Gilbert & George
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
TURNER PRIZE: Most Prestigious— Yet Also Controversial
TURNER PRIZE: Most prestigious— yet also controversial Since its inception, the Turner Prize has been synonymous with new British art – and with lively debate. For while the prize has helped to build the careers of a great many young British artists, it has also generated controversy. Yet it has survived endless media attacks, changes of terms and sponsor, and even a year of suspension, to arrive at its current status as one of the most significant contemporary art awards in the world. How has this controversial event shaped the development of British art? What has been its role in transforming the new art being made in Britain into an essential part of the country’s cultural landscape? The Beginning The Turner Prize was set up in 1984 by the Patrons of New Art (PNA), a group of Tate Gallery benefactors committed to raising the profile of contemporary art. 1 The prize was to be awarded each year to “the person who, in the opinion of the jury, has made the greatest contribution to art in Britain in the previous twelve months”. Shortlisted artists would present a selection of their works in an exhibition at the Tate Gallery. The brainchild of Tate Gallery director Alan Bowness, the prize was conceived with the explicit aim of stimulating public interest in contemporary art, and promoting contemporary British artists through broadening the audience base. At that time, few people were interested in contemporary art. It rarely featured in non-specialist publications, let alone in the everyday conversations of ordinary members of the public. The Turner Prize was named after the famous British painter J. -
Richard Long Lives and Works in Bristol, UK 1966–68 St Martins School of Art, London, UK 1962–65 West of England College
Richard Long Lives and works in Bristol, UK 1966–68 St Martins School of Art, London, UK 1962–65 West of England College of Art, Bristol, UK 1945 Born in Bristol, UK Selected Solo Exhibitions 2020 ‘FROM A ROLLING STONE TO NOW’, Lisson Gallery, New York, USA ‘MUDDY HEAVEN’, Sperone Westwater Gallery, New York, USA ‘FROM URIQUE TO ORIZABA RIVER DEEP MOUNTAIN HIGH’ Cuadra San Cristóbal, Mexico City, Mexico 2019 ‘Fate and Luck’, Galleria Lorcan O’Nell, Rome, Italy Lisson Gallery, Shanghai, China Galleria Tucci Russo Chambres d’Art, Turin, Italy Konrad Fischer Galerie, Berlin, Germany De Pont Museum, Tilburg, Netherlands 2018 ‘The Tide is High’, Alan Cristea Gallery, London, UK ‘Along The Way: Richard Long’, Fondation CAB, Brussels, Belgium Skulpturenhalle, Thomas Schutte Foundation, Neuss, Germany ‘ARTIST ROOMS: Richard Long’, Gallery Oldham, Oldham, UK ‘Circle to Circle’, Lisson Gallery, London, UK 2017 ‘ARTIST ROOMS: Richard Long: Drawn from the Land’, Derby Museum and Art Gallery, Derbyshire, UK ‘EARTH SKY’, Houghton Hall, Norfolk, UK ‘The Isle of Wight as Six Walks’, Quay Arts, Isle of Wight, UK 2016 ‘COLD STONES’, CAC Malaga, Malaga, Spain ‘Avon Tiber’, Galleria Lorcan O’Neill, Rome, Italy 2015 ‘Time and Space’, Arnolfini, Bristol, UK ‘The Spike Island Tapes’, Alan Cristea Gallery, London, UK ‘Larksong Line’, Galerie Tschudi, Zuoz, Switzerland 2014 ‘Prints 1970–2013’, The New Art Gallery, Walsall, UK Mendoza Walking, Faena Art Center, Buenos Aires, Argentina Lisson Gallery, London, UK 2013 ‘Artist Rooms: Richard Long’, Potties Museum -
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, -
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. -
Turner Prize Winner Lubaina Himid to Exhibit Unique Instructional Version of Vernet’S Studio in South Africa
NOT A SINGLE STORY –Turner Prize winner Lubaina Himid to exhibit unique instructional version of Vernet’s Studio in South Africa. Hosted from 12 May – 29 July at the NIROX Sculpture Park in the Cradle of Humankind, NOT A SINGLE STORY is a collaboration between the NIROX Foundation, South Africa and Wanås Konst, The Wanås Foundation, Sweden. NOT A SINGLE STORY is the NIROX Winter sculpture exhibition 2018. The exhibition and its educational program are made possible with the support of The Swedish Postcode Foundation, The Swedish Institute and the Swedish Embassy. NIROX Foundation: Facebook | Twitter| Instagram Wanås Konst, The Wanås Foundation: Facebook | Instagram On Saturday 12 May, the NIROX Sculpture Park opens the exhibition NOT A SINGLE STORY. The title references “The Danger of a Single Story,” a TED Talk presented by acclaimed novelist and feminist writer, Chimamanda Ngozi Adichie, which posits that our differences strengthen rather than divides us. Curated by Elisabeth Millqvist and