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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. -
Bloomberg New Contemporaries 2013
Bloomberg New Contemporaries 2013 Bloomberg New Contemporaries 2013 www.ica.org.uk/learning Bloomberg New Contemporaries 2013 www.ica.org.uk/learning 27 November 2013 - 26 January 2014 27 November 2013 - 26 January 2014 CONTENTS Introduction to the Exhibition and Aims of the Pack 4 - 5 About the ICA 6 History of New Contemporaries 7 - 8 Lower Gallery 9 Upper Gallery 10 Bloomberg New Contemporaries 2013 Discussion & Activities 11 - 12 27 Nov - 26 Jan 2014 TEACHERS PACK Art Rules 13 About ICA Learning and BNC Selectors 14 Forthcoming Events 15 2 3 Bloomberg New Contemporaries 2013 www.ica.org.uk/learning Bloomberg New Contemporaries 2013 www.ica.org.uk/learning 27 November 2013 - 26 January 2014 27 November 2013 - 26 January 2014 INTRODUCTION TO THE EXHIBTION AND AIMS OF THE PACK The pre-visit activities have been designed to ensure that students gain a deep understanding of Bloomberg New Contemporaries 2013 from their visit. Suggested pre-visit activities allow students to engage more fully with the works on display and encourage a stronger understanding of the themes of the exhibition. Bloomberg New Contemporaries 2013 2013 Artists Upper & Lower Galleries Aisha Abid Hussain, Rebecca Ackroyd, Thomas Aitchison, Lewis Betts, Jason Brown, Fatma Bucak, Agnes Calf, Lauren Cohen, Patrick Cole, Menna Cominetti, Calum Crawford, Mark Essen, Adham Fara- For the fourth year running we welcome Bloomberg New Contemporaries with 46 participants to the mawy, Ophelia Finke, Grant Foster, Archie Franks, Joe Frazer, Kate Hawkins, Adam Hogarth, Catherine ICA. This year’s selectors Ryan Gander, Chantal Joffe and Nathaniel Mellors have chosen outstanding Hughes, Antoine L’Heureux, Roman Liška, Lana Locke, Alex McNamee, Steven Morgana, Laura O’Neill, works by the most promising artists coming out of UK art schools from a range of over 1,500 Hardeep Pandhal, Julia Parkinson, Joanna Piotrowska, Hannah Regel, Dante Rendle Traynor, Daniela submissions. -
St Valentine's Day 2018
ST VALENTINE’S DAY 2018 Mansion House With Special Guest HUGH LAURIE CMF Team Dr Clare Taylor Managing Director Tabitha McGrath Artist Manager Philip Barrett Executive Assistant Trustees Sir Mark Boleat Sir Roger Gifford Sir Nicholas Kenyon Sir Andrew Parmley Advisory Board Guy Harvey Partner, Shepherd and Wedderburn Wim Hautekiet Managing Director, JP Morgan Alastair King Chairman, Naisbitt King Asset Management Kathryn McDowell CBE Managing Director, London Symphony Orchestra Lizzie Ridding Board Member, City Music Foundation Ian Ritchie Artistic Director and Music Curator, Setubal Music Festival Seb Scotney Editor, London Jazz News Philip Spencer Development Consultant Adrian Waddingham CBE Partner, Barnett Waddingham St Valentine’s Day 2018 2 WELCOME Welcome to the Mansion House and to a celebration of all that is good about life! Not least the wonderful music we are going to hear in the splendour of the greatest surviving Georgian town palace in London. The City Music Foundation – CMF – is just five years old and it was created in this house. Its mission is to turn talent into success by giving training in the “business of music” to soloists and ensembles at the start of their professional careers, as well as promoting them extensively in a modern and professional manner. Several - the Gildas Quartet, Michael Foyle, and Giacomo Smith with the Kansas Smitty’s, are playing for us this evening. This year CMF hopes to move into a more permanent home in the City at St Bartholomew the Less, within the boundaries of St Bartholomew’s Hospital – and within the City of London’s ‘Culture Mile’. This anticipates the relocation of the Museum of London to its new site in Smithfield and the creation of a new Centre for Music on the south side of the Barbican – all exciting developments in the heart of the Capital. -
New Works on Video by Young British Artists to Open at the Museum of Modern Art
The Museum of Modern Art For Immediate Release December 1997 NEW WORKS ON VIDEO BY YOUNG BRITISH ARTISTS TO OPEN AT THE MUSEUM OF MODERN ART New Video from Great Britain December 16,1997-February 1,1998 New Video from Great Britain, a survey of the remarkable new wave of work that has emerged from London and Glasgow in recent years, opens at The Museum of Modern Art on December 16, 1997. The program presents notable work by already established figures, such as Sam Taylor-Wood and Douglas Gordon, as well as emerging artists, some of whom are showing in New York for the first time. The two-hour program will be shown continuously in the Garden Hall Video Gallery on the Museum's third floor through February 1, 1998. The exhibition highlights the continuing penchant for conceptual- and performance-based works among young British