DOCSLIB.ORG

Angus Fairhurst Bibliography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Angus Fairhurst Bibliography Library Special Collections and Archives Angus Fairhurst Collection: bibliography Printed on the occasion of the reception to celebrate the donation of the Angus Fairhurst Collection, Deptford Town Hall, Goldsmiths, on 21st May 2009. Library Goldsmiths, University of London 1st edition, May 2009 Essay and bibliography by Thom O’Nions Edited by Jacqueline Cooke The Angus Fairhurst Collection Angus Fairhurst (1966-2008) graduated in 1989 with a BA Art, from Goldsmiths. Whilst in his second hear at Goldsmiths, Angus, along with Damien Hirst, Gary Hume and Sarah Lucas, participated in the famous group show Freeze, which took place in 1988 in London’s docklands. Freeze helped launch a generation of artists who became known as the Young British Artists. He continued with his career as a successful multi-media artist until the time of his death. Angus was found dead at Bridge of Orchy, Argyll, in 2008 at the age of 41. Angus Fairhurst’s collection of books arrived in the Library in August 2008, donated to the library in his memory by Angus’s mother Sally and brother Charles. A selection of books is held as the the Angus Fairhurst Collection, in the library’s special collections. The remainder are held in the main library collection, to be used by current and future students and other visitors to the library. The entire collection is documented in this bibliography. On the Angus Fairhurst Collection Thom O’Nions The Angus Fairhurst Collection ActualIy, inheritance is the soundest way of acquiring a collection. For a collector’s attitude toward his possessions stems from an owner’s feeling of responsibility toward his property. Thus it is, in the highest sense, the attitude of an heir, and the most distinguished trait of a collection will always be its transmissibility. – Walter Benjamin, ‘Unpacking my Library’ Someone’s library can tell us a lot about that person. The books that we collect throughout our lifetime provide an index of our interests, our passions, and our character; they provide a complex multifarious reflection of our lives. For an artist, among these books are often more perspicuous records; assorted catalogues from exhibitions they have produced or taken part in, artist’s books, and texts they have published all go towards forming an account of an artist’s life and activities. The library of Angus Fairhurst offers a portrait of both Fairhurst himself and of a generation of artists that emerged from Goldsmiths in the late 80s and early 90s. As a student contemporary of Damien Hirst, Sarah Lucas and Gary Hume, Fairhurst was central to the emergence of the YBA movement. Among the most interesting books in the collection are a series of catalogues from what have now become iconic shows of the YBA generation, shows such as Freeze (1988), Gambler (1991), and Modern Medicine (1991), all of which Fairhurst exhibited in. There are also many artist’s books and catalogues from important shows of friends and contemporaries’ throughout the 90s. These books provide an important document in charting both the history of Goldsmiths and of a key period in the history of 20th century British art. The most prominent facet of the collection is the extensive assortment of exhibition catalogues, however these are not its sole contents. The collection consists of a wide range of books covering varied and diverse subjects, from philosophy, to science, to the history of primates. These books reveal a sensitive, thoughtful engagement with the world that was clearly evident in Fairhurst’s work. This bibliography provides a fascinating lens through which to look at the work of Fairhurst and also to understand the intellectual milieu of a generation of artists. In his essay Unpacking my Library Walter Benjamin writes of how the collection’s ‘acquisition of an old book is its