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Barock opens at Museum MADRE, Naples

December 17, 2009 by Ellie

BAROCK – Art, Science, Faith and Technology in the Contemporary Age at Museum MADRE, runs until 5 April 2010.

This exhibition, curated by Eduardo Cicelyn and Mario Codognato, explores the similitudes between the cultural themes that are representative of the beginning of the new century and those that made the visual imagination of the Baroque Age so powerful and grandiose. Barock investigates issues that permeated the XVII century and are still distinctive of our time, showing how the typical themes of the Baroque culture of the 17th century have been revived by contemporary artists. Included in the group show of 28 are Damien Hirst, Jeff Koons and Cindy Sherman. To read more, visit the  MADRE site.

Thank you to Rachel Howard for her photographs. All images are copyright the artists.

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Anish Kapoor

Anish Kapoor

Anish Kapoor

Anish Kapoor

Anish Kapoor

Anish Kapoor

Jeff Koons

Jeff Koons

Philippe Parreno (detail)Philippe Parreno

Norman Rosenthal Philippe Parreno's workNorman Rosenthal Philippe Parreno's work

Mario CodognatoMario Codognato

Damien Hirst

Damien Hirst

Johnnie Shand KyddJohnnie Shand Kydd

Gilbert and GeorgeGilbert and George

Gilbert and GeorgeGilbert and George

Cindy Sherman

Cindy Sherman

Jake and Dinos ChapmanJake and Dinos Chapman

Jake and Dinos Chapman (detail)Jake and Dinos Chapman (detail)

Mona Hatoum

Mona Hatoum

Maurizio Cattelan in the Donnaregina Vecchia churchMaurizio Cattelan in the Donnaregina Vecchia church

CCA Andratx, Mallorca

December 14, 2009 by Ellie

CCA Andratx is pleased to announce the next big collective exhibition of Kunsthalle, the recent acquisitions of ART FOUNDATION MALLORCA. Curated by Patricia Asbaek, Friederike Nymphius and Barry Schwabsky, the work of Phillip Allen and Rachel Howard is part of the current collection and expands this year to include a number of artists celebrated worldwide.

13th November 2009 - 14th March 2010

That's All Folks!

December 11, 2009 by Kay

Join over 90 artists including John Isaacs and Gavin Turk in a huge group show in Belgium from 11th December - 17th January 2010.

Curated by Michel Dewilde and Jerome Jacobs, That's all folks! features a wide range of artworks such as paintings, prints, installations, sculptures, video projections and more. They all sit beautifully under the subheading 'The endless clash between Reason and Destiny' - for more information read the press release below or visit their website.

isaacs_iknowthisworld_01

I Know This World... (2005) John Isaacs

Portrait of Che (2009) Gavin Turk

PRESS RELEASE

That's all Folks !

The endless clash between Reason and Destiny

Is that really all? The exhibition That's all Folks ! raises questions about the human condition, and the capacity of the individual to take control of his and everyone else's destiny and that of the planet.

We are constantly provided with undoubted images of idealism, beauty and wisdom, but our collective recall is poor and our plans for the future intrinsic and self centred.

The aim of the exhibition is to remind us that a clear and objective understanding of the world and its terrible history is vital to our achieving a sense of the present and our avoiding the constant repetition of our eternal and devastating mistakes.

That's all Folks ! has a vast and global canvas, not devoted solely to a one theme. In a tragi-comic way it looks at our innate inability to divert the inevitable march of time. What is needed, the exhibitions says, is that we should regard history from another perspective, not to let fear, intolerance, intimidation or anger stand in the way of human progress and to examine history and the disastrous human record resulting from these fears, in a totally different light.

Man lives in eternal hope as he searches for a brighter future but pays no regard to the frequently terrifying realities of the present, at the same time as he ignores the past, from which there are lessons to be learned. Man entrusts all his hopes of controlling the machine which leads to his progress but which at the same time destroys his environment and leads to conflict, to charismatic leaders or enlightened dictators or to economic super powers, without realising that they are no more than symbols of human pride and arrogance.

The purpose of the exhibition is not to talk about the work of the numerous artists represented. The aim of the exhibition is to engender a true feeling of purpose, which is to hit the viewer full in the eye, to take him by surprise, to shock even. To shock the viewer into taking a careful look at the book of history, which tells an extraordinary tale and opens our eyes, in microcosm, to the life we lead, to the life we have lived and the life that awaits us in the future if we do not mend our ways.

