Art and Design (Short Course) Unit 2: Externally Set Assignment in Art and Design
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Damien Hirst E Il Mercato Dell'arte Contemporanea: La Carriera Di Un Young British Artist
Corso di Laurea magistrale (ordinamento ex D.M. 270/2004) in Economia e Gestione delle Arti e delle attività culturali Tesi di Laurea DAMIEN HIRST E IL MERCATO DELL'ARTE CONTEMPORANEA: LA CARRIERA DI UN YOUNG BRITISH ARTIST Relatore Prof. Stefania Portinari Laureanda Martina Pellizzer Matricola 816581 Anno Accademico 2012 / 2013 1 INDICE INTRODUZIONE p. 3 CAPITOLO 1 ALCUNE RIFLESSIONI SUL MERCATO DELL'ARTE CONTEMPORANEA: ISTITUZIONI E STRUTTURE DI PROMOZIONE E VENDITA 1 L'Evoluzione del sistema delle gallerie e della figura del gallerista p. 3 2. Il ruolo dei musei p. 19 3 Il ruolo dei collezionisti p. 28 4 Le case d'asta p. 36 CAPITOLO 2 DAMIEN HIRST: DA A THOUSAND YEARS (1990) A FOR THE LOVE OF GOD (2007) 1 Il sistema dell'arte inglese negli anni Novanta: gli Young British Artist …........p. 41 2 Damien Hirst una carriera in ascesa, da “Frezze” alla retrospettiva presso la Tate Modern p. 47 3 I galleristi di Damien Hirst p. 67 CAPITOLO 3 IL RUOLO DEL MERCATO DELL'ARTE NELLA CARRIERA DI DAMIEN HIRST 1 L'asta di Sotheby's: “Beautiful inside my head forever” p. 78 2 Rapporto tra esposizione e valore delle opere dal 2009 al 2012..............................p. 97 CONCLUSIONI p. 117 APPENDICE p. 120 BIBLIOGRAFIA p. 137 2 INTRODUZIONE Questa tesi di laurea magistrale si pone come obiettivo di analizzare la carriera dell'artista inglese Damien Hirst mettendo in evidenza il ruolo che il mercato dell'arte ha avuto nella sua carriera. Il primo capitolo, dal titolo “Alcuni riflessioni sul mercato dell'arte contemporanea”, propone una breve disanima sul funzionamento del mercato dell'arte contemporanea, analizzando in particolar modo il ruolo di collezionisti, galleristi, istituzioni museali e case d'asta, tutti soggetti in grado di influenzare notevolmente la carriera di un artista, anche se in maniera differente. -
Tate Papers - the 'Comic Sublime': Eileen Agar at Ploumanac'h
Tate Papers - The 'Comic Sublime': Eileen Agar at Ploumanac'h http://www.tate.org.uk/research/tateresearch/tatepapers/05autumn/walke... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL The 'Comic Sublime': Eileen Agar at Ploumanac'h Ian Walker Fig.1 Eileen Agar 'Rockface', Ploumanach 1936 Black and white photograph reproduced from original negative Tate Archive Photographic Collection 5.4.3 © Tate Archive 2005 On Saturday 4 July 1936, the International Surrealist Exhibition in London came to an end. In that same month, the Architectural Review magazine announced a competition. In April, they had published Paul Nash's article 'Swanage or Seaside Surrealism'.1 Now, in July, the magazine offered a prize for readers who sent in their own surrealist holiday photographs – 'spontaneous examples of surrealism discerned in English holiday resorts'. The judges would be Nash and Roland Penrose .2 At face value, this could be taken as a demonstration of the irredeemable frivolity of surrealism in England (it is difficult to imagine a surrealist snapshot competition in Paris judged by André Breton and Max Ernst ). But in a more positive light, it exemplifies rather well the interest that the English had in popular culture and in pleasure. Holidays were very important in English surrealism and some of its most interesting work was made during them. This essay will examine closely one particular set of photographs made by Eileen Agar in that month of July 1936 which illustrate this relationship between surrealism in England and pleasure. Eileen Agar had been one of the English stars of the surrealism exhibition, even though she had apparently not thought of herself as a 'surrealist' until the organizers of the show – Roland Penrose and Herbert Read – came to her studio and declared her to be one. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Jane Simpson