video artists. Addressing themes of the body, personal identity, and subjectivity in ways that are provocative and playful, ironic and insightful, these works reveal an easygoing familiarity with popular culture that characterizes much of contemporary British life. "Simply and spontaneously shot (often on little more than a domestic camcorder), these 20 or so pieces have a visual impact, flair and invention that belies their low-tech origins and reverberates long after each tape has played," writes Steven Bode, Director of the Film and Video Umbrella, London, who organized the exhibition in conjunction with Barbara London, Associate Curator, and Sally Berger, Assistant Curator, Department of Film and Video, The Museum of Modern Art. -more- 11 West 53 Street, New York, New York 10019 Tel: 212-708-9400 Fax: 212-708-9889 2 "At first glance the young artists in this show appear to use the video camera to capture ordinary gestures, such as simply putting on clothes. -
Co-Authoring Advanced Art
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: Co-Authoring Advanced Art Author: David W. Galenson URL: http://www.nber.org/chapters/c5793 Chapter 10: Co-Authoring Advanced Art Introduction Consistent co-authorship of painting or other works of advanced visual art did not occur prior to the late twentieth century. In recent decades, however, this practice has been followed by a handful of teams of important artists. Yet the history of visual artists working together suggests that co-authorship is likely to become more widespread in the future, and for this reason the practice is of greater interest than would be warranted by the limited number of artists who have already adopted it. A brief survey of this history can help us to understand its recent emergence. Before Modern Art Joint production of paintings was an accepted practice in the Renaissance, as eminent masters presided over studios that might comprise dozens of students and assistants. So for example Vasari reported that when Raphael became successful he employed a large number of assistants and “was never seen at court without some fifty painters.”1 John Pope-Hennessy noted that in this phase of his career “Raphael over a large part of his work became an ideator instead of an executant,” as he made detailed preparatory drawings or cartoons for works that would then be painted by assistants.2 Raphael’s practice of having his plans executed by others was a consequence of his conceptual approach to art, for he clearly considered the essence of his works to lie in their conception. -
The Negligent Eye the Negligent Eye
The Negligent Eye The Negligent Eye Curated by Jo Stockham 8 March – 15 June 2014, the Bluecoat, Liverpool Russell A. Kirsch: The first digital image made on a computer in 1957 showing researcher Kirsch’s baby son. Courtesy of NIST (National Institute of Standards and Technology), USA. A detail of this image is also reproduced on the cover of this publication. 2 / 3 The Negligent Eye Introduction The Eye of the Scanner Bryan Biggs & Sara-Jayne Parsons Chantal Faust This publication accompanies the exhibition the human thumbprint – literally a digital One of the most prominent works in The The publication’s content comprises a text by Then God said, ‘Let there be light’; and There is one word in the English language requires immediate proximity in order to be on this blinding orb, ‘a certain madness is of the same name, curated by Jo Stockham, print – in the form of the ‘signature’ of wood Negligent Eye is Maurice Carlin’s beautiful Chantal Faust that perceptively introduces the there was light. And God saw that the light that is used to describe three very different able to see. The closer the subject is to this implied’.4 It is not that it is impossible to gaze Head of Printmaking at the Royal College of engraver Thomas Bewick who was born in large-scale print, Endless Pageless, screen ‘eye of the scanner’, relating this to our own was good; and God separated the light ways of seeing. A scan is a close examination, recording device, the greater the clarity of the at the sun, or at the beam of a scanner, but Art, and developed in collaboration with the the 18th century. -
The City Museum of Art and Design [Exhibition]
