Thanks to all who attended The Folly Acres Cook Book launch in New York City on Wednesday, April 8th. Sue Webster presented her semi-autographical cookbook and read some extracts with her good friend PJ Harvey. The book combines recipes from the kitchen of the Gloucestershire smallholding shared by the artist-duo Tim Noble and Sue Webster, along with drawings, photographs, thoughts, anecdotes and personal memories.
Eduardo Sarabia's new exhibition ‘Ballads’ consists of one wool tapestry and a new series of paper diorama boxes.
Narcomanta 6 (‘Amor, Amor, Amor’) by Eduardo Sarabia, 2015
Handwoven wool tapestry; 153 x 190 cm
The text translates to Love, Love, Love. This series is inspired by the "narcomantas", which are crudely made coded messages hung on public areas in Mexico by gangs and drug cartels. Usually spray paint on a bed sheet type of thing. Sometimes the messages try to justify an event or even further explain an action of terror. Sometimes the cartels get blamed for something they didn't do in the media and this is their platform to give their side of the story. Sometimes they're just plain warnings to rival gangs. In this style and aesthetic Sarabia wanted to bring forward positive messages. Using the power of fascination with this phenomenon the artist has been working with a tapestry studio to make these works. Each is made by hand and takes about 2 months to weave. Like his ceramics Sarabia enjoy working with artisans in a collaborative process.
‘Pericos’ by Eduardo Sarabia, 2015
Acrylic, white glue, wood and paper; 32 x 42 x 7 cm
Also in the exhibition are a new series of paper diorama boxes. These are inspired by the designs in Sarabia's more commonly known work. Blue and white is a color scheme the artist uses and continued for this body of work. The works are 3 dimensional in custom made boxes. All the elements are painted in blue acrylic and and cut out to make the diorama box. The designs maintain a similar line based on his ceramic vases, but part from the traditional decorative craft "Papel Picado" (perforated paper), which he takes one step further transforming from 2d to 3d.
Eduardo Sarabia was born in 1976 in Los Angeles, California. He received his BFA from Otis College of Art and Design in 1999. He currently resides and continues his activities as an artist in Guadalajara, Mexico. Eduardo Sarabia’s recent work has been inspired by the local economies and folk history of northern Mex- ico. He frequently works with the materials favored by local craftspeople, using ceramic tiles, hand-woven textiles, and glass to create sculptures and installations that address the complex social, cultural and material exchanges—social, cultural, and material—that occur when this region and its history encounters outsiders. Without limiting himself to a critique of the “exotization” of Mexican culture, Sarabia examines the gap separating definitions of taste (and, more bluntly, of legality). Mixing romantic visual narratives in regards to illegal matter, fine arts and commerce, creating an environment that slips between the oneiric and the openly materialistic, Sarabia’s work takes on an im- portant exploration of understanding the physical and human consequences of economic forces.
Other Criteria New York invite you to celebrate ‘Ballads’ with Eduardo Sarabia on Wednesday 3rd June, 6-8pm, 458 Broome Street, NYC.
The exhibition will be running until July 5th. Click here to discover Eduardo Sarabia's works.
Artist Adam Dix currently lives and works in London. After completing an MA in Fine Art at Wimbledon College of Art in 2009, the artist has exhibited extensively internationally since working with UK galleries and institutions such as Christies, Haunch of Venison, Sumaria Lunn, Charlie Smith Gallery and internationally in Munich, Dubai, Anthens and Paris. Dix was recently featured in '100 painters of Tomorrow' , Thames & Hudson, 2014 and was shortlisted for the Caitlin Guide.
Adam Dix's moodboard in his Studio
Adam Dix's paintings explore and highlight our need to communicate with others in a constant state of connectivity with systems we have constructed to do so. Not only does he convey this strongly Dix's work also explores the notion that techno-logical devices will or have already started to become a new form of ritual, religion and tradition, highlighting how these instruments interrupt and influence our command of the world around us.
Dix uses a palette of muted tones within his paintings, reflecting a similar quality to those photographic images used to support nationalism during the Cold War period conveyed as a time of historical optimism. Dix explains the methods and ideas behind his work, 'The original source for inspiration was to appropriate characteristics of litho-graphic printing from printed material of the 1950 Cold War period. The idea being that by emulating the nuances of print within my painting process this would refer to a ‘spike’ in history where there had been a huge techno-logical advance in communication, that would subsequently imply a historical timeline to the origins of devices used today'. Through combining these genres, Dix acknowledges the focused response of the subject’s relationship to the ‘Icon of infotainment'.