JANE SIMPSON Born in London, 1965 Lives and works in London Education 1990 - 93 Royal Academy Schools, London, Postgraduate Diploma 1985 - 88 Chelsea School of Art, London, BA Hons, Fine Art Degree Residencies and Awards 2001 Artist in residency, The Shoreditch Town Hall Trust, London 2000 Professor, Konsthögskolan, Stockholm 1999 IAPSIS fellow to Göteborg, Sweden (based in Valand School of Art) 1998 - 99 Visiting Professor, Kunstakademi, Trondheim Solo Exhibitions 2011 A Wolf in Sheep’s Clothing, Four All Saints, London 2008 My Inheritance and Other Bloody Tales, Gering & López Gallery, New York 2006 still, Still Llife, Galería Javier López, Madrid 2005 A Three Way conversation with myself, New Art Centre Sculpture Park & Gallery, Roche Court, Salisbury 2004 Tableau, CAC - Centro de Arte Contemporáneo, Málaga Somewhere (between freezing and melting) there lies passion, Sandra Gering Gallery, New York 2003 En algún lugar (entre el hielo y el deshielo) se encuentra la pasión, Galería Javier López, Madrid 2002 Fresh, fresher, Gagosian Gallery, London 2001 One in the Other, London 2000 Asprey Jacques, London Fresh, Galería Javier López, Madrid Stenashalle, Göteborgs Konstmuseum, Göteborg, Sweden 1999 It only takes a minute (to reach a natural high), Norrtälje Konsthall, Sweden 1998 Folly, The Approach, London 1996 Material Girl, Laurent Delaye, London 1994 Jane Simpson Invites You, Marc Jancou Gallery, London 1993 Eager to Please, Jibby Beane Gallery, London Colective exhibitions 2012 Gravity and Disgrace: Rachel Howard, Jane Simpson and Amelia Newton Whitelaw, Blain | Southern, London 2011 Aphasic Disturbance, Chelsea space, Chelsea College of Art and Design, London 2010 The House of Fairy Tales -exquisite trove, Newlyn Art Gallery, Newlyn; Millenium, St. -
Scaling the Sublime: Art at the Limits of Landscape
SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE Martin John Callanan Simon Faithfull Tim Knowles Mariele Neudecker Rebecca Partridge Katie Paterson Richard T Walker Curated by Rebecca Partridge and Nicholas Alfrey SCALING THE SUBLIME: ART AT THE LIMITS OF LANDSCAPE DJANOGLY GALLERY NOTTINGHAM LAKESIDE ARTS 05 Foreword As Nicholas Alfrey has highlighted at the beginning of his essay, Scaling the Sublime originated in another earlier exhibition Reason and Emotion: Landscape and the Contemporary Romantic . Mounted at the Kunstverein Springhornhof, Germany, in 2013, the exhibition was curated by Rebecca Partridge with Randi Nygärd and Bettina van Dziembowski. Since that time Nicholas and Rebecca have been discussing ways in which they might re-focus and develop its themes, refine the selection of artists and bring it to a British audience. Subsequently, there have been a number of exhibitions in Britain and overseas exploring the theme of contemporary responses to landscape and the legacy of Romanticism, often as mediated through the more recent Land art. These include Land’s End (Chicago, 2015); Setting Out (New York, 2015); In Search of the Miraculous (Newlyn Art Gallery, 2015) and Terrain: Land into Art (Hestercombe Gallery, Somerset, 2016). Scaling the Sublime does not attempt to re-trace the ground covered by these recent shows; instead it brings together the work of artists who are closely linked by their creative and in some cases personal affinities, but who have never been shown together as a group in this way before. In terms of the Djanogly Gallery’s own history, this exhibition also forms part of a strong lineage of landscape-themed surveys reaching back to its inception at the beginning of the 1990s and reflects to a large extent the strengths of teaching and research in the Art History department and the strong emphasis on Cultural Geography in the School of Geography at the University of Nottingham. -
Michael Landy Selected Biography Born in London, 1963 Lives And