Haywood, Mark (1993) The City Museum of Art and Design [exhibition]. [Show/Exhibition] In: The City Museum of Art and Design, 27 August - 10 September 1993, Various locations in Newcastle upon Tyne, UK. (Unpublished) Downloaded from: http://insight.cumbria.ac.uk/id/eprint/693/ Usage of any items from the University of Cumbria’s institutional repository ‘Insight’ must conform to the following fair usage guidelines. Any item and its associated metadata held in the University of Cumbria’s institutional repository Insight (unless stated otherwise on the metadata record) may be copied, displayed or performed, and stored in line with the JISC fair dealing guidelines (available here) for educational and not-for-profit activities provided that • the authors, title and full bibliographic details of the item are cited clearly when any part of the work is referred to verbally or in the written form • a hyperlink/URL to the original Insight record of that item is included in any citations of the work • the content is not changed in any way • all files required for usage of the item are kept together with the main item file. You may not • sell any part of an item • refer to any part of an item without citation • amend any item or contextualise it in a way that will impugn the creator’s reputation • remove or alter the copyright statement on an item. The full policy can be found here. Alternatively contact the University of Cumbria Repository Editor by emailing [email protected]. Curriculum Vitae Artists’ events, projects and publications curated, commissioned, organised and produced by the Basement Group, Projects UK and Locus+ from December 1979 to the present day. -
SIOBHÁN HAPASKA B
SIOBHÁN HAPASKA b. 1963, Belfast Lives and works in Rotterdam EDUCATION 1990–92 Goldsmith's College, London 1985–88 Middlesex Polytechnic, London CURRENT & FORTHCOMING EXHIBITIONS 2021 Ghosts from the Recent Past, Irish Museum of Modern Art, Ireland (Group, until September 2021) 2022 Douglas Hyde Gallery, Dublin, Ireland (Solo) SOLO EXHIBITIONS 2020 Siobhán Hapaska, Kunst Museum St Gallen, Switzerland 2018-19 Siobhán Hapaska, John Hansard Gallery, University of Southampton, UK 2016 Kerlin Gallery, Dublin, Ireland Andréhn-Schiptjenko, Stockholm, Sweden 2014 Sensory Spaces, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands 2013 Magasin 3 Stockholm Konsthall, Stockholm, Sweden La Conservera Centro de Arte Contemporáneo, Murcia, Spain Hidde van Seggelen Gallery, London, UK 2012 Andréhn-Schiptjenko, Stockholm, Sweden 2011 a great miracle needs to happen there, Kerlin Gallery, Dublin, Ireland 2010 The Nose that Lost its Dog, Tanya Bonakdar Gallery, New York, NY, USA The Curve Gallery, The Barbican Art Centre, London Downfall, Ormeau Baths Gallery, Belfast, Northern Ireland 2009 The Nose that Lost its Dog, Glasgow Sculpture Studios, Glasgow, UK 2007 Camden Art Centre, London, UK Tanya Bonakdar Gallery, New York, NY, USA 2004 Playa de Los Intranquilos, PEER, London, UK 2003 cease firing on all fronts, Kerlin Gallery, Dublin, Ireland 2002 Tanya Bonakdar Gallery, New York, NY, USA 2001 Irish Pavilion, 49th Venice Biennale, Venice, Italy Kerlin Gallery, Dublin, Ireland May Day, Royal Hibernian Academy, Dublin, Ireland 1999 Sezon Museum of -
Keynote Speech at the European Association for Architectural Education Design Apartheid 1-4 September 2001
KEYNOTE SPEECH AT THE EUROPEAN ASSOCIATION FOR ARCHITECTURAL EDUCATION DESIGN APARTHEID 1-4 SEPTEMBER 2001 IAN RITCHIE CONTENTS Introduction Experiencing Europe Towards An Open Methodology Architectural Education - Art and Technique The Complex Problems of Tomorrow Synthetic Thinking in a More Complex World Conclusions All *images are of Ian Ritchie Architects projects, built and unbuilt. Unless otherwise mentioned, Photographer: Jocelyne Van den Bossche. Other images are from Ian Ritchie Architects' picture library. HOW CAN AN ARCHITECT DESIGNING ON A COMPUTER SCREEN FEEL THE ARCHITECTURE HE IS CREATING? WE ARE LIVING MORE AND MORE IN THE IMAGINARY WORLD OF THE SCREEN THE SCREEN WORLD WE ALL LIVE IN IS DISTANCING US FROM THESENSORY WORLD IMAGES HAVE NEVER BEFORE HAD SUCH POTENTIAL TO CONTAIN SO MUCH INFORMATION BUT AT THE SAME TIME THEY HAVE NEVER HAD SUCH POTENTIAL TO CONTAINDISINFORMATION THE LINE BETWEEN FACT AND FICTION IS DISAPPEARING WE HAVE TO DISTINGUISH NOT ONLY BETWEEN FACT AND FICTION BUT ALSO BETWEEN COMMUNICATION AND DISCOURSE. © Ian Ritchie – September 2001 – Design Apartheid 2 Introduction I have identified three key issues that seriously constrain our ability to design and realise a better and more intelligent built environment. 1. The practice of 'design apartheid among professionals' Within this part of my talk, I think there are two distinct design aspects that need to be recognised, discussed and reassessed in the light of the convergence agenda of this conference. First, there are schools of architecture that promote and focus upon a vocational-technical curriculum - and those that promote, almost exclusively, the value of the art of architecture. I will return to this matter later. -
THEN for NOW an Exhibition of Delfina Studio Trust Alumni–Artists in Support of Delfina Foundation
