Abstract Drawing 20 February – 19 April 2014 Curated by Richard Deacon
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Bob Law Obit
Obituary: Bob Law Tuesday 25 May 2004 A founding father of British minimalism, he continued to display hints of St Ives in his work The undertow of artistic St Ives in the 1950s was so strong that it pulled in the young, the untalented, the no-hopers, the beach bums and the untrained optimists who hoped that something might rub off. Bob Law, who has died aged 70, fell into the last category. But something did rub off, and he died as one of the founding fathers of British minimalism, with an international reputation. He had begun post-school life as an apprentice architectural designer, dipped into a ragbag of geometry, alchemy, ornithology, zoology and the beachcomber's ology, palaeontology. Remembering his childhood essays in drawing and watercolour with his grandmother, he did a little watercolour painting as well. In 1957, he went to St Ives, where he met Bernard and Janet Leach, who taught him pottery. He also met Peter Lanyon, who encouraged him to paint. It was quickly obvious that Law had an acute eye and sense of design and inventiveness, and, by 1959, he had the beginnings of a reputation, working from a cottage at Nancledra, which he rented from the painter Trevor Bell and which Roger Hilton later bought. It was cheap, said Law, as there was "no water, no electric, no gas, nothing, just a standpipe outside". At first sight, it seemed odd for an artist whose achievement rested on large canvases and drawings consisting of nothing but modified fields of black, that he should be remembered for his connection with St Ives, where the abstraction was, by and large, rooted in the landscape, whereas minimalism's many fathers, from Albers and Malevich to Donald Judd and Carl Andre, did not include landscape artists. -
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 -
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 -
Alison Wilding
!"#$%&n '(h)b&#% Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley, Kent 1966–67 Nottingham College of Art, Nottingham !" L#xin$%on &%'##% London ()* +,-, ./ %#l +!! (+).+0+ //0!112! 1++.3++0 f24x +!! (+).+0+ //0!112! 1+.)3+0) info342'5%#564'7%#n5678h79b#'%.68om www.42'5%#64'7%#n5678h79b#'%.68om !"#$%&n '(h)b&#% Selected solo exhibitions 2013 Alison Wilding, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding, North House Gallery, Manningtree, UK Alison Wilding: Interruptions, Rupert Wace Ancient Art, London, UK 2005 Alison Wilding: New Drawings, The Drawing Gallery, London, UK Alison Wilding: Sculpture, Betty Cuningham Gallery, New York, NY, US Alison Wilding: Vanish and Detail, Fred, London, UK 2003 Alison Wilding: Migrant, Peter Pears Gallery and Snape Maltings, Aldeburgh, UK 2002 Alison Wilding: Template Drawings, Karsten Schubert, London, UK 2000 Alison Wilding: Contract, The Henry Moore Foundation Studio, Halifax, UK Alison Wilding: New Work, New -
Royal Academy of Arts Announces Election of New Professors for the Ra Schools and an Honorary Fellow
ROYAL ACADEMY OF ARTS ANNOUNCES ELECTION OF NEW PROFESSORS FOR THE RA SCHOOLS AND AN HONORARY FELLOW At a recent General Assembly meeting, conducted for the first time via video conference, the Royal Academy of Arts elected Fiona Banner RA as Professor of Perspective and Lubaina Himid RA as Professor of Painting for the Royal Academy Schools. Alison Wilding RA’s appointment as Eranda Professor of Drawing has also been extended for two years. This follows the election of author Zadie Smith as Honorary Fellow earlier this year. Fiona Banner aka The Vanity Press RA Elect (b.1966) Professor of Perspective Fiona Banner often works under the moniker of The Vanity Press. She established the imprint in 1997, with her seminal book The Nam. Since then she has published many works, some in the form of books, some sculptural, some performance based. In 2009 she issued herself an ISBN number and registered herself as a publication under her own name. Humour, conflict and language are at the core