That's all Folks ! is tragic and comic at the same time. And this somehow is our destiny: we are badly led, frequently lost and mistaken and frequently out of control, in the belief that we are still all knowledgeable and all powerful!

This exhibition is not a presentation of a rigid and fixed state of affairs arousing hatred in the viewer. The exhibition does not try to teach us any lessons, rather it asks us to communicate with and react to reference points and situations which have been restructured by the artist in order to confront us with a more definite reality, which very often is suppressed by our own desire for comfort or by our own fears.

Some of the particular subjects raised by the exhibition are our fear of natural and human catastrophes, fear of the foreigner or of a different culture, fear of the possibility of political or economic instability as the cause of the undermining of our so-called democratic society. The exhibition also raises the falsehoods generated by these fears namely the belief in the all powerful economic oligarchies whose aggressive marketing practices and gimmicks make a mockery of the markets, the fruitless dialogues taking place in the fight against pollution, sectarianism, both national and regional, religious and political fundamentalism, racism, authoritarian democracies, prejudice and stereotyping, the culture of fear and the hypnotic power of the mass media, the hidden persuaders, all purporting to convince us only of their version of reality.

Though the viewer will make of the exhibition what he will, the message itself is however clear : the gravity of the situation is, all in all, relative, but the depth of the resulting damage is real for society, and very frequently this message is minimised and always watered down. Everyone is individually free with the right to hope for the future, but is the individual capable of transforming his hopes and his freedom for the benefit of society as a whole?

Jerome Jacobs

Photos: Boo's launch

December 10, 2009 by Ellie

Another great turn-out at last night's launch of Boo Saville's Ghost and Ghost Proof prints at the New Bond St store. Thank you to everyone who joined us.

Boo Saville

Boo Saville

Untitled-2

Untitled-3

Untitled-4

Untitled-5

Untitled-6

Untitled-7

Olivier Garbay

Olivier Garbay

Untitled-9

Untitled-10

Untitled-11

Raymond Pettibon at Sadie Coles

December 10, 2009 by Ellie

No Title (Having one awakened), 2009,
pen, ink and gouache on paper,  55.9 x 43.8 cm, uniqueNo Title (Having one awakened), 2009, pen, ink and gouache on paper, 22 x 17 ¼ in / 55.9 x 43.8 cm, unique

For his latest show with Sadie Coles HQ, Raymond Pettibon is exhibiting a series of new drawings together with a number of seminal pieces from the 1980s. Pettibon’s recent body of work shows his art at its most eclectic: comic book vignettes, art historical motifs and literary quotation conflate beguilingly into a multivalent artistic idiom, described by the critic Robert Storr as “ideas, echoes and impressions that well up and marble in the imagination”. Threaded through with an oblique, elusive irony, Pettibon’s drawings veer between homage and critique in their reflection of American politics, culture and counter-culture from the 1960s onward.

Pettibon's recent works display a newly 'painterly' quality. A number of them are predominantly monotone, with black brushstrokes flecked expressionistically across the page. Others abound with colour: the textured gouache and acrylic work No Title (As he enlarged) shows red curtains opening upon a swirling blue planet Earth; while in Not Title (We would then), a fountain of colour – at once psychedelic and sickly – spews outward alongside textual fragments that include Aldous Huxley's account of taking mescaline. In many of the works, cartoon-style exclamatives streak across the page, echoing the stylised transcriptions of Lichtenstein and other Pop artists, and yet often spelling out unintelligible sounds suggestive of a primeval state anterior to language. The 'howl' is one of a number of recurrent motifs in Pettibon's new work; the human heart also reappears here as a dense, delicately rendered mass of capillaries.

No Title (Bitch what up), 2009,
pen, ink and gouache on paper, 55.0 x 76.2 cm, uniqueNo Title (Bitch what up), 2009, pen, ink and gouache on paper, 55.0 x 76.2 cm, unique

Pettibon's black and white drawings from the 1980s evidence a sparing, linear style. The pronounced, starkly drawn expressions evoke comic strips – much of Pettibon's work from this period indeed took the form of fanzines. Pieces of excised text float suggestively above or beneath the images, baldy suspended within the white of the page and suspended in meaning between a multiplicity of emotional registers and connotations.

From his earliest pieces drawing upon the Los Angeles punk rock scene, Pettibon's art has been characterised by this kind of historical and stylistic dissonance. Pop-cultural influences intermingle with those of Goya and Blake; cartoonish exaggerations and conflicting perspectives are juxtaposed with subtle tonal variations; and the cacophony of transcribed and reformulated texts – high-brow and low-brow – confirm Pettibon's meandering, panoramic historical perspective.