Mattias Givell, co-directors of the Wanås Foundation, the exhibition is a celebration of diversity and includes works made of wishes, space blankets and large scale sound pieces by established and emerging artists from the continent and abroad. Notable is the participation of 2017 Turner Prize winner Lubaina Himid (ZNZ/UK) who will exhibit eight figures from the 26-piece installation Vernet’s Studio uniquely produced under instruction by studio artists at NIROX. This installation comprises of female artists from art history featuring the likes of Frida Kahlo, Rosemary Trocke, Maud Sulter and Georgia O’Keefe. This work is exemplary of Himid’s practise, which is embedded in foregrounding stories and narratives. -
Manon De Boer One, Two, Many
Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V.U. Jan Mot januari – maart – mei – Antoine Dansaertstraat 190 augustus – oktober 1000 Brussel No. 88, augustus 2013 Erkenningsnummer P309573 141 –143 Jaargang 17 No. 88 Hhe Stuff That Matters’ public for the first time. It also of the time after he left the (2012) presented a selection provided an insight into what art world. The exhibition of Seth’s collection to the Seth had been up to for some was, I think, a • Manon de Boer’s filmone, two, many is composed of three parts. In the last part four singers (Marianne Pousseur, Lucy Grauman, Vincent Bouchot, Paul Alexandre Dubois) perform a song from the Tre Canti Popolari by Giacinto Scelsi. This most recent work by De Boer was produced for Documenta 13 and explores in each part the existential space of the voice. (film still) (advertisement) The culmination of th’s activities in thorship has also been recognized; see for the art world would be the artist’s contract instance, the Visual Artists Rights Act 1990 (1971), intended to be a ‘self-help docu- (US). The contract, however, was also deep- ment’ for artists. The contract came out of ly impractical. Founded on the premise that research into the inequalities of the art sys- the collector of the artwork when selling it tem and the question of how artists could would have to find another collector to ratify 141 better protect their rights. Before drafting the same agreement was never going to be Opening Exhibition it, Seth interviewed hundreds of artists an attractive proposition. -
Antagonism and Relational Aesthetics Author(S): Claire Bishop Source: October, Vol
Antagonism and Relational Aesthetics Author(s): Claire Bishop Source: October, Vol. 110 (Autumn, 2004), pp. 51-79 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/3397557 Accessed: 19/10/2010 19:54 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org Antagonism and Relational Aesthetics CLAIRE BISHOP The Palais de Tokyo On the occasion of its opening in 2002, the Palais de Tokyo immediately struck the visitor as different from other contemporary art venues that had recently opened in Europe. -
RICHARD LONG Bristol, United Kingdom, 1945 Lives and Works in Bristol
RICHARD LONG Bristol, United Kingdom, 1945 Lives and works in Bristol SOLO EXHIBITIONS (SELECTION) 2016 Gravity, Ivorypress, Madrid, Spain Roman line, Gallery Lorcan O’Neill, Rome, Italy 2015 Richard Long, Arnolfini, Bristol, United Kingdom The Spike Island Tapes, The Alan Cristea Gallery, London, United Kingdom Untitled, Konrad Fischer, Düsseldorf, Germany Red Gravity, Sperone Westwater, Nueva York, USA Past present, Gallery Tschudi, Zuoz, Switzerland 2014 Richard Long: Prints 1970 – 2013, The New Art Gallery, Walsall, United Kingdom Mendoza Walking, Faena Art Center, Buenos Aires, Argentina Richard Long, Lisson Gallery, London, United Kingdom Artist Rooms: Richard Long, Burton Art Gallery & Museum, Bideford, United Kingdom 2013 Artist Rooms: Richard Long, Potties Museum & Art Gallery, Stoke on Trent, United Kingdom Richard Long: Drawings, Galerie Tschudi, Zuoz, Switzerland Richard Long, Prints 1970-2013, Museum Kurhaus Kleve, Kleve, Germany Richard Long: Prints 1970-2013, Hamburger Kunsthalle, Hamburgo, Germany 2012 Text Works- 1990 to 2012, Galleria Lorcan O’Neill Roma, Rome, Italy 2011 Richard Long: Karoo Highveld, South African National Gallery, Cape Town, Sudáfrica Richard Long: Berlin Circle, National galerie im Hamburger Bahnhof Museum, Berlin, Germany Richard Long: Human Nature, Haunch of Venison, London, United Kingdom Richard Long: Flow and Ebb, Sperone Westwater, New York, USA 2010 Richard Long – Skulpturen / Sculptures, Skulpturenpark Waldfrieden, Wuppertal, Germany Richard Long: A Thousand Stones Thrown in the River Yangtze, -
2006, Stand 64
