Tim Noble & Sue Webster's 'dick and slit' sculptures explore relationship dynamics & self-image via… https://t.co/5PrVXbWesN
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The exhibition catalogue of Gavin Turk at Newport Street Gallery. Currently showing – until 19th March 2017. RRP £25
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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
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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 exhibition has been curated by London-based art consultant Catherine Loewe, who says: ‘The exhibition’s title comes from the 1978 Hot Gossip song of the same name, and also refers to the artist Glenn Brown, who used the title for one of his paintings, a meticulous rendition of a Rembrandt. Through this appropriation, Brown united something old and almost sacred with something modern, and this, in part, was the genesis of the exhibition. While all of the featured works open up myriad lines of inquiry, from challenging notions of value and authorship to examining modern morality, the show is in essence about the artists’ relationship with the art historical canon, from Old Masters to the present.’ The theme alludes to the collective hysteria surrounding the art market and fuses the double Frieze Fairs, the Contemporary and the Masters, in this case blurring the distinguishing factors. The works in the exhibition include both traditional materials and the use of new technologies in a wide variety of media, from plasticine to video projection.
Wolfe von Lenkiewicz (b. 1966), is a British artist who studied Philosophy at York University, creates immaculately rendered compositions that mine familiar visual idioms from art history, creating ambiguous compositions that carefully examine what constitutes an original work of art. He is known for the reconfigurations of well-known images from art history and popular