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Damien Hirst's ‘Kaleidoscope’ paintings reference the spiritual symbolism of the butterfly. Image: Beneficence… https://t.co/G1BSpC3jgM
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Damien Hirst's Psalm: Judica, Domino was published by Other Criteria in 2015 https://t.co/xLyO5GNIKc https://t.co/zxepzgz4pR
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Tom Ormond: Sunbeam, part of the series Eight Horizons, published by Other Criteria in 2014 https://t.co/EkUmPMSbgJ https://t.co/GA48QwX71H
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Damien Hirst's ‘The Souls’ – published by Paul Stolper & Other Criteria, 2010 https://t.co/ONmp3eU1bu https://t.co/92e1D6ZF6e
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Join Other Criteria London @NPSGallery tonight from 6–8pm for the launch of our this new exhibition catalogue:… https://t.co/RULDASdYQA
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Last Day at Market Art + Design in the Hamptons #DamienHirst https://t.co/u4MXQ0qUqh
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Join us booth 411 at #MarketArtDesign to see new works by #DamienHirst & #HarlandMiller https://t.co/lZELnGKbbF https://t.co/zfQ5A5vjvR
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Pre-Production - An Exploration of Contemporary Painting Practice

July 2, 2013 by Miranda

Monday 8th July, 6pm-9pm

For one night only, an exhibition featuring studies by Adam Dix, Louise Bristow, Ian Gonczarow, Jane Milican and Benet Spencer will be held at the Occupy My Time Gallery, Deptford.

'Pre-Production' is concerned with an artist's initial exploration of subject matter, method and material before committal to final output.

Jane Millican painted study

The artists presented have been followed via browser bookmarks by ZONBI over a period of time and bring together a wide variety of pre-production processes. Part Two of this exhibition will offer the finished works that the samples here describe and outline, but for now the presentation is limited to 5 artists preparatory sketchbooks, print outs, drawings and models.

Some questions that 'Pre-Production' asks is ‘why is this not the work?’ Where is the departure point from the set up? Why does it have to be a drawing, a painting or sculpture? Is this not enough?

Louise Bristow’s work in this show is perhaps the most orthodox in terms of historic approaches, but it is also the most ambitious in terms of the multiplicity of converging potentials. The process involves a careful selection of found, readymade and made-to-order 3-dimensional elements that are then meticulously rendered in photographic detail in paint. The resulting macro-vistas – perhaps reminiscent of landscape painting from antiquity – position us directly in the flux of meaning, as juxtaposition and combination leave us frozen, quite unable to decide on a one line quip to explain it all away.

Adam Dix employs mythologies and traditions mixed with the sinister elements of the science fiction genre, in order to make sense of our current preoccupations with technology. The celebration of our times – the high-speed mast or linkup – is present in the production that also invokes a range of ‘folk’ and ‘familial’ circumstance. These picturesque or idyllic institutions are cruelly and cynically corrupted into a critique on the folly of our naivety, transcribed to replicate the printed aesthetic origin.

Adam Dix in his studio

Benet Spencer utilises digital technology to form 2D collages that ultimately examine the relationships between pattern, architecture and the natural world. The commitment to Photoshop as a tool for cutting and pasting has been discussed at length in the last few years, but less resolved is the confluence of both forms i.e. pixels and wet oily paint. The works produced as a result of this digital rendering are liberated from the confines of 0’s and 1’s into paintings that revel in the joys of the swathe, the swoosh, the drip and the smudge. One easy formal analysis could be that the electrical energy of the bright Mac plasma is a catalyst for work that pushes awkwardly cropped elements into a field bursting with the essence of that same slightly dystopic glow.

Ian Gonczarow is an ardent keeper of a sketchbook. All the paintings he produces undergo an incubus period there. Often a collage will be repeated several times before commitment to a larger scale and mono material. The urgency of the flippant cack-handed stroke over a tangle of felt-tip is his fixation, alongside the potential converging narratives therein. Referents to current geo-political turmoil are cut and covered, removed and then re-drawn in order that the artist may be ‘cutting’ in opinion and still have the challenge of painting a faithful reproduction.

For more information on Occupy My Time Gallery, please click here to be taken to their facebook page.