Michael Landy Selected Biography Born in London, 1963 Lives and works in London, UK 1985-88, Goldsmith's College Solo Exhibitions 2015 Breaking News, Galerie Sabine Knust, Munich, Germany 2014 Saints Alive, Antiguo Colegio de San Ildefonso, Mexico City, Mexico 2013 20 Years of Pressing Hard, Thomas Dane Gallery, London, UK Saints Alive, National Gallery, London, UK Michael Landy: Four Walls, Whitworth Art Gallery, Manchester, UK 2011 Acts of Kindness, Kaldor Public Art Projects, Sydney, Australia Acts of Kindness, Art on the Underground, London, UK Art World Portraits, National Portrait Gallery, London, UK 2010 Art Bin, South London Gallery, London, UK 2009 Theatre of Junk, Galerie Nathalie Obadia, Paris, France 2008 Thomas Dane Gallery, London, UK In your face, Galerie Paul Andriesse, Amsterdam Three-piece, Sabine Knust, Munich, Germany 2007 Man in Oxford is Auto-destructive, Sherman Galleries, Sydney, Australia H.2.N.Y, Alexander and Bonin, New York 2004 Welcome To My World built with you in mind, Thomas Dane Gallery, London, UK Semi-detached, Tate Britain, London, UK 2003 Nourishment, Sabine Knust/Maximilianverlag, Munich, Germany 2002 Nourishment, Maureen Paley/Interim Art, London, UK 2001 Break Down, C&A Store, Marble Arch, London, UK 2000 Handjobs (with Gillian Wearing), Approach Gallery, London, UK 1999 Michael Landy at Home, 7 Fashion Street, London, UK 1996 The Making of Scrapheap Services, Waddington Galleries, London, UK Scrapheap Services, Chisenhale Gallery, London; Electric Press Building, Leeds, UK (organised by the HenryMoore -
Aspects of Modern British Art
Austin/Desmond Fine Art GILLIAN AYRES JOHN BANTING WILHELMINA BARNS-GRAHAM DAVID BLACKBURN SANDRA BLOW Aspects of DAVID BOMBERG REG BUTLER Modern ANTHONY CARO PATRICK CAULFIELD British Art PRUNELLA CLOUGH ALAN DAVIE FRANCIS DAVISON TERRY FROST NAUM GABO SAM HAILE RICHARD HAMILTON BARBARA HEPWORTH PATRICK HERON ANTHONY HILL ROGER HILTON IVON HITCHENS DAVID HOCKNEY ANISH KAPOOR PETER LANYON RICHARD LIN MARY MARTIN MARGARET MELLIS ALLAN MILNER HENRY MOORE MARLOW MOSS BEN NICHOLSON WINIFRED NICHOLSON JOHN PIPER MARY POTTER ALAN REYNOLDS BRIDGET RILEY WILLIAM SCOTT JACK SMITH HUMPHREY SPENDER BRYAN WYNTER DAVID BOMBERG (1890-1957) 1 Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 Coloured chalks Signed and dated lower right, Inscribed verso Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 by David Bomberg – Authenticated by Lillian Bomberg. 54.6 x 38.1cm Prov: The Artist’s estate Bernard Jacobson Gallery, London ‘David Bomberg once remarked when asked for a definition of painting that it is ‘A tone of day or night and the monument to a memorable hour. It is structure in textures of colour.’ His ‘monuments’, whether oil paintings, pen and wash drawings, or oil sketches on paper, have varied essentially between two kinds of structure. There is the structure built up of clearly defined, tightly bounded forms of the early geometrical-constructivist work; and there is, in contrast, the flowing, richly textured forms of his later period, so characteristic of Bomberg’s landscape painting. These distinctions seem to exist even in the palette: primary colours and heavily saturated hues in the early works, while the later paintings are more subtle, tonally conceived surfaces. -
Artists & Photographs
25_10_11 _ Artists & Photographs Pierre Bergé & associés Société de Ventes Volontaires_agrément n°2002-128 du 04.04.02 12, rue Drouot 75009 Paris T. +33 (0)1 49 49 90 00 F. +33 (0)1 49 49 90 01 Pierre Bergé & associés - Belgique Grand Sablon 40 Grote Zavel Bruxelles B-1000 Brussel T. +32 (0)2 504 80 30 F. +32 (0)2 513 21 65 10, Place Saint-Barthélémy Liège 4000 T. + 32 (0)4 222 26 06 Pierre Bergé & associés - Suisse 11, rue du général Dufour CH-1204 Genève BRUXELLES T. +41 22 737 21 00 F. +41 22 737 21 01 ARTISTS & PHOTOGRAPHS www.pba-auctions.com mardi 25 octobre 2011 1 2 JUST WHAT IS IT THAT MAKES THESE BOOKS SO DIFFERENT, SO APPEALING ? En 1986, alors