orme, Marijn Ottenhof, Jonas Pequeno, Emma Prempeh, Zoe Radford, Taylor Jack Smith, George Stamenov, Emily Stollery, Wilma Stone, Jack Sutherland, Xiuching Tsay, Alaena Turner, Klara Vith, Ben Walker, Ben Yau, Camille Yvert and Stefania Zocco.
    [Show full text]
  • David Thorpe : a Rare Beast Maureen Paley
    David Thorpe : A Rare Beast Maureen Paley 8 June - 22 July 2012 Review by Henry Little Libidinous, bulbous plants, groaning patterned monoliths, crafted vertebrae and a fleshy length of oak: David Thorpe’s exhibition marries Victorian artisanal creed with the science-fiction, fantasy landscapes of previous years. Earlier works from the middle of the last decade depicted precarious architecture and emblematic civilisations in the wilderness, alone, but romantic and picturesque. Here, we see this peculiar world up close. A monument on eight wooden legs, just tall enough to make you feel small, occasionally asserts itself with a low groan. This seems strange, emanating from a rustic, ornate wall facsimile, devotedly inlaid with looping foliage patterns and constructed in antiquated wattle and daub. Its near neighbour, an upright screen with domestic dark brown tiles with a white foliage pattern, is comparably emphatic in its love of Victorian design. Like the highly influential nineteenth-century writer and critic John Ruskin (1819 - 1900), Thorpe’s current body of work foregrounds a fascination with the relationship between art and nature. And, more specifically, the tension and difference between imitating and recording nature. Ruskin was a keen advocate of botanical illustration, in fact championing these humble craftsmen as artists, not merely ‘illustrators’, and was an avid water-colourist himself. In Thorpe’s botanical watercolours, we see this same impetus to record accurately, but instead of known plants we are presented with fantastical specimens derived, as we may suppose, from the artist’s own universe. These works, if you are so inclined, are truly exceptional. ‘Ecstatic Hangings’ (2012) bears the erotic fruit of the work’s title.
    [Show full text]
  • Quarters Kathryn Tully Compare How the Artists’ Areas in the Two Cities Have Changed Over Time
    4 ART AND THE CITY ART TIMES ART DISTRICTS London and New York are the two powerhouses of the international art world, Artist’s supporting galleries, auction houses, museums and, of course, artists. The areas where the latter congregate quickly gain a reputation for style, innovation and creativity – prompting the arrival of dealers and property developers. Based in London and New York respectively, Ben Luke and quarters Kathryn Tully compare how the artists’ areas in the two cities have changed over time LONDON (YBAs), and gathered in a then un- that the character of the place and the It is astonishing that until 2000, when likely crucible for cultural renaissance It is important to try to strike a things that made it successful as an area Tate Modern opened, London lacked – the East End districts of Shoreditch of regeneration can remain in some a national museum of modern art. and Hoxton. balance between ensuring that form, but without stultifying it and Instead, 20th-century art was housed In Lucky Kunst, his memoir of the trying to keep it as a museum.” alongside British art in the Tate Gallery, YBA era, Gregor Muir, now director of the character of the place and the Mirza is particularly focused on now Tate Britain, on Millbank. When it the contemporary gallery Hauser and the area around the 2012 Olympic arrived, Tate Modern shone as a beacon Wirth, remembers arriving as a pen- things that made it successful as an Park. “Hackney Wick has the largest for London’s newfound conviction in niless critic in a Shoreditch suffering concentration of artists anywhere in the kind of art that had long been the from the economic inequalities of the area of regeneration can remain in Europe.
