Gillian Wearing Bibliography

Total Page:16

File Type:pdf, Size:1020Kb

Gillian Wearing Bibliography GILLIAN WEARING BIBLIOGRAPHY Selected Monographs: 2021 Blessing, Jennifer and Nat Trotman, eds., Gillian Wearing: Wearing Masks, published by Guggenheim Museum, New York, NY, forthcoming 2021 2017 Bogh, Mikkel, Jacob Fabricius, and Marianne Torp, Gillian Wearing: Family Stories, published by Hatje Cantz, Berlin, Germany, 2017 Ades, Dawn, and Sarah Howgate, Gillian Wearing and Claude Cahun: Behind the mask, another mask, published by National Portrait Gallery, London, UK, and Princeton University Press, Princeton, NJ, 2017 2015 Wearing, Gillian, Gillian Wearing, published by IVAM Institut Vàlencia d’Art Modern, València, Spain, 2015 2012 Deamer, David, Daniel F. Herrmann, Doris Krystof, and Bernhart Schwenk, Gillian Wearing, published by Whitechapel Art Gallery, and Ridinghouse, London, UK, 2012 2007 Bode, Steven, Stuart Comer, and Paul Morley, Family History, published by Film and Video Umbrella, and Maureen Paley, London, UK, 2007 2006 Campbell, Kay, and Juliana Engberg, Gillian Wearing: Living Proof, published by Australian Centre for Contemporary Art, Melbourne, Australia, 2006 2002 Molon, Dominic, and Barry Schwabsky, Gillian Wearing: Mass Observation, published by Museum of Contemporary Art, Chicago, IL, and Merrell Publishers Limited, London, UK, 2002 Augaitis, Daina, Mark Beasley, Russell Ferguson, and Marina Roy, Gillian Wearing: A Trilogy, published by Vancouver Art Gallery, Vancouver, Canada, 2002 2001 Bossé, Laurence, Jean-Charles Masséra, Jean-Christophe Royoux, and Angeline Scherf, Gillian Wearing: Sous Influence, published by Musée d’Art Moderne de la Ville de Paris, Paris, France, 2001 Ander, Heike, and Dirk Snauwaert, Gillian Wearing: Unspoken, published by Kunstverein Munich, Munich, Germany, 2001 Aliaga, Juan Vicente, Carl Freedman, and Marta Gili, Gillian Wearing, published by Fundacio La Caixa, Madrid, Spain, and Centro Galego de Arte Contemporanea, La Coruña, Spain, 2001 Lapa, Pedro, Gillian Wearing: Broad Street, published by Museu do Chiado, Lisbon, Portugal, 2001 2000 Corrin, Lisa G., Carl Freedman, and Julia Peyton-Jones, Gillian Wearing, published by Serpentine Gallery, London, UK, 2000 1999 Apted, Michael, Russell Ferguson, Donna De Salvo, John Slyce, and Gillian Wearing, Gillian Wearing, published by Phaidon, London, UK, 1999 Gillian Wearing: A Woman Called Theresa, published by Ophiuchus Collection, Hydra, Greece, 1999 1997 Paley, Maureen, ed., Signs that say what you want them to say and not Signs that say what someone else wants you to say, published by Maureen Paley Interim Art, London, UK, 1997 Frank-Grossebner, Elisabeth, Ben Judd, Kathrin Rhomberg, and Werner Würtinger, Gillian Wearing, published by Wiener Secession, Vienna, Austria, 1997 Fibicher, Bernhard, Gillian Wearing, published by Kunsthaus Zürich, Zürich, Switzerland, 1997 1996 City Projects – Prague: Gillian Wearing, published by The British Council, Prague, Czech Republic, 1996 Selected Catalogues and Publications: 2020 Brugger, Ingried and Bettina M. Busse, The Cindy Sherman Effect, published by Schirmer/Mosel, Munich, Germany 2020, pp. 68 – 69 [ill.] 2019 Goetz, Ingvild, Leo Lencsés, and Karsten Löckemann, eds., Generations, published by Hatje Cantz, Berlin, and Sammlung Goetz, Munich, Germany, 2019, pp. 180, 182 [ill.] 2018 Hanru, Hou, ed., The Street. Where the World Is Made, published by MAXXI – the National Museum of XXI Century Arts, Rome, Italy, 2018, p. 268 [ill.] 2017 Robb, Leigh, Versus Rodin: bodies across space and time, published by Art Gallery of South Australia, Adelaide, Australia, 2017 Emslander, Fritz, Markus Heinzelmann, Feodora Heupel, Stefanie Kreuzer, Stella Rollig, Raimar Stange, and Friederike Wappler, Duet with Artist. Participation as