DOCSLIB.ORG

Fiona Rae Untitled

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fiona Rae Untitled RE- Auction Catalogue Published by the Contemporary Art Society Tuesday 11 March 2014 Tobacco Dock, 50 Porters Walk Pennington Street E1W 2SF Previewed on 5 March 2014 at the Institute of Contemporary Arts, London The Contemporary Art Society is a national charity that encourages an appreciation and understanding of contemporary art in the UK. With the help of our members and supporters we raise funds to purchase works by new artists Contents which we give to museums and public galleries where they are enjoyed by a national audience; we broker significant and rare works of art by Committee List important artists of the twentieth century for Welcome public collections through our networks of Director’s Introduction patrons and private collectors; we establish relationships to commission artworks and promote contemporary art in public spaces; and we devise programmes of displays, artist Live Auction Lots Silent Auction Lots talks and educational events. Since 1910 we have donated over 8,000 works to museums and public Caroline Achaintre Laure Prouvost – Special Edition galleries – from Bacon, Freud, Hepworth and Alice Channer David Austen Moore in their day through to the influential Roger Hiorns Charles Avery artists of our own times – championing new talent, supporting curators, and encouraging Michael Landy Becky Beasley philanthropy and collecting in the UK. Daniel Silver Marcus Coates Caragh Thuring Claudia Comte All funds raised will benefit the charitable Catherine Yass Angela de la Cruz mission of the Contemporary Art Society to purchase new works of contemporary art Gary Hume & Giorgio Locatelli Matthew Darbyshire for UK public collections. Sarah Jones Haris Epaminonda Tania Kovats www.contemporaryartsociety.org Christina Mackie Haroon Mirza Silke Otto-Knapp Toby Patterson Mick Peter Olivia Plender Elizabeth Price Fiona Rae David Raymond Conroy Michal Rovner Samara Scott Rose Wylie Thank You To Our Supporters Partners & Supporters Conditions of Business Auction Information Silent Auction & Pledge System The RE- Committee Heidi Baravalle Liz Bauza Philippa Bradley Daniela Colaiacovo Jeremy Deller Caroline Douglas Fiona Rae Sarah Elson Bob and Roberta Smith Antje Géczy John Stezaker Kira Heuer and Gavin Turk Linda Keyte Ambassadors Michael King Audrey Klein Livia Firth Martina Klemmer Honorary Chair Paula Lent Suling Mead Mark Stephens Valeria Napoleone Chairman, Contemporary Art Society Flavia Nespatti Midge Palley Caroline Douglas Veronique Parke Director Françoise Sarre Rapp Dasha Shenkman All welcome you to RE- Mark Stephens Cathy Wills Dina Wulfsohn Anita Zabludowicz Jill Zarzycki Chairman’s Welcome Director’s Introduction There are an extraordinary number of returns, I am indebted to my colleagues on the Board It is my great pleasure to welcome you to Our track record in identifying outstanding revisits, and repetitions of all kinds in the art of Trustees of the Contemporary Art Society; the Contemporary Art Society 2014 Annual artists early in their careers is exemplary: from world today including restaging exhibitions a dedicated, dynamic and driven group of Fundraiser. Now in its 6th successful year, Paul Gauguin’s painting Tahitians (circa 1891), and performances which give the viewer and individuals and I would like to thank them all this glamorous event is absolutely at the core gifted to Tate in 1917, to Laure Prouvost’s collector an opportunity to RE-interpret. With for the help they have given in creating what is of what we as an organisation work to achieve. Monologue (2009), gifted to the Whitworth Art this gala, the Contemporary Art Society has now a fixture in the art world calendar. I am also in The Contemporary Art Society fundraises to Gallery last year, the Contemporary Art Society commissioned prominent established artists great admiration of the staff of the Contemporary place contemporary art in public collections has always championed the great talents of the as well as younger emerging artists to explore Art Society who work so hard, not just on the across the UK. For over 100 years we have age. None of this would ever have been possible these ideas: Re-imagine, Re-cycle, RE-style, fundraiser, but on all they continue to do to worked with the great museums and galleries without the enlightened patronage of our RE-create and RE-invent. The resulting work ensure that the organisation thrives and develops. in this country, supporting them in collecting supporters, many of them pioneering and well includes those where artists upcycle materials Caroline Douglas, our brilliant new Director, the most exciting art of their times and creating known collectors in their own right. You help in interesting ways and others where artists has given the gala RE-newed energy and expertise a permanent legacy for future generations. us to be the smart money. reinterpret previously examined