rebirth’ and here this phrase seems very apt. A few of the books in the collection bear the stamps and tags of Goldsmiths library, books presumably acquired during Fairhurst’s time at the college. There is a great sense of circularity here as these books find themselves back to the library and to subsequent generations of students. The collection of books that Fairhurst has left to the Goldsmith’s library provide a unique insight into the practice of an important and influential artist and will be both a point of reference and an inspiration for many years to come. Bibliography Acker, K. (1991) Hannibal Lecter, My Father, 1 ed., New York: Semiotext(e). Ackroyd, P. (2001) London the Biography, 2 ed., London: Vintage. Ackroyd, P., Dyer, G., Bush, K. and Wentworth, R. (2001) Richard Wentworth/Eugène Atget, London: Photographers Gallery. Ades, D., Natalie, R. and Blake, P. (2000) Peter Blake: About Collage. London: Tate Gallery. Alberro, A., Alice, Z., Buchloh, B. H. D. and Batchelor, D. (1998) Lawrence Weiner, 1 ed., London: Phaidon Press. Alison, J., Brayer, M.-A., Migayrou, F. and Spiller, N. (2006) Future City: Experiment and Utopia in Architecture, New York: Thames & Hudson Allen, K. (2007) Grow Up, 1 ed., London: Ebury Press. Allt, A. H. (1970) The American Civil War, Then and There, 5 ed., London: Longman Group. Als, H. (1998) The Women, 1 ed., New York: The Noonday Press. Amsterdam, Stedelijk, M., Haus der Kunst, M., Knoebel, I., Knoebel, C., Bloem, M. and Gassner, H. (1996) Imi Knoebel: works 1968-1996, Amsterdam Ostfildern-Ruit: Stedlijk Museum; Cantz. Anderson, S. H. C., Davies, G. and R., D. H. (1999) Key Topics in Gastroenterology, Key Topics, 1 ed., Oxford: BIOS Scientific Publishers. Anderson, W. (1998) Green Man: The Archetype of our Oneness with the Earth, Fakenham, England: COMPASSbooks. Andriesse, P., Hutchinson, J., Tiger, S. and Elliott, F. (2001) Ipsamas: an album of photographs, Amsterdam: De Verbeelding. Annan, D. (1974) Ape: The Kingdom of Kong, 1 ed., London: Lorrimer Publishing. Annan, D. (1975) Ape: the Kingdom of Kong, London: Lorrimer. Anton, F. and Dockstader, F. J. (1967) Pre-Columbian art and later Indian tribal arts, Panorama of world art series, New York: Abrams. Arason, P. and Kawara, O. (1999) On Kawara: Pure Consciousness. Reykjavik: Petur Arason. Arbus, D. and San Francisco Museum of Modern, A. (2003) Diane Arbus: revelations, New York: Random House. Archer, M. and Gallaccio, A. (1993) Anya Gallaccio. Vienna: Galerie Krinzinger Aristotle (1988) Ethics, 13 ed., London: Penguin. Arkhipov, V. (2006) Home-Made: Contemporary Russian Folk Artifacts, 1 ed., London: FUEL Publishing. Artschwager, R., Hentschel, M., Portikus and Kunstforum, M. (1993) Richard Artschwager: Archipelago, Frankfurt am Main: Portikus. Assche, C. V., Ricupero, C., Bidaine, P., Nykytaiteen, M. (1998) Bruce Nauman, London: Hayward Gallery. Atlee, J., Le Feuvre, L. and Centre for Contemporary, A. (2003) Gordon Matta-Clark: the space between, Portchester: Nazraeli Press. Bachelard, G. (1994) The Poetics of Space, Boston: Beacon Press. Bailey, M. (1999) Durer, 3 ed., London: Phaidon Press. Bailey, R. and Hurst, E. (2005) Rude Britian: 100 Rudest Place Names in Britain, 1 ed., London: Boxtree. Bailly, J.-C. (1986) Duchamp, 1 ed., Paris: Art Data. Baldessari, J., Bashoff, T., Ferguson, R. and Waschler, L. (2004) John Baldessari: somewhere between almost right and not quite (with orange), New York: Guggenheim Museum. Baldessari, J., Suess, A., Harringer, S., Ausstellung John, B., Hochschule für Angewandte, K., Expositur, H. and Institut für, M. (1996) John Baldessari, Wien: Hochschule für Angewandte Kunst. Ball, P. (1999) H20 A Biography of Water, 1 ed., London: Weidenfeld and Nicolson. Balth, C., Haags, G., Staatliche Kunsthalle, B.