ESTABLISHED 1884 CLOCK Designed and painted by Lewis F. Day English, circa 1877 Furniture and Works of Art 119 Mount Street, London W1K 3NL, England e-mail: [email protected] Telephone: 020 7493 0444 Facsimile: 020 7495 0766 www.blairman.co.uk Open Monday – Friday, 9 am – 6 pm and on Saturday by appointment STOVE TILE Designed by A.W.N. Pugin and manufactured by Minton English, circa 1850 All objects are offered for sale, subject to their remaining unsold. Dimensions are in inches (and centimetres), height × width × depth. Exhibiting The Grosvenor House Art & Antiques Fair, London 15–22 June 2006, Stand 64. The International Fine Art and Antique Dealers Show, New York 20–26 October 2006, Booth B16. TEFAF, Maastricht 9–18 March 2007, Stand 183 © H. Blairman & Sons Ltd, 2006 ISBN 0–9542530–4–3 MEMBER OF THE BRITISH ANTIQUE DEALERS’ ASSOCIATION Now and again in the history of art, works appear that over time come to be recognised as iconic. Within the field of furniture history, the Godwin sideboard (below) and the Mackintosh ‘Argyle’ chair (no. 17), both the creations of architect-designers, undoubtedly fall into this category. Artists and craftsmen also contributed some of the nineteenth- century’s finest achievements. Such highlights are reflected, respectively, in two objects that passed through our hands last year: the wall clock designed and painted by Lewis F. Day (see page 1) and the richly damascened table clock created by Placido Zuloaga (see final page). The opportunity to offer the Bullock cabinet (no. 1) is the culmination of a story that began nearly twenty years ago. -
The Arts and Crafts Movement: Exchanges Between Greece and Britain (1876-1930)
The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) M.Phil thesis Mary Greensted University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Contents Introduction 1 1. The Arts and Crafts Movement: from Britain to continental 11 Europe 2. Arts and Crafts travels to Greece 27 3 Byzantine architecture and two British Arts and Crafts 45 architects in Greece 4. Byzantine influence in the architectural and design work 69 of Barnsley and Schultz 5. Collections of Greek embroideries in England and their 102 impact on the British Arts and Crafts Movement 6. Craft workshops in Greece, 1880-1930 125 Conclusion 146 Bibliography 153 Acknowledgements 162 The Arts and Crafts Movement: exchanges between Greece and Britain (1876-1930) Introduction As a museum curator I have been involved in research around the Arts and Crafts Movement for exhibitions and publications since 1976. I have become both aware of and interested in the links between the Movement and Greece and have relished the opportunity to research these in more depth. It has not been possible to undertake a complete survey of Arts and Crafts activity in Greece in this thesis due to both limitations of time and word constraints. -
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 -
Listed Exhibitions (PDF)
G A G O S I A N G A L L E R Y Anish Kapoor Biography Born in 1954, Mumbai, India. Lives and works in London, England. Education: 1973–1977 Hornsey College of Art, London, England. 1977–1978 Chelsea School of Art, London, England. Solo Exhibitions: 2016 Anish Kapoor. Gagosian Gallery, Hong Kong, China. Anish Kapoor: Today You Will Be In Paradise. Gladstone Gallery, New York, NY. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor. Lisson Gallery, Milan, Italy. Anish Kapoor. Museo Universitario Arte Contemporáneo, Mexico City, Mexico. 2015 Descension. Galleria Continua, San Gimignano, Italy. Anish Kapoor. Regen Projects, Los Angeles, CA. Kapoor Versailles. Gardens at the Palace of Versailles, Versailles, France. Anish Kapoor. Gladstone Gallery, Brussels, Belgium. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor: Prints from the Collection of Jordan D. Schnitzer. Portland Art Museum, Portland, OR. Anish Kapoor chez Le Corbusier. Couvent de La Tourette, Eveux, France. Anish Kapoor: My Red Homeland. Jewish Museum and Tolerance Centre, Moscow, Russia. 2013 Anish Kapoor in Instanbul. Sakıp Sabancı Museum, Istanbul, Turkey. Anish Kapoor Retrospective. Martin Gropius Bau, Berlin, Germany 2012 Anish Kapoor. Museum of Contemporary Art, Sydney, Australia. Anish Kapoor. Gladstone Gallery, New York, NY. Anish Kapoor. Leeum – Samsung Museum of Art, Seoul, Korea. Anish Kapoor, Solo Exhibition. PinchukArtCentre, Kiev, Ukraine. Anish Kapoor. Lisson Gallery, London, England. Flashback: Anish Kapoor. Longside Gallery, Yorkshire Sculpture Park, West Bretton, England. Anish Kapoor. De Pont Foundation for Contemporary Art, Tilburg, Netherlands. 2011 Anish Kapoor: Turning the Wold Upside Down. Kensington Gardens, London, England. Anish Kapoor: Flashback. Nottingham Castle Museum, Nottingham, England.