Contemporary Art Society Annual Report 1995
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Contemporary Art Society Annual Report 1993
THE CONTEMPORARY ART SOCIETY The Annual General Meeting of the Contemporary Art Society will be held on Wednesday 7 September, 1994 at ITN, 200 Gray's Inn Road, London wcix 8xz, at 6.30pm. Agenda 1. To receive and adopt the report of the committee and the accounts for the year ended 31 December 1993, together with the auditors' report. 2. To reappoint Neville Russell as auditors of the Society in accordance with section 384 (1) of the Companies Act 1985 and to authorise the committee to determine their remunera tion for the coming year. 3. To elect to the committee Robert Hopper and Jim Moyes who have been duly nominated. The retiring members are Penelope Govett and Christina Smith. In addition Marina Vaizey and Julian Treuherz have tendered their resignation. 4. Any other business. By order of the committee GEORGE YATES-MERCER Company Secretary 15 August 1994 Company Limited by Guarantee, Registered in London N0.255486, Charities Registration No.2081 y8 The Contemporary Art Society Annual Report & Accounts 1993 PATRON I • REPORT OF THE COMMITTEE Her Majesty Queen Elizabeth The Queen Mother PRESIDENT Nancy Balfour OBE The Committee present their report and the financial of activities and the year end financial position were VICE PRESIDENTS statements for the year ended 31 December 1993. satisfactory and the Committee expect that the present The Lord Croft level of activity will be sustained for the foreseeable future. Edward Dawe STATEMENT OF COMMITTEE'S RESPONSIBILITIES Caryl Hubbard CBE Company law requires the committee to prepare financial RESULTS The Lord McAlpine of West Green statements for each financial year which give a true and The results of the Society for the year ended The Lord Sainsbury of Preston Candover KG fair view of the state of affairs of the company and of the 31 December 1993 are set out in the financial statements on Pauline Vogelpoel MBE profit or loss of the company for that period. -
Press Release
Richard Patterson 19 April – 1 June 2013 Timothy Taylor Gallery is pleased to announce its third exhibition with the British artist Richard Patterson. One of the YBAs to emerge in the late 1980s, and a participant in both the Freeze and Sensation exhibitions which helped to define a generation, Pattersons work has only been seen occasionally in the UK since his move to the US, and this survey exhibition gives a welcome overview of the past 15 years of painting, by this most intriguing and thoughtful of artists. Pattersons compositions are often complex multivalent constructs, switching between meticulous realism and deft, rehearsed passages of abstraction sometimes even on the same canvas. As Toby Kamps has observed “Patterson achieves – technically and thematically – a thrilling simultaneity of images and ideas”. His paintings run the gamut of symbolic and cultural referents, from European art history to Japanese trucks, from Dallas Cowboy cheerleaders to Greek myth. Each painting for Patterson is a chance to engage with techniques and effect, but also on a philosophical level to make complex interconnections of meaning, image and making. Aware when starting out as a painter that painting had already been declared dead by critics and theorists alike, Patterson decided to relax and just do what he felt like, which included a new mode of painting which he dubbed hyperabstraction – a combination of abstracted subject matter and hyperrealist style, developed to meet the needs of the emergent digital age. Your Own Personal Jesus, 2011 [1995], is a recent example of hyperabstraction, a revisiting of one of a series of works dedicated to the depiction of a scaled up plastic Motocrosser toy covered in richly coloured oil paint, and a remake of the 1994 work which was destroyed in the Momart fire in 2004. -
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, -
Aftershock: the Ethics of Contemporary Transgressive
