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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 -
From 199C to 199D Liam Gillick
FROM 199C TO 199D LIAM GILLICK MAGASIN / Centre National d’Art Contemporain École du MAGASIN June 6 - September 7, 2014 For more than twenty years Liam Gillick (born 1964, U.K.) has questioned the exhibition as a phenomenon and isolated the possible markers that could define it. These include the occupation of time, the role of the institu- tion and varied forms of collaboration. In the 1990s the most prominent of his interests questioned the dynamic relationship between artists, curators and institutions. Twenty years later he is working with curatorial students to reanimate early works from the 1990s. The first version of this process was From 199A to 199B at the CCS Bard Hessel Museum in New York in 2012. The exhibition From 199C to 199D is a completely new development that expands upon the original exhibition. Liam Gillick has worked closely alongside the students of the École du MAGASIN - Claire Astier, Neringa Bum- bliené, Paola Bonino, Giulia Bortoluzzi, Selma Boskailo and Anna Tomczak – and MAGASIN Director Yves Aupetitallot for nine months towards the reanimation of a selection of key works from the 1990s. Particular focus is upon works that articulate changes and continuities in cultural, political and social discourse over the last twenty years. The exhibition at MAGASIN expands in different way through a forthcoming publication and the official website of Session 23. A book will be published by JRP/Ringier that includes a survey of the Bard and MAGASIN exhibitions and includes essays by Paul O’Neill and Jorn Schaffaf. MAGASIN/Centre national d’art contemporain Site Bouchayer-Viallet, 8, esplanade Andry-Farcy, 38028 Grenoble cedex 1, France T + 33 (0)4 76 21 95 84 F + 33 (0)4 76 21 24 22 www.magasin-cnac.org ARTiT Liam Gillick Part I. -
Damien Hirst E Il Mercato Dell'arte Contemporanea: La Carriera Di Un Young British Artist
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Economia e Gestione delle Arti e delle attività culturali Tesi di Laurea DAMIEN HIRST E IL MERCATO DELL'ARTE CONTEMPORANEA: LA CARRIERA DI UN YOUNG BRITISH ARTIST Relatore Prof. Stefania Portinari Laureanda Martina Pellizzer Matricola 816581 Anno Accademico 2012 / 2013 1 INDICE INTRODUZIONE p. 3 CAPITOLO 1 ALCUNE RIFLESSIONI SUL MERCATO DELL'ARTE CONTEMPORANEA: ISTITUZIONI E STRUTTURE DI PROMOZIONE E VENDITA 1 L'Evoluzione del sistema delle gallerie e della figura del gallerista p. 3 2. Il ruolo dei musei p. 19 3 Il ruolo dei collezionisti p. 28 4 Le case d'asta p. 36 CAPITOLO 2 DAMIEN HIRST: DA A THOUSAND YEARS (1990) A FOR THE LOVE OF GOD (2007) 1 Il sistema dell'arte inglese negli anni Novanta: gli Young British Artist …........p. 41 2 Damien Hirst una carriera in ascesa, da “Frezze” alla retrospettiva presso la Tate Modern p. 47 3 I galleristi di Damien Hirst p. 67 CAPITOLO 3 IL RUOLO DEL MERCATO DELL'ARTE NELLA CARRIERA DI DAMIEN HIRST 1 L'asta di Sotheby's: “Beautiful inside my head forever” p. 78 2 Rapporto tra esposizione e valore delle opere dal 2009 al 2012..............................p. 97 CONCLUSIONI p. 117 APPENDICE p. 120 BIBLIOGRAFIA p. 137 2 INTRODUZIONE Questa tesi di laurea magistrale si pone come obiettivo di analizzare la carriera dell'artista inglese Damien Hirst mettendo in evidenza il ruolo che il mercato dell'arte ha avuto nella sua carriera. Il primo capitolo, dal titolo “Alcuni riflessioni sul mercato dell'arte contemporanea”, propone una breve disanima sul funzionamento del mercato dell'arte contemporanea, analizzando in particolar modo il ruolo di collezionisti, galleristi, istituzioni museali e case d'asta, tutti soggetti in grado di influenzare notevolmente la carriera di un artista, anche se in maniera differente. -
Press Luciano Fabro Frieze, April 1, 2008