-B. and Haus am, W. (2000) The beauty of intimacy: lens and paper, The Hague, Netherlands: Gemeentemuseum The Hague. Barnes, J. (1990) A History of the World in 10 and a Half Chapters, 2 ed., London: Picador. Barney, M., Lingwood, J., Barbara Gladstone, G., Fondation, C. and Artangel (1995) Cremaster 4, Paris New York: Fondation Cartier pour l’art contemporain; Barbara Gladstone Gallery. Barney, M. and Museum Boymans-Van, B. (1995) Pace car for the hubris pill, Rotterdam: Museum Boymans-Van Beuningen. Barney, M., Obrist, H.-U., McKee, F., Kanazawa 21-seiki, B., Leeum--Samsong, M. and San Francisco Museum of Modern, A. (2005) Matthew Barney: drawing restraint, Koln: Verlag der Buchhandlung Walther Konig. Barthes, R. (1970) L’Empire des Signes, 1 ed., Genève: Editions d’Art Albert Skira. Barthes, R. (2000) Mythologies, 2 ed., London: Vintage. Bartram, A. and Sutton, J. (1990) Typefaces for Books, 1 ed., London: The British Library. Bartrum, G. (1995a) German Renaissance Prints 1490-1550, London: British Museum Press Bartrum, G. (1995b) German Renaissance Prints, 1490-1550, London: British Museum Press. Bartrum, G., Grass, G., Koerner, J. L., Kuhlemann, U., British, M. and Dept. of Prints and, D. (2002) Albrecht Dürer and his legacy: the graphic work of a Renaissance artist, London: British Museum. Baselitz, G. and Anthony, d. O. (1985) Georg Baselitz: paintings 1964-1967, London: Anthony d’Offay Gallery. Baselitz, G., Heil, H. and Anthony, d. O. (1994) Frau paganismus, London: Anthony d’Offay Gallery. Baselitz, G., Wagner, T., Wittneven, K. and Contemporary Fine, A. (2007) Georg Baselitz: the bridge ghost’s supper, Berlin Köln: Contemporary Fine Arts; Distribution Walther König. Batchelor, D. (1993) Rachel Whiteread: Plaster Sculptures, London: Karsten Schubert Baudrillard, J. (1988) The Evil Demon of Images, 2 ed., Sydney: The Power Institute of Fine Arts. Beard, J., Burn, G. and Hirst, D. (2000) Theories, Models, Methods, Approaches, Assumptions, Results and Findings. London: Gagosian Gallery. Beckett, S. (1999) Proust and Three Dialogues with Geroge Duthuit, 2 ed., London: John Calder. Beckmann, M. and Lackner, S. (1983) Max Beckmann, Naefels: Bonfini Press. Bellmer, H. (2005) The Doll, 3 ed., London: Atlas Press. Bellmer, H., Semff, M., Spira, A., Angliviel de La Beaumelle, A., Staatliche Graphische Sammlung, M., Whitechapel Art, G. and Musée national d’art moderne/Centre de création, i.
Load more

Recommended publications
  • 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]
  • PRESS RELEASE Los Angeles Collectors Jane and Marc
    PRESS RELEASE Los Angeles Collectors Jane and Marc Nathanson Give Major Artworks to LACMA Art Will Be Shown with Other Promised Gifts at 50th Anniversary Exhibition in April (Image captions on page 3) (Los Angeles, January 26, 2015)—The Los Angeles County Museum of Art (LACMA) is pleased to announce eight promised gifts of art from Jane and Marc Nathanson. The Nathansons’ gift of eight works of contemporary art includes seminal pieces by Damien Hirst, Roy Lichtenstein, Frank Stella, Andy Warhol, and others. The bequest is made in honor of LACMA’s 50th anniversary in 2015. The gifts kick off a campaign, chaired by LACMA trustees Jane Nathanson and Lynda Resnick, to encourage additional promised gifts of art for the museum’s anniversary. Gifts resulting from this campaign will be exhibited at LACMA April 26–September 7, 2015, in an exhibition, 50 for 50: Gifts on the Occasion of LACMA’s Anniversary. "What do you give a museum for its birthday? Art. As we reach the milestone of our 50th anniversary, it is truly inspiring to see generous patrons thinking about the future generations of visitors who will enjoy these great works of art for years and decades to come,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “Jane and Marc Nathanson have kicked off our anniversary year in grand fashion.” Jane Nathanson added, “I hope these gifts will inspire others to make significant contributions in the form of artwork as we look forward not only to the 50th anniversary of the museum, but to the next 50 years.