of her work. She first became known for her wordscapes, often heroically proportioned works that capture in her own words “films, from war blockbusters to porn”. She often works with the nude, transcribing the human form into category-defying prose. Sometimes she repurposes military aircraft to brutal, sensual, and comedic ends. Lubaina Himid RA Elect (b.1954) Professor of Painting Born in Zanzibar in 1954, Lubaina Himid is a British painter who has dedicated her four-decades- long career to uncovering marginalised and silenced histories, figures, and cultural expressions. She studied Theatre Design at Wimbledon College of Art and went on to receive an MA in Cultural History from the Royal College of Art. -
Peter Kardia Alison Wilding Bill Woodrow Boyd Webb Brian Catling
Peter Kardia Frances Earnshaw John Hilliard Peter Venn Peter Kardia studied for three years in the Sculpture School at the Frances Earnshaw was born in 1959 and graduated from the Born in Lancaster, 1945, John Hilliard studied at Lancaster Peter Venn was born in London in 1946 and studied Sculpture Slade under Professor Gerrard during the 1950’s. In this period he Royal College of Art with a MA in Environmental Media in 1985. College of Art from 1962-1964 and St Martin’s School of Art at St Martin’s from 1970-1973 as part of Peter Kardia’s ‘A’ course met Henry Moore who made periodic visits to the Slade. When he She is a mixed media artist and produces paintings and graphic from 1964-1969. His first solo exhibition of photographic work and later went on to study in the Sculpture School at the Royal completed his course he was invited by Moore to work as a studio works as well as photography and film. She has exhibited across deriving from a sculpture practice was at Camden Arts Centre, College of Art in 1973-1976. His work usually combines a variety of assistant at Perry Green, near Much Hadham. He subsequently Europe and most recently in Wonderland – a 2009 exhibition in London in 1969, followed by other solo exhibitions including: everyday materials such as a timber, plaster, fibreglass and sheet worked at Leeds College of Art, St Martin’s School of Art and association with East London Printmakers which toured Germany Lisson Gallery, London; John Gibson Gallery, New York; Galleria metal. -
Susan-Hefuna-Cv-.Pdf
Love Egypt - A Temporary Learning Camp, Speakers' Corner, London, UK (Commissioned by Serpentine Gallery, London and Townhouse, Cairo) 2010 Edgware Road @ Cairo 2010/1431, The Townhouse Gallery, Cairo, Egypt Mapping Wien, Galerie Grita Insam, Vienna, Austria Wien 2010/1431, Belvedere, Vienna, Austria Ana: Of Dreams, Patience and Realisations, Rose Issa Projects, London, UK Knowledge Is Sweeter Than Honey, MUMOK, Vienna, Austria 7 X ANA, Freud Museum, Vienna, Austria Susan Hefuna - Drawings, Paul Kasmin Gallery, New York, USA 2009 Hefuna / Hefuna, Galerie Volker Diehl, Berlin, Germany 2008 Patience Is Beautiful, The Third Line Gallery, Dubai, UAE Susan Hefuna, ACAF, Alexandria, Egypt 2007 Susan Hefuna, Townhouse Gallery, Cairo, Egypt ANA/ICH, Kunstkasten, Wintherthur, Switzerland 2006 Susan Hefuna, Gallery Seippel, Cologne, Germany 2004 Susan Hefuna, Xcultural Codes, Townhouse Gallery, Cairo, Egypt Susan Hefuna, Bluecoat Arts Centre, Liverpool, UK Susan Hefuna, Stadtgalerie, Saarbruecken, Germany Susan Hefuna, Kunstverein Heidelberg, Germany 2002 Ventanas La Vida En El Delta, Vacio 9 Gallery, Madrid, Spain 2000 Susan Hefuna, Kunstverein, Lippstadt, Germany Susan Hefuna, Townhouse Gallery, Cairo, Egypt Susan Hefuna - Navigation Xcultural, National Gallery, Capetown, South Africa 1999 Susan Hefuna, Akhnaton Galleries, Cairo 1994 Susan Hefuna, Kunstverein, Ludwigsburg, Germany Group Exhibitions 2018 What do you mean, here we are?, (retrospective of the reowned Townhouse Gallery in Cairo, Egypt), Mosaic Rooms, London, UK But a Storm Is Blowing -
A Pamphlet for the Serpentine Gallery Manifesto Marathon 2008: 1