MARIAN GOODMAN GALLERY Luciano Fabro By Andrew Bonacina (April 1, 2008) The word ‘Ricomincerò!’ (I will start again) was poignantly inscribed at the entrance to ‘Luciano Fabro: Didactica magna, Minima moralia’. Punctuating the end of an energetic, manifesto-like statement by the artist railing against the ‘reduction of the work to the status of an advertising gimmick’, this personal call to arms could not help but be read as Fabro’s unintentional last will and testament in the wake of his death in June 2007, during preparations for the exhibition. These potent last words revealed an undiminished ethical stance toward the value of a work of art: a stance that fuelled the artist’s creation of a remarkable oeuvre spanning almost six decades. Inevitably, Fabro’s untimely death burdened this exhibition with expectations of a broad and exhaustive survey, yet his adamant desire to focus solely on early works produced between 1963 and 1968 was fully acknowledged by curators Rudi Fuchs, Eduardo Cicelyn and Silvia Fabro, the artist’s daughter, who realized this coolly austere exhibition according to Fabro’s detailed notes and plans. The exhibition’s cut-off date somewhat pointedly marked the moment Fabro became associated with the Arte Povera movement, which reflected a period of intense social and political change in Italy, characterized by strong anti-war sentiment, scepticism of new technology and a growing hatred of the rampant ‘Americanization’ of culture. Arte Povera embodied an art of protest, an art which, wrote Germano Celant in Arte Povera in 1967, consisted in ‘taking away, eliminating, downgrading things to a minimum, impoverishing signs to reduce them to archetypes’. -
The Politics of Arte Povera
Living Spaces: the Politics of Arte Povera Against a background of new modernities emerging as alternatives to centres of tradition in the Italy of the so-called “economic miracle”, a group formed around the critic Germano Celant (1940) that encapsulated the poetry of arte povera. The chosen name (“poor art”) makes sense in the Italy of 1967, which in a few decades had gone from a development so slow it approached underdevelopment to becoming one of the economic dri- ving forces of Europe. This period saw a number of approaches, both nostalgic and ideological, towards the po- pular, archaic and timeless world associated with the sub-proletariat in the South by, among others, the writer Carlo Levi (1902-1975) and the poet and filmmaker Pier Paolo Pasolini (1922-1975). the numbers relate to the workers who join a mensa operaia (workers’ table), a place as much to do with alienation as unionist conspiracy. Arte povera has been seen as “a meeting point between returning and progressing, between memory and anti- cipation”, a dynamic that can be clearly understood given the ambiguity of Italy, caught between the weight of a legendary past and the alienation of industrial develo- pment; between history and the future. New acquisitions Alighiero Boetti. Uno, Nove, Sette, Nove, 1979 It was an intellectual setting in which the povera artists embarked on an anti-modern ap- proach to the arts, criticising technology and industrialization, and opposed to minimalism. Michelangelo Pistoletto. It was no coincidence that most of the movement’s members came from cities within the Le trombe del Guidizio, 1968 so-called industrial triangle: Luciano Fabro (1936-2007), Michelangelo Pistoletto (1933) and Alighiero Boetti (1940-1994) from Turin; Mario Merz (1925-2003) from Milan; Giu- lio Paolini (1940) from Genoa. -
Gallery Ambassador Job Description
Gallery Ambassador Fixed Term Contracts & Casual Contracts Job description ……. Background For over a century the Whitechapel Gallery has premiered world-class artists from modern masters such as Pablo Picasso, Jackson Pollock, Mark Rothko and Frida Kahlo to contemporaries such as Sophie Calle, Lucian Freud, Gilbert & George and Mark Wallinger. With beautiful galleries, exhibitions, artist commissions, collection displays, historic archives, education resources, inspiring art courses, dining room and bookshop, the expanded Gallery is open all year round, so there is always something free to see. The Gallery is a touchstone for contemporary art internationally, plays a central role in London’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant contemporary art quarter. Role With this role, you will act as a front of house Ambassador for Whitechapel Gallery and provide an excellent experience to all the visitors. The role requires Ambassadors to provide up to date information on all our Exhibition and Education Programme and to support the Gallery’s charitable aims, by promoting our ticketed Exhibitions, Public Event Programme, and Membership scheme and encourage donations. Invigilate the gallery spaces and any off-site exhibition spaces. Meeting the gallery’s needs to staff events such as season openings, patron tours etc. Working hours will vary and Gallery Ambassador may be offered work on any day of the week including Saturdays, Sundays, evenings and bank holidays. The services provided to the Gallery are on a fixed term contract basis for an hourly rate. Accountability The Gallery Ambassadors report to the Visitor Services Manager. Visitor Experience Providing excellent visitor care following existing guidelines and policies. -
