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A FUND for the FUTURE Francis Alÿs Stephan Balkenhol Matthew
ARTISTS FOR ARTANGEL Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno Ryan Gander Robert Gober Nan Goldin Douglas Gordon Antony Gormley Richard Hamilton Susan Hiller Roger Hiorns Andy Holden Roni Horn Cristina Iglesias Ilya and Emilia Kabakov Mike Kelley + Laurie Anderson / Kim Gordon / Cameron Jamie / Cary Loren / Paul McCarthy / John Miller / Tony Oursler / Raymond Pettibon / Jim Shaw / Marnie Weber Michael Landy Charles LeDray Christian Marclay Steve McQueen Juan Muñoz Paul Pfeiffer Susan Philipsz Daniel Silver A FUND FOR THE FUTURE Taryn Simon 7-28 JUNE 2018 Wolfgang Tillmans Richard Wentworth Rachel Whiteread Juan Muñoz, Untitled, ca. 2000 (detail) Francis Alÿs Stephan Balkenhol Matthew Barney Janet Cardiff and George Bures Miller Vija Celmins José Damasceno Jeremy Deller Rita Donagh Peter Dreher Marlene Dumas Brian Eno ADVISORY GROUP Ryan Gander Hannah Barry Robert Gober Erica Bolton Nan Goldin Ivor Braka Douglas Gordon Stephanie Camu Antony Gormley Angela Choon Richard Hamilton Sadie Coles Susan Hiller Thomas Dane Roger Hiorns Marie Donnelly Andy Holden Ayelet Elstein Roni Horn Gérard Faggionato LIVE AUCTION 28 JUNE 2018 Cristina Iglesias Stephen Friedman CONDUCTED BY ALEX BRANCZIK OF SOTHEBY’S Ilya and Emilia Kabakov Marianne Holtermann AT BANQUETING HOUSE, WHITEHALL, LONDON Mike Kelley + Rebecca King Lassman Laurie Anderson / Kim Gordon / Prue O'Day Cameron Jamie / Cary Loren / Victoria Siddall ONLINE -
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. -
My Bed on the Market for the First Time Yba Icon Sold to Benefit the Saatchi Gallery’S Foundation
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE – 28 MAY 2014 TRACEY EMIN’S MY BED ON THE MARKET FOR THE FIRST TIME YBA ICON SOLD TO BENEFIT THE SAATCHI GALLERY’S FOUNDATION My Bed Mattress, linens, pillows and objects 31 x 83 x 92⅛in. (79 x 211 x 234cm.) Executed in 1998 Estimate: £800,000 -1,200,000 London – On 1 July, Christie’s will offer one of the most iconic works from the YBA movement, Tracey Emin’s My Bed, 1998, in the Post-War & Contemporary Art Evening Auction, London. Building on Christie’s recent success with Sensation generation artists, including record prices for works by Jenny Saville and Gary Hume in the February 2014 Evening Auction, and for a more recent work by Tracey Emin (To Meet My Past, 2002) in Christie’s October 2013 Thinking Big auction of sculpture from the Saatchi Gallery Collection, we anticipate a strong degree of interest in this work. A major piece that encapsulates Emin’s deeply personal work exploring the relationship between her life and her art, My Bed caused a furore when it was shortlisted for the Tate’s Turner Prize in 1999, prompting widespread public debate about the nature of contemporary art. As Francis Outred, Christie’s Head of Post- War & Contemporary Art, Europe, says: ‘In My Bed (1998) Tracey Emin shares with us her most personal space, revealing a dark moment from her life story with startling honesty and raw emotion. Her ability to integrate her work and personal life to a point where they become indistinguishable creates an intimacy with her viewers and asks us to witness her cathartic practice as a means of her survival. -
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. -
Issue-16.Pdf
BRUCE MUNRO / MARFA BOOK COMPANY / ROBERT IRWIN / AT WORK: YOKO ONO / SUMMER 2017 CONTEMPORARY ARTS, PERFORMANCE, AND THOUGHT JOHN CHAMBERLAIN Twenty-two various works in painted and chromium- plated steel (1972–1982) from the permanent collection at the Chinati Foundation in Marfa, Texas Photograph by Florian Holzherr THE PALOMA Ice, tequila, sugar, and lime juice in a highball glass with a salted rim. Top with fresh grapefruit juice and club soda. Stir gently. ¡Salud! Field of Dreams Bruce Munro ARTIST BRUCE MUNRO ILLUMINATES THE NATURE OF HIS LIFE’S WORK. by Jessica Dawson BRUCE MUNRO Field of Light (2016-2017) Installation view at Uluru, in the