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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. -
Stephen Willats
PRESS RELEASE STEPHEN WILLATS THE WORLD AS IT IS AND THE WORLD AS IT COULD BE 7 May - 12 June 2010 From the 1960's until today, London-based conceptual artist Stephen Willats has concentrated on ideas that today are ever-present in contemporary art: communication, social engagement, active spectatorship, and self-organization. Stephen Willats has situated his pioneering practice at the intersection between art and other disciplines such as sociology, cybernetics, systems research, learning theory, communications theory and computer technology. Victoria Miro is delighted to present new and unseen works by Stephen Willats in THE WORLD AS IT IS AND THE WORLD AS IT COULD BE. This exhibition furthers Willats' interrogation of social interactions and the polemics of contemporary life in urban society. Through his ongoing preoccupation with developing a new graphic language that establishes continuity between film, photography, text and drawings, here Willats takes the idea of a journey through two parallel realities, the world as it is - the world we live in - and its transformation into the world as it could be. Via this strategy, Willats explores the idea of art as something that motivates people to change their perceptions of reality, to embrace the notion that the world in which they live could be quite different, that one can effect change. The exhibition features a large new installation Cybernetic Still Life (2010), comprised of a monumental wall drawing that incorporates film projections, as well as several photographic and text based works. Employing a diagrammatic framework to express fluidity and transience in relationships - concepts that define the locus of production and exchange of information - these new works explore the very human side of perceptions, our relationships to each other and our tendency to stereotype and make instant assumptions based on brief glimpses into the lives of others. -
Conrad Shawcross
CONRAD SHAWCROSS Born 1977 in London, UK Lives and works in London, UK Education 2001 MFA, Slade School of Art, University College, London, UK 1999 BA (Hons), Fine Art, Ruskin School of Art, Oxford, UK 1996 Foundation, Chelsea School of Art, London, UK Permanent Commissions 2022 Manifold 5:4, Crossrail Art Programme, Liverpool Street station, Elizabeth line, London, UK 2020 Schism Pavilion, Château la Coste, Le Puy-Sainte-Réparade, France Pioneering Places, Ramsgate Royal Harbour, Ramsgate, UK 2019 Bicameral, Chelsea Barracks, curated by Futurecity, London, UK 2018 Exploded Paradigm, Comcast Technology Centre, Philadelphia, USA 2017 Beijing Canopy, Guo Rui Square, Beijing, China 2016 The Optic Cloak, The Energy Centre Greenwich Peninsula, curated by Futurecity, London, UK Paradigm, Francis Crick Institute, curated by Artwise, London, UK 2015 Three Perpetual Chords, Dulwich Park, curated and managed by the Contemporary Art Society for Southwark Council, London, UK 2012 Canopy Study, 123 Victoria Street, London, UK 2010 Fraction (9:8), Sadler Building, Oxford Science Park, curated and managed by Modus Operandi, Oxford, UK 2009 Axiom (Tower), Ministry of Justice, London, UK 2007 Space Trumpet, Unilever House, London, UK Solo Exhibitions 2020 Conrad Shawcross, an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK Escalations, Château la Coste, Le Puy-Sainte-Réparade, France Celebrating 800 years of Spirit and Endeavour, Salisbury Cathedral, Salisbury, -
Billy Childish Flowers, Nudes and Birch Trees: New Paintings 2015 September 10-October 31, 2015 536 West 22Nd Street, New York #Billychildish
