25 Nov 2015 to 14 Feb 2016
This winter, the Serpentine presents an exhibition by Michael Craig-Martin, one of the best-known British artists of his generation. This is the first solo show of Craig-Martin’s work in a London public institution since 1989.
Michael Craig Martin, Untitled (light blurb), 2014
Acrylic on aluminium, Private Collection
Photo: Mike Bruce, courtesy of Serpentine Gallery
This exhibition by Michael Craig-Martin will bring together works from 1981 to 2015, including his era-defining representations of once familiar yet obsolete technology; laptops, games consoles, black-and-white televisions and incandescent lightbulbs that highlight the increasing transience of technological innovation. The exhibition will also feature new wallpaper that has been conceived especially for the exhibition.
From the earliest work in the show, a wall drawing first produced in 1981 (the same year that the first personal computer was made available), to a painting from 2014 that depicts the minimal lines of an iPhone, Craig-Martin’s work has recorded the profound impact that electronic technology has had on the way we consume and communicate. The exhibition explores the seismic shift from analogue processes to digital technologies that informed the production and distribution of new kinds of objects in the late 20th and early 21st centuries.
Craig-Martin's early works explored the conceptual possibilities of contemporary art, testing the boundaries between functional and functionless forms. The introduction of digital technology in recent years has resulted in the breakdown of the relationship between form and function, a process that Craig-Martin captures in his depictions of successive inventions, from the battery to the cassette to the laptop.
Craig-Martin has participated in a number of Serpentine events and group exhibitions: Memory Marathon (2012); Map Marathon (2011), Wall to Wall (1994), Here and Now: Twenty-three years of the Serpentine Gallery (1993); Objects for the Ideal Home: The Legacy of Pop Art (1991); Vessel: Sculpture, Glass, Ceramics (1987); Summer Show 5 (1976, as selector) and Art as Thought Process (1974). He also produced a new map, linking the Serpentine’s two buildings, to celebrate the opening of the Serpentine Sackler Gallery in 2013.
London W2 2AR
True Rocks in collaboration with Rachel Howard are presenting their limited edition jewellery. “The Humble Hanger” is available in 18 Carat Yellow or Rose Gold, the pendants are in editions of 50 each in small & large. Each one comes with an engraved signature & numbered on an 18 Carat gold tag. The jewellery is made in London.
The Humble Hanger, Rachel Howard & True Rocks, 18 Carat Gold Pendant
Rachel Howard says ‘The Humble Hanger is a celebration of the overlooked and commonplace, its function is taken for granted whereas here The Humble Hanger is honouring the workaday, elevated to something more grand. The simplicity of the wire hanger is beautiful; a few bends and a couple of twists. The Humble Hanger is also an object that eludes to the human body, eliciting perhaps loss, absence and love.’
Rachel Howard, Ink on Paper, 2015
Howard graduated from Goldsmiths College, London University, in 1991. She is both an abstract and figurative painter. 2015 has been a busy year with her first solo museum exhibition in the UK at the Jerwood Gallery, and group shows at other public spaces including Kettle’s Yard, Cambridge UK, 21er Haus Museum of Contemporary Art, Vienna, Austria, Drawing Room, London and presently Testing Testing: Painting and Sculpture since 1960 from the Permanent Collection, Ackland Art Museum, North Carolina, USA. Howard’s work can be found in a variety of public and private collections.
Rachel Howard, Ink on Paper, 2015
True Rocks Jewellery was established in 2014 by Emily Bradbury & Dawn Hindle of Ibiza Rocks & Pikes fame.
True Rocks reflects Emily and Dawn’s lifestyle & influences including music, fashion & most importantly art. True Rocks are passionate about working closely with todays leading British artists to create unique jewellery.
Their philosophy is “jewellery with attitude, wear it with confidence”. True Rocks Jewellery is available for purchase at www.truerocks.com or contact email@example.com.
Rachel Howard in collaboration with True Rocks © photo Elina Simonem
America’s foremost contemporary art fair is returning for its 26th edition this December, maintaining its title as the original and longest-running Miami art fair. As the No. 1 ranked international art fair for attendance in the U.S. and second-most attended globally, Art Miami attracts more than 85,000 new and established collectors, curators, museum professionals, press and art world luminaries annually to its 200,000 square foot pavilion in the Wynwood Arts District.
Art Miami will be kicking off the Miami Art Week celebration with a VIP Private Preview on Tuesday, December 1, from 5:30PM to 10:00PM, presented by Merrill Lynch and once again benefiting the Pérez Art Museum Miami. The fair will be open to the public December 2-6.