étudiant en histoire de l’art à l’Ecole du Louvre, Philippe Nolde découvre « Après une première partie « historique » avec, quelques livres d’artistes de Baldessari au Musée d’Art Moderne de la Ville de Paris, l’exposition, « Fördertürme Chevalements ou Ruscha, une collection des catalogues de la Galerie Sonnabend, nous avons la Mineheads » de Bernd & Hilla Becher. La sérialité et le monde industriel le séduisent. boîte complète d’« Artists & Photographs » édité par Marian Goodman en 1970. Ileana Il retrouve des points communs entre cette œuvre photographique, répétitive et Sonnabend et Marian Goodman sont deux extraordinaires galeries d’art tenues par des typologique, et les musiques industrielles voire les chorégraphies de Trisha Brown, femmes. Une deuxième partie est consacré aux livres et aux œuvres des années ’80 / montrées au Théâtre de la Ville au milieu des années ’80. -
Modern American Grotesque
Modern American Grotesque Goodwin_Final4Print.indb 1 7/31/2009 11:14:21 AM Goodwin_Final4Print.indb 2 7/31/2009 11:14:26 AM Modern American Grotesque LITERATURE AND PHOTOGRAPHY James Goodwin THEOHI O S T A T EUNIVER S I T YPRE ss / C O L U MB us Goodwin_Final4Print.indb 3 7/31/2009 11:14:27 AM Copyright © 2009 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Goodwin, James, 1945– Modern American grotesque : Literature and photography / James Goodwin. p. cm. Includes bibliographical references and index. ISBN-13 : 978-0-8142-1108-3 (cloth : alk. paper) ISBN-10 : 0-8142-1108-9 (cloth : alk. paper) ISBN-13 : 978-0-8142-9205-1 (cd-rom) 1. American fiction—20th century—Histroy and criticism. 2. Grotesque in lit- erature. 3. Grotesque in art. 4. Photography—United States—20th century. I. Title. PS374.G78G66 2009 813.009'1—dc22 2009004573 This book is available in the following editions: Cloth (ISBN 978-0-8142-1108-3) CD-ROM (ISBN 978-0-8142-9205-1) Cover design by Dan O’Dair Text design by Jennifer Shoffey Forsythe Typeset in Adobe Palatino Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Goodwin_Final4Print.indb 4 7/31/2009 11:14:28 AM For my children Christopher and Kathleen, who already possess a fine sense of irony and for whom I wish in time stoic wisdom as well Goodwin_Final4Print.indb 5 7/31/2009 -
Portre Sanatı Ve Glenn Brown'un Stili
YAKIN DOĞU ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ GÜZEL SANATLAR ANASANAT DALI YÜKSEK LĠSANS PROGRAMI Portre Sanatı ve Glenn Brown’un Stili DĠLGASH JASIM AZEEZ AZEEZ YÜKSEK LĠSANS TEZĠ LEFKOġA 2019 Portre Sanatı ve Glenn Brown’un Stili DĠLGASH AZEEZ AZEEZ YAKIN DOĞU ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ GÜZEL SANATLAR ANASANAT DALI YÜKSEK LĠSANS TEZĠ TEZ DANIġMANI Yrd. Doç. Dr. Mustafa Hastürk LEFKOġA 2019 KABUL VE ONAY Dilgash Azeez Azeez tarafından hazırlanan “..........................................” baĢlıklı bu çalıĢma, 21/06/2019 tarihinde yapılan savunma sınavı sonucunda baĢarılı bulunarak jürimiz tarafından Yüksek Lisans Sanatta Yeterlik Tezi olarak kabul edilmiĢtir. JÜRİ ÜYELERİ ......................................................... Ünvan Ad Soyad (DanıĢman) Üniversite Adı Fakülte ve Bölüm Adı ......................................................... Ünvan Ad Soyad (BaĢkan) Üniversite Adı Fakülte ve Bölüm Adı ......................................................... Ünvan Ad Soyad Üniversite Adı Fakülte ve Bölüm Adı ......................................................... Ünvan Ad Soyad Sosyal Bilimler Enstitüsü Müdürü BİLDİRİM Hazırladığım tezin, tamamen kendi çalıĢmam olduğunu ve her alıntıya kaynak gösterdiğimi taahhüt ederim. Tezimin kağıt ve elektronik kopyalarının Yakın Doğu Üniversitesi Sosyal Bilimler Enstitüsü arĢivlerinde aĢağıda belirttiğim koĢullarda saklanmasına izin verdiğimi onaylarım. Tezimin tamamı heryerden eriĢime açılabilir. Tezim sadece Yakın Doğu Üniversitesinde eriĢime açılabilir. Tezimin iki (2) -
Damien Hirst Herausgegeben Von Ann Gallagher Mit Beiträgen Von Ann Gallagher Thomas Crow Michael Craig-Martin Nicholas Serota M