Mark Wallinger Italian Lessons
Victoria Miro Mark Wallinger Italian Lessons Private View 5:30 – 7:30pm, Saturday 27 January 2018 Exhibition 27 January – 10 March 2018 Victoria Miro Venice, Il Capricorno, San Marco 1994, 30124 Venice, Italy Image: Mark Wallinger, Genius of Venice (detail), 1991 Glass, catalogue pages, nightlights, metal brackets 38 x 32 x 6 cm / 15 x 12 5/8 x 2 3/8 inches each, 7 parts Courtesy the artist and Hauser & Wirth Photo: Todd-White Art Photography © Mark Wallinger Victoria Miro, in collaboration with Hauser & Wirth, is delighted to present Italian Lessons, an exhibition by Mark Wallinger. Selected by the artist especially for Victoria Miro Venice, the works on display date from 1991 to 2016 and reflect a career-long engagement with ideas of power, authority, artifice and illusion. While sources of inspiration include the Italian masters and masterpieces in Italian collections, this is the first time many of these works have been shown in Italy. “In a sense, the exhibition is like my mini Grand Tour.” – Mark Wallinger Encompassing autobiography and art history, the Italian Lessons of the exhibition title are manifold. They refer to Wallinger’s own education and to his exposure to the Italian masters: via a charismatic college lecturer in his native Essex; a seminal exhibition in London; a bicycle tour from Paris to Florence. Equally, the Lessons make reference to the cornerstones of art history – such as the development of perspective and trompe-l’oeil techniques – and the shifts in consciousness they have brought about. Lessons theological as well as pedagogical may be deduced in the content or context of his source material, part of a long-term consideration of religion as one of the ideological forces through which order is imposed on the world. -
The Politics of Arte Povera
Living Spaces: the Politics of Arte Povera Against a background of new modernities emerging as alternatives to centres of tradition in the Italy of the so- called “economic miracle”, a group formed around the critic Germano Celant (1940) that encapsulated the po- etry of arte povera. The chosen name (“poor art”) makes sense in the Italy of 1967, which in a few decades had gone from a development so slow it approached underdevelopment to becoming one of the economic driving forces of Europe. This period saw a number of approaches, both nostalgic and ideological, towards the popular, archaic and timeless world associated with the sub-proletariat in the South by, among others, the writer Carlo Levi (1902-1975) and the poet and filmmaker Pier Paolo Pasolini (1922-1975). Fibonacci Napoli (Fabricca a San Giovan- ni a Teduccio), 1971, a work which pre- sents a numerical sequence that com- plicates and humanizes the simplistic logic of minimalist artists, while adding a political component: the numbers relate to the workers who join a mensa operaia (workers’ table), a place as much to do with alienation as unionist conspiracy. Arte povera has been seen as “a meeting point between returning and progressing, between memory and anticipation”, a dynamic that can be clearly understood given the ambiguity of Italy, caught be- tween the weight of a legendary past and the alienation of industrial development; between history and the future. It was an intellectual setting in which the povera artists embarked on an anti-modern approach to the arts, criticising technology and industrialization, and opposed to min- imalism. -
Luciano Fabro (Turin, 1936 – Milan, 2007) Fabro, One of the Members Of
Luciano Fabro (Turin, 1936 – Milan, 2007) Fabro, one of the members of the Arte Povera group, formulated his early works by examining the relationship between object, body, and space. The forms are basic and geometric, what one might describe as minimalist, but the attitude behind them stems from an idea and from the vitality of movement. They exist within a system that seems conceived to unfold at a meeting point between Leonardo’s Scheme on the Proportions of the Human Body and Palladian architecture. In 1969 he began a long series of works developed around the geographic outline of Italy, and he turned this shape into his personal blank page: “I need to know how my hands function on something that remains static. The form of Italy is