    [Show full text]
  • Art, Real Places, Better Than Real Places 1 Mark Pimlott
    Art, real places, better than real places 1 Mark Pimlott 02 05 2013 Bluecoat Liverpool I/ Many years ago, toward the end of the 1980s, the architect Tony Fretton and I went on lots of walks, looking at ordinary buildings and interiors in London. When I say ordinary, they had appearances that could be described as fusing expediency, minimal composition and unconscious newness. The ‘unconscious’ modern architecture of the 1960s in the city were particularly interesting, as were places that were similarly, ‘unconsciously’ beautiful. We were the ones that were conscious of their raw, expressive beauty, and the basis of this beauty lay in the work of minimal and conceptual artists of that precious period between 1965 and 1975, particularly American artists, such as Sol LeWitt, Robert Morris, Dan Flavin and Dan Graham. It was Tony who introduced (or re-introduced) me to these artists: I had a strong memory of Minimal Art from visits to the National Gallery in Ottawa, and works of Donald Judd, Claes Oldenburg and Richard Artschwager as a child. There was an aspect of directness, physicality, artistry and individualized or collective consciousness about this work that made it very exciting to us. This is the kind of architecture we wanted to make; and in my case, this is how I wanted to see, make pictures and make environments. To these ends, we made trips to see a lot of art, and art spaces, and the contemporary art spaces in Germany and Switzerland in particular held a special significance for us. I have to say that very few architects in Britain were doing this at the time, or looking at things the way we looked at them.
    [Show full text]
  • Gagosian Gallery
    Artsy April 2, 2019 GAGOSIAN How Takashi Murakami Got His Start as an Artist Scott Indrisek “At the studio I rented for $80 a month on Lorimer Street in Brooklyn, uncertain whether I would have anything to eat the next day.” © Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy of Gagosian. In the second installment of a new series, we continue to shine a light on the tumultuous early days of artists who have since become household names. Takashi Murakami, 57, may now be an international art star and a cultural icon, but he was once a disgruntled student, bored with his conservative schooling and dreaming of better things. Indeed, when he was just starting out, Murakami claimed no special status as an artist. “I was never particularly talented at drawing or painting,” he said; hard work, practice, and determination would sharpen those skills. He had his first solo show in 1989, at Tokyo’s Ginza Surugadai Gallery, and began traveling from his native Japan to New York City around that time. Murakami always thought of New York as one of the art world’s vital centers, and he was willing to struggle in order to absorb what it had to offer. He recalled once renting a studio on Lorimer Street in Brooklyn for a mere $80 a month (“uncertain whether I would have anything to eat the next day,” he added). In 1994, he landed a residency in the prestigious PS1 International Studio Program. These early experiences helped shape Murakami’s unique artistic vision. The hyperconfident artist would eventually become a global brand, his manga-inspired creations taking over the world—one wild sculpture and painting at a time.
    [Show full text]
  • Press Release
    Press Release Abigail Lane Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) Victoria Miro Gallery, 4 October – 10 November 2001 The exhibition is organized by the Milton Keynes Gallery in collaboration with Film and Video Umbrella The Victoria Miro Gallery presents a major solo exhibition of work by Abigail Lane. Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) extends her preoccupation with the fantastical, the Gothic and the uncanny through a trio of arresting and theatrical installations which are based around film projections. Abigail Lane is well known for her large-scale inkpads, wallpaper made with body prints, wax casts of body fragments and ambiguous installations. In these earlier works Lane emphasized the physical marking of the body, often referred to as traces or evidence. In this exhibition Lane turns inward giving form to the illusive and intangible world of the psyche. Coupled with her long-standing fascination with turn-of-the-century phenomena such as séances, freak shows, circus and magic acts, Lane creates a “funhouse-mirror reflection” of the life of the mind. The Figment explores the existence of instinctual urges that lie deep within us. Bathed in a vivid red light, the impish boy-figment beckons us, “Hey, do you hear me…I’m inside you, I’m yours…..I’m here, always here in the dark, I am the dark, your dark… and I want to play….”. A mischievous but not sinister “devil on your shoulder” who taunts and tempts us to join him in his wicked game. The female protagonist of The Inclination is almost the boy-figment’s antithesis.
