Visit our London Space
The exhibition catalogue of Gavin Turk at Newport Street Gallery. Currently showing – until 19th March 2017. RRP £25
Visit our New York Space
This fully illustrated catalogue is published on the occasion of ‘Now’, a solo show of work by Jeff Koons presented at Damien Hirst’s exhibition space, Newport Street Gallery, London (May – October 2016). RRP £50
Visit our Ilfracombe Space
Polly Morgan is an accomplished taxidermist who uses her skills to create work in a contemporary context. In this work she continues her series, using taxidermy snakes.
The Complete Spot Paintings is the first and most significant documentation of Damien Hirst’s iconographic spot paintings and this comprehensive publication spans his career. Every spot painting Hirst has produced is included in this substantial publication with over 99% of them illustrated. RRP £195
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."
The recent exhibition of new large-scale works in pastel by Joanna Kirk at Blain|Southern London – September 9th to October 8th, 2015.
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.
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.
This fall marks Other Criteria's inaugural participation in Art Toronto taking place October 23 - 26, 2015 at the Metro Convention Centre. We will be exhibiting works by Polly Borland , Damien Hirst , Harland Miller , Boo Saville and Gary Webb in booth C62.
Founded in 2000, Art Toronto provides unique access to the Canadian art market. Considered a must-attend event for art collectors and industry professionals, Art Toronto offers galleries an opportunity to network with a diverse and well connected group of collectors and fellow participants. Art Toronto presents more than 100 select galleries, complemented with special projects, exhibits, a full VIP program and dynamic cultural offerings.
Booth previews and passes can be requested via firstname.lastname@example.org.
Metro Toronto Convention Centre
255 Front Street West, Toronto
Special Collectors' Preview:
A benefit for the Art Gallery of Ontario
Thursday, October 22, 2015
4:30 PM – 6:30 PM
Opening Night Preview:
A benefit for the Art Gallery of Ontario
Thursday, October 22, 2015
6:30 PM – 10 PM
Friday, October 23 | 12 PM – 8 PM
Saturday, October 24 | 12 PM – 8 PM
Sunday, October 25 | 12 PM – 6 PM
Monday, October 26 | 12 PM – 6 PM
Newport Street Gallery’s inaugural exhibition, ‘Power Stations’, presents a selection of John Hoyland’s large-scale works dating from 1964 to 1982, displayed throughout all six of the gallery’s exhibition spaces. To accompany this first show (8th October 2015 - 3rd April 2016), Other Criteria will exhibit new prints by John Hoyland.
John Hoyland (1934–2011) is one of Britain’s leading abstract painters. Renowned for his intuitive manipulation of colour, form, line and space, Hoyland emerged at the forefront of the abstract movement in Britain in the early 1960s, and remained an energetic and innovative force within the field, until his death in 2011.
10 October 2015 — 17 January 2016
Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS
SCROLL DOWN AND KEEP SCROLLING is the most comprehensive exhibition of Fiona Banner’s work to date, re-presenting key early projects alongside recent and unseen works that span a period of 25 years. “It is not a survey – more of an anti-survey,” says the artist, “A survey suggests something objective, historical, and fixed. This is subjective; nothing else is possible.” Throughout the exhibition Banner revisits her work with intensity and humour.
Banner came to prominence in the 90s with her wordscapes; written transcriptions of iconic films retold in her own words. THE NAM (1997) is a 1,000 page book that details scene-by-scene six Vietnam War films - including Full Metal Jacket and Apocalypse Now - in such a way that they blur into each other. The outcome is, in the artist’s words, the literary equivalent of a “gutting 11 hour supermovie”. Jovially lambasted as ‘unreadable’ by one critic, Banner responded with the 1997 performance Trance in which she read aloud the book in its entirety, in one sitting. These pivotal works mark the entry point of the exhibition and are a gateway for much of Banner’s later practice, particularly her explorations of the novel Heart of Darkness by Joseph Conrad.
In a recent collaboration with the Archive of Modern Conflict, Banner commissioned a Magnum photographer to take pictures of London’s financial district literally through the lens of a conflict photographer. The resulting works use Conrad's Heart of Darkness as a filter through which to read the tribal behaviour of those in the business of finance, an environment of weary survivalism combining competitive trading floors, corporate art collections, manic drinking cultures, luxury shopping and strip clubs. Included in this exhibition are a related series of large-scale graphite drawings entitled Mistah Kurtz - He Not Dead (2015), depicting magnified details of pinstripe, the iconic costume and contemporary camouflage of trade in the City.
The exhibition also includes several recently completed films by Banner marking a new trajectory in her practice. Chinook (2013) focuses on the absurdist spectacle of military air shows in the UK in which the Chinook helicopter performs an aerial ballet, carefully choreographed to push the craft to its limit for the purpose of display. In Tête à Tête (2014) two mechanically operated windsocks participate in a kind of dialogue based on a scene from a costume drama. Set in the pastoral English countryside, the protagonists’ interactions are played out mutely, their fitful semaphore referencing Banner’s concern with the power and limitations of language and our (her) struggle to communicate.
Punctuating the gallery where the films are shown are various Full Stop sculptures: full stops in different fonts blown up to human proportions. Previously incarnated in bronze, here they are presented as malleable bean bags and within the exhibition provide a moment to sit; to pause for thought. Banner’s tactile approach to material is evident too in Work 3 (2014), a life-sized glass scaffold tower which stands tall in Ikon’s vaulted space, its fragility undermining any possibility of usefulness.
Publishing is central to Banner’s practice and she often produces books through her own imprint The Vanity Press. For the artist the act of publishing is itself performative, and this exhibition at Ikon will display a wide archive of previously unseen publications and ephemera. In addition, the artist will also publish a major new book to accompany the exhibition, typeset in a new font created by the artist and entitled Font. Font is an amalgamation of typefaces Banner has worked with previously, and will be used throughout the museum for the duration of Banner’s show. She explains: “It’s a family tree arrangement where the child of Avant Garde and Courier mates with Peanuts and Didot's child. Bookman and Onyx mate; their child mates with Capitalist and Klang's offspring - the final font is an unpredictable bastardisation of styles and behaviours.
Instead of formally presenting completed art works, the book will focus on related material from Banner’s personal archive compiled over the last twenty years. Matching THE NAM in scale, it will present a timely sequel to her first publication. The show will consequently tour to Kunsthalle Nürnberg from March 24 – May 29, 2016.
“This is a survey of work by one of the leading lights in the British art scene, at a pivotal moment in her career. We feel privileged to be presenting it.” Jonathan Watkins, Ikon Director.
The exhibition is supported by a donation from John Lewis to Ikon.