artistic principle, published by Verlag für Moderne Kunst, Vienna, Austria, 2017 Briegleb, Till, Arount De Cleene, Friederike Fast, Kristina Hennig-Fast, and Bart Marius, The Inner Skin. Art and Shame, published by MARTa Herford, Herford, Germany, 2017 Phillips, Sam, ed., Artists Working From Life, published by Royal Academy of Arts, London, UK, 2017 Butler, Emily, ed., Creating Ourselves: The Self in Art, published by Whitechapel Gallery, London, UK, 2017 2016 Baur, Andreas, Amely Deiss, and Ina Neddermeyer, eds., Thicker than water. Family concepts in contemporary art, published by Snoeck Verlagsgesellschaft mbH, Cologne, Germany, 2016 Hein, Verena, Inszeniert! Spektakel und Rollenspiel in der Gegenwartskunst, published by Kunsthalle der Hypo-Kulturstiftung, Sammlung Goetz, and Hirmer Verlag, Munich, Germany, 2016, pp. 144 – 147 [ill.] Cornell, Lauren, and Tom Eccles, eds., Invisible Adversaries, published by CCS Bard College, Annandale-on-Hudson, NY, 2016 Martineau, Paul, and Britt Salvesen, Robert Mapplethorpe: The Photographs, published by The J. Paul Getty Museum, and The Los Angeles County Museum of Art, Los Angeles, CA, 2016 pp. 292 – 293 [ill.] Bock, John, Max Hollein, Martina Wein­hart, Anja Osswald, Lea Schleiffenbaum, and Ulf Erdmann Ziegler, ICH, published by Walther König, Cologne, Germany, 2016 Jager, Hans den Hartog, Behold the Man – 100 Years, 100 faces/ Zie De Mens – Honderd jar, Honderd gezichten, published by Museum de Fundatie, Athenaeum-Polak & Van Gennep, Amsterdam, Netherlands, 2016, pp. 190 – 191 Lambert, James, and Sharna Jackson, Nutze Deine Birne! Kunst Activity Buch, E.A. Seeman Bilderbande, Leipzig, Germany, 2016 Gale, Matthew, ed., Tate Modern: The Handbook, published by Tate Publishing, London, UK, 2016, p. 318 Fox, Dan, Jörg Heiser, and Jennifer Higgie, frieze A to Z of Contemporary Art, published by Phaidon, London, UK, 2016 2015 Hardmeier, Daniela, Ich / Nicht ich. Selbstporträts, published by Zürcher Kunstgesellschaft/Kunsthaus Zürich, Zürich, Switzerland, 2015, pp. 52 – 53 [ill.] Luckraft, Paul and Elizabeth Neilson, eds., Zabludowicz Collection: 20 Years, published by Zabludowicz Art Projects, London, UK, 2015, p. 3 [ill.] Gioni, Massimiliano, ed., The Great Mother, published by Fondazione Nicola Trussardi, Milan, Italy, 2015 [ill., cover] Ferguson, Russell, Perfect Likeness: Photography and Composition, published by Hammer Museum, Los Angeles, CA, 2015 Bezzola, Tobia, David Campany, Charlotte Cotton, et al, C Photo 10: Don’t Call Me A Photographer!, published by C Photo and Ivorypress, Spain, Madrid, p. 145 Baker, George, Ann Goldstein, Michael Maltzan, and Shaun Caley Regen, Regen Projects 25, published by Prestel, New York, NY, 2015 2014 Hodge, Susie, How to Look at Art, published by Tate publishing, London, UK, 2014 Grachos, Louis, and Heather Pesanti, A Secret Affair: Selections from the Fuhrman Family Collection, published by The Contemporary Austin, Austin, TX, 2014 2013 Dinse, Lotte, Beate Ermacora, and Jürgen Tabor, eds., Foreign & Familiar, published by Snoeck Verlagsgesellschaft mbH, Cologne, Germany, 2013 Bąk, Jakub, J.J. Charlesworth, Isobel Harbison, Izabela Kowalczyk, Paweł Możdżyński, and Agnieszka Pindera, British British Polish Polish, published by Ujazdowski Castle Centre for Contemporary Art, Warsaw, Poland, 2013 Angelidakis, Andreas, and Cristina Didero, eds., The System of Objects, published by Deste Foundation, Athens, Greece, 2013 Gioni, Massimiliano, ed., NYC 1993: Experimental Jet Set Trash and No Star, published by New Museum, New York, NY, 2013 Beyer, Jonas, Wilhelm Genazino, Brigitte Kölle, and Merle Radtke, Besser scheitern: Film + Video, published by Hamburger Kunsthalle, Hamburg, Germany, and Verlag der Buchhandlung Walther König, Cologne, Germany, 2013 Schneider, Claire, More Love: Art, Politics, and Sharing since the 1990s, published by Ackland Art Museum, University of North Carolina, Chapel Hill, NC, 2013 Baumann, Sabian, and Karin Michalski, An Unhappy Archive, published by edition fink, Verlag für zeitgenössische Kunst, Zürich, Switzerland, 2013 2012 Arns, Inke, and Dieter Daniels, eds., Sounds Like Silence, published by Spector Books, Leipzig, Germany, 2012 Jiang, Xu, and Li Xiangyang, eds., Reactivation: 9th Shanghai Biennale, published by Power Station of Art, Shanghai, China, 2012 Crenzien, Helle, Michael Juul Holm, and Jeanne Rank Schelde, Self Portrait, published by Rosendahls, Esbjerg, Denmark, 2012 Gefter, Philip, Sandra S. Phillips, and Ulrike Schneider, About Face, published by Pier 24 Photography, San Francisco, CA, 2012 Durand, Régis, The Dwelling Life of Man, published by Foto Colectania Foundation, and Barrié Foundation, Barcelona, Spain, 2012 Becker, Christoph, The New Kunsthaus. Great Art and Architecture, published by Kunsthaus Zürich, Zürich, Switzerland, 2012 2011 Ruelfs, Esther, and Toni Stooss, eds., Role Models - Role Playing, published by Hirmer Verlag, Munich, Germany, 2011 Furness, Jo-Ann, and Jefferson Hack, Dazed and Confused: Making it up as we go along, published by Rizzoli, New York, NY, 2011, pp. 216, 218 – 219 Birnbaum, Daniel, Connie Butler, Suzanne Cotter, Bice Curiger, Okwui Enwezor, Massimiliano Gioni, Bob Nickas, and Hans Ulrich Obrist, Defining Contemporary Art - 25 years in 200 pivotal artworks, published by Phaidon, London, UK, 2011, pp. 254 – 255 2010 Bourriaud, Nicolas, Jeffrey Deitch, Massimiliano Gioni, Peter Halley, Nancy Spector, and Lynne Tillman, Skin Fruit: Selections from the Dakis Joannou Collection, published by New Museum, New York, NY, 2010 Batchen, Geoffrey, Tobia Bezzola, and Roxana Marcoci, The Original Copy: Photography Of Sculpture, 1839 To Today, published by Museum of Modern Art, New York, NY, 2010 Blessing, Jennifer, Peggy Phelan, Lisa Saltzman, Nancy Spector, and Nat Trotman, Haunted: Contemporary Photography/Video/Performance, published
Recommended publications
  • Artists' Lives
    National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS
    [Show full text]
  • Anya Gallaccio
    ANYA GALLACCIO Born Paisley, Scotland 1963 Lives London, United Kingdom EDUCATION 1985 Kingston Polytechnic, London, United Kingdom 1988 Goldsmiths' College, University of London, London, United Kingdom SOLO EXHIBITIONS 2019 NOW, The Scottish National Gallery of Modern Art, Edinburgh, Scotland Stroke, Blum and Poe, Los Angeles, CA 2018 dreamed about the flowers that hide from the light, Lindisfarne Castle, Northumberland, United Kingdom All the rest is silence, John Hansard Gallery, Southampton, United Kingdom 2017 Beautiful Minds, Thomas Dane Gallery, London, United Kingdom 2015 Silas Marder Gallery, Bridgehampton, NY Lehmann Maupin, New York, NY Museum of Contemporary Art San Diego, San Diego, CA 2014 Aldeburgh Music, Snape Maltings, Saxmundham, Suffolk, United Kingdom Blum and Poe, Los Angeles, CA 2013 ArtPace, San Antonio, TX 2011 Thomas Dane Gallery, London, United Kingdom Annet Gelink, Amsterdam, The Netherlands 2010 Unknown Exhibition, The Eastshire Museums in Scotland, Kilmarnock, United Kingdom Annet Gelink Gallery, Amsterdam, The Netherlands 2009 So Blue Coat, Liverpool, United Kingdom 2008 Camden Art Centre, London, United Kingdom 2007 Three Sheets to the wind, Thomas Dane Gallery, London, United Kingdom 2006 Galeria Leme, São Paulo, Brazil One art, Sculpture Center, New York, NY 2005 The Look of Things, Palazzo delle Papesse, Siena, Italy Blum and Poe, Los Angeles, CA Silver Seed, Mount Stuart Trust, Isle of Bute, Scotland 2004 Love is Only a Feeling, Lehmann Maupin, New York, NY 2003 Love is only a feeling, Turner Prize Exhibition,
    [Show full text]
  • Charles Saatchi's 'Newspeak'