    [Show full text]
  • Anya Gallaccio
    Anya Gallaccio 1963 Born in Paisley, Scotland Lives and works in London, UK Education 1985-1988 Goldsmiths’ College, University of London, UK 1984-1985 Kingston Polytechnic, London, UK Residencies and awards 2004 Headlands Center for the Arts, Sansalitos, California, US 2003 Nominee for the Turner Prize, Tate Britain, London, UK 2002 1871 Fellowship, Rothermere American Institute, Oxford, UK San Francisco Art Institute, California, US 1999 Paul Hamlyn Award for Visual Artists, Paul Hamlyn Foundation Award, London, UK 1999 Kanazawa College of Art, JP 1998 Sargeant Fellowship, The British School at Rome, IT 1997 Jan-March Art Pace, International Artist-In-Residence Programme, Foundation for Contemporary Art, San Antonio Texas, US Solo Exhibitions 2015 Lehmann Maupin, New York, US 2014 Stroke, Jupiter Artland, Edinburgh, UK SNAP, Art at the Aldeburgh Festival, Suffolk, UK Blum&Poe, Los Angeles, US 2013 This much is true, Artpace, San Antonio, Texas, US Creation/destruction, The Holden Gallery, Manchester, UK 2012 Red on Green, Jupiter Artland, Edinburgh, UK 2011 Highway, Annet Gelink Gallery, Amsterdam, NL Where is Where it’s at, Thomas Dane Gallery, London, UK 2010 Unknown Exhibition, The Eastshire Museums in Scotland including the Dick Institiute, the Baird Institute and the Doon Valley Museum, Kilmarnock, UK 2009 Inaugural Exhibition, Blum & Poe Gallery, Los Angeles, CA, US Lehmann Maupin Gallery, New York, US 2008 Comfort and Conversation, Annet Gelink Gallery, Amsterdam, NL That Open Space Within, Camden Arts Center, London, UK Kinsale
    [Show full text]
  • Where Do Ideas Come From?
    Where do ideas come from? Where do ideas come from? 1 Where do ideas come from? At Deutsche Bank we surround ourselves with art. International contemporary art plays its part in helping us to navigate a changing world. As a global bank we want to understand, and engage with, different regions and cultures, which is why the Deutsche Bank Collection features contemporary artists from all over the globe. These artists connect us to their worlds. Art is displayed throughout our offices globally, challenging us to think differently, inviting us to look at the world through new eyes. Artists are innovators and they encourage us to innovate. Deutsche Bank has been involved in contemporary art since 1979 and the ‘ArtWorks’ concept is an integral part of our Corporate Citizenship programme. We offer employees, clients and the general public access to the collection and partner with museums, art fairs and other institutions to encourage emerging talent. Where do ideas come from? 2 Deutsche Bank reception area with artworks by Tony Cragg and Keith Tyson Art in London The art in our London offices reflects both our local and global presence. Art enriches and opens up new perspectives for people, helping to break down boundaries. The work of artists such as Cao Fei from China, Gabriel Orozco from Mexico, Wangechi Mutu from Kenya, Miwa Yanagi from Japan and Imran Qureshi from Pakistan, can be found alongside artists from the UK such as Anish Kapoor, Damien Hirst, Bridget Riley and Keith Tyson. We have named conference rooms and floors after these artists and many others.