THEN FOR NOW An exhibition of Delfina Studio Trust alumni–artists in support of Delfina Foundation 09/10 — 14/11/15 CONTENTS AARON CEZAR Foreword Director As the cost of living in London continues to rise and financial support for the arts becomes increasingly strained, Then for Now encapsulates the kind of artistic solidarity that is urgently needed. This fundraising exhibition features 18 of the Delfina Studio Trust’s alumni–artists, including five Turner Prize nominees and winners, who have donated artworks to support the next generation of artists at Delfina Foundation. Selected by INTRODUCTION: alumna–artist Chantal Joffe and curator–critic Sacha Craddock, 3 Aaron Cezar [Foreword] the artists taking part in Then for Now define a specific era of 6 Delfina Entrecanales CBE [Quote] the Studios, one that witnessed a period of radical growth in 7 Chantal Joffe [Quote] London’s contemporary art scene. Craddock reflects on this time 7 Sacha Craddock [Essay: Then for Now] in her essay [page 7], as well as on the importance of Delfina [12] Studios as a hotbed of creativity. FEATURED ARTISTS: 12 Anna Barriball The Studios held an outstanding record for nurturing the careers [3] 14 Simon Bill of over 400 artists, including more than a dozen Turner Prize 16 Ian Dawson nominees, in nearly 20 years. Beginning in Stratford in 1988 18 Tacita Dean then relocating to Bermondsey in 1992, the Studios provided free 20 Ceal Floyer and subsidised workspaces to young British artists at first, 22 Anya Gallaccio eventually creating opportunities for artists from across the 24 Lucy Gunning world to live and work in London. -
Summer Exhibition 2020 Main Galleries 6 October 2020 – 3 January 2021
Summer Exhibition 2020 Main Galleries 6 October 2020 – 3 January 2021 The Royal Academy is delighted to present this year’s Summer Exhibition. For the first time in its long history it is taking place in the autumn, due to a delay caused by the coronavirus (COVID-19) pandemic. At a time when artists have been denied important opportunities to show work, the 252nd Summer Exhibition is a unique celebration of contemporary art and architecture, providing a vital platform and support for the artistic community. It remains the world’s largest open submission contemporary art show and has been held every year without interruption since 1769, even throughout the war years. Jane and Louise Wilson RA are co-ordinators of the 252nd Summer Exhibition in 2020, the first time it is curated by an artistic duo. Working with the rest of the Summer Exhibition Committee they seek to challenge the definition of what community is and what form collective communities can begin to take. Themes this year reflect upon identity, immigration, contested borders, ecological threat, climate change, pro-democracy protest and landscape, in the form of installation, painting, film, photography and sculpture. Due to exceptional circumstances, much of the preparation for this year’s exhibition has been done virtually for the first time. Jane and Louise Wilson have curated the Large and Small Weston Rooms, along with the Wohl Central Hall. These rooms feature artists including Korakrit Arunanondchai, David Batchelor, Ori Gersht, Joy Labinjo, Elizabeth Magill, Rosalind Nashashibi, Eddie Peake and John Smith, along with their own work. A new element this year is the introduction of ‘invisible walls’ in one gallery space, supports that are suspended from the ceiling on wires for video screens, adding another dimension to the hang. -
1 Great North Run Moving Image Commission 2013 Artist Brief May
Great North Run Moving Image Commission 2013 Artist Brief May 2012 1 1. Background information The Great North Run Moving Image Commission, organised by Great North Run Culture, awards an experienced artist or film-maker £30,000 to create a new work which responds to and captures the spirit of one of the world’s top sporting events. The new work is premiered in the North East in September ever year as part of Great North Run Culture, with an extract screened on the BBC during their live coverage of the Run. The Bupa Great North Run, the world’s largest half marathon, was launched 33 years ago by Olympic medalist Brendan Foster. It is a 13.1 mile run from the centre of Newcastle, over the famous Tyne Bridge, through Gateshead to South Shields. The course makes its way from the urban, through the suburban, to the coastal. Since staging the first event, nearly a million people have crossed the finish line. 54,000 people a year take part, from international elites to first-time runners. The Bupa Great North Run has a long history of involvement with the moving image, with spectators around the country tuning in to the BBC, focusing on the North East, to watch the world’s biggest half-marathon. This huge sporting and cultural phenomenon is one of the most watched televised sporting events. Attracting elite international runners, celebrity runners, athletes and fun-runners, the Bupa Great North Run is unique in that it creates a special day for a mass audience – a highly visible event for people, including families, tourists and sports enthusiasts, to enjoy for free.