Art Miami remains committed to showcasing the most important artworks from the 20th and 21st centuries for acquisition in collaboration with a highly vetted selection of international galleries, and will continue to preserve its well-known reputation as Miami’s premier anchor fair in 2015.
Art Miami’s 2015 line-up will feature 120 galleries from 19 different countries, presenting important modern masters and blue chip contemporary artists, as well as the most sought after living artists from the around the world.
Harland Miller, I am the one I've been waiting for, 2015
Watercolour, acrylic and oil on paper (153 x 122 cm)
Other Criteria is returning to the fair with an exhibition of new releases and rare works by Damien Hirst, Harland Miller and Gary Webb.
The Art Miami Pavilion Midtown
Wynwood Arts District
3101 NE 1st Avenue
Miami, FL 33137
Preview: December 1st, 5.30pm - 10 pm
Fair: December 2nd - 5th, 11am - 8pm & 6th, 11am - 6pm
Other Criteria are pleased to unveil Beneficence and Miracle, Damien Hirst's new prints. The prints will be available online and in-store from Wednesday 28th October between 1-2pm GMT (9-10am EST).
The first ‘Kaleidoscope’ painting, ‘It’s a Wonderful World’, was created in 2001. Originally inspired by a Victorian tea tray found by Hirst. The ‘Kaleidoscope’ paintings reference the spiritual symbolism of the butterfly, used by the Greeks to depict Psyche, the soul, and in Christian imagery to signify the resurrection.
Hirst began using butterflies in his work as early as 1989. Describing the insect as a 'universal trigger', he has explained: "Everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies."
With its new exhibition Testing Testing: Painting and Sculpture since1960 from the Permanent Collection, the Ackland Art Museum highlights ways in which late modern and contemporary painting and sculpture have tested possibilities both within and beyond boundaries of conventional media.
The largest presentation of the Ackland’s relatively unknown collection of modern and contemporary painting and sculpture to date, the exhibition includes works by over 50 artists.
© Rachel Howard
Gluttony, 2002 -2003, Household Gloss on Canvas, 10 x 7ft
Paintings in Testing Testing vary in size, style, and medium: from large-scale abstract works by Rachel Howard, Jules Olitski, and Sean Scully to figural paintings by Barkley Hendricks, Hung Liu, and Horatio Torres. Sculptural works in the show range from a mixed media video installation by Tony Oursler to an assemblage piece by Renée Stout to bronze sculptures by Annette Lemieux.
Also on view is the Ackland’s large-scale bronze sculpture by Allan Houser, permanently displayed on the grounds of the UNC Hospitals complex.
“Through their experimentation, innovation, and skill, the artists in Testing Testing have assessed the potential not only of new materials in new combinations but also of traditional modes of painting and sculpture such as figuration and abstraction,” says Peter Nisbet, the Ackland’s chief curator and interim director. “Rather than offering a historical survey of developments, this exhibition will present stimulating and evocative groupings of work created since 1960, crossing cultures and chronologies.”
Other artists in the exhibition include José Bedia, Sanford Biggers, Anthony Caro, Carlos Cruz-Diez, Thornton Dial, Julie Heffernan, Al Held, Vik Muniz, Takashi Murakami, Kenneth Noland, Richard Nonas, Nam June Paik, Philip Pearlstein, Ken Price, George Segal, Yinka Shonibare, Lorna Simpson, Do-Ho Suh, Cornelia Thomsen, Stella Waitzkin, John Wesley, H.C. Westermann, Aaron Wilcox, and others.
“The bringing together of signature Ackland works, several important new acquisitions, and some surprises from storage affords us the opportunity to test what a large-scale, long-term installation of modern and contemporary art at the Museum might look like,” says Nisbet. “We invite our visitors to have their curiosity, imaginations, and responses tested as they encounter this astonishingly diverse array of powerful, beautiful, puzzling, and liberating work.
The Ackland Art Museum is located on the historic campus of The University of North Carolina at Chapel Hill. The Ackland’s holdings consist of more than 17,000 works of art, featuring significant collections of European masterworks, twentieth-century and contemporary art, African art, North Carolina pottery, and folk art. In addition, the Ackland has North Carolina’s premier collections of Asian art and works on paper (drawings, prints, and photographs). As an academic unit of the University, the Ackland serves broad local, state, and national constituencies.
Testing Testing, from 17 July 2015 until 3 January 2016.
ACKLAND ART MUSEUM
The University of North Carolina at Chapel Hill
Campus Box 3400
Chapel Hill, NC 27599-3400
Admission to the Ackland Art Museum is always free, with donations accepted.
The Ackland is open Wednesday through Saturday 10:00 AM to 5:00 PM, and Sundays 1:00 to 5:00 PM.