    Charles Saatchi’s ‘Newspeak’ By Jackie Wullschlager Published: June 4 2010 22:15 | Last updated: June 4 2010 22:15 Is Charles Saatchi having fun? On the plus side, he is the biggest private collector in Britain. His Chelsea gallery is among the most beautiful and well-appointed in the world. It is relaxed, impious, free, and full, which matters because, as Saatchi often admits, “I primarily buy art to show it off.” He buys whatever he likes, often on a whim: “the key is to have very wobbly taste.” Yet for all the flamboyance with which he presents his purchases, it is not clear that he is convinced by them. “By and large talent is in such short supply mediocrity can be taken for brilliance rather more than genius can go undiscovered,” he says, adding that when history edits the late 20th century, “every artist other than Jackson Pollock, Andy Warhol, Donald Judd and Damien Hirst will be a footnote.” These quotations come from a question-and-answer volume, My Name is Charles Saatchi and I am an Artoholic, published last autumn, and their tone of breezy disenchantment, combined with the insouciance with which his new show, Newspeak, is selected and curated, suggests that at 67 Saatchi is downgrading his game. After recent exhibitions concentrated on China, the Middle East, America and India, Newspeak It Happened In The Corner’ (2007) by Glasgow-based duo littlewhitehead returns to the territory with which he made his name as a collector in Sensation in 1997: young British artists. But whereas Sensation, tightly selected around curator Norman Rosenthal’s theme of a “new and radical attitude to realism” by artists including Hirst, Jake and Dinos Chapman, Rachel Whiteread, Marc Quinn, had a precise, powerful theme, Newspeak has a scatter-gun, unfocused approach.
    [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]
  • Resource What Is Modern and Contemporary Art
    WHAT IS– – Modern and Contemporary Art ––– – –––– – – – – – – – – – – – – – – – – – – – – – – – – – – ––– – – – – ? www.imma.ie T. 00 353 1 612 9900 F. 00 353 1 612 9999 E. [email protected] Royal Hospital, Military Rd, Kilmainham, Dublin 8 Ireland Education and Community Programmes, Irish Museum of Modern Art, IMMA THE WHAT IS– – IMMA Talks Series – – – – – – – – – – – – – – – – – – – – – ? There is a growing interest in Contemporary Art, yet the ideas and theo- retical frameworks which inform its practice can be complex and difficult to access. By focusing on a number of key headings, such as Conceptual Art, Installation Art and Performance Art, this series of talks is intended to provide a broad overview of some of the central themes and directions in Modern and Contemporary Art. This series represents a response to a number of challenges. Firstly, the 03 inherent problems and contradictions that arise when attempting to outline or summarise the wide-ranging, constantly changing and contested spheres of both art theory and practice, and secondly, the use of summary terms to describe a range of practices, many of which emerged in opposition to such totalising tendencies. CONTENTS Taking these challenges into account, this talks series offers a range of perspectives, drawing on expertise and experience from lecturers, artists, curators and critical writers and is neither definitive nor exhaustive. The inten- What is __? talks series page 03 tion is to provide background and contextual information about the art and Introduction: Modern and Contemporary Art page 04 artists featured in IMMA’s exhibitions and collection in particular, and about How soon was now? What is Modern and Contemporary Art? Contemporary Art in general, to promote information sharing, and to encourage -Francis Halsall & Declan Long page 08 critical thinking, debate and discussion about art and artists.