concepts. and has brought to this challenge a pragmatic as well as enlightened approach. Dida Tait has “… I feel strongly that every penny one can The theme of this year’s event – RE- This was our starting point and it lends itself superbly orchestrated this event with her usual save ought to be given to young artists. At least was suggested by Antje Géczy and evokes well to the fascination today, well beyond the finesse and positivism. For the first time we are we who really feel the beauty and wonder of inspiring notions of environmentalism as confines of the artworld, for a RE-interpretation delighted to have formally collaborated with art ought to help them. There are heaps of well as acknowledging the necessity to reach of beliefs, assumptions and of ways of making. the Institute of Contemporary Arts (ICA) with people who understand philanthropy … and back into our past to re-purpose ideas for the We have seen recycling and sustainability in whom we of course share very similar objectives young creators have such a terrible struggle.” contemporary world. The committee has been every industry and nowhere more visible than by supporting the exhibition and work of Lady Ottoline Morrell, 1909 steered this year with enormous intelligence, in fashion. So it seemed that Livia Firth, well contemporary artists in the UK. The ICA kindly acuity and panache by the wonderful Veronique known for her work with Eco-Age promoting hosted our preview evening on the 5 March and we Parke who has gathered around her a powerful ethical, sustainable fashion would be a fantastic are grateful to Gregor Muir, Malcolm Colin-Stokes group of people to encourage the generosity ambassador for this event. We are honoured and the ICA team. of a very distinguished group of artists and to have Livia Firth as Honorary Chair. gallerists. We would like to extend our warmest Finally, we at the Contemporary Art Society are thanks to Veronique, Sarah Elson and all the most especially grateful to our sponsors Goldlake, other members of the committee for their tireless Lavazza, Lexington Partners and Sotheby’s work on our behalf. We offer our most heartfelt without whom none of this would be possible. thanks to all those artists who have donated work, and most particularly to the five artists Mark Stephens who have agreed to be our Ambassadors for the Chairman, Contemporary Art Society gala and for the next year. Our warmest thanks go to Jeremy Deller, Fiona Rae, Bob and Roberta Smith, John Stezaker and Gavin Turk whose advocacy for the Contemporary Art Society will be so invaluable. I am sure you will have an entertaining and exciting evening. I know you will be as enthusiastic as we are about the works in our auction, and I hope you will enjoy knowing that you are supporting the mission of the Contemporary Art Society now and into the future. Caroline Douglas Director, Contemporary Art Society The Contemporary Art Society and the RE- Committee are grateful to the artists and galleries who have generously contributed artwork for RE- in support of the Contemporary Art Society. Live Auction Lot No. Lot No. Caroline Achaintre Alice Channer KLOWS 2013 Maxi, Mini, Midi, Midi, Midi Hand-tufted wool, 270 3 150 cm (sky blue and cream) 2012 Estimate Cast and powder coated aluminium on oak dowel, 70 3 38 3 47 cm £8,000 – £12,000 Known for her tribal-like ‘tufted’ sculpture, Caroline Achaintre’s practice shares a relationship with fine art and contemporary applied art. Achaintre’s recent exhibitions include Decorum: Artists’ Carpets & Tapestries Estimate at Musée d’Arte Moderne de la Ville de Paris (2014). £8,000 – £12,000 During Spring 2014 she will be artist-in-residence at Camden Arts Centre and later in the year she will present a solo exhibition at Tate Britain as part of Tate BP Contemporary Projects. A new work kindly donated by This is one of a group of the artist and Arcade Gallery. several attempts by Alice Channer to make sculptures of smoke rings. These works have taken different forms, but all involve casting the edges (wristbands, cuffs, necks) of stretchy clothing in aluminium in the form of smoke rings. Channer’s work traces the disappearance, mutation and possible evolution of a body in post-industrial environments. Recent solo exhibitions include Invertebrates at The Hepworth Wakefield andSoft Shell at Kunstverein Freiburg, Germany. A work kindly donated by the artist and the Approach, London. Lot No. Lot No. Roger Hiorns Michael Landy Untitled 2014 Saint Catherine Wheel 6 2012 Book and copper sulphate, approx. 24 3 15 3 4 cm Photographic paper, pencil, paint, 86 3 153 cm Michael Landy’s drawings the saints’ (Saints Alive, 2013). and graphic works are the He has recently exhibited foundation of his practice. at The National Gallery, Part of a generation of artists London; Thomas Dane that emerged in the 1990s, Gallery, London; Whitworth he has publicly destroyed Art Gallery, Manchester and Estimate all his personal possessions South London Gallery.