MANIFESTO PAMPHLET 18/19.10.2008 A pamphlet for the Serpentine Gallery Manifesto Marathon 2008: 1. The historic avant-gardes of the early 20th century and the neo- avant-gardes in the 1960s and 70s created a time of radical manifestos. 2. We now live in a time that is more atomised and has less cohesive artistic movements. 3. At this moment, there is a reconnection to the manifesto as a document of poetic and political intent. 4. This is a declaration of artistic will and new-found optimism. 5. New modes of publication and production are a means to distribute ideas in the form of texts, documents, and radical pamphlets. 6. This futurological congress presents manifestos for the 21st century. This event is urgent. 1 MANIFESTO PAMPHLET 18/19.10.2008 Gilbert & George (1969) SPONSOR’S FOREWORD In an exciting journey to discover the future of travel and relaunch their brand, Kuoni has partnered with a series of prominent experts from the worlds of contemporary lifestyle, fashion, art, architecture, music and literature. The latest in its ongoing series of collaborations sees Kuoni partner with the Serpentine Gallery, and, from 18 – 19 October, Kuoni is proud to be the headline sponsor of the Serpentine Gallery Manifesto Marathon. Through the sponsorship of the Manifesto Marathon, Kuoni will collect new perspectives on travel and develop these into a ‘new culture of travelling’–a selection of luxury, unique and authentic travel experiences. The Kuoni and Serpentine Gallery relationship is based on a common sense of curiosity and passion for innovation. Moreover, the concept of the Manifesto Marathon closely mirrors the Kuoni Getaway Council –an ever-evolving group of prolific experts and innovative thinkers from different fields, industries and countries– which was set up as a platform for exchanging ideas and finding new ways to innovate in travel. -
PRESS RELEASE 16 February 2018 ALISON WILDING 16 February – 12
PRESS RELEASE 16 February 2018 ALISON WILDING 16 February – 12 August 2018 Preview 15 February 2018 The Whitworth presents an exhibition of works spanning the past 20 years of the career of Turner Prize nominee and Royal Academician Alison Wilding. The exhibition will comprise of three large sculptures shown alongside a more recent work, Reversing, 2017, a hand-printed wallpaper that reworks William Morris’ Acanthus motif asymmetrically. A further selection of small sculptures will also be included; their hand-held size counteracting the scale of the large works. Wilding’s use of different materials is reminiscent of a game of stone, paper, scissors. Each medium connects with the other: paper floats on concrete, brass pins paper, and wood embraces acrylic. Also, like the game, the hierarchy of materials is not straightforward. In Largo, 2002, the delicacy of a silk or paper flower is as significant as the heft of a concrete half-sphere. For Reversing, 2017, the expanse of ghostly paper, printed with William Morris’s acanthus design, is exactly fixed by a small, sharp edged brass object: history caught and nailed to the wall like a specimen butterfly. Together the sculptures speak to each other of weight and lightness - as the dense material of one component plays against the impermanence of the other. The works also imply narrative in their internal relations of sculptural elements and further hint at stories in their titles. Disposition, 1998, a precarious concrete circular disk fronted by a carpet of rubber protuberances could surely be rolled away? In a Dark Wood, 2012 is a literal proposition, where the stained and laminated Iroko wood holds about 15 grey spheres. -
Whitechapel Gallery Name an Exhibition