    [Show full text]
  • 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
    [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]
  • Press Release Keith Coventry Junk & Pure Junk
    PRESS RELEASE KEITH COVENTRY JUNK & PURE JUNK 24 February – 4 April 2018 Official opening and book release on Saturday February 24th, from 5 to 7 pm. Reflex Amsterdam is proud to announce the first Benelux exhibition by internationally acclaimed British artist Keith Coventry. Widely admired for his work which takes aspects modernism and grafting them on to socio- political issues, Coventry appropriates global symbols of junk culture – the golden McDonald’s arch, in particular – and recontextualises them, inviting the viewer to consider these logos afresh in a gallery context. Working in white monochrome, or colour, he hones in on the curves of the infamous “M”, cropping, recasting and framing, to striking minimalist effect. In his extensive “Estate Painting” series Coventry focuses on the architectural layouts of London’s notorious tower blocks and council estates and distils them into abstract colour block patterns which have been likened to works by Russian Constructivist painter Kazimir Malevich. In employing these tropes of modernism, Coventry has said he is returning to the original ideas of utopianism behind these urban projects – now widely regarded as failures. As Coventry put it, this kind of social housing: “it was a promise given at the beginning of the 20th century that was unfulfilled.” Living in central London, his immediate urban environs have remained Coventry’s main source of inspiration: “Making art is about the things that surround me.” Yet, despite the socio-political undertone of his work, Coventry insists: “I’m totally ambivalent. I have no message. People can take one side or another. I don’t have any polemic or didactic stance.” Coventry was born in Burnley in Lancashire, in 1958 and studied at London’s progressive Chelsea school of Art.
    [Show full text]
  • Mark Dean Education 2017-2020 Encounter, London Centre for Spiritual Direction 2007-2010 Diphe Contextual Theology, St Mellitus
    Mark Dean Education 2017-2020 Encounter, London Centre for Spiritual Direction 2007-2010 DipHE Contextual Theology, St Mellitus College 1992-1994 MA Fine Art, Goldsmiths' College 1989-1991 PGDip Youth & Community Work, Thames Polytechnic 1977-1980 BA (Hons) Fine Art, Brighton Polytechnic Solo Exhibitions & Projects 2020 Stations 2020, Arts Chaplaincy Projects (online project with socially distanced contributors) 2019 Where We Are, Laban Theatre, London (video and dance collaboration) 2019 All Angels, Marlborough College Chapel 2019 Color Motet, Austin Forum, London 2019 Pastiche Mass, Arts Chaplaincy Projects, London 2017 Stations of the Resurrection, St Paul's Cathedral, London (dance by Lizzi Kew Ross & Co) 2017 Stations of the Cross, St Stephen Walbrook, London 2014 Christian Disco, Museum Boijmans Van Beuningen, Rotterdam 2011 My Mum (V2-Sensitive), Beaconsfield, London 2010 The Beginning of The End, Beaconsfield, London 2007 Scorpio Rising 2, Holy Trinity & St Mary, Berwick-upon-Tweed 2006 Masochistic Opposite, Matthew Bown Gallery, London 2005 (Version) for Lightsilver, Beaconsfield, London 2004 Disco Maquette, Sketch, London 2002 The Return of JacKie & Judy (+Joey), Laurent Delaye Gallery, London 2002 MarK Dean, Volker Diehl Gallery, Berlin 2001 MarK Dean, IKON Gallery, Birmingham 2001 MarK Dean, Evolution, Leeds International Film Festival 2000 Ascension, Laurent Delaye Gallery, London 2000 MarK Dean, Imago 2000, Casa de las Conchas, Salamanca 1999 Dust, Laurent Delaye Gallery, London 1996 MarK Dean, City Racing, London Selected