Receive Thy Message by Adam Dix
This has led to the production of work that invites the viewer to engage in a secular celebration. A festival of communication, presided over by a Shamanic custodian that acts as a conduit between audience and transmission device, where the phone mast and satellite dish take on the character of ‘Totem’ and the audience depicted represent a circulation of connectivity.
On Saturday the 16th of May 2015 at 3 pm Adam Dix will be opening his studio doors to the public. Please note that there is limited capacity for this event and RSVP to firstname.lastname@example.org to register and receive full details.
In 2008, Damien Hirst created a series of one hundred and fifty paintings, each titled after an Old Testament psalm, and made from butterfly wings and household gloss paint on canvas. The ‘Psalms’, in which iridescent butterfly wings combine to form kaleidoscopic patterns reminiscent of Gothic stained glass windows or Buddhist mandalas, were conceived nearly twenty years after the artist’s first use of the insect. Now one of his most recognisable motifs, the butterfly is here used to address some of Hirst’s most enduring themes: beauty, art, belief, life and death.
This stunning publication provides a comprehensive survey of the series. Each of the fully illustrated paintings is accompanied by the psalm from which its title derives, the biblical text rendered on images of individually selected colour marble samples. With the addition of a complete list of works and essays by writers Michael Bracewell and Amie Corry that investigate the historical and conceptual background to the works, ‘The Complete Psalm Paintings’ is an exquisite companion to one of Hirst’s most beautiful series.
Other Criteria are pleased to invite you to celebrate the launch of The Complete Psalm Paintings book by Damien Hirst, Friday 15th May, 4-7pm, 458 Broome Street, New York City.
The Complete Psalm Paintings book and several Psalm prints by Damien Hirst are available at all Other Criteria stores and on the website.
View of the exhibition, courtesy of Galerie Laurent Godin
Gonzalo Lebrija was born in Mexico City in 1972 and obtained a BFA in Science of Communication at the Instituto Tecnológico de Estudios Superiores de Occidente (ITESO) in 1998. He lives and works in Guadalajara, Mexico. He co-founded and is the director of OPA – Oficina para Proyectos de Arte, an artist run exhibition space in Guadalajara.
In his work, Lebrija examines notions of time, freedom and play, and their relationship to power. From these investigations, actions and gestures arise and confer to his practice a performative dimension. The artist often appears in his own photographs and films, casting himself as a sort of antihero in situations tinged with existential humour.
Lebrija is fascinated by the poetics of flying. In 2001, he created Éxodo (Aeroplane Competition), a video about a paper plane contest that he organised at a law firm in Guadalajara. Thrown from the top floor of the building – the town’s highest –the paper planes are filmed in a still frame as they slowly fly down to the ground. In 2005, in the photo series titled Playing High, the paper planes are placed in lieu of the law texts in the hands of powerful corporate lawyers in a reenacted scene of Regents of the St Elizabeth Hospital of Haarlem (1641) by Frans Hals. The delicacy of the paper planes confronts the austere power of the regents, mocking the absurd rigidity of the law and its protagonists.
‘Estrella de la noche’ by Gonzalo Lebrija, courtesy of Galerie Laurent Godin
In the exhibition, the paper planes are no longer in motion but unfolded, flattened, and affixed into the space of the frame. Large geometrical and elegant minimal forms emerge from the folds of the paper. Formally, the drawing created by the lines and its shadows play with the materiality of the work, at the frontier between tangible and visible. In the same way that the “camera has the ability to record the invisible,” the paper holds the trace and the memory of the gesture. Underneath the geometry of the folds, the forms contain a more subversive rhetoric, their ascending pyramidal structure evoking that of symbols of power (flags, shields, organisation charts), while placing the drawings at the boundary between power and vulnerability.
In addition to works on paper, the exhibition gathers a new series realised on maple wood panels. Each panel is composed of several individually handmade pieces of wood that are assembled together and covered with gold leaves, duplicating in three dimensions the surface of the folds of the drawings. The lightness and subordination of the folded paper is challenged here by a complexly crafted piece. The paper planes become pagan icons emptied of their content, the panels reflecting light on a protean surface.
