Chantal Joffe
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CV Born 1966, Folkestone, UK. Lives and Works In
Jyll Bradley - CV Born 1966, Folkestone, UK. Lives and works in London Education 1985-1988 Goldsmiths’ College, University of London. BA (Hons) Fine Art 1991-1993 Slade School of Art, University of London. Higher Diploma, Fine Art (Media) Selected Solo Exhibitions and Projects 2019 ‘Currency/Dial (for K&M)’ Private Commission, London, UK 2019 ‘Currency/Dial (for C&A)’ Private Commission, Mallorca, Spain 2019 ‘Opening the Air and Other Stories’, HS Projects, Howick Place, London, UK 2019 ‘Dutch/Light (for Agneta Block)’, Sculpture in the City, London, UK 2018 ‘Opening the Air’, Sculpture in the City, London, UK. Commissioned by City of London. 2017-18 ‘Dutch/Light (for Agneta Block)’ Turner Contemporary, Margate, UK Curated by Victoria Pomery and Sarah Martin 2017 ‘Green/Shade’ Riverside projects, Hull, UK 2017 ‘Brigitte’, Strange Cargo, Cheriton, UK. Curated by Strangelove Festival 2016 ‘Currency’, L’etrangere, London UK. Curated by Joseph Constable 2015 'Le Jardin hospitalier', Hopital Roger Salangro, CHRU, Lille, France. Commissioned and Produced by Amanda Crabtree, artconnexion, Lille, France. 2014 'The friend I have/is a passionate friend', Mummery+Schnelle, London, UK. Curated by Gill Hedley. 2013 'City of Trees', The National Library of Australia, Canberra, Australia. Produced by Canberra 100 (The Centenary of Canberra). 2012 'Lovers, neighbours, friends', artconnexion, Lille, France. Curated by Amanda Crabtree. 2011 'Airports for the Lights, Shadows and Particles' the Bluecoat, Liverpool, UK. Curated by Sara-Jayne Parsons. 2010 'Naming Spaces' Newlyn Art Gallery (The Exchange), Penzance, UK. Curated by Blair Todd. 2008 'The Botanic Garden' The Walker Art Gallery, Liverpool, UK. Project commissioned for Liverpool European Capital of Culture. -
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. -
Chantal Joffe
CHANTAL JOFFE Born 1969 in St. Albans, Vermont, USA Lives and works in London, UK Education 1992 - 94 M.A. Fine Art, Royal College of Art, London 1988 - 91 B.A. (Hons) Fine Art, Glasgow School of Art 1987 - 88 Foundation Course, Camberwell School of Arts and Crafts Solo Exhibitions 2020 Lucie and Daryll, Chantal Joffe Looking at Lucian Freud, IMMA Collection: Freud Project, Dublin, Ireland 2019 Chantal Joffe, Victoria Miro Mayfair, London, UK Chantal Joffe, Victoria Miro Islington, London, UK 2018 Personal Feeling is the Main Thing - Chantal Joffe, The Lowry, Salford, UK Chantal Joffe: Pastels, Victoria Miro Venice, Italy 2017 Chantal Joffe, Monica De Cardenas, Milan, Italy Chantal Joffe, Cheim & Read, New York, USA 2016 Galerie Forsblom, Helsinki, Finland Chantal Joffe, Victoria Miro Mayfair, London, UK 2015 Night Self Portraits, Cheim & Read, New York, USA Using Walls, Floors, and Ceilings: Chantal Joffe, curated by Jens Hoffmann, Jewish Museum, New York, USA Chantal Joffe: Beside the Seaside, Jerwood Gallery, Hastings, UK 2013 Chantal Joffe: The Hard Winter, Galerie Forsblom, Helsinki, Finland 2012 Cheim & Read, New York, USA 2011 Il Capricorno, Venice, Italy Victoria Miro, London, UK 2009 Monica de Cardenas, Milan, Italy Cheim & Read, New York, USA 2008 Victoria Miro, London, UK 2007 Galeria Monica de Cardenas, Zuoz, Switzerland Studio d’Arte Raffaelli, Trento, Italy 2006 Regen Project, Los Angeles, USA 2005 Victoria Miro, London, UK Monica de Cardenas, Milan, Italy 2004 Il Capricorno, Venice, Italy 2003 Victoria Miro, London, UK -
CHANTAL JOFFE Chantal Joffe (Born 1969) Is an English Artist Based In
‘PINK PALACE’ (2001) 91 x 304 cm - 35 7/8 x 119 5/8 in. oil and paper collage on board signed and dated on the reverse CHANTAL JOFFE Chantal Joffe (born 1969) is an English artist based in London. Her often large-scale paintings generally depict women and children. In 2006, she received the prestigious Charles Wollaston Award from the Royal Academy. Joffe has exhibited nationally and internationally at the Neuberger Museum of Art, Purchase, New York (2009); University of the Arts, London (2007), MIMA Middlesbrough Institute of Modern Art (2007), Royal Academy of Arts, London (2005), Galleri KB, Oslo (2005) and Bloomberg Space, London (2004). Possessing a humorous eye for everyday awkwardness and an enlivening facility with paint, Chantal Joffe brings a