    [Show full text]
  • Anya Gallaccio
    Anya Gallaccio Born in Scotland, UK, 1963 Lives and works in San Diego CA and London, UK Goldsmiths College, University of London, London, UK 1985–88 Kingston Polytechnic, London, UK 1984–85 Solo exhibitions 2017 Forthcoming: Beautiful Minds, Thomas Dane Gallery, London, UK 2015 Anya Gallaccio, Silas Marder Gallery, Bridgehampton NY Anya Gallaccio, MCA San Diego, California CA Anya Gallaccio, Lehmann Maupin, NY 2014 Anya Gallaccio, Blum & Poe, Los Angeles CA STROKE, Jupiter Artland, Edinburgh, Scotland SNAP, Aldeburgh Festival, Snape Malting and Orford Ness, Suffolk, UK 2013 This Much is True, Hudson (Show)Room, Artpace, San Antonio TX 2012 The Light Pours Out of Me, Jupiter Artland, Edinburgh, Scotland Arthur’s Seat, Ingleby Gallery, Edinburgh, Scotland 2011 Highway, Annet Gelink Gallery, Amsterdam, Netherlands Where is Where it’s at, Thomas Dane Gallery, London Surf’s Up, La Jolla, San Diego CA 2010 Unknown Enhibition, The Eastshire Museums in Scotland, Kilmarnock, UK Annet Gelink Gallery, Amsterdam, Netherlands 2009 Four Galleries, Four Exhibitions, One Venue, Anya Gallaccio, 4x4, The Bluecoat, Liverpool, UK 2008 Anya Gallaccio: that open space within, Camden Arts Centre, London, UK Anya Gallaccio: Comfort and Conversation, Annet Gelink Gallery, Amsterdam, Netherlands 2007 Three Sheets To The Wind, Thomas Dane Gallery, London, UK Sybil, Houghton Hall, King’s Lynn, UK 2006 Anya Gallaccio, Galeria Leme, São Paulo, Brazil One Art, Sculpture Center, New York 2005 Shadow on the Things You Know, Blum & Poe, Los Angeles CA Silver Seed, Mount
    [Show full text]
  • Build Collections Fund Talent Go Further Our Guide for Museums 2017 – 2018 Introduction 2
    Build collections Fund talent Go further Our guide for museums 2017 – 2018 Introduction 2 Curators’ Art Pass 5 Building collections 6 Acquisition grants Gifts and bequests Commissions Collecting initiatives Developing talent 14 New Collecting Awards Curators and expertise Training and networking Supporting museums 20 Art Fund Museum of the Year Art Happens Art Tickets Exhibition and touring programmes Special projects Connecting communities 30 Promoting your museum Our audience Collaboration Campaigning and advocacy 40 Public appeals Advocacy Sector research Contacts 47 Introduction 5 Art Fund helps museums and galleries in the UK to develop their collections and put them at the service of a wide range of visitors and communities. We offer grants towards acquisitions, to support curatorial practice or projects and to facilitate the lending, borrowing, display and sharing of collections. We receive no government funding: our programmes are made possible by those who buy a National Art Pass, supplemented by the generous support of many trusts, foundations, individuals and companies. We understand the financial challenges faced by museums today. As we ourselves are sustained by fundraising at many levels, we want to pass on that experience and offer a range of opportunities to others so they may unlock new sources of support, expand networks and reach broader audiences. To keep up to date with Art Fund initiatives, funding schemes, marketing opportunities and news, subscribe to our Museum Bulletin at artfund.org/bulletin. And do contact us at any time. Please see our list of contacts on page 47. Joseph Kosuth, Word Family Tree #1B, 2008, Grundy Art Gallery, Blackpool.