Billy Childish flowers, nudes and birch trees: New Paintings 2015 September 10-October 31, 2015 536 West 22nd Street, New York #billychildish Opening Reception: Thursday, September 10, 6-8PM birch wood, 2015, oil and charcoal on linen, 72.05 x 108.07 inches, 183 x 274.5 cm. Courtesy the artist and Lehmann Maupin, New York and Hong Kong. New York, August 11, 2015—Lehmann Maupin is pleased to present its fourth exhibition with British artist Billy Childish, a prolific painter, writer, and musician. The artist’s vivid oil paintings offer fragmented fields of intense color applied frenetically, often leaving charcoal marks and the linen canvas exposed, further emphasizing the immediate and intuitive nature of Childish’s work. The artist will be present for an opening reception at the gallery on Thursday, September 10 from 6-8PM. Working in traditional genres such as portraiture, still life, and landscape, Childish’s paintings are spiritually charged expressions that come from a place of deep personal meaning. These powerful works, including unabashed nudes, self-portraits, and dense woodland scenes, honor the simple nature of being and in the process transcend the ordinary. Eschewing any hint of post-modernist irony in his work, he allows the basics of personal expression to come forth through the fundamentals of painting. A self-proclaimed “Radical Traditionalist,” Childish has said, “The reason I honor tradition is that it provides a form and structure that allows freedom—the ego is subjugated and the requirements of the painting are met. Tradition is not to be worshipped or adored; it is a vehicle to take you to new places, or we could say to arrive at the perennial.” While he is occasionally associated with British groups like the Stuckists and YBAs, Childish does not see himself as connected to a particular contemporary movement; however, he is highly regarded and well known by his peers, including renowned artists Peter Doig and Tracey Emin. -
Bortolami Gallery Through June 15Th, 2019.” Art Observed, May 30Th, 2019, Illus
BORTOLAMI Virginia Overton (b. 1971 in Nashville, Tennessee) Lives and works in Brooklyn, New York Education 2005 University of Memphis, TN, MFA 2002 University of Memphis, TN, BFA Solo Exhibitions 2019 Água Viva, Bortolami, New York, NY Francesca Pia, Zürich, Switzerland (forthcoming) 2018 Built, Don River Valley Park, Toronto, Canada secret space, Biel, Switzerland Built, Socrates Sculpture Park, Queens, NY Virginia Overton, University of Memphis Fogelman Galleries, Memphis, TN 2017 Why?! Why Did You Take My Log?!?!, Museum of Contemporary Art, Tucson, AZ 2016 Winter Garden, Whitney Museum of American Art, New York, NY White Cube Bermondsey, London, England Sculpture Gardens, Whitney Museum of American Art, New York, NY The Aldrich Contemporary Art Museum, Ridgefield, CT 2015 White Cube, London, England 2014 Flat Rock, Museum of Contemporary Art North Miami, North Miami, FL 2013 Westfälischer Kunstverein, Munster, Germany Kunsthalle Bern, Bern, Switzerland Mitchell-Innes & Nash, New York, NY 2012 The Kitchen, New York, NY Deluxe, The Power Station, Dallas, TX 2011 Freymond-Guth, Zürich, Switzerland 2010 Untitled (Milano), N.O. Gallery, Milan, Italy Cheekwood Museum of Art, Nashville, TN True Grit, Dispatch, New York, NY 2008 Moving on South, curated by Dana Orland, White Box, New York, NY This Is Not A Ladder, Artlab at AMUM, Memphis, TN 39 WALKER STREET NEW YORK NY 10013 T 212 727 2050 BORTOLAMIGALLERY.COM BORTOLAMI 2007 Skytracker, Powerhouse, Memphis, TN Selected Group Exhibitions 2019 Downtown Painting, curated by Alex Katz, Peter -
Chantal Joffe
