BILLY CHILDISH Cypress Trees & Cypress Swamp Billy Childish (Born

Total Page：16

File Type：pdf, Size：1020Kb

BILLY CHILDISH Cypress Trees & Cypress Swamp Billy Childish (born 1959, Chatham, Kent, United Kingdom; lives and works in Whitstable, Kent) is known for his introspective, autobiographical, and deeply emotional paintings, writing, and music. Childish co-founded the Stuckism art movement along with Charles Thomson in 1999, which promoted the use of Modernist pictorial ideals and personal expression over Postmodernist cynicism. Labeling himself a “radical traditionalist,” Childish has a reverence for traditional oil painting yet has resolutely resisted any connection with a particular group or artistic movement. OLAFUR ELIASSON The Breathing Moon Olafur Eliasson (Icelandic: Olafur Eliasson; born 1967) is an Icelandic-Danish artist known for sculptures and large-scale installation art employing elemental materials such as light, water, and air temperature to enhance the viewer’s experience. In 1995 he established Studio Olafur Eliason in Berlin, a laboratory for spatial research. He was a professor at the Berlin University of the Arts from 2009 to 2014 and is an adjunct professor at the Alle School of Fine Arts and Design in Addis Ababa since 2014. JENNIFER BARTLETT Amagansett Diptych Jennifer Losch Bartlett (born 1941) is an American artist. She is know for paintings and prints that combine the system-based aesthetic of Conceptual art with the painterly approach of Neo-expressionism. Many of her pieces are executed on small, square, enamel-coated steel plates that are combined in grid formations to create very large works. BRAD OLDHAM CHRISTY COLTRIN Twist Dallas-based artists Brad Oldham and Christy Coltrin, (both born 1966) of Brad Oldham Sculpture, designed, sculpted, produced and installed Twist at Park District. Oldham and Coltrin are widely known for their monumental sculptures specifically designed for public spaces and private collectors across the country. They thrive on the challenge of articulating the personality of diverse locations and communities via placemaking sculpture often realized in stainless steel, bronze, aluminum or brass pieces. .