Damien Hirst Herausgegeben von Ann Gallagher Mit Beiträgen von Ann Gallagher Thomas Crow Michael Craig-Martin Nicholas Serota Michael Bracewell Brian Dillon Andrew Wilson PRESTEL München ˙ London ˙ New York TATE009_P0001EDhirstGerman.indd 1 09/02/2012 10:41 TATE009_P0001EDhirstGerman.indd 2 09/02/2012 10:41 TATE009_P0001EDhirstGerman.indd 3 09/02/2012 10:41 TATE009_P0001EDhirstGerman.indd 4 09/02/2012 10:41 Inhalt 6 Vorwort des Sponsors 7 Vorwort des Direktors 8 Dank 11 Einleitung Ann Gallagher 21 Hässliche Gefühle Brian Dillon 30 Tafeln I 38 Damien Hirst: Die frühen Jahre Michael Craig-Martin 40 Tafeln II 91 Nicholas Serota im Gespräch mit Damien Hirst, 14. Juli 2011 100 Tafeln III 180 Beautiful Inside My Head Forever Michael Bracewell 191 In der Glasmenagerie: Damien Hirst und Francis Bacon Thomas Crow 203 Der Glaubende Andrew Wilson 218 Chronologie 230 Literatur 232 Ausgestellte Werke 235 Bildnachweis 236 Register 244 Impressum TATE009_P0001EDhirstGerman.indd 5 09/02/2012 10:41 Vorwort des Sponsors Wenn die Welt später in diesem Jahr in London zu den Olympischen Spielen und den Paralympics zusammenkommt, werden wir daran erinnert werden, wie wichtig der Aufbau von Beziehun- gen mithilfe sportlicher und kultureller Veranstaltungen ist. Wie der Sport verbindet die bilden- de Kunst die Kulturen. Als universelle Sprache, die von allen gesprochen und verstanden wird, ist sie ein einzigartiges Medium, in dem sich die unterschiedlichen Stimmen Gehör verschaffen können. Die Arbeit der Qatar Museums Authority wird von der Überzeugung getragen, dass Kunst – auch kontroverse Kunst – Missverständnisse beseitigen und den Austausch zwischen den verschiedenen Nationen, Menschen und Traditionen anregen kann. Wir waren daher sehr erfreut, als Damien Hirst uns um die Unterstützung seiner Ausstellung in der Tate Modern bat. -
1 SIMON PATTERSON 1967 Born in England. 1985-86 Hertfordshire
SIMON PATTERSON 1967 Born in England. 1985-86 Hertfordshire College of Art and Design, St. Albans. 1986-89 Goldsmiths' College, London, BA Fine Art. Lives and works in London SOLO EXHIBITIONS 1989 "Simon Patterson", Third Eye Centre, Glasgow. 1991 "Allahu Akbar", Riverside Studios, London. 1993 "Monkey Business", The Grey Art Gallery, New York. 1994 "General Assembly", Chisenhale Gallery, London (exh. cat.) "Simon Patterson", Kluuvin Gallery, Helsinki. "General Assembly", Angel Row Gallery, Nottingham. 1995 "Simon Patterson", Gandy Gallery, Prague. "Sister Ships", The Customs House, South Shields. "Midway", Artium, Fukuoka. "Simon Patterson", Röntgen Kunstinstitut, Tokyo. "Simon Patterson", Kohji Ogura Gallery, Nagoya. 1996 "Simon Patterson", Lisson Gallery, London. "Simon Patterson", MCA, Chicago. 1997 "Simon Patterson", Röntgen Kunstraum, Tokyo. “Wall Drawings”, Kunsthaus Zürich. "Simon Patterson - Spies", Gandy Gallery, Prague. 1998 "Name Paintings", Kohji Ogura Gallery, Nagoya. "Simon Patterson", Yamaguchi Gallery, Osaka. "New Work", Röntgen Kunstraum,Tokyo. "Simon Patterson", Mitaka City Art Center, Tokyo. 1999 “Simon Patterson”, Magazin 4, Bregenz. 2000 “Manned Flight, 1999-”, Fig 1, London. “Simon Patterson”, VTO Gallery, London. 2001 “Manned Flight”, Lille. “Le Match des couleurs’, artconnexion, Lille. “Simon Patterson”, Sies+Hoeke Galerie, Düsseldorf. 2002 “Manned Flight, 1999—”, Studio 12, ARTSPACE, Sydney. 2003 “Simon Patterson - Midway”, Roentgenwerke, Tokyo. 2004 “Simon Patterson - Escape Routine”, Roentgenwerke, Tokyo. “Simon Patterson - 24 hours”, Roentgenwerke, Tokyo. “Simon Patterson - New Work”, Roentgenwerke, Tokyo. “Domini Canes - Hounds of God”, Lowood Gallery and Kennels, Armathwaite, Cumbria. (exh cat.) “PaintstenroomS”, gSM, London. 2005 “High Noon”, Fruitmarket Gallery, Edinburgh. (exh. cat.) “High Noon”, Ikon Gallery Birmingham. (exh cat.) 2006 “Black-list”, Haunch of Venison, Zürich.(exh. cat.) 2007 “Black-list”, Haunch of Venison, London.