    [Show full text]
  • Gary Hume CV
    Gary Hume Born in 1962, Kent, UK Lives and works in London, UK and New York, USA EDUCATION 1988 Goldsmiths College, London, UK SELECTED SOLO SHOW 2019 Matthew Marks Gallery, Los Angeles, USA Carvings, New Art Centre, Salisbury, UK Looking and Seeing, Barakat Contemporary, Seoul, Korea Destroyed School Paintings, Matthew Marks Gallery, New York. Traveled to Museum Dhondt- Dhaenens, Deurle, Belgium (catalogue) 2018 Sprüth Magers, Berlin, Germany 2017 RA: Prints Pictures, Royal Academy of Arts, London, UK Mum, Sprüth Magers, London, UK (catalogue) Mum, Matthew Marks Gallery, New York, USA (catalogue) 2016 Front of a Snowman, Aspen Art Museum, Aspen, USA 2014 Lions and Unicorns, White Cube Gallery, São Paulo, Brazil 2013 The Wonky Wheel, Matthew Marks Gallery, New York, USA (catalogue) White Cube, London, UK Tate Britain, London, UK (catalogue) 2012 2, Sprüth Magers, Berlin, Germany Anxiety and the Horse, Matthew Marks Gallery, New York, USA The Indifferent Owl, White Cube, London, UK (catalogue) Beauty, Pinchuk Art Centre, Kiev, Ukraine Flashback, Leeds Art Gallery, UK. Traveled to Wolverhampton Art Gallery, UK; Jerwood Gallery, Hastings, UK; and Aberdeen Art Gallery, UK (catalogue) 2010 Bird in a Fishtank, Sprüth Magers, Berlin, Germany BARAKAT CONTEMPORARY 36, Samcheong–ro 7–gil, Jongno–gu [email protected] +82 02 730 1948 barakatcontemporary.com New Work, New Art Centre, Roche Court, East Winterslow, UK 2009 Yardwork, Matthew Marks Gallery, New York, USA (catalogue) 2008 Door Paintings, Modern Art Oxford, UK (catalogue) Baby Birds
    [Show full text]
  • Art Books Spring 2020 Millbank London Sw1p 4Rg
    TATE PUBLISHING TATE ENTERPRISES LTD ART BOOKS SPRING 2020 MILLBANK LONDON SW1P 4RG 020 7887 8870 TATE.ORG.UK/PUBLISHING TWITTER: @TATE_PUBLISHING INSTAGRAM: @TATEPUBLISHING CONTENTS NEW TITLES 3 ANDY WARHOL 7 STEVE MCQUEEN 9 BRITISH BAROQUE: POWER AND ILLUSION 11 AUBREY BEARDSLEY 13 A BOOK OF FIFTY DRAWINGS BY AUBREY BEARDSLEY 15 ZANELE MUHOLI 17 LYNETTE YIADOM-BOAKYE 19 MAGDALENA ABAKANOWICZ 21 BRITAIN AND PHOTOGRAPHY: 1945–79 23 HUGUETTE CALAND 25 VENICE WITH TURNER 27 SPRING 29 SUMMER 30 QUENTIN BLAKE: PENS INK & PLACES 31 HOW TO PAINT LIKE TURNER 32 RECENT HIGHLIGHTS 34 BACKLIST TITLES 41 J.M.W. TURNER 42 BARBARA HEPWORTH 43 QUENTIN BLAKE 44 HYUNDAI COMMISSION 45 TATE INTRODUCTIONS 46 MODERN ARTIST SERIES 47 BRITISH ARTIST SERIES 48 REPRESENTATIVES AND AGENTS All profits go to supporting Tate. Please note that all prices, scheduled publication dates and specifications are subject to alteration. Owing to market restrictions some titles are not available in certain markets. For more information on sales and rights contacts see page 48. ANDY WARHOL EDITED BY GREGOR MUIR AND YILMAZ DZIEWIOR NEW TITLES NEW EXHIBITIONS A FASCINATING ‘RE-VISIONING’ OF WARHOL AND Tate Modern HIS UNIQUE VIEW OF AMERICAN CULTURE 12 Mar – 6 Sept 2020 As an underground art star, Andy Warhol (1928–87) Museum Ludwig, was the antidote to the prevalent abstract expressionist Cologne, 10 Oct 2020 style of 1950s America. Looking at his background as – 21 Feb 2021 a child of an immigrant family, his ideas about death and religion, as well as his queer perspective, this Art Gallery of book explores Warhol‘s limitless ambition to push the Ontario, Toronto traditional boundaries of painting, sculpture, film and 27 Mar – 13 Jun 2021 music.