combination of insight and integrity to the genre of figurative art. Hers is a deceptively casual brushstroke. Whether in images a few inches square or ten feet high, fluidity combined with a pragmatic approach to representation seduces and disarms simultaneously. Almost always depicting women or girls, sometimes in groups but recently in iconic portraits, the paintings only waveringly adhere to their photographic source, instead reminding us that distortions of the brush or pencil can often make a subject seem more real. Joffe's paintings always alert us to how appearances are carefully constructed and codified, whether in a fashion magazine or the family album, and to the choreography of display. And yet there's witty neutrality in a career-spanning line-up that has given equal billing to catwalk models, porn actresses, mothers and children. Joffe questions assumptions about what makes a noble subject for art and challenges what our expectations of a feminist art might be. -
Michael Landy Selected Biography Born in London, 1963 Lives And
Michael Landy Selected Biography Born in London, 1963 Lives and works in London, UK 1985-88, Goldsmith's College Solo Exhibitions 2015 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 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 Three-piece, Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia H.2.N.Y, Alexander and Bonin, New York 2004 Welcome To My World built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, London, UK 2000 Handjobs (with Gillian Wearing), Approach Gallery, London, UK 1999 Michael Landy at Home, 7 Fashion Street, London, UK 1996 The Making of Scrapheap Services, Waddington Galleries, London, UK Scrapheap Services, Chisenhale Gallery, London; Electric Press Building, Leeds, UK (organised by the HenryMoore -
PRESS 1996 CJ Charpentier
PRESS 1996 C-J Charpentier, 'Gudar av betong', Nya Lidkoping-Tidningen, Lidkoping, Sweden, 24 December 1996 Britte Montigny, 'Manniskor innesluts I armerad betong', Ostra Smaland, Kalmar, Sweden, 18 December 1996 Tina Jackson, 'Go on - make your mark', The Big Issue, London, England, 16-29 December 1996 Marten Castenfors, 'Personligt vackert avsked som vager tungt', Svenska Dagbladet, Stockholm, Sweden, 23 November 1996 Daniel Birmbaum, 'Betong med effekter', Dagens Nyheter, Stockholm, Sweden, 23 November 1996 Larsolof Carlsson, 'I betongens sallsamma varld', Helsingborgs Dagblad, Helsingborg, Sweden, 23 November 1996 Karl-Erik Johansson, 'Betong' blir en klassiker?', Hallandsposten, Halmstad, Sweden, 16 November 1996 Bertil Kaa Hedberg, 'Hapnadsvackande vackert I betong', Norra Skane, Hassleholm, Sweden, 14 November 1996 Anders Mildner, 'Varsagod: 150 ton betong', Smalandsposten, Vaxjo, Sweden, 13 November 1996 Ingamaj Beck, 'Subtilt I betong', Aftonbladet, Stockholm, Sweden, 13 November 1996 Kiss, Tokyo, Japan, 12 November 1996 Pontus Kyander, 'En arme av malmobor I betong', Sydsvenska Dagbladet, Malmo, Sweden, 11 November 1996 Margaretha Wilson, 'Betong', Nordvastra Skanes Tidningar, Angelholm, Sweden, 10 November 1996 Annika B Anjou, 'Massor av betong I Malmo konsthall', Helsingborgs Dagblad, Helsingborg, Sweden, 8 November 1996 Eri Kawabe, BT, Tokyo, Japan, November 1996 Matt Carey-Williams, 'Antony Gormley: Body and Light and other drawings 1990-1996', SPEC, London, November 1996 Annie Taylor, 'The difference a day made', The Guardian, -
Alex Hartley
ALEX HARTLEY BIOGRAPHY 1963 Born in West Byfleet Lives and works in London and Devon EDUCATION 1983-84 Camberwell School of Arts and Crafts (Foundation Course) 1984-87 Camberwell School of Arts and Crafts (BA Hons) 1988-90 Royal College of Art (MA) AWARDS AND COMMISSIONS 2014 b-Side Festival. Artist In residence Portland Dorset 2013 National Trust for Scotland Artist in residence ST. Kilda 2009 Artists Taking the Lead, 2012 Cultural Olympiad commission for the South West 2007 British Embassy, Moscow 2005 Winner of Linklaters Commission, the Barbican, London 2000 Winner of Sculpture at Goodwood ART2000 Commission Prize, London 2004 Shortlisted Banff Mountain book Festival for LA climbs 1999 The Citibank Private Bank Photography Prize, The Photographers’ Gallery SOLO EXHIBITIONS 2011 The World is Still Big, Victoria Miro Gallery, London 2008 Leeds Metropolitan Gallery, Leeds 2007 Edinburgh Art Festival Exhibition, Fruitmarket Gallery, Edinburgh 2005 Don’t want to be part of your world, Victoria Miro Gallery, London 2003 Outside, Distrito Cuatro, Madrid 2001 Case Study, Victoria Miro Gallery, London 1998 Lumen Travo, Amsterdam 1998 Galerie Ulrich Fiedler, Cologne 1997 James Van Damme Gallery, Brussels 1997 Viewer, Victoria Miro Gallery, London 1995 Fountainhead, Victoria Miro Gallery, London 1995 Galerie Gilles Peyroulet, Paris 1993 Victoria Miro Gallery, London 1993 James Van Damme Gallery, Antwerp 1992 Anderson O’Day Gallery, London PROJECTS 2012 Artists Taking the Lead, 2012 Cultural Olympiad : Nowhereisland GROUP EXHIBITIONS 2013 ARCTIC, -