Load more

Recommended publications
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Fundraiser Catalogue As a Pdf Click Here
    RE- Auction Catalogue Published by the Contemporary Art Society Tuesday 11 March 2014 Tobacco Dock, 50 Porters Walk Pennington Street E1W 2SF Previewed on 5 March 2014 at the Institute of Contemporary Arts, London The Contemporary Art Society is a national charity that encourages an appreciation and understanding of contemporary art in the UK. With the help of our members and supporters we raise funds to purchase works by new artists Contents which we give to museums and public galleries where they are enjoyed by a national audience; we broker significant and rare works of art by Committee List important artists of the twentieth century for Welcome public collections through our networks of Director’s Introduction patrons and private collectors; we establish relationships to commission artworks and promote contemporary art in public spaces; and we devise programmes of displays, artist Live Auction Lots Silent Auction Lots talks and educational events. Since 1910 we have donated over 8,000 works to museums and public Caroline Achaintre Laure Prouvost – Special Edition galleries – from Bacon, Freud, Hepworth and Alice Channer David Austen Moore in their day through to the influential Roger Hiorns Charles Avery artists of our own times – championing new talent, supporting curators, and encouraging Michael Landy Becky Beasley philanthropy and collecting in the UK. Daniel Silver Marcus Coates Caragh Thuring Claudia Comte All funds raised will benefit the charitable Catherine Yass Angela de la Cruz mission of the Contemporary Art Society to
    [Show full text]
  • Patrick Painter, Inc
    PATRICK PAINTER, INC Glenn Brown Born 1966, Northumberland, England Lives and works in London Education 1992 Goldsmiths’ College, London 1988 Bath College of Higher Education 1985 Norwich School of Art, Foundation Course Solo Exhibitions 2006 Galerie Max Hetzler, Berlin, Germany 2005 Patrick Painter Inc., Santa Monica, CA 2004 Serpentine Gallery, London, England Gagosian Gallery, New York, New York 2002 Galerie Max Hetzler, Berlin, Germany 2001 Patrick Painter Inc., Santa Monica, California Künstlerverein Malkasten, Düsseldorf, Germany 2000 Domaine de Kerguéhennec, Centre d’art Contemporain, Bignan, Franc Galerie Max Hetzler Berlin, Germany Patrick Painter Inc., Santa Monica, California Jerwood Space, London, England Galerie Ghislaine Hussenot, Paris, France 1996 Queen’s Hall Arts Centre, Hexham, England 1995 Karsten Schubert Gallery, London, England Group Exhibitions 2005 Translations, Thomas Dane, London, England Ecstasy: In and About Altered States, Museum of Contemporary Art, Los Angeles, California Strata: Difference and Repetition, Fondazione Davide Halevim, Milan, Italy 2003 La Biennale di Venezia: Delays and Revolutions, Padiglione Italia, Giardini della Biennale, Venice, Italy 2002 Sao Paulo Bienal: Iconografias Metropolitanas, Oscar Niemeyer Bulding, 1 PATRICK PAINTER, INC Pavilhao Ciccillio Matarazzo, Parque Ibirapuera Melodrama, Artium, Centro-Museo Vasco de Arte Contemporaneo, Spain and Palacio de los Condes de Gabia, Granada Biennale of Sydney 2002: (The World May Be) Fantastic, Museum of Contemporary Art Sydney and Art Gallery
    [Show full text]
  • Unlike Most Other Artists, Particularly Those Involved in the Performing Arts Home’ in a Way I Never Had Before
    Unlike most other artists, particularly those involved in the performing arts home’ in a way I never had before. I discovered that to be an artist was to – dancers, musicians, actors, and film-makers – visual artists rarely work as become part of a community of people engaged through their individual part of an ensemble or where individuals combine their different skills and work in a passionate and on-going debate about art. Amongst my fellow roles to produce a single common work. students were Richard Serra, Chuck Close, and Brice Marden. My whole sense of myself as an artist was established at Yale. When I came to Britain Although there are a number of examples today of pairs of artists in 1966 I felt immediately welcome because the community of artists does working as a single creative unit – e.g. Gilbert and George, Fischli and Weiss, Jake and Dinos Chapman, Webster and Noble – and many artists work with assistants, sometimes teams of assistants – the defining characteristic of contemporary art is that of the individual vision defined through an individually developed and recognisable visual language. At a crucial level visual artists work alone. Their work must define and confirm the difference between their vision and that of other artists. Yet, in my experience, of all the arts, none has a more highly developed and pervasive sense of community than the visual arts. Few romantic ideas about art are more misguided than that of the isolated genius. In general the engagement with other artists begins in art school. Ideally an art school creates an intense experience of competitive discourse and common purpose amongst its students as well as between the students and their teachers, and through them, with the wider art world beyond the school, the world of exhibitions, galleries, publications, museums, etc.