    [Show full text]
  • Henry Moore Grants Awarded 2016-17
    Grants awarded 2016-17 Funding given by Henry Moore Grants 1 April 2016 – 31 March 2017 New projects Pallant House Gallery, Chichester, Exhibition: The Mythic Method: Classicism in British Art 1920-1950, 22 October 2016-19 February 2017 - £5,000 Fundação Bienal de São Paulo, Exhibition: Heather Phillipson and Ruth Ewan's participation in 32nd Bienal de São Paulo - Live Uncertainty, 7 September-11 December 2016 - £10,000 Serpentine Gallery, London, Exhibition: Helen Marten: Drunk Brown House, 29 September-20 November 2016 - £7,000 Auto Italia South East, London, Exhibition: Feral Kin, 2 March-9 April 2017- £2,000 Art House Foundation, London, Exhibition: Alison Wilding Arena Redux, 10 June-9 July 2016 - £5,000 Parasol Unit Foundation for Contemporary Art, London, Exhibition: Robert Therrien: Works 1975- 1995, 2 October-11 December 2016 - £5,000 South London Gallery, Exhibition: Roman Ondak: The Source of Art is in the Life of a People, 29 September 2016-6 January 2017 - £7,000 York Art Gallery (York Museums Trust), Exhibition: Flesh, 23 September 2016-19 March 2017 - £6,000 Foreground, Frome, Commissions: Primary Capital Programme: Phase 1, 8 September 2016-31 January 2017 - £6,000 Barbican Centre Trust, London, Exhibition at The Curve: Bedwyr Williams: The Gulch, 29 September 2016-8 January 2017- £10,000 Glasgow Sculpture Studios, Exhibition: Zofia Kulik: Instead of Sculpture, 1 October-3 December 2016 - £5,000 Tramway, Glasgow: Exhibition/Commission: Claire Barclay: Yield Point, 10 February-9 April 2017 - £3,000 Nasher Sculpture Center,
    [Show full text]
  • Art REVOLUTIONARIES Six Years Ago, Two Formidable, Fashionable Women Launched a New Enterprise
    Art rEVOLUtIONArIES SIx yEArS AgO, twO fOrmIdAbLE, fAShIONAbLE wOmEN LAUNchEd A NEw ENtErprISE. thEIr mISSION wAS tO trANSfOrm thE wAy wE SUppOrt thE ArtS. thEIr OUtSEt/ frIEzE Art fAIr fUNd brOUght tOgEthEr pAtrONS, gALLErIStS, cUrAtOrS, thE wOrLd’S grEAtESt cONtEmpOrAry Art fAIr ANd thE tAtE IN A whIrLwINd Of fUNdrAISINg, tOUrS ANd pArtIES, thE LIkES Of whIch hAd NEVEr bEEN SEEN bEfOrE. hErE, fOr thE fIrSt tImE, IS thEIr INSIdE StOry. just a decade ago, the support mechanism for young artists in Britain was across the globe, and purchase it for the Tate collection, with the Outset funds. almost non-existent. Government funding for purchases of contemporary art It was a winner all round. Artists who might never have been recognised had all but dried up. There was a handful of collectors but a paucity of by the Tate were suddenly propelled into recognition; the national collection patronage. Moreover, patronage was often an unrewarding experience, both acquired work it would never otherwise have afforded. for the donor and for the recipient institution. Mechanisms were brittle and But the masterstroke of founders Gertler and Peel was that they made it old-fashioned. Artists were caught in the middle. all fun. Patrons were whisked on tours of galleries around the world or to Then two bright, brisk women – Candida Gertler and Yana Peel – marched drink champagne with artists; galleries were persuaded to hold parties into the picture. They knew about art; they had broad social contacts across a featuring collections of work including those by (gasp) artists tied to other new generation of young wealthy; and they had a plan.
    [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]