    [Show full text]
  • Patrick Painter, Inc
    PATRICK PAINTER, INC Glenn Brown Born 1966, Northumberland, England Lives and works in London Education 1992 Goldsmiths’ College, London 1988 Bath College of Higher Education 1985 Norwich School of Art, Foundation Course Solo Exhibitions 2006 Galerie Max Hetzler, Berlin, Germany 2005 Patrick Painter Inc., Santa Monica, CA 2004 Serpentine Gallery, London, England Gagosian Gallery, New York, New York 2002 Galerie Max Hetzler, Berlin, Germany 2001 Patrick Painter Inc., Santa Monica, California Künstlerverein Malkasten, Düsseldorf, Germany 2000 Domaine de Kerguéhennec, Centre d’art Contemporain, Bignan, Franc Galerie Max Hetzler Berlin, Germany Patrick Painter Inc., Santa Monica, California Jerwood Space, London, England Galerie Ghislaine Hussenot, Paris, France 1996 Queen’s Hall Arts Centre, Hexham, England 1995 Karsten Schubert Gallery, London, England Group Exhibitions 2005 Translations, Thomas Dane, London, England Ecstasy: In and About Altered States, Museum of Contemporary Art, Los Angeles, California Strata: Difference and Repetition, Fondazione Davide Halevim, Milan, Italy 2003 La Biennale di Venezia: Delays and Revolutions, Padiglione Italia, Giardini della Biennale, Venice, Italy 2002 Sao Paulo Bienal: Iconografias Metropolitanas, Oscar Niemeyer Bulding, 1 PATRICK PAINTER, INC Pavilhao Ciccillio Matarazzo, Parque Ibirapuera Melodrama, Artium, Centro-Museo Vasco de Arte Contemporaneo, Spain and Palacio de los Condes de Gabia, Granada Biennale of Sydney 2002: (The World May Be) Fantastic, Museum of Contemporary Art Sydney and Art Gallery
    [Show full text]
  • Environment Template (REF5) GOLDSMITHS – Art & Design
    Environment template (REF5) GOLDSMITHS – Art & Design Institution: Goldsmiths, University of London Unit of Assessment: 34 – Art & Design: History, Practice and Theory a. Overview Goldsmiths’ Departments of Art, Design and Visual Cultures are recognised internationally as distinctive and distinguished contributors to contemporary research. Their work in the period under review has led the field in the production of scholarly, artistic, environmental, curatorial, moving image, digital and computational research, and in the development of significant new approaches to processes and methods in these areas. Core to our ethos is a commitment to material and formal investigation of the highest standard. Our research culture is informed by an ethos of experimentation and innovation in terms both of the types of work we produce and the range of audiences and social situations we address. We invest in new forms of public engagement for academic work through resourceful configurations of collaboration and co-production. Our research environment supports the close connection and interdependence of practice-based research and scholarship, encouraging proactive engagements with the institutions and professions with whom we work. Our research embodies an ethos of critical and conceptual affinity with the social contexts we inhabit; we are committed to the civic role of aesthetic and scholarly production. These core attributes, detailed below, are manifest not only in our artworks, design artefacts, publications and curatorial projects, but also in partnerships with collaborating institutions and funding organisations. They fundamentally guide our recruitment processes, our doctoral research programmes and research strategy. b. Research Strategy The three departments are united in a strategic commitment to the development of innovative practice-based and scholarly research that challenges typical forms of investigation and opens up new publics for research.
    [Show full text]
  • Frieze London Announces Galleries, Curators & Pioneering New Section
    Frieze Press Release 27 June 2016 Frieze London Announces Galleries, Curators & Pioneering New Section for the 2016 Fair The 14th edition of Frieze London will take place a week earlier this year, open- ing 6–9 October with a Preview Day on Wednesday 5 October. This year’s fair brings together more than 160 of the world’s leading galleries, showcasing today’s most significant artists across its main and curated sections, alongside the fair’s celebrated non-profit programme of ambitious new artist commis- sions and talks. In 2016 the fair will debut a new gallery section, The Nineties, recreating seminal exhibitions from the decade, alongside the return of sections Focus and Live, the definitive platforms for emerging galleries and performance art respectively. Frieze London coincides with Frieze Masters and the Frieze Sculpture Park, convening art of the highest quality from a spectrum of periods and countries and offering collectors, scholars and art enthusiasts an unparal- leled cultural experience. Frieze London is supported by main sponsor Deutsche Bank for the 13th con- secutive year, continuing a shared commitment to discovery and artistic excel- lence. Building on Frieze’s enduring relationship with collecting institutions, this year, the fair partners with two acquisition funds for national museums, including the the Frieze Tate Fund, now supported by WME | IMG; and the launch of the Contemporary Art Society’s Collections Fund at Frieze, supporting a regional museum in the UK. Victoria Siddall, Director, Frieze Fairs said, ‘Frieze has become known for its strong curated sections and this year I am particularly excited to see Nicolas Trembley’s selection of artists who changed the conversation in the 1990s.
    [Show full text]