    [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]
  • Download Press Release Here
    ! For Immediate Release 1 May 2019 Artists Announced for New Contemporaries 70th Anniversary Constantly evolving and developing along with the changing face of visual art in the UK, to mark its 70th anniversary, New Contemporaries is pleased to announce this year's selected artists with support from Bloomberg Philanthropies. The panel of guest selectors comprising Rana Begum, Sonia Boyce and Ben Rivers has chosen 45 artists for the annual open submission exhibition. Since 1949 New Contemporaries has played a vital part in the story of contemporary British art. Throughout the exhibition's history, a wealth of established artists have participated in New Contemporaries exhibitions including post-war figures Frank Auerbach and Paula Rego; pop artists Patrick Caulfield and David Hockney; YBAs Damien Hirst and Gillian Wearing; alongside contemporary figures such as Tacita Dean, Mark Lecky, Mona Hatoum, Mike Nelson and Chris Ofili; whilst more recently a new generation of artists including Ed Atkins, Marvin Gaye Chetwynd, Rachel Maclean and Laure Prouvost have also taken part. Selected artists for Bloomberg New Contemporaries 2019 are: Jan Agha, Eleonora Agostini, Justin Apperley, Ismay Bright, Roland Carline, Liam Ashley Clark, Becca May Collins, Rafael Pérez Evans, Katharina Fitz, Samuel Fordham, Chris Gilvan- Cartwright, Gabriela Giroletti, Roei Greenberg, Elena Helfrecht, Mary Herbert, Laura Hindmarsh, Cyrus Hung, Yulia Iosilzon, Umi Ishihara, Alexei Alexander Izmaylov, Paul Jex, Eliot Lord, Annie Mackinnon, Renie Masters, Simone Mudde, Isobel Napier, Louis Blue Newby, Louiza Ntourou, Ryan Orme, Marijn Ottenhof, Jonas Pequeno, Emma Prempeh, Zoe Radford, Taylor Jack Smith, George Stamenov, Emily Stollery, Wilma Stone, Jack Sutherland, Xiuching Tsay, Alaena Turner, Klara Vith, Ben Walker, Ben Yau, Camille Yvert and Stefania Zocco.
    [Show full text]
  • Contemporary Art Magazine Issue # Sixteen December | January Twothousandnine Spedizione in A.P
    contemporary art magazine issue # sixteen december | january twothousandnine Spedizione in a.p. -70% _ DCB Milano NOVEMBER TO JANUARY, 2009 KAREN KILIMNIK NOVEMBER TO JANUARY, 2009 WadeGUYTON BLURRY CatherineSULLIVAN in collaboration with Sean Griffin, Dylan Skybrook and Kunle Afolayan Triangle of Need VibekeTANDBERG The hamburger turns in my stomach and I throw up on you. RENOIR Liquid hamburger. Then I hit you. After that we are both out of words. January - February 2009 DEBUSSY URS FISCHER GALERIE EVA PRESENHUBER WWW.PRESENHUBER.COM TEL: +41 (0) 43 444 70 50 / FAX: +41 (0) 43 444 70 60 LIMMATSTRASSE 270, P.O.BOX 1517, CH–8031 ZURICH GALLERY HOURS: TUE-FR 12-6, SA 11-5 DOUG AITKEN, EMMANUELLE ANTILLE, MONIKA BAER, MARTIN BOYCE, ANGELA BULLOCH, VALENTIN CARRON, VERNE DAWSON, TRISHA DONNELLY, MARIA EICHHORN, URS FISCHER, PETER FISCHLI/DAVID WEISS, SYLVIE FLEURY, LIAM GILLICK, DOUGLAS GORDON, MARK HANDFORTH, CANDIDA HÖFER, KAREN KILIMNIK, ANDREW LORD, HUGO MARKL, RICHARD PRINCE, GERWALD ROCKENSCHAUB, TIM ROLLINS AND K.O.S., UGO RONDINONE, DIETER ROTH, EVA ROTHSCHILD, JEAN-FRÉDÉRIC SCHNYDER, STEVEN SHEARER, JOSH SMITH, BEAT STREULI, FRANZ WEST, SUE WILLIAMS DOUBLESTANDARDS.NET 1012_MOUSSE_AD_Dec2008.indd 1 28.11.2008 16:55:12 Uhr Galleria Emi Fontana MICHAEL SMITH Viale Bligny 42 20136 Milano Opening 17 January 2009 T. +39 0258322237 18 January - 28 February F. +39 0258306855 [email protected] www.galleriaemifontana.com Photo General Idea, 1981 David Lamelas, The Violent Tapes of 1975, 1975 - courtesy: Galerie Kienzie & GmpH, Berlin L’allarme è generale. Iper e sovraproduzione, scialo e vacche grasse si sono tra- sformati di colpo in inflazione, deflazione e stagflazione.
    [Show full text]