NEW titles to accompany Treasures from the Wreck of the Unbelievable, Damien Hirst’s most ambitious project to date… https://t.co/1zDpnHAPuw
2 weeks ago
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
Other Criteria is excited to announce its participation in this year’s Editions / Artists’ Book Fair. Founded in 1998, E A/B acts as New York’s premier showcase for the discovery of new and contemporary prints, multiples, and artists’ books by an international community of publishers.
The E/AB Fair returns November 3rd – 6th to Chelsea’s Waterfront Tunnel for its third edition under the direction of the Lower East Side Printshop. Timed to coincide with its sister fair the IFPDA’s Print Fair during New York Print Week, this year E/AB Fair will showcase forty publishers from across the US, Europe, South Africa and Japan featuring new works by emerging, mid-career, and established artists in a variety of mediums from silkscreen and intaglio to cyanotype and archival pigment prints.
269 11th Avenue
(bet. 27th and 28th Streets)
VIP Preview: November 3, 6 - 9pm
Fair: November 4 & 5, 11 – 7pm
November 6, 11 – 5 pm
Founded in 2000, Art Toronto is Canada’s international contemporary and modern art fair, located at the Metro Toronto Convention Centre in the city’s downtown core. Providing unique access to the Canadian art market, the fair is one of the most important annual art events in Canada. Now in its 17th year, Art Toronto presents important artwork from leading Canadian and international galleries combined with PLATFORM, an engaging series of lectures and panel discussions from prominent art world figures, curated projects, an extensive VIP Program, and top-tier cultural offerings throughout the city.
This year, Other Criteria is excited to present the city of Toronto with new editioned work by British artists John Hoyland and Rachel Howard. Additionally, we will be featuring a rare Damien Hirst print exclusive to the fair, as well as a suite of unique works by Harland Miller.
Metro Toronto Convention Centre
North Building, Exhibit Hall A & B
255 Front Street West, Toronto
Opening Night Preview: October 27, 6.30pm–10pm
Fair: October 28 & 29, 12pm–8pm; 30 & 31, 12pm – 6pm
New unique sculptures by artist Johannes Albers are currently on show at Other Criteria London.
In his new work Johannes Albers reminds us of those forgotten places, beneath the stairs, under a rug, in the gutter where a silent story continues. Some dust and random objects, an old shoe, what goes on after we are gone. When we die, the bacteria in our body flourishes. Life goes on after all of us. It is those places that Albers wants to reproduce and remind us about with his new work.
As Nietzsche wrote, "Once upon a time, in some out of the way corner of that universe which
But what a minute we are having?
Other Criteria, 9 Newport Street, W1U 3BG London
October 18th – November 20th, 2016
 Friedrich Nietzsche,On Truth and Lies in a Nonmoral Sense (1873)
We would like to thank All who attended our Pre-Frieze Brunch, last Wednesday 5th October, celebrating new sculpture editions by Damien Hirst: Myth and Legend.
Damen Hirst’s Myth and Legend – a unicorn and a winged horse – recreate the artist’s bronze sculptures of the same titles, in porcelain. An anatomical cross-section of the creatures reveals the flesh and musculature of a horse beneath the skin. Handcrafted by the renowned Nymphenburg Porcelain Makers in Munich, these editions continue Hirst’s examination of the areas of intersection between science, religion and belief. He explains: “In a way, science brings religion down to earth and to cut open mythical creatures and expose them as no different to mortal horses is somehow still magical. It’s kind of like exploding a myth to make it real. I like the way that even by showing these creatures’ insides they still feel majestic and hopeful, so they seem more real and not just creatures from fantasy. Maybe they can even help us in the real world.”
Our reception at Other Criteria’s Newport Street location – catered by Pharmacy 2 restaurant – was followed by the opportunity to explore the current Jeff Koons exhibition at Damien Hirst’s gallery.
The SCAD Museum of Art presents "Barrier Island," an exhibition of new artwork by renowned artist Michael Joo. Specifically conceived for the SCAD Museum of Art, the exhibition is inspired by the location, natural resources and anthropology of coastal Georgia. The artist explores the residual effects of natural phenomena and human intervention on the landscape over time and how these forces shape cultures and identities.
The exhibition draws from original research conducted by Joo on Sapelo Island, a barrier island and nature reserve off the coast of Georgia, as well as his ongoing exploration of natural and chemical materials and processes.