Whitechapel Gallery Name an Exhibition To name an exhibition contact Development Manager Sue Evans T: 0207 522 7860 E: [email protected] 1901 Modern Pictures by Living Artists: Pre-Raphaelites and Older English Masters – Burne- Jones, Constable, Hogarth, Raeburn, Rubens – Dominic Palfreyman Chinese Life and Art Scottish Artists – Bone, Landseer, Mactaggart, Muirhead, Whistler 1902 Cornish School- Forbes, Stokes Japanese Exhibition Children's Work: Tower Hamlets Schools 1903 Artists in the British Isles at the Beginning of the Century – Fry, Legros, Tonks, Watts Poster Exhibition: British, European, Chinese and Japanese Shipping 1904 Scholars' Work from Board Schools in Bethnal Green, Stepney and Poplar Dutch Art – Hals, de Koninck, Metsu, Rembrandt, van Ruisdael, Amateurs and Arts Students Indian Empire 1905 LCC Children's Work from Board Schools in Bethnal Green, Stepney, Poplar British Art 50 Years Ago – Hunt, Millais, Rossetti, Ruskin, Turner Photography – Chesterton, Pike, Reid, Selfe, Wastell 1906 Georgian England Country in Town Jewish Art and Antiquities 1907 Old Masters: XVII and XVIII Century French and Contemporary British Painting and Sculpture – Boucher, Le Brun, Chardin, Claude, David, Grenze, Poussin Country in Town Animals in Art 1908 Contemporary British Artists: Collection of Copies of Masterpieces – Gainsborough, Holroyd, Latour, Stevens, Teniers Country in Town Muhammaden Art and Life (in Turkey, Persia, Egypt, Morocco and India) 1909 Stepney Children’s Pageant Tuberculosis Flower Paintings and Old Rare -
Conceptual Art & Minimalism
CONCEPTUAL ART AND MINIMALISM IN BRITAIN 1 QUESTIONS FROM LAST WEEK • Sarah Lucas lives with her partner, the artist, musician and poet Julian Simmons Artists Sarah Lucas (C) and Tracey Emin (R) attend The ICA Fundraising Gala held at the Institute of Contemporary Arts on March 29, 2011 in London, England. • Sarah Lucas now lives principally near Aldeburgh in Suffolk with her partner, the artist, musician and poet Julian Simmons, in the former bolthole of the composer Benjamin Britten and the tenor Peter Pears. She bought it as a weekend place with Sadie Coles in 2002. ‘I moved out there six years ago – it’s nice, impressive,’ she says curtly, before clamming up. ‘I don’t want people coming and snooping on me.’ (The Telegraph, 10 September 2013) • Benjamin Britain’s first house in Aldeburgh was Crag House on Crabbe Street overlooking the sea. He later moved to the Red House, Golf Lane, Aldeburgh which is now a Britten museum. 2 BRITISH ART SINCE 1950 1. British Art Since 1950 2. Pop Art 3. Figurative Art since 1950 4. David Hockney 5. Feminist Art 6. Conceptual Art & Minimalism 7. The Young British Artists 8. Video and Performance Art 9. Outsider Art & Grayson Perry 10.Summary 3 CONCEPTUAL ART • Conceptual Art. In the 1960s artists began to abandon traditional approaches and made ideas the essence of their work. These artists became known as Conceptual artists. Many of the YBA can be considered, and consider themselves, conceptual artists. That is, they regard the idea behind the work as important or more important than the work itself. -
Alison Wilding at Karsten Schubert
Karsten Schubert London Press Release Alison Wilding: Mesmer Again 7 December 2020–12 February 2021 Room 2, Soho, London | By appointment This solo exhibition displays Alison Wilding’s work in two contrasting rooms: one a spare look at her large 2016 piece Mesmer, the next an abundant display of new wall and table pieces and drawings. Renowned for her innovative approach to material, the works exhibited range from Mesmer, its wooden parts held together by m a g n e t s , t o s m a l l e r sculptures made of alabaster, bronze, fibreglass, silver wire and brass. Many of the works in Mesmer, Again were made by Wilding in 2020 and are exhibited here for the first time. This includes new series of drawings, dark in mood, made of black rubber paint, scraped and poured over sheets of paper and collaged. Mesmer, Again runs in Room 2, Karsten Schubert London’s gallery in a former apartment in a mid-18th-century Soho townhouse. For Wilding, this is an appealing location to show her works as it offers a view of what it is like to live with sculpture. As she says about her piece Drone 3 placed in the gallery’s window, ‘the north light coming through the window reveals something new about the sculpture, encouraging the viewer to approach the work quite differently compared with being in a white cube space, which is a showroom, not a living room.’ Mesmer, Again is accompanied by a catalogue featuring an interview with Alison Wilding by Tom Morton.