Copy Link

Recommended publications

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’.
[Show full text]
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.
[Show full text]
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.
[Show full text]
The Authenticity of Ambiguity: Dada and Existentialism
THE AUTHENTICITY OF AMBIGUITY: DADA AND EXISTENTIALISM by ELIZABETH FRANCES BENJAMIN A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages College of Arts and Law University of Birmingham August 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ii - ABSTRACT - Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study.
[Show full text]
Artist Billy Childish Comes of Age
Artist Billy Childish comes of age Once known mainly for his relationship with artist Tracey Emin, Billy Childish, co-founder of the Stuckist movement – and a man of many names – has finally come into his own, writes Fionnuala McHugh 5 APR 2014 / UPDATED ON 15 MAY 2015 Childish in his studio. Photo by Fionnuala McHugh Billy Childish is a musician, a poet, a novelist, a photographer and a painter. Unless you’re familiar with the independent British music scene of the late 1970s and early 80s, however, you almost certainly won’t have heard of him. Until recently, he tended to be defined via his relationship with a rather better-known British artist called Tracey Emin, with whom he’d had a relationship in the 80s. If his name was known to the general public at all, it was because it had been stitched, along with many others, on to a tent in her seminal opus Everyone I Have Ever Slept With 1963 – 1995. One exasperated day, Emin yelled at Childish, “Your paintings are stuck. You are stuck, stuck, stuck!” As a result of this observation, the Stuckist art movement was formed in 1999 (whereupon the friendship with Emin foundered for about a decade). The Stuckists were against conceptual art of which embroidered tents, rotting sharks, blaspheming elephant dung, etc were only the most obvious examples. A core belief of the Stuckists was that “artists who don’t paint aren’t artists”, and although Childish left the movement a couple of years later, this is the way he continues to think.
[Show full text]
Gce History of Art Major Modern Art Movements
FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective.
[Show full text]
Billy Childish Flowers, Nudes and Birch Trees: New Paintings 2015 September 10-October 31, 2015 536 West 22Nd Street, New York #Billychildish
Billy Childish flowers, nudes and birch trees: New Paintings 2015 September 10-October 31, 2015 536 West 22nd Street, New York #billychildish Opening Reception: Thursday, September 10, 6-8PM birch wood, 2015, oil and charcoal on linen, 72.05 x 108.07 inches, 183 x 274.5 cm. Courtesy the artist and Lehmann Maupin, New York and Hong Kong. New York, August 11, 2015—Lehmann Maupin is pleased to present its fourth exhibition with British artist Billy Childish, a prolific painter, writer, and musician. The artist’s vivid oil paintings offer fragmented fields of intense color applied frenetically, often leaving charcoal marks and the linen canvas exposed, further emphasizing the immediate and intuitive nature of Childish’s work. The artist will be present for an opening reception at the gallery on Thursday, September 10 from 6-8PM. Working in traditional genres such as portraiture, still life, and landscape, Childish’s paintings are spiritually charged expressions that come from a place of deep personal meaning. These powerful works, including unabashed nudes, self-portraits, and dense woodland scenes, honor the simple nature of being and in the process transcend the ordinary. Eschewing any hint of post-modernist irony in his work, he allows the basics of personal expression to come forth through the fundamentals of painting. A self-proclaimed “Radical Traditionalist,” Childish has said, “The reason I honor tradition is that it provides a form and structure that allows freedom—the ego is subjugated and the requirements of the painting are met. Tradition is not to be worshipped or adored; it is a vehicle to take you to new places, or we could say to arrive at the perennial.” While he is occasionally associated with British groups like the Stuckists and YBAs, Childish does not see himself as connected to a particular contemporary movement; however, he is highly regarded and well known by his peers, including renowned artists Peter Doig and Tracey Emin.
[Show full text]
About Henry Street Settlement
TO BENEFIT Henry Street Settlement ORGANIZED BY Art Dealers Association of America March 1– 5, Gala Preview February 28 FOUNDED 1962 Park Avenue Armory at 67th Street, New York City MEDIA MATERIALS Lead sponsoring partner of The Art Show The ADAA Announces Program Highlights at the 2017 Edition of The Art Show ART DEALERS ASSOCIATION OF AMERICA 205 Lexington Avenue, Suite #901 New York, NY 10016 [email protected] www.artdealers.org tel: 212.488.5550 fax: 646.688.6809 Images (left to right): Scott Olson, Untitled (2016), courtesy James Cohan; Larry Bell with Untitled (Wedge) at GE Headquarters, Fairfield, CT in 1984, courtesy Anthony Meier Fine Arts; George Inness, A June Day (1881), courtesy Thomas Colville Fine Art. #TheArtShowNYC Program Features Keynote Event with Museum and Cultural Leaders from across the U.S., a Silent Bidding Sale of an Alexander Calder Sculpture to Benefit the ADAA Foundation, and the Annual Art Show Gala Preview to Benefit Henry Street Settlement ADAA Member Galleries Will Present Ambitious Solo Exhibitions, Group Shows, and New Works at The Art Show, March 1–5, 2017 To download hi-res images of highlights of The Art Show, visit http://bit.ly/2kSTTPW New York, January 25, 2017—The Art Dealers Association of America (ADAA) today announced additional program highlights of the 2017 edition of The Art Show. The nation’s most respected and longest-running art fair will take place on March 1-5, 2017, at the Park Avenue Armory in New York, with a Gala Preview on February 28 to benefit Henry Street Settlement.
[Show full text]
THE OTHER ART FAIR 22-25 March 2018 Victoria House, Bloomsbury Square London WC1 “The Future of Art” – the Guardian