No Title (A breath realised), 2009,
pen, ink and gouache on paper, 76.2 x 55.9 cm, uniqueNo Title (A breath realised), 2009, pen, ink and gouache on paper, 76.2 x 55.9 cm, unique

All images are Copyright Raymond Pettibon; courtesy Sadie Coles HQ, London.

Virtual Tour: Trolley Gallery

December 9, 2009 by Ellie

Take a virtual tour of Black Dog/Yellow House currently on show at Trolley Gallery, London. Curated by artist Rachel Howard, the show brings together the work of four artists brought to Howard's attention throughout her career as a painter. The artists are: Matthew Burrows, Colin Glen, Adam Dix and Boo Saville.

Below are a few snapshots of the work and the opening supper:

Rachel Howard, Colin Glen, Matthew Burrows, Boo Saville, Gigi Giannuzzi, Hannah Watson and Adam Dix

Rachel Howard, Colin Glen, Matthew Burrows, Boo Saville, Gigi Giannuzzi, Hannah Watson and Adam Dix

Matthew Burrows, Temptations Helix, 2009, Oil on linen, 157 x 121cm (Oval)Matthew Burrows, Temptations Helix, 2009, Oil on linen, 157 x 121cm

Adam Dix, Portal, 2009, Ink and oil on panel, 79 x 55 cmAdam Dix, Portal,

Colin Glen, The Flat Shade I, 2009, Pencil on Paper, 56 x 71 cmColin Glen, The Flat Shade, Pencil on Paper,

Gigi serving dinnerGigi serving dinner

P1050066

Polly Robinson, Rachel Howard, Julian GaerPolly Robinson, Rachel Howard, Julian Gaer

James Porter and Colin Glen

James Porter and Colin Glen

Philip Allen at Transition Gallery

December 8, 2009 by Ellie

Philip Allen is currently showing new work in a group show called Rubbernecking at Transition Gallery, London. Also showing are Jake Clark and Rose Wylie.

4 Dec 2009 – 10 Jan 2010

Gallery open Fri-Sun 12-6pm  (closed from 25 Dec - 3 Jan)

Transition Gallery, Unit 25a Regent Studios, 8 Andrews Road, London E8 4QN

Rubbernecking, the slang expression that describes the act of gawking at someone or something, particularly car crashes, is not only a look-come-see inducement to the curious viewer but also refers to a tendency underscoring the work of these three artists, all of whom are concerned in some way with a tension between a cartoon graphic quality and the rough texture of impasto paint.  Each of our three gawpers are concerned with new ways of applying paint to create personal and fresh images that crash with the faded Festival of Britain feeling that permeates the surfaces of their work creating a counter-intuitive, bang-up-to-date contemporary.

All images are Copyright Damian Griffiths and Courtesy Transition Gallery

Phillip Allen, Between the Soup and the Cheese,
versions 1-8, 2009 and Jake Clark, Cornerways II, 2009

 Phillip Allen, Between the Soup and the Cheese, versions 1-8, 2009 and Jake Clark, Cornerways II, 2009

Phillip Allen, Between the Soup and the Cheese, 
version 1, 2009, oil on canvas, 50x50cm

Phillip Allen, Between the Soup and the Cheese - version 1, 2009, oil on canvas, 50x50cm

Jake Clark, Cornerways II, 2009;
Rose Wylie, Yellow Strip, 2006;
Jake Clark, Redruth, 2009
and Jake Clark, Picnic Table, 2009

Jake Clark, Cornerways II, 2009; Rose Wylie, Yellow Strip, 2006; Jake Clark, Redruth, 2009 and Jake Clark, Picnic Table, 2009

Phillip Allen, Between the Soup and the Cheese,
versions 1-8, 2009, oil on canvas, 50x50cm and 61x61cmPhillip Allen, Between the Soup and the Cheese - versions 1-8, 2009, oil on canvas, 50x50cm and 61x61cm

Jeff McMillan, Jake Clark and Cathy LomaxJeff McMillan, Jake Clark and Cathy Lomax

11243_354617560112_88597210112_10220357_7991534_n

Tim Allen and Phillip AllenTim Allen and Phillip Allen

Julia Davis

Julia Davis

Simon Farnaby and Julian BarrattSimon Farnaby and Julian Barratt

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