Lastly, Lebrija presents a new sculpture of a standing man in a suit with his right arm leaning on the wall, his head on his forearm, and his left hand in his pocket, titled Lamento. Since 2008, Lebrija has produced different variations of this figure, in both white painted ceramic and gold enamelled ceramic. This figure questions the lamentation of postmodern man who has no more God to address and no other choice than to turn his back to the world and lean on the surrounding architecture—in this context, the impersonal white cube of the gallery. For Unfolded, the sculpture has been made of silver, melted from objects gleaned in different flea markets in Mexico. A literal amalgam of materials belonging to the past and arbitrarily mixed with one another, this sculpture embodies the themes that run through Lebrija’s work: the passage of time, on the one hand, and the human condition, on the other.
March 14th – May 16th, 2015
Galerie Laurent Godin, 5 rue du Grenier St Lazare, 75003 Paris, France
Other Criteria is delighted to announce it is sponsoring the second ArtTactic Forecaster competition prizes for the 11-15th May Post-War & Contemporary Art Auctions quizzes in New York. Click here to SIGN UP (it’s free!) and test your art valuation skills!
- 1st Prize Expert League: A copy of Folly Acres Cook Book, signed by Sue Webster and PJ Harvey
- 1st Prize Rookie League: A roll of Matt Collishaw wallpaper
- Competition participation prize (random draw): A Harland Miller beach towel
ArtTactic is a progressive art market analysis firm that offers dynamic and responsive research and commentary on the fast-paced and ever-changing art world. As new markets emerge and tastes shift, ArtTactic has the expertise and network to ensure your current and future art investments stay ahead of the curve and are supported by up to the minute information from all corners of the globe.
Sarah Lucas has been selected by the British Council to represent Britain at the 56th Venice International Art Biennale. Lucas will present a major solo show in the British Pavilion running from 9 May to 22 November 2015. Sarah Lucas will be following artists such as Jeremy Deller, Steve McQueen, Tracey Emin, Gilbert & George and Anish Kapoor, who have all filled the British Pavilion at the prestigious event.
Sarah Lucas, Courtesy Sadie Coles HQ. Photo: Julian Simmons
Lucas' work has consistently been characterised by its humour and the transformation of every day objects such as, food, tabloid newspapers, furniture, toilets and cigarettes into visual metaphors of human body parts. By turns lewd and lyrical, punning and paradoxical, her art continues to deal with sex, death, abjectness and notion of Englishness. “Humour is about negotiating the contradictions thrown up by convention”, Lucas said. “To a certain extent, humour and seriousness are interchangeable. Otherwise it wouldn't be funny. Or devastating.”
‘Florian’ by Sarah Lucas, Courtesy Sadie Coles HQ, London 2013
Statistics show that Lucas' work makes impressive returns on investments (herwork is up 187% since 1999). Auctions of her work have great sell-through rates over the last few years, including a rate of 87% in 2013. The same year saw the artist's highest auction record of $470,141 for a single work sold at Christie's London, and Lucas' average sale price reached $61,520. With the forthcoming interest generated by the Venice Biennale (May 9th - November 11th), more growth in the coming years wouldn't be surprising.
‘LOVE IS A BIRD LOVE IS A BURDEN’ by Sarah Lucas & Olivier Garbay
Sarah Lucas has collaborated with various artists such as Tracey Emin, William Corwin and Olivier Garbay. Lucas and Garbay created - The Mug, a book that explores both artists working methods. Designed in the style of an alphabetised address book, it catalogues their thoughts and ideas, mixing free-form Anglo-Gallic poetry with various artistic experiments, dabbling in dirt, dominoes, and drinking.
In addition to The Mug, Sarah Lucas have collaborated to create a freestanding resin sculpture moulded from the plaster cast of their entwined hands and forearms: LOVE IS A BIRD LOVE IS A BUREN. Whether battling or embracing, their arms are a metaphor for the unification and struggle often experienced in love, and physically manifest some of the ideas recorded in their book.
A cool and elegant work, the resin sculpture stands upright on its elbows, but can be turned to sit on alternative edges. Its surface has a slightly grainy texture, true to the suggestion of human skin and wrinkles. The resin is tinted evenly with Pantone-matched colour, but where the thickness of the sculpture varies, so too does the light passing through it, giving the colours a variation in intensity. The broader forearms carry a denser colour than the fingertips, which have a delicate luminosity.
Sarah Lucas and Olivier Garbay at The Mug launch, Other Criteria London, February 2009