static, immobile, and I measure my hands’ mobility against its stillness. Italy is like a sketch album, an aide mémoire that I have continued to do over the years: if I’m working on something new, I sketch it out on one of these Italies.” Speculum Italiae (Italy’s Mirror), 1971, begins with a shape in mirrored glass, tightly wrapped in thin strips of lead, like a mummified body. In Italia all’asta (Italy on Auction), 1994, two Italy shapes, one placed upside-down, are positioned face-to-face and then nailed to a pole; the surface of the shapes has a pattern in relief that is typical of manhole covers. The Italy that is right side up might be raised up on the pole like a proud insignia of our country, but the other one, upside down, instead seems to hang from a gallows, held prisoner by a pin, like a giant insect, captured or fallen dead. -
British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000
British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth Cover image: Installation View, Simon Starling, Project for a Masquerade (Hiroshima), 2010–11, 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Sensational Cities, John J. -
{FREE} the Art of Tracey Emin
THE ART OF TRACEY EMIN PDF, EPUB, EBOOK Chris Townsend,Mandy Merck,Etc. | 224 pages | 01 Nov 2002 | Thames & Hudson Ltd | 9780500283851 | English | London, United Kingdom The Art of Tracey Emin by Chris Townsend White Cube. Save Me , Xavier Hufkens. Sex 26 Sydney , The way you spoke to me , I Loved My Innocence , There was so much more of me , Little woman - Something I've always wanted Aste Boetto. Love Is What You Want , Lougher Contemporary. Crane , No Time for Love. The Kiss Was Beautiful , In The Art of Tracey Emin, distinguished critics from Britain and the United States address her achievement in depth for the first time, tracing Emin's influences from Egon Schiele to Judy Chicago and establishing her place in a larger tradition of postmodern and feminist art. Adopting a variety of critical approaches, contributors explore the full range of Emin's work, from photography and monoprints to installation art and videos, showing that, however raw and personal it may seem to be, it actually represents a carefully meditated response to vital issues in contemporary culture and society. Deals the truth about anal intercourse, at last: how liberating it is- but only for the purpetrator. In this case, the work explores the common experience of depression through a very personal and intimate lens. This artwork draws an important distinction between representation and presentation. This piece is not a representation of an object such as a painting or a sculpture. The art object doesn't refer to another object; it is the object itself. Some have argued that this was the key work in elevating women's experiences to the level of artistic expression. -
Rereading Theatricality in Luciano Fabro's
BEHIND THE MIRROR: REREADING THEATRICALITY IN LUCIANO FABRO’S ALLESTIMENTO TEATRALE BY DAVID A. THOMAS THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Adviser: Assistant Professor Irene Small ABSTRACT In the 1967 article "Art and Objecthood," the American art critic Michael Fried faults Minimalist sculpture for its inherent theatricality. Theatricality, as he defines it, results from the form's anthropomorphic scale and sense of hollowness that imply a presence, like that of a human body, inside the work. The dialogical relationship between the viewer and this interior presence becomes a spectacle. I intend to examine Fried's definition of theatricality alongside the work of the Arte Povera artist Luciano Fabro, who utilizes familiar Minimalist-like forms as containers for real human bodies. In a scantly documented performance piece Allestimento teatrale: cubo di specchi [Theatrical Staging: Mirror Cube], (1967/75), Fabro presents a theatrical performance with an audience seated around a large mirror cube listening to a monologue performed by an actor sealed inside the cube. Since its inception in the late 1960s, the Italian Arte Povera movement has been described, among other things, as a critique of Minimalism. The group read Minimalist sculpture as a reflection of an alienating technological system of American capitalist production. As I argue, Fabro's construction of presence renders it an affectation, a manipulation of the public audience, and further that the reflection of the audience on the sides of the mirror cube allows for the formation of a collective subject.