HORRORSHOW 5 The Transvaluation of Morality in the Work of Damien Hirst I don’t want to talk about Damien. Tracey Emin1 With these words Tracey Emin deprived the art world of her estimation of her nearest contemporary and perhaps the most notorious artist associated with the young British art phenomenon. Frustrating her interviewer’s attempt to discuss Damien Hirst is of course entirely Emin’s prerogative; why should she be under any obligation to discuss the work of a rival artist in interview? Given the theme of this book, however, no such discursive dispensation can be entertained. Why Damien Hirst? What exactly is problematic about Hirst’s art? It is time to talk about Damien. An early installation When Logics Die (1991) provides a useful starting point for identifying the features of the Hirstean aesthetic. High-definition, post- mortem forensic photographs of a suicide victim, a road accident fatality and a head blown out by a point-blank shotgun discharge are mounted on aluminium above a clinical bench strewn with medical paraphernalia and biohazard material. Speaking to Gordon Burn in 1992, the artist explained that what intrigued him about these images was the incongruity they involve: an obscene content yet amenable to disinterested contemplation in the aesthetic mode as a ‘beautiful’ abstract form. ‘I think that’s what the interest is in. Not in actual corpses. I mean, they’re completely delicious, desirable images of completely undesirable, unacceptable things. They’re like cookery books.’2 Now remember what he’s talking about here. Sustained, speculative and clinically detached, Hirst’s preoccupation with the stigmata of decomposition, disease and mortal suffering may be considered to violate instinctive taboos forbidding pleasurable engagement with the spectacle of death. -
Stephen Snoddy
Stephen Snoddy During his precocious student years at Belfast College of Art, Stephen Snoddy never stopped painting. Driven by a powerful urge to explore and define his own vision of the world, this energetic young man produced an impressive body of work. It eventually ensured that he graduated with an MA in 1983, but within 4 years Snoddy put down his brushes. He did not pick them up again for over 20 years, and pursued instead a distinguished career as the director of maJor galleries across Britain. All the creative dynamism which had fuelled his youthful paintings became channelled into curating ambitious exhibitions and building collections. Then, quite suddenly, he experienced a mind-altering revelation. In 2012 his mother gave him a book (8 x 8) containing the series of 64 monoprints he had made way back in 1981 which had been produced serially over a few days. Monoprints differ from editioned prints in that only one impression is taken from a plate; reusing the plate for multiple unique prints allowed Snoddy to incorporate the erasures, palimpsests, and ghosts of previous explorations into subsequent work that became 8 sets of 8 monoprints. Leafing through these exuberant images, all of which had retained their original freshness, Snoddy felt overwhelmed and galvanised. The vision he had managed to develop as a student stirred his imagination once again. The sensuous monoprints made him determined to recover this creative impulse and pursue it further. So he began looking objectively back through slides of all his student paintings, rediscovering the sheer intensity which had driven him to produce such a prolific outpouring of early work. -
Shirazeh Houshiary B
Shirazeh Houshiary b. 1955, Shiraz, Iran 1976-79 Chelsea School of Art, London 1979-80 Junior Fellow, Cardiff College of Art 1997 Awarded the title Professor at the London Institute Solo Exhibitions 1980 Chapter Arts Centre, Cardiff 1982 Kettle's Yard Gallery, Cambridge 1983 Centro d'Arte Contemporanea, Siracusa, Italy Galleria Massimo Minini, Milan Galerie Grita Insam, Vienna 1984 Lisson Gallery, London (exh. cat.) 1986 Galerie Paul Andriesse, Amsterdam 1987 Breath, Lisson Gallery, London 1988-89 Centre d'Art Contemporain, Musée Rath, Geneva (exh. cat.), (toured to The Museum of Modern Art, Oxford) 1992 Galleria Valentina Moncada, Rome Isthmus, Lisson Gallery, London 1993 Dancing around my ghost, Camden Arts Centre, London (exh. cat.) 1993-94 Turning Around the Centre, University of Massachusetts at Amherst Fine Art Center (exh. cat.), (toured to York University Art Gallery, Ontario and to University of Florida, the Harn Museum, Gainsville) 1994 The Sense of Unity, Lisson Gallery, London 1995-96 Isthmus, Le Magasin, Centre National d'Art Contemporain, Grenoble (exh. cat.), (touring to Museum Villa Stuck, Munich, Bonnefanten Museum, Maastricht, Hochschule für angewandte Kunst, Vienna). Organised by the British Council 1997 British Museum, Islamic Gallery 1999 Lehmann Maupin Gallery, New York, NY 2000 Self-Portraits, Lisson Gallery, London 2002 Musuem SITE, Santa Fe, NM 2003 Shirazeh Houshiary - Recent Works, Lehman Maupin, New York Shirazeh Houshiary Tate Liverpool (from the collection) Lisson Gallery, London 2004 Shirazeh Houshiary, -
The Destruction of Art
1 The destruction of art Solvent form examines art and destruction—through objects that have been destroyed (lost in fires, floods, vandalism, or, similarly, those that actively court or represent this destruction, such as Christian Marclay’s Guitar Drag or Chris Burden’s Samson), but also as an undoing process within art that the object challenges through form itself. In this manner, events such as the Momart warehouse fire in 2004 (in which large hold- ings of Young British Artists (YBA) and significant collections of art were destroyed en masse through arson), as well as the events surrounding art thief Stéphane Breitwieser (whose mother destroyed the art he had stolen upon his arrest—putting it down a garbage disposal or dumping it in a nearby canal) are critical events in this book, as they reveal something about art itself. Likewise, it is through these moments of destruction that we might distinguish a solvency within art and discover an operation in which something is made visible at a time when art’s metaphorical undo- ing emerges as oddly literal. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup them in their absence. This might be observed through recent projects, such as Jonathan Jones’s Museum of Lost Art, the Tate Modern’s Gallery of Lost Art, or Henri Lefebvre’s text The Missing Pieces; along with exhibitions that position art as destruction, such as Damage Control at the Hirschhorn Museum or Under Destruction by the Swiss Institute in New York. -
John Stezaker
875 North Michigan Ave, Chicago, IL 60611 Tel. 312/642/8877 Fax 312/642/8488 1018 Madison Avenue, New York, NY 10075 Tel. 212/472/8787 Fax 212/472/2552 JOHN STEZAKER Born in Worcester, England, 1949. Lives and works in London. EDUCATION 1973 Slade School of Art, London, England SELECTED SOLO EXHIBITIONS 2015 The Truth of Masks, Richard Gray Gallery, Chicago, US [cat.] Touch, The Approach at Independent Régence, Brussels, Belgium Film Works, De La Warr Pavilion, East Sussex, UK Collages, Nederlands Fotomuseum, Rotterdam, the Netherlands The Projectionist, The Approach, London, UK 2014 New Silkscreens, Petzel Gallery, New York, US Collages, Anna Schwartz Gallery, Sydney, Australia 2013 One on One, Tel Aviv Museum of Art, Tel Aviv, Israel [cat.] Nude and Landscape, Petzel Gallery, New York, US [cat.] Blind, The Approach, London, UK Crossing Over, Galerie Capitain Petzel, Berlin, Germany 2012 John Stezaker, Galerie Gisela Capitain, Cologne, Germany Marriage, Haggerty Museum of Art, Marquette University, Milwaukee, US The Nude and Landscape, University of the Arts, Philadelphia, US [cat.] 2011 John Stezaker, Whitechapel Gallery, London, UK; traveled to Mudam, Luxembourg (2011); Mildred Lane Kemper Art Museum, St Louis, US (2012) [cat.] John Stezaker, Petzel Gallery, New York, US [cat.] 2010 Silkscreens, Galerie Capitain Petzel, Berlin, Germany [cat.] Lost Images, Kunstverein Freiburg, Freiburg, Germany Tabula Rasa, The Approach, London, UK [cat.] 2009 John Stezaker, Richard Gray Gallery, Chicago, US John Stezaker, Galerie Gisela Capitain, -
Monday 19 November
Saturday 17 November Sunday 18 November Monday 19 November Welcome Reception and Registration 18:45 - 21:30 08:30 Registration and Coffee 08:45-09:30 Registration and Breakfast Victoria & Albert Museum Kindly sponsored by Martinspeed Ltd Opening Introduction Opening Introduction 09:15-09:45 Aisha Burtenshaw (UKRG, United Kingdom), Alyson Rolington (Tate, United Kingdom) 09:30-09:45 Alyson Rolington (Tate, United Kingdom) Room: Fleming Room: Fleming Keynote Session Keynote Session Museums as Drivers for Change - New Professions, New Economy Sir Nicholas Serota (Arts Council England, United Kingdom) 09:45-10:15 09:45-10:15 Dr Susanna Pettersson (National Museum, Sweden) Room: Fleming Room: Fleming Kindly sponsored by Arterìa Kindly sponsored by APICE Scrl Room: Fleming Windsor Mountbatten Whittle Room: Fleming Windsor Mountbatten Whittle From Evolution to Revolution [A The Road from Los Angeles to Once in a Lifetime: Museum We’re in This Together: New Ventures for the Centre Transporting Colossal Statues in Play in Two Acts] - Act 1 Dhahran: LACMA's First Projects Old and New - From Registration in Post-Quake Pompidou: Platforms for Ancient Times and Today Traveling Exhibition in Saudi Burlington Gardens to Ellsworth Christchurch Experimental Displays and Kate Parsons (Tate, United Arabia Kelly's Austin. Reshaping the Collection, the Marco Rossani (Museo Egizio, Italy) Kingdom), Nickos Gogolos (Victoria Gina Irish (Christchurch Art Gallery example of Kanal Pompidou in and Albert Museum, United Paul Williamson (Constantine Ltd, Idoya Beitia -
Alex Hartley
ALEX HARTLEY BIOGRAPHY 1963 Born in West Byfleet Lives and works in London and Devon EDUCATION 1983-84 Camberwell School of Arts and Crafts (Foundation Course) 1984-87 Camberwell School of Arts and Crafts (BA Hons) 1988-90 Royal College of Art (MA) AWARDS AND COMMISSIONS 2014 b-Side Festival. Artist In residence Portland Dorset 2013 National Trust for Scotland Artist in residence ST. Kilda 2009 Artists Taking the Lead, 2012 Cultural Olympiad commission for the South West 2007 British Embassy, Moscow 2005 Winner of Linklaters Commission, the Barbican, London 2000 Winner of Sculpture at Goodwood ART2000 Commission Prize, London 2004 Shortlisted Banff Mountain book Festival for LA climbs 1999 The Citibank Private Bank Photography Prize, The Photographers’ Gallery SOLO EXHIBITIONS 2011 The World is Still Big, Victoria Miro Gallery, London 2008 Leeds Metropolitan Gallery, Leeds 2007 Edinburgh Art Festival Exhibition, Fruitmarket Gallery, Edinburgh 2005 Don’t want to be part of your world, Victoria Miro Gallery, London 2003 Outside, Distrito Cuatro, Madrid 2001 Case Study, Victoria Miro Gallery, London 1998 Lumen Travo, Amsterdam 1998 Galerie Ulrich Fiedler, Cologne 1997 James Van Damme Gallery, Brussels 1997 Viewer, Victoria Miro Gallery, London 1995 Fountainhead, Victoria Miro Gallery, London 1995 Galerie Gilles Peyroulet, Paris 1993 Victoria Miro Gallery, London 1993 James Van Damme Gallery, Antwerp 1992 Anderson O’Day Gallery, London PROJECTS 2012 Artists Taking the Lead, 2012 Cultural Olympiad : Nowhereisland GROUP EXHIBITIONS 2013 ARCTIC, -
You Cannot Be Serious: the Conceptual Innovator As Trickster
This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: You Cannot be Serious: The Conceptual Innovator as Trickster Author: David W. Galenson URL: http://www.nber.org/chapters/c5791 Chapter 8: You Cannot be Serious: The Conceptual Innovator as Trickster The Accusation The artist does not say today, “Come and see faultless work,” but “Come and see sincere work.” Edouard Manet, 18671 When Edouard Manet exhibited Le Déjeuner sur l’herbe at the Salon des Refusés in 1863, the critic Louis Etienne described the painting as an “unbecoming rebus,” and denounced it as “a young man’s practical joke, a shameful open sore not worth exhibiting this way.”2 Two years later, when Manet’s Olympia was shown at the Salon, the critic Félix Jahyer wrote that the painting was indecent, and declared that “I cannot take this painter’s intentions seriously.” The critic Ernest Fillonneau claimed this reaction was a common one, for “an epidemic of crazy laughter prevails... in front of the canvases by Manet.” Another critic, Jules Clarétie, described Manet’s two paintings at the Salon as “challenges hurled at the public, mockeries or parodies, how can one tell?”3 In his review of the Salon, the critic Théophile Gautier concluded his condemnation of Manet’s paintings by remarking that “Here there is nothing, we are sorry to say, but the desire to attract attention at any price.”4 The most decisive rejection of these charges against Manet was made in a series of articles published in 1866-67 by the young critic and writer Emile Zola. -
Bomberg Study Day Programme
BOMBERG AND ART EDUCATION Saturday 15 February, 11.00am–4.00pm Sainsbury Conference Room 1 Programme 11.00am Daniel Herrmann, Welcome Special Projects Curator 11.05am Richard Cork, Bomberg: Student of the ‘Old Masters’ Art historian and Guest Curator 11.40am David Boyd Haycock, ‘The Slade Way’: Bomberg and the Golden Independent historian Generation 12.10pm Kate Aspinall, The School of Bomberg Art historian 12.40pm Morning speakers Q&A discussion 1.00pm Lunch (not provided) 2.30pm Leon Betsworth, Innovations and contradictions: Lecturer in English Literature, Bomberg’s teaching at the Borough London, South Bank University 3.00pm Michelle Gregson, Voices and value, the importance of art, craft and General Secretary Elect, design education NSEAD 3.30pm Afternoon speakers Q&A discussion 4pm Close Speakers Biographies Daniel F. Herrmann is Curator of Modern & Contemporary Projects at the National Gallery, where he worked on Young Bomberg and the Old Masters (2019), with Richard Cork, and Bridget Riley: Messengers (2019). He was previously a curator at Whitechapel Gallery. He is writing the catalogue raisonné of Eduardo Paolozzi’s prints. Richard Cork is an award-winning art critic, historian, broadcaster and exhibition curator, as well as an Honorary Fellow of the Royal Academy. He wrote a major monograph on David Bomberg in 1987 and curated the Tate’s first large solo exhibition of Bomberg’s work in 1988. David Boyd Haycock specializes in 20th-century British art. He is author of a number of books including 'Paul Nash' (2016) and 'A Crisis of Brilliance: Five Young British Artists and the Great War' (2009).