CHANTAL JOFFE Born 1969 in St. Albans, Vermont, USA Lives and works in London, UK Education 1992 - 94 M.A. Fine Art, Royal College of Art, London 1988 - 91 B.A. (Hons) Fine Art, Glasgow School of Art 1987 - 88 Foundation Course, Camberwell School of Arts and Crafts Solo Exhibitions 2020 Lucie and Daryll, Chantal Joffe Looking at Lucian Freud, IMMA Collection: Freud Project, Dublin, Ireland 2019 Chantal Joffe, Victoria Miro Mayfair, London, UK Chantal Joffe, Victoria Miro Islington, London, UK 2018 Personal Feeling is the Main Thing - Chantal Joffe, The Lowry, Salford, UK Chantal Joffe: Pastels, Victoria Miro Venice, Italy 2017 Chantal Joffe, Monica De Cardenas, Milan, Italy Chantal Joffe, Cheim & Read, New York, USA 2016 Galerie Forsblom, Helsinki, Finland Chantal Joffe, Victoria Miro Mayfair, London, UK 2015 Night Self Portraits, Cheim & Read, New York, USA Using Walls, Floors, and Ceilings: Chantal Joffe, curated by Jens Hoffmann, Jewish Museum, New York, USA Chantal Joffe: Beside the Seaside, Jerwood Gallery, Hastings, UK 2013 Chantal Joffe: The Hard Winter, Galerie Forsblom, Helsinki, Finland 2012 Cheim & Read, New York, USA 2011 Il Capricorno, Venice, Italy Victoria Miro, London, UK 2009 Monica de Cardenas, Milan, Italy Cheim & Read, New York, USA 2008 Victoria Miro, London, UK 2007 Galeria Monica de Cardenas, Zuoz, Switzerland Studio d’Arte Raffaelli, Trento, Italy 2006 Regen Project, Los Angeles, USA 2005 Victoria Miro, London, UK Monica de Cardenas, Milan, Italy 2004 Il Capricorno, Venice, Italy 2003 Victoria Miro, London, UK -
Matthew Higgs
The Museum of Everything Exhibition #4 Conversation with Matthew Higgs Matthew Higgs b 1964 (Wakefield, England) Matthew Higgs is an artist, curator, writer and director of White Columns Gallery, New York. Former director of exhibitions at the ICA in London (1996/9) and a former curator at the Wattis Institute in San Francisco (2001/4), Higgs was a contributor and speaker at Exhibition #1 and has ex- hibited the work of Creative Growth artists Dan Miller (2011) and William Scott (2009), both featured in Exhibition #4. [START] MoE: Matthew, I wondered if we could talk a little about your involvement with self-taught art and in particular with the artists at Creative Growth. You have curated the work of Judith Scott, Dan Miller, William Scott and Aurie Ramirez, I wondered if you could articulate what it is you feel is important about these artists and what they mean in terms of our understanding of art? MH: When I first came across Creative Growth ten years ago, my limited understanding of self-taught, outsider artists and creativity in relation to disabilities, was naï ve at best. Encountering an organisation like Crea- tive Growth forced me to think about my own relationship with this work and with art in general. I had spent most of the 1990s teaching undergraduate and graduate level in art schools. What was interesting was just how different the atmosphere was at Creative Growth. Art was being made for reasons that remained out of reach. The emphasis in conventional art schools is a pressure to ex- plain, to defend one’s intellectual and aesthetic territories. -
Stephen Willats
STEPHEN WILLATS BIOGRAPHY 1943 Born in London Lives and works in London EDUCATION 1962 – 1963 ‘The Ground Course’, Ealing School of Art 1965 to date Editor and publisher of Control Magazine 1972– 1973 Director of ‘The Centre for Behavioural Art’, London 1979-80 D.A.A.D. Fellowship, West Berlin 1990 Convenor of the Symposium, ‘Art Creating Society’, Museum of Modern Art, Oxford 1991 ‘Stephen Willats - Printed Archive’ established at the Victoria and Albert Museum 2003 Convenor of the Seminars ‘Art Intervention’, Control Magazine at Vilma Gold, London 2006 ‘Multiple Clothing’ seminar and performance at Tate Modern, London SOLO EXHIBITIONS 2016 Stephen Willats: THISWAY, Index, Stockholm, Sweden 2016 Stephen Willats, Villa Merkel, Esslingen 2016 Stephen Willats, Galerie Balice Hertling, Paris 2015 Publishing Interventions – Stephen Willats – Selected Publications 1965 – 2015, Tenderpixel, London 2015 Stephen Willats, Step Change, Lumen Travo, Amsterdam, Netherlands 2015 Stephen Willats: Man from the 21st Century, Museo Tamayo Arte Contemporáneo, Mexico City, Mexico 2014 Strange Attractor Series No 28, Corner Space, Galerie Thomas Schulte, Berlin 2014 Stephen Willats: Berlin Local, MD72, Berlin, Germany 2014 Stephen Willats: How Tomorrow Looks From Here, DAAD Galerie, Berlin, Germany 2014 Stephen Willats: Attracting the Attractor, Anne Mosseri-Marlio Galerie, Basel, Switzerland 2014 Concrete Block: Drawings & Works on Paper, 1978 - 2005, MOT International, Brussels, Belgium 2014 Concerning our Present Way of Living, Whitechapel Gallery, London, -