Inspired? Other Criteria have recently acquired four new Harland Miller mix media studies. Click here and take a look!

Alternatively, if it's the work of Adam Dix you're after, click here.

PHOTOS: Harland Miller Book Signing

June 24, 2013 by Miranda

Many thanks to those of you who joined us for the Harland Miller book signing. Harland and Other Criteria were delighted with the phenomenal response to the event. Harland Miller fans were queuing out the door for the chance to get their books signed and have a chat with the artist.

Weren't able to make it? Check out some of the photos from the night!

For more information on Harland Miller's work, click here.

10th Annual Art Car Boot Fair

June 7, 2013 by Miranda

Sunday 9th June sees the return of the Annual Art Car Boot Fair. With top artists selling specially created works directly from the boots of their cars, this is an event not to be missed. Snap up some unbelievable deals from artists such as Gavin Turk, Sir Peter Blake,Tracey Emin International, Polly Morgan,Marcus Harvey, Mat Collishaw and Billy Childish. Prices range from as low as £5 - £500!

In a category of its own, the Fair features pop-up food stalls, musical entertainment, celebrity guests and competitions.

Doors open from 12 midday, pre-selling entry from 11am. Entry costs £5 per person.

For more information, click here to be taken to the Art Car Boot Fair's website.

Michael Joo’s Distilled series at Other Criteria Hinde Street

May 1, 2013 by Miranda

Take a look at the latest rehang at our Hinde street store! Highlights include Eduardo Sarabia’s hand painted ceramic vases and Michael Joo’s 20 Distilled photographs. 

Together, 18 With a Bullet (16) and 18 With a Bullet (4) by Eduardo Sarabia make up our new window display. Both vases are from an edition of 18 unique multiples. Fusing imagery of illegal contraband (from busty naked ladies, to cannabis leaves and hand guns) and more traditional decoration (cockerels, wildebeest, and even a stray parrot), Eduardo Sarabia’s hand painted vases refer to his Mexican heritage and parody the cultural clichés surrounding drug smuggling, illegal trade and machismo. 

Downstairs, a grid of photographs from Michael Joo’s Distilled series decorates the mushroom-grey wall. Available individually or as a portfolio of 20, these digital photographs capture works from the artist’s studio at various stages of completion. The fragmented sculptures are juxtaposed against one another, and are seen separated from their own contextual brief.

Don’t forget to pay us a visit at 14 Hinde Street, London, W1U 3BG.

Not local to London? Click on the links within the text to view the products online.

CONFETTISYSTEM: 100 Arrangements

March 12, 2013 by Miranda

On view January 20–March 31, 2013 

The artist-design firm CONFETTISYSTEM works in a multivalent environment that resists simple categorization by discipline. The firm creates set designs, objects, and interactive installations for a range of partners including corporate clients, musicians, and art institutions. Comfortable in an advertising campaign, on a concert stage, or in a gallery, their work can be regarded as sculpture, design, and product–a confluence that is unconcerned with differences of commercial enterprise and nonprofit, the varying demands of function and aesthetics, and distinctions between consumer and connoisseur.

For MoMA PS1’s two-story gallery, CONFETTISYSTEM (Nicholas Andersen and Julie Ho, est. 2008) has created an immersive environment inspired by the mechanics of theatrical staging and fly systems. Evoking theatrical scrims and curtains, 100 Arrangements features new and older design elements by Andersen and Ho that are suspended from above and can be adjusted to varying heights to produce nearly endless permutations. The work serves as a performance space, playing host to live events that are part of MoMA PS1’s Sunday Sessions program. The variable environment can be reconfigured to best suit each event, highlighting a compositional system that allows for a functional design. 

CONFETTISYSTEM has art directed and created installations and sets for numerous fashion brands as well as musical acts Beach House, Yeah Yeah Yeahs, and Beyonce. In addition to decorating for private celebrations and working as creative consultants for numerous private labels, CONFETTISYSTEM has created custom design work for The New York Times, American Ballet Theatre, Opening Ceremony, Lanvin, Other Criteria UK, and Pop magazine with Gagosian Gallery, among others. For the past three years, CONFETTISYSTEM has created custom stage sets for MoMA PS1’s Warm Up music series.