Northern Territory of Australia. All photography by Mark Pickthall ARTDESK 01 CDSea (2010) Long Knoll in Wiltshire, England Water-Towers (2015) Desert Botanical Garden in Phoenix, Arizona Impression—Time Crossing Culture (2016) Ferryman’s Crossing (2015) Ashmolean Museum in Oxford, England Scottsdale Museum of Contemporary Art in Scottsdale, Arizona Tepees (2013) 02 ARTDESK Cheekwood Botanical Garden and Museum of Art in Nashville, Tennessee SUMMER 2017 OR THE PAST five years, Bruce Munro’s mas- “they have this surrealism to them. Field of Light in in the community. Friends brought along their sively scaled light installations have been our forest almost felt like fireflies.” friends. A few visitors were moved to tears. A making their way through American botan- “He’s the kind of installation artist that you phenomenon was born. Fical gardens. Pennsylvania’s influential Longwood don’t want to say no to,” says Wendy DePaolis, the But it was only last year that Field of Light was Gardens, in the town of Kennett Square, launched Minnesota Landscape Arboretum curator who realized at ground zero for its inspiration—Uluru the British artist’s invasion in 2012, and since then organized the Munro show, which closed in April. -
Professor Grenville Davey the Tractor Shed the Hall Great Yeldham
Professor Grenville Davey The Tractor Shed The Hall Great Yeldham Essex CO9 4PT 0785 4151603 [email protected] 1961 Born Launceston, Cornwall. Lives and works in Essex BIOGRAPHY 2012. Artist in residence, Isaac Newton institute of Mathematical Sciences, Cambridge. 2010/11 Artist in residence, Department of Theoretical Physics, Queen Mary College, UCL, London. Board member, Commissions East. 2009 Mentor for artists commissioned for Beyond the frame Essex County Council commission. Lead artist for Olympic Delivery Authority, Arup engineers. Interpretation/ design from public consultation. Programme Leader, MA Fine art, University of East London. 2008 Facilitator, public consultation/ workshop, for the Olympic Delivery Authority, organised by The Royal College, Imperial College.ODA. 2007 Established Artists Award, Arts Council England. Awarded, Arts in Essex, Grant. Study of sites for Art in Essex. 2006 Design team, Stockton / Middlesbrough Initiative, Strategic Masterplan. LDA Design, Landscape architects. Facilitator, drawing project, PRP architects. 2005 Design team, Barnsley Civic Core, detailed design, with LDA Design, Landscape architects. 2003 Design team, Barnsley Civic Core, Sketch Design, with LDA Design, Landscape Architects. Awarded the RSA ‘Art for Architecture Award’ for the design, phase 1 of Manchester City Centre. EDAW Landscape architects. 1999 Senior Research Fellow in Drawing, University of East London 1997 Awarded the title of visiting Professor at the University of the Arts, London. 1996 Awarded the RSA ‘Art for Architecture Award’ for the Newcastle Draw dock Development, London, with EDAW, landscape architects. 1992 Turner Prize Award, Tate Gallery, London 1981-85 Studied Exeter College of Art and Design 1985-88 Goldsmiths College BA (Hons) Fine Art COMMISSIONS 2008-11. -
Michael Landy’S Scrapheap Services Sean Rainbird
Tate Papers - ‘Are We as a Society Going to Carry on Treating People T... http://www.tate.org.uk/research/tateresearch/tatepapers/04spring/rainbi... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL ‘Are We as a Society Going to Carry on Treating People This Way?’ Michael Landy’s Scrapheap Services Sean Rainbird Over the course of a little more than a decade Michael Landy made four major installations: Market (1990), Closing Down Sale (1992), Scrapheap Services (1995) and Break Down (2001). The third was acquired by Tate in 1997 and is the subject of this paper (fig.1). Fig.1 Michael Landy Scrapheap Services 1995 Tate. Presented by the Patrons of New Art through the Tate Gallery Foundation 1997 © Michael Landy View in Tate Collection Although motivated by personal concerns, these four installations caught the mood of social change, labour market reforms and political ideology at the tail-end of the Thatcher era. This had a profound impact on the emerging, metropolitan art scene of the time. Blurring and investigating the gap between art and life preoccupied many artists during the period. This examination extended across a wide spectrum. Julian Opie , teacher of several of the emerging generation of artists, struck a detached, knowing stance by referring in his sculptures to products as diverse as model railway buildings, and modular screen and shelving systems. At the other end was the insertion of a rotting cow’s head in the original installation of Damien Hirst ’s A Thousand Years (1990). The skinned head provided nutrition for the flies it bred, before they went on to be zapped by an ultra-violet fly- killer in a brutal ending of their life cycle. -
Billy Childish
BILLY CHILDISH Born Chatham, Kent, United Kingdom, 1959 Lives Whitstable, Kent, United Kingdom EDUCATION 1977 Medway College of Design, Kent 1978 St. Martins School of Art, London SOLO EXHIBITIONS 2020 wolves, sunsets and the self, Lehmann Maupin, Seoul, Korea remember all the / high and exalted things / remember all the low / and broken things, Lehmann Maupin, New York, NY 2019 man in the mouth of a cave, Carl Freedman Gallery, Margate, United Kingdom 2018 heaven’s journey, Neugerriemschneider, Berlin, Germany 2017 Billy Childish: Man With Jackdaw, Villa Schöningen, Berlin, Germany mountain view house, Goss-Michael Foundation, Dallas, TX 2016 Billy Childish in Print (A Survey), Rochester Art Gallery, Kent, United Kingdom the house at grass valley, Carl Freedman Gallery, Margate, United Kingdom Opelvillen Rüsselsheim, Frankfurt, Germany 2015 billy childish at cactus garden, Galleria Paolo Curti / Annamaria Gambuzzi & Co., Milan, Italy flowers, nudes and birch trees, Lehmann Maupin, New York, NY at segantini’s hut, neugerriemschneider, Berlin, Germany 2014 Pushkin House, London, United Kingdom edge of the forest, Lehmann Maupin, Hong Kong 2013 darkness was here yesterday, Carl Freedman Gallery, London, United Kingdom all apparent achievements and misdemeanours are non defining, neugerriemschneider, Berlin, Germany paintings that change the universe like digging in the gutter with a broken lolly stick, Lehmann Maupin, New York, NY Animal Totems, Lying Poets and Other Mundane Renditions in Paint, International Art Objects, Los Angeles, CA 2012 Billy Childish. Frozen estuary and Other Paintings of the Divine Ordinary, Part II, Hoxton Arches, London, United Kingdom Billy Childish. Frozen estuary and Other Paintings of the Divine Ordinary, The Gallery: No.I, The Smithery, The Historic Dockyard, Chatham, Kent, United Kingdom Billy Childish. -
Adam Chodzko
A Chodzko Sept 2020 1 CV Adam Chodzko Adam Chodzko lives and works in Whitstable, Kent Born in London, 1965 Education: University of Manchester, BA (Hons) History of Art, 1985–88 Goldsmiths College, London, MA Fine Art, 1992–94 ♦ http://www.adamchodzko.com/ Selected video work : https://vimeo.com/adamchodzko ♦ Adam Chodzko is an artist working across media, exploring our conscious and unconscious behaviour, social relations and collective imaginations through artworks that are propositions for alternative forms of ‘social media.’ Exhibiting work nationally and internationally since 1991, his work speculates how, through the visual, we might best connect with others. ♦ Adam Chodzko’s art explores the interactions and possibilities of human behaviour by investigating the space of consciousness between how we are and what we might be. Working across media, from video installation to subtle interventions, with a practice that is situated both within the gallery and the wider public realm, his work investigates and invents possibilities for collective imagination, wondering ‘how might we perceive better’? Through questioning the act of seeing, Chodzko explores how, through art (with its potential to both be visionary and blinding; an ‘image filter’) we can reveal concealed realities, ‘hauntings’, lying dormant within the everyday. His practice operates between documentary and fantasy, conceptualism and surrealism and public and private space. Chodzko often engages reflexively and directly with the role of the viewer so that the work appears to be in the process of ‘making itself’ through looking. His practice turns everyday personal experience into ‘science fictions’ or ‘speculative fictions’ following a path in the present towards its alternative realities, its hyperstitions. -