Pat Steir Was Born in 1940 in Newark, New Jersey. She Studied Art and Philosophy at Boston University and Received Her BFA from the Pratt Institute in 1962
PAT STEIR Pat Steir was born in 1940 in Newark, New Jersey. She studied art and philosophy at Boston University and received her BFA from the Pratt Institute in 1962. She is a founding board member of Printed Matter Inc., New York, and the feminist journal, Heresies. She was also a board member of Semiotext(e). Her work has been the subject of major institutional exhibitions and projects including: the Museum of Art, Rhode Island School of Design, Providence, Rhode Island; Los Angeles County Museum of Art, California; Neuberger Museum of Art, Purchase, New York; Butler Institute of American Art, Youngstown, Ohio; Dallas Museum of Art, Texas; The Baltimore Museum of Art, Maryland; Des Moines Art Center, Iowa; Brooklyn Museum, New York; The Whitney Museum of American Art, New York; MoMA PS1, New York; The Irish Museum of Modern Art, Dublin, Ireland; Centre National d’Art Contemporain de Grenoble, France; Musée d’art Contemporain, Lyon, France; Cabinet des Estampes, Musée d’Art et Histoire, Geneva, Switzerland; Centre d’Art Contemporain, Palais Wilson, Geneva, Switzerland; Kunstmuseum Bern, Switzerland; The Tate Gallery, London; Rijksmuseum, Amsterdam; Gemeentemuseum Den Haag, The Hague, among many others. Steir’s work is held in the permanent collections of the Denver Art Museum, Colorado; Foundation Cartier, Paris; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Louvre, Paris; the Metropolitan Museum of Art, New York; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; The San Francisco Museum of Fine Arts, California; The Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Walker Art Gallery, Minneapolis, MN; and the Whitney Museum of American Art, New York, among other institutions worldwide. -
London Gallery Map Summer 2018 Galleriesnow.Net for Latest Info Visit Galleriesnow.Net
GalleriesNow.net for latest info visit GalleriesNow.net London Gallery Map Summer 2018 21 Jun Impressionist & A Blain|Southern 5E Modern Works on Paper Flowers Gallery, Luxembourg & Dayan 6F Partners & Mucciaccia 6G Repetto Gallery 5F S Simon Lee 5G Sotheby’s S|2 Gallery 5E Victoria Miro Mayfair 5E Kingsland Road 3A Achille Salvagni 28 Jun Handpicked: 50 Sadie Coles HQ ITION Atelier 5F Works Selected by the S Davies Street 5F SUPERIMPO Saatchi Gallery SITION SUPERIMPO 28 Jun Post-War to Present Land of Lads, Land of Lashes 30 Jun–12 Jul Classic Week Upstairs: Charlotte ‘Snapshot’ Aftermath: Art in the Wake of 25 Jun–11 Aug 3 Jul Old Master & British Johannesson 29 Jun–1 Jul World War One Edward Kienholz: America Drawings & Watercolours Ely House, 37 Dover St, 25 May–30 Jun René Magritte (Or: The Rule Superimposition | Paul Michele Zaza Viewing Room: Joel Mesler: Signals 5 Jun–23 Sep Surface Work 28 Cork St, W1S 3NG Morrison, Barry Reigate, My Hometown Lorenzo Vitturi: Money Must W1S 4NJ of Metaphor) 18 May–15 Jun The Alphabet of Creation 27 Apr–13 Jul 11 Apr–16 Jun 4 Jul Treasured Portraits 1-2 Warner Yard, EC1R 5EY 10am-6pm mon-fri, 11am- Michael Stubbs, Mark (for now) Millbank, SW1P 4RG 18 May–14 Jul from the Collection of Ernst Be Made 10am-6pm tue-sat 27 Feb–26 May Apollo 11am-6pm wed-fri, 4pm sat Titchner Nudes 20 Apr–26 May 31 St George St, W1S 2FJ 10am-6pm daily Erkka Nissinen Holzscheiter 11 May–30 Jun 2 Savile Row, W1S 3PA 15 Mar–7 Sep noon-5pm sat 15 Jun–31 Aug 11 Apr–26 May 10am-5pm mon-fri 23 May–14 Jul 5 Jul Old Masters Evening -