Sean Landers Cv 2021 0223
SEAN LANDERS Born 1962, Palmer, MA Lives and works in New York, NY EDUCATION 1986 MFA, Yale University School of Art, New Haven, CT 1984 BFA, Philadelphia College of Art, Philadelphia, PA SOLO EXHIBITIONS 2020 Petzel Gallery, New York, NY, 2020 Vision, April 26–ongoing (online presentation) Greengrassi, London, UK, Northeaster, June 16–July 31 Consortium Museum, Dijon, France, March 13– October 18, curated by Eric Troncy 2019 Ben Brown Fine Arts, Hong Kong, China, November 12–January 9, 2020 Galerie Rodolphe Janssen, Brussels, Belgium, November 9–December 20 (catalogue) Petzel Bookstore, New York, NY, Curated by . Featuring Sean Landers, November 7– December 14 Freehouse, London, UK, Sean Landers: Studio Films 90/95, curated by Daren Flook, January 13–February 24 2018 Petzel Gallery, New York, NY, March 1–April 21 (catalogue) 2016 Capitain Petzel, Berlin, Germany, Sean Landers: Small Brass Raffle Drum, September 16– October 29 2015 Taka Ishii Gallery, Tokyo, Japan, December 5–January 16, 2016 Galerie Rodolphe Janssen, Brussels, Belgium, October 29–December 19 (catalogue) China Art Objects, Los Angeles, CA, February 21–April 11 2014 Petzel Gallery, New York, NY, Sean Landers: North American Mammals, November 13– December 20 (catalogue) 2012 Galerie Rodolphe Janssen, Brussels, Belgium, November 8–December 21(catalogue) Sorry We’re Closed, Brussels, Belgium, Longmore, November 8–December 21 greengrassi, London, UK, April 26–June 16 1 2011 Friedrich Petzel Gallery, New York, NY, Sean Landers: Around the World Alone, May 6–June 25 Marianne Boesky Gallery, New York, NY, Sean Landers: A Midnight Modern Conversation, April 21–June 18 (catalogue) 2010 Contemporary Art Museum St. -
Edwards' First Name at This Sensi
Merlin Carpenter Matthew Collings Our paintings and graphics throw Edwards’ first name at this sensi- discourse of “medium specificity” might be seen as the parents of clear for them how to respond to desire to be a “Goldsmith’s artist” and embarrassment, rather than fact these later developments framework for analysing art’s pop- From my point of view, Carpenter’s It featured work by a handful of Matthew’s style produces any Carpenter and his cronies, plus the opened up within the media: eyes are the wrong colour). It is support group. In this review he Surely society was abolished by But when is this “present”? And referring to a story about Lucas forced to accept that bullshit is as His paintings are brutal abstracts more aesthetic. Some are more Our paintings are against this ap- a good one. But should writing be Media Guy Our PaintinG s down the glove to what’s going tive point. (Perhaps while polishing is an intellectual talking shop full the popularization process having the success of the big push. In on the most grand seriousness. A scene arrives had already terminated yBa, ularity is worth reading. ” (p 124) art practice is often funny. New figures discussed in the book, with serious results in terms of actual more commercially successful ones “a space where the avant-garde‘s certain that Buchloh’s language often seems to be communicating Thatcher? I am not defined by for what audience? This process involving an accident with a piano, natural as breathing and as vital that do little for a renewal of poetic. -
Transcription of Interviews: Damien Hirst 360 Private View