Artnet 10 Upcoming Shows by Groundbreaking Female Artists
10 Upcoming shows by Groundbreaking Female Artists By Cait Munro March 8, 2016 10 Upcoming Shows By Groundbreaking Female Artists In honor of International Women's Day, get excited for these shows. Georgia O'Keeffe, Black Mesa Landscape, New Mexico / Out Back of Marie's II (1930). Photo: Courtesy of Tate Modern. Today is International Women’s Day and March is Women’s History Month, so there’s no better time to outline a few upcoming shows by female artists we admire. From Hong Kong to Los Angeles, 2016 is brimming with exhibitions by awesome artists, who range in age from twentysomethings to one very impressive centenarian. Mary Bauermeister, Lens Box “Pencil Theater” (1969). Image: Courtesy of the gallery. Mary Bauermeister at Pavel Zoubok Gallery, New York: Bauermeister’s mixed-media compositions caught our eye at the ADAA Art Show last week, and we were pleased to learn the 81-year-old German artist will have her first New York show since 1971 next month. Bauermeister’s gripping collages include ephemera like smooth stones and Joseph Cornell -like boxes alongside detailed renderings in paint and ink. “ Mary Bauermeister ” will be on display at Pavel Zoubok Gallery from April 14–May 21, 2016. Zoe Buckman, “bitch again.” embroidery on vintage lingerie. Image: ZoeBuckman.com Zoe Buckman, “Every Curve” at PAPILLION Art, Los Angeles: Zoe Buckman is a must-watch multimedia artist best known for hand-embroidering lyrics by rappers Biggie Smalls and Tupac Shakur on delicate pieces of vintage lingerie as a means of reconciling her feminist beliefs with her love of hip-hop music and culture, where male chauvinism often runs rampant. -
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 -
Tracey Emin I Cried Because I Love You March 21–May 21, 2016 #Icriedbecauseiloveyou | #Traceyemin Opening Reception: Monday
Tracey Emin I Cried Because I Love You March 21–May 21, 2016 #icriedbecauseiloveyou | #traceyemin Opening Reception: Monday, March 21, 6-8PM I want you so much, 2015, embroidered calico, 63.78 x 86.61 in, 162 x 220 cm. Photo © George Darrell. © Tracey Emin. All rights reserved, DACS 2016. Courtesy of Lehmann Maupin and White Cube. “I look at myself, and I paint myself, but they’re portraits of my mind, of my deepest thoughts.”i Tracey Emin, 2015 Hong Kong, February 03, 2016—Lehmann Maupin and White Cube are pleased to present I Cried Because I Love You, an exhibition by Tracey Emin, CBE. This joint exhibition takes place across both gallery spaces in Hong Kong and marks Emin’s first solo presentation in Greater China. Emin, who came to prominence as an artist in the 1990s, is internationally celebrated for her challenging, profound, and deeply poetic work across a wide range of media. A modern day ‘Expressionist’, Emin explores ideas of narrative disclosure, drawing on subjects that are intimately bound up with her own biography, recalling events, dreams, or emotional states in works that are starkly honest, personal, and yet also familiar and universal. For this major project, Emin has envisaged a continuous exhibition of painting, embroidery, and neon across two spaces that serves to reflect the diversity of her practice. A narrative that runs through both exhibitions focuses on a large stone located in an olive grove just outside of Emin’s studio in the South of France. In a series of drawings Emin recollects a marriage ceremony that took place there last summer, where she wore a white shroud originally made to adorn her father’s body at his funeral.