An Analysis of New York and London Fine Art Schools' Responses to the Market in Pedagogy and Curricula Adelaide Dunn
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 From the Academy to the Marketplace: An analysis of New York and London Fine Art Schools' Responses to the Market in Pedagogy and Curricula Adelaide Dunn Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Art Education Commons, Curriculum and Instruction Commons, and the Higher Education Commons From the Academy to the Marketplace: An Analysis of New York and London Fine Art Schools’ Responses to the Market in Pedagogy and Curricula By Adelaide Dunn A thesis submitted in conformity with the requirements for a Master of Arts in Art Business Sotheby’s Institute of Art, New York 2018 14,976 words Abstract As fine art degrees expand in cost and popularity, the need to educate students about the complex art market they are entering is more urgent now than ever before. But despite the globalizing art market’s continuing demand for emerging talent, its opaque and hypercompetitive nature generates significant obstacles for fine art graduates. This is exacerbated by the relative absence of practical business and legal skills implemented in fine art curricula across the U.S. and U.K. Statistical and anecdotal evidence highlighting the many entrepreneurial skills required to develop and sustain a professional practice, demonstrates the need for more comprehensive professional development syllabi to be implemented in fine art schools. This thesis takes as its main focus the art markets of New York and London, and assesses how fine art schools in these rapidly intensifying urban centers respond to their commercial environments. -
Thecollective
WORKPLACEGATESHEAD The Old Post Office 19-21 West Street Gateshead, NE8 1AD thecollective Preview: Friday 5th May 6pm – 8pm Exhibition continues: 6th May – 3rd June Opening hours: Tuesday – Saturday 11am – 5pm Issued Wednesday 26th April 2018 Workplace Gateshead is delighted to present the first public exhibition of selected works from The Founding Collective. FOR IMMEDIATE RELEASE Started in 2002 in London by a group of art professionals and families interested in living with contemporary art The Collective is a growing network of groups collecting, sharing and enjoying contemporary art in their homes or places of work. The combined collection of The Founding Group now comprises over 60 original and limited edition works by emerging and established artists. Selected by Workplace this exhibition includes works by: Mel Brimfield, Jemima Brown, Fiona Banner, Libia Castro & Olafur Olafsson, Martin Creed, Tom Dale, Michael Dean, Tacita Dean, Peter Doig, Bobby Dowler, Tracey Emin, Erica Eyres, Rose Finn-Kelcey, Ceal Floyer, Matthew Higgs, Gareth Jones, Alex Katz, Scott King, Jochen Klein, Edwin Li, Hilary Lloyd, Paul McCarthy, Paul Noble, Chris Ofili, Peter Pommerer, James Pyman, Frances Richardson, Giorgio Sadotti, Jane Simpson, Wolfgang Tillmans, Piotr Uklanski, Mark Wallinger, Bedwyr Williams, and Elizabeth Wright. Free public event: Friday 5th May, 5pm - 6pm, all welcome Founding members of The Collective will give an informal introduction to the history of the group, how it works, how it expanded and plans for the future. This will be followed by an open discussion chaired by WORKPLACE directors Paul Moss and Miles Thurlow focusing on the importance of collecting contemporary art, how to make a start regardless of budget, and the challenges and opportunities for new collectors in the North of England.