Transcription of Interviews: Damien Hirst 360 Private View Printed 2 April 2012 Section 1. Damien Hirst and Curator Ann Gallagher Ann: So, the first part of Freeze had the boxes? Damien: Yeah, there were three parts to Freeze . In the first part, I put the boxes piece, and then afterwards, put the Spot paintings painted on the wall. Ann: That was in the third part? Damien: In the third part, yeah. When I did the Spot Show with Gagosian, I didn’t actually realise how there’d be so much change in the Spot paintings. Seeing the early ones is, like, crazy, really; I mean, I thought they were perfect when I first painted them, but obviously they weren’t. Yeah, these are really wonky to me; do they look wonky to you? Ann: No. Damien: They kind of do; don’t you think it sagged in the middle? I mean they’re handmade; It’s really important that they’re handmade, but I always wondered if it looked like they’re machine made, in a way. So, it’s like a person trying to be a machine. You know, that’s what I like about minimalism, but then, I was always stuck with the decision of how manmade do you want to make them to look. You know, I just imagine cutting every one out of a huge grid, and getting further away from it and closer up. I mean, I started with one inch, two inch, three inch and four inch spots, although I found a few five inch as well, which I’ve got no idea when I made them. -
Young British Artists: the Legendary Group
Young British Artists: The Legendary Group Given the current hype surrounding new British art, it is hard to imagine that the audience for contemporary art was relatively small until only two decades ago. Predominantly conservative tastes across the country had led to instances of open hostility towards contemporary art. For example, the public and the media were outraged in 1976 when they learned that the Tate Gallery had acquired Carl Andre’s Equivalent VIII (the bricks) . Lagging behind the international contemporary art scene, Britain was described as ‘a cultural backwater’ by art critic Sarah Kent. 1 A number of significant British artists, such as Tony Cragg, and Gilbert and George, had to build their reputation abroad before being taken seriously at home. Tomake matters worse, the 1980s saw severe cutbacks in public funding for the arts and for individual artists. Furthermore, the art market was hit by the economic recession in 1989. For the thousands of art school students completing their degrees around that time, career prospects did not look promising. Yet ironically, it was the worrying economic situation, and the relative indifference to contemporary art practice in Britain, that were to prove ideal conditions for the emergence of ‘Young British Art’. Emergence of YBAs In 1988, in the lead-up to the recession, a number of fine art students from Goldsmiths College, London, decided it was time to be proactive instead of waiting for the dealers to call. Seizing the initiative, these aspiring young artists started to curate their own shows, in vacant offices and industrial buildings. The most famous of these was Freeze ; and those who took part would, in retrospect, be recognised as the first group of Young British Artists, or YBAs. -
Alex Hartley
ALEX HARTLEY Born 1963 in West Byfleet, UK Lives and works in London and Devon, UK Education 1988-90 Royal College of Art (MA), London, UK 1984-87 Camberwell School of Arts and Crafts (BA Hons), London, UK 1983-84 Camberwell School of Arts and Crafts (Foundation Course), London, UK Solo Exhibitions 2020 Alex Hartley: The Houses, an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK 2018 Alex Hartley: The Houses, Victoria Miro, London, UK 2017 Wall, Folkestone Triennial, Folkestone, Kent, UK The Clearing, Compton Verney, Warwickshire, UK 2016 After You Left, Victoria Miro, London, UK 2014 Vigil, Folkestone Triennial, Folkestone, Kent, UK 2011 The World is Still Big, Victoria Miro, London, UK 2008 Leeds Metropolitan Gallery, Leeds, UK 2007 Not part of your world, Fruitmarket Gallery, Edinburgh, Scotland 2005 Don’t want to be part of your world, Victoria Miro, London, UK 2003 Outside, Distrito Cuatro, Madrid, Spain 2001 Case Study, Victoria Miro, London, UK 1998 Lumen Travo, Amsterdam, The Netherlands Galerie Ulrich Fiedler, Cologne, Germany 1997 James Van Damme Gallery, Brussels, Belgium Viewer, Victoria Miro, London, UK 1995 Fountainhead, Victoria Miro, London, UK 1995 Galerie Gilles Peyroulet, Paris, France 1993 Victoria Miro, London, UK 1993 James Van Damme Gallery, Antwerp, Belgium 1992 Anderson O’Day Gallery, London, UK Group Exhibitions 2019 In Ruins, Witley Court Worcester, UK Where function ends: Responses to the architecture of Sir Edwin Lutyens, Hestercombe Gallery, Taunton,