THE OTHER ART FAIR 22-25 March 2018 Victoria House, Bloomsbury Square London WC1 “The Future of Art” – The Guardian The Other Art Fair at Victoria House The Other Art Fair, presented by Saatchi Art, has become one of the most important and exciting showcases for emerging artists. Unique in its approach, The Other Art Fair offers astute collectors the chance to discover and buy work directly from the rising stars in global contemporary art, with editions now in London, Bristol, Sydney, Melbourne, New York and Los Angeles. 22-25 March 2018 will see The Other Art Fair return to Central London’s historic Victoria House. 120 contemporary artists will be exhibiting a variety of hand-picked works across all mediums, chosen by a respected selection committee that this year includes VP Art Advisory + Chief Curator at Saatchi Art Rebecca Wilson, founder of Jealous Gallery and Print Studio Dario Illari, director of BEERS London Gallery and author of ‘100 Painters of Tomorrow’ Kurt Beers and New York-born and London based contemporary art critic, editor and teacher Dr. Gilda Williams. Since its launch in 2011, The Other Art Fair has welcomed more than 200,000 visitors from around the world to its fairs and facilitated total sales in excess of £4 million, while becoming an unmissable event on London’s art calendar. With its distinguished committee of experts and guest curators, The Other Art Fair has established itself as the fair of choice for London’s emerging collectors. Uniquely, over 60% of clients at the The Other Art Fair London 2016 edition were first time buyers.
[Show full text]
How to Write an Avantgarde Manifesto (A Manifesto) Lee Scrivner the London Consortium April, 2006 Founding
How to Write an AvantGarde Manifesto (A Manifesto) Lee Scrivner the london consortium April, 2006 To launch a manifesto you have to want: A. B. & C., and fulminate against 1, 2, & 3. Tristan Tzara, Dadaist Manifesto, 1918 Founding I have been up all night, drafting this manifesto. But no unbounded pride buoys me up, only caffeine and the expectations of my comrades. Earlier today these comrades, now all sucking their pillows in sleep, sent me an outline of everything they wanted, a rough sketch of grand plans “to destroy the old world of 1, 2, & 3”—normal stuff for radical or fringe groups like ours. But—blast! I have tumbled a full tumbler of coffee on their manuscript, which they had inexplicably penned with a dull quill and some homemade India ink. (Those guys. Always trying to be antique.) Now their words are a murky morass of shifting, competing signifiers, a grapheme gruel in midnight hues. And I am left without a clear blueprint. I hardly know where to begin. Since it’s getting late, and I’m getting desperate, I’ve decided to pilfer the manifestos of other radical or avantgarde groups—Futurist, Vorticist, Surrealist, Dadaist, Unabomberist, etc.—for ideas of what kind of diatribe is expected of me. Yet 2 looking over these screeds now, each seems at turns effective and ineffective, utterly convincing and utterly ridiculous. And while such antitheses might be perfectly acceptable to me, I fear my coconspirators would not approve. So I will try my best to pinch the best from each text and cast out the chaff.
[Show full text]
HANDY HINTS the Stuckists (Est
A Stuckist Manifesto HANDY HINTS The Stuckists (est. 1999) ant-anti-art The first Remodernist art group Handy hints for students and others on some of the thinking behind Stuckism and the development and theory of Remodernism. The Stuckists are a small independent group of artists who believe passionately in the painting of pictures. They are a model for like- minded people round the world who wish to stand up for the heart and soul of art. Remodernism heralds a new epoch and is the antidote to the spiritual bankruptcy of Post Modernism. Remodernism stands for content, meaning and communication - subjectivity, emotional engagement, integrity, love, enthusiasm and a spiritual renaissance in society, art and the creative life. 1. Students should be inspired by and study the artists who they love as this is their gift to us to help us develop our own vision. (In Japanese there is a single word for to learn and to copy). 2. The language of the visionary artist is by nature always subjective, limited and partial, this is its power not its weakness. Personal truth, sought for with integrity, communicates to the inner world of us all and therefore contains the whole. 1 3. Objectivity is only useful in discerning the truth of our subjectiveness. 4. The naming of names and the demarcation of the arts. It is not fascism to name a brick a brick, a shoe a shoe, a horse a horse or a painting as art. Standing on the ground is not a type of flying. Calling walking walking does not devalue walking or suggest that walking is some how inferior to jumping up and down.
[Show full text]
'Search Engine Artist' Hacked Her Paintings Into Frieze Los Angeles's Google Results
AiA Art News-service How One ‘Search Engine Artist’ Hacked Her Paintings Into Frieze Los Angeles’s Google Results Gretchen Andrew's paintings may not be under the white tent, but her internet project will definitely be seen by those looking for the big event. Caroline Goldstein, February 12, 2019 Photo courtesy of Gretchen Andrew, 2019. Type the words “Frieze Los Angeles” into the Google image search bar. What you will find is that the first row is dominated by thumb-sized interior photographs of a white-walled gallery with paintings lining the wall and a dappled grey floor. This does not—yet—raise any red flags. The interiors look like they could well be from Frieze, the art fair that opens its inaugural Los Angeles edition this week. If you look closely enough, you’ll even notice that the knobby grey flooring is actually a style known as “frieze carpeting.” The URL linked to the images is frieze-los- angeles.com. It all seems to check out! Except that these are not photos from a gallery showing at Frieze Los Angeles. They are part of a digital performance piece and an example of what California - based artist Gretchen Andrew calls “Internet Imperialism.” Search engine results, with Andrew’s circled. Photo courtesy of Gretchen Andrew. The Back Story Andrew graduated from Boston College in 2010 with a degree in Information Systems, from there catapulting into the upper echelons of Silicon Valley where she worked at both Intuit and Google. There she amassed the sort of internet -fluency that is just now filtering down to the likes of laypeople, gaining an understanding of how machines digest, filter, and reproduce data, and Search Eng ine Optimization (SEO).
[Show full text]