In collaboration with the SCAD preservation design program, the artist created a site-specific installation made of tabby — a southern, vernacular building material comprised of lime, sand and shells. A series of large-scale, two-dimensional works features images derived from the forests and natural growth on the island. These works embody important material and conceptual explorations by Joo over the last decade, involving a complex chemical process using silver nitrate and sensitized epoxy to reveal layered imagery. The luster and reflectivity of these works are echoed by the polished marble surfaces of three monumental structures, aptly described by the artist as “billboards.”
Sapelo Island inspired Joo with its rich and tumultuous history of human habitation. Home to one of the last remaining intact Gullah – Geechee communities in the United States, the island’s status as a nature preserve enabled verdant growth to overtake much of the earlier traces of human influence on the landscape. This includes the large-scale, ancient Native American Sapelo shell rings complex (dated to 2170 B.C.); extensive landscaping and excavations exerted by the plantation owners of the 19th and 20th centuries; a compacted sawdust landmass created during the radical deforestation and logging of the island for the hungry timber industries of the 19th century; rapidly eroding tabby structures; tombstones of ancestors of African-American inhabitants in Behavior Cemetery and the ostentatious edifices of the Reynolds Mansion that recall the island’s social and economic iniquities.
6th October 2016 – 5th February 2017
SCAD Museum of Art, 601 Turner Blvd., Savannah, Georgia, USA
The symbolism of the number three is almost infinite. Seen in the myths of all civilizations, in all latitudes, it is considered the "perfect number", as an expression of the Triad or Trinity. It is the spiritual symbol of the plant stretching its branches (trifurcation) and the Pythagoreans considered it sacred because it allows you to draw the triangle, perfect figure. Limiting ourselves to the Greek mythology, the Fates, the Furies, the Graces, were always three in number. “Three” is the product of the union between “One”, the active ingredient and “Two”, the womb that welcomes the creation. We can define it the first product of thought that multiplies and expands. It encompasses the concept of union and expansion. The symbolism of the number three is encoded in the visual arts through the long tradition of the "triptych" that from the beginning of Christian art continues and spreads in Byzantine and Gothic up to modern art. Somehow, just think of the triptych of Monet's Water Lilies at MoMA in New York, or the famous triptych by Francis Bacon or Cy Twombly, the division into three acts as a link between the history of painting and the present trial.
In this context, the exhibition Three Triptychs has three variations on the theme on the compositional tradition of the triptych by three British artists, from different generations and paths, but linked by a critical interpretation of the pictorial medium, revisited in architectural and three-dimensional key.
David Batchelor work focuses on the relationship with the generated colours of the urban environment and stressed on how we see them, and how we react to their physical and psychological stress in the technological age in which we live. In the exhibition’s triptych, the artist has collected a number of old light boxes, the kind that shops and restaurants usually advertise (and which, it is said, are one of the main sources of colour in a city), has cleaned them and mounted so as to form vertical installations. The colours from the light boxes are reflected against the wall, and the public perceives them seeing only through their reflection. An artificial and sublime sunset at the same time experienced through the skyline of the boxes and their random arrangement.
The visual and psychological power of colour characterise the work of Rachel Howard, the emotional charge of how the paint is applied to a canvas, the reproduction of the state of mind and body while the picture is being painted. The scale ratios, space, and depth are also part of the impact of these works. In her most recent works, she explores the continuous alternation relationship between background and foreground. In the triptych exhibited at Intragallery, Howard alternates and mixes without rules or hierarchies three moments and adages of contemporary painting, figuration, abstraction and the two-dimensional representation of a wall of a three-dimensional object, in this case, a crutch for clothes, which ironically recalls Trap hanger (1917) by Marcel Duchamp.
In the work of Henrietta Labouchere, we are witnessing a process of accumulation and constant erase signs and suggestions, shades and traces of figuration, processed and diluted over time, giving rise to a representation and an independent interpretation. In the triptych on show, the three panels freely inspired by tissues of kosode and Japanese screens of the Edo period are displayed in ascending order. They are aligned from below; their mass and their thickness contrast with the ethereal lightness of their parietal exposure. Inspired by the idea of the rims of kosode, the artist chose twelve typical colours of old Edo kimono, applying many layers of rabbit glue, painting shades through a sophisticated sanding process, making small marks looking like scars.
Three Triptychs: 29 September – 12 November 2016
Intragalery, Via Cavallerizza a Chiaia 57, Napoli, 80121