    [Show full text]
  • Summer Exhibition 2017 Main Galleries 13 June – 20 August 2017
    Summer Exhibition 2017 Main Galleries 13 June – 20 August 2017 The Royal Academician, Eileen Cooper, is the co-ordinator of the 249th Summer Exhibition. Given her long and distinguished teaching career, Cooper will bring her experience and knowledge of diverse practices to the Summer Exhibition 2017. She will extend the reach of the exhibition to include more works from artists across the world as well as artists working in differing media, exploring and celebrating the new energy of the next generation. To support this vision, Eileen Cooper and the Summer Exhibition Hanging Committee have invited international artists to exhibit in a range of media throughout the galleries. These include Julie Born Schwartz, Hassan Hajjaj, Secundino Hernández, Isaac Julien, Tomoaki Suzuki and Mark Wallinger. For the first time, the Summer Exhibition will also include an element of performance art. Further highlights of the Summer Exhibition 2017 will include Yinka Shonibare RA’s Wind Sculpture VI in the Royal Academy’s Annenberg Courtyard. At over 6 metres in height, this impressive sculpture explores the notion of harnessing motion and freezing it in a moment of time. Returning to the artist’s use of Dutch wax textiles, Wind Sculpture VI will manifest as a large three-dimensional piece of fabric that appears to be blowing in reaction to the natural elements. Farshid Moussavi RA will be curating the Architecture Gallery within the Summer Exhibition. For the first time, this gallery will celebrate architecture by focusing on construction coordination drawings – the drawings which show the full complexity of a building. This gallery will feature works by Royal Academicians including the newly elected David Adjaye and Richard Rogers, together with Grafton Architects, Bjarke Ingels, Alvaro Siza and Eduardo Souto de Moura, amongst others.
    [Show full text]
  • Press Release
    PRESS RELEASE MICHAEL CRAIG-MARTIN 11 September – 10 October 2009 ‘ISTANBUL ISTANBUL’ Opening: 11 September / 18.00 - 21.00 GALER ĐST / Galatasaray Istiklal Cad. Mısır Apt. 163/4 Beyo ğlu, Đstanbul Galerist is proud to present Michael Craig-Martin’s first solo exhibition in Turkey, ‘Istanbul Istanbul’. The exhibition consists of a body of the most recent works by one of the most influential and leading painters of our time. The exhibition, which is held under the sponsorship of Finansbank Private Banking with the contributions of British Council, can be seen at Galerist between September 11 and October 10. Composed of a range of his latest works, ‘Istanbul Istanbul’ includes acrylic paintings on aluminum; and a large wall drawing named after the exhibition. In these recent works, Michael Craig-Martin explores the nature and potential of visual language through the use of commonplace objects, images, and materials. The artist chooses to depict images of ordinary objects from daily life such as umbrellas, shoes, chairs, cans, knives and drawers, while using words to denote abstract ideas and emotions like death, paradise and desire. According to the artist, the letters that form the words themselves turn into images that are equivalent to those of the objects. Many of his works such as Cash, Paradise and Real will be showcased for the first time in this exhibition. Craig- Martin created Istanbul Istanbul , a large wall drawing, installed on two walls of Galerist, specifically for this exhibition. The artist states, “I thought of this as a title for my show at Galerist shortly after my first trip to Istanbul.
    [Show full text]
  • Fiona Rae Biography
    FIONA RAE BIOGRAPHY 1963 Born in Hong Kong 1983–84 Croydon College of Art, London, UK 1984–87 Goldsmiths College, London, UK 1991 Shortlisted for the Turner Prize, Tate Britain, London, UK 1993 Shortlisted for the Eliette von Karajan Prize for Young Painters, Austria 2002 Elected to Royal Academy of Arts, London, UK 2002–05 Shadowland, Tate Modern Restaurant Commission, London, UK 2003 Signal, Commission for BBC Broadcasting House Public Art Programme, London, UK, July 1–November 5 2005 Master Artist in Residence Program, Atlantic Center for the Arts, New Smyrna Beach, Florida, USA 2005–09 Appointed Tate Artist Trustee, London, UK 2007 Shortlisted for the Charles Wollaston Award, The 239th Royal Academy of Arts Summer Exhibition, Royal Academy of Arts, London, UK, June 11–August 19 2010 Curator of Invited Room, The 242nd Royal Academy of Arts Summer Exhibition, Royal Academy of Arts, London, UK, June 14–August 22 2011–13 Tate Members’ Artist Commission, Tate, UK 2011–15 Appointed Professor of Painting for the Royal Academy Schools, London, UK 2015 Awarded Honorary Fellowship, Goldsmiths, London University, UK Lives and works in London FIONA RAE SOLO EXHIBITIONS 2015 Fiona Rae, Timothy Taylor Gallery, London, UK, April 22–May 30 (Catalogue) 2014 Fiona Rae: Drawings, Buchmann Box, Buchmann Galerie, Berlin, Germany, September 12–November 1 Painter, Painter: Dan Perfect, Fiona Rae, Nottingham Castle Museum & Art Gallery, Nottingham, UK, May 3–July 6; Southampton City Art Gallery, Southampton, UK, July 18– October 18 (Catalogue) 2013 Fiona
    [Show full text]
  • Biography Website Format
    IAN DAVENPORT BIOGRAPHY 1966 Born 8 July, Kent 1984–85 Northwich College of Art and Design, Cheshire 1985–88 Goldsmiths College of Art, London (B.A. Fine Art) 1991 Nominated for Turner Prize 1996–97 Commissioned to create a site-specific installation for Banque BNP Paribas in London 1999 Prizewinner John Moores Liverpool Exhibition 21 2000 Prizewinner Premio del Golfo, La Spezia, Italy 2002 Awarded first prize Prospects (sponsored by Pizza Express), Essor Project Space, London 2003 Makes a wall painting for the Groucho Club, London 2004 Commissioned by the Contemporary Art Society to make a wall painting for the Institute of Mathematics and Statistics at Warwick University, titled Everything Retrospective opens at Ikon, Birmingham, in September Marries Sue Arrowsmith 2006 Poured Lines: Southwark Street, a 3 by 48 metre painting commissioned by Southwark Council and Land Securities as part of a regeneration project in Bankside, London, installed under Western Bridge, Southwark Street, London Commissioned to design a limited edition cover for the September issue of Wallpaper 2007 Commissioned by The New York Times Magazine to create an American Flag based on an environmentally friendly theme along with seven other artists to be featured in their 15 April issue. Ian’s work is reproduced on the title page of the article ‘The Power of Green’. Completed Poured Lines: QUBE Building, a 2.85 by 15 metre painting, commissioned by Derwent London for the QUBE Building, Fitzrovia, London 2010 Commissoned by Wallpaper Magazine to produce a mural with
    [Show full text]
  • 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.
    [Show full text]
  • Dialogue on the Importance of Good Cultural Governance at the Meeting Point of Art and Commerce
    Dialogue Cash and Culture Michael Craig-Martin and Paul Myners on the importance of good cultural governance at the meeting point of art and commerce PHOTOS: RÜDIGER NEHMZOW RÜDIGER PHOTOS: Throughout the history of art, relations between artists and their sponsors have been complex, turbulent affairs. Today, the budgets of corporate and private collectors, public and private museums are again transforming the rapport between art and commerce. In the following dialogue, British artist Michael Craig-Martin and business executive Paul Myners, who have both served as trustees of the Tate, reflect on the role of cultural governance in maintaining a balance between artistic freedom and commercial interests. Like its counterpart in the corporate realm, cultural governance considers the interests of all stakeholders, including the artist, the museum, the sponsor, and the public. In museums and galleries, the role of the board of directors is played by the board of trustees. Together, Myners and Craig-Martin explore the nature of this role, the ideal blend of artistic and commercial expertise in a trustee body, and the desirable outcome of its efforts for all of the core constituencies. Paul Myners: The German artist A.R. Penck once said that “art lives off those who can afford it.” Is money the prime force behind art? Michael Craig-Martin: It would be foolish to deny that money has always played a critical role in the life of art. When I started as a student in the early 60s, it was a time of optimism and that always generates financial support for activities that are seen as marginal.
    [Show full text]
  • We Promote the Collecting of Contemporary Art Through Our Gifts
    Giant Arc Design / [email protected] / Design Arc Giant 17 Bloomsbury Square London WC1A 2NG Telephone 020 7831 7311 Facsimile 020 7831 7345 [email protected] www.contempart.org.uk [email protected] 7345 7831 020 Facsimile 7311 7831 020 Telephone 2NG WC1A London Square Bloomsbury 17 _Annual Report 2001/2002 Report _Annual Society 2001/2002 Report _Annual Society Contemporary Art Contemporary individuals and Art Contemporary individuals and and guidance we offer companies offer we guidance and companies offer we guidance and to public museums and the advice the and museums public to advice the and museums public to contemporary art through our gifts our through art contemporary gifts our through art contemporary We promote the collecting of collecting the promote We of collecting the promote We CAS Patron Director Annual Report 2001/2 Her Majesty Queen Elizabeth The Queen Mother Gill Hedley (1948 - 2002) Projects Director Vice-Patrons Cat Newton-Groves Bryan Ferry David Gordon Collections Curator Caryl Hubbard Mary Doyle Pauline Vogelpoel Mann The Lord McAlpine of West Green Office Manager The Lord and Lady Sainsbury Paula Hollings of Preston Candover The Lady Vaizey Events/Membership Manager The Viscount and Viscountess Windsor Kate Steel until December 2001 Wynne Waring from January 2002 Artist Patrons Sir Anthony Caro, OM Assistant Collections Curator Bridget Riley, CH Jessica Wallwork until December 2001 Ceri Lewis from January 2002 Committee Members Oliver Prenn, Chairman ARTfutures Selector Pesh Framjee, Honorary Treasurer
    [Show full text]
  • Fiona Rae Press Release and Statement
    Fiona Rae: New Paintings 18 January – 23 February 2013 Timothy Taylor Gallery is delighted to announce its third solo exhibition by British artist Fiona Rae. These new large paintings, all 2012, share multifarious and interwoven techniques, patterns and passages that ebb and flow across their surfaces, but have quite different visual outcomes. I need gentle conversations and I always wish you every happiness with my whole heart in the distance have a pared down aesthetic; the overall ground colour is threaded with motifs reminiscent of the hanging gardens found in classical Chinese landscape painting, and the effect is one of extraordinary lightness and delicacy. The sun throws my sorrow away and Present party for you are animated by painterly swirls and flourishes over veils of dripped and poured paint, while Something is about to happen! depicts the aftermath of a violent painterly battle as an electrifying form explodes on the canvas like a firework display. Close examination of the paintings reveals fascinating small details and incidents like conversational digressions, such as the mathematical and astronomical symbols that dance across these paintings, reminiscent of those found in Dürerʼs star charts from the 16th century. Running through this series of paintings is a leitmotif of cartoonish pandas. Articulated in various ways, they function as abstract compositional devices as well as having both an absurd and uncanny presence. The artist writes: “These new paintings were kicked off when I bought a string of Chinese embroidered pandas from the Pearl River emporium in New York. The handmade stitching looks like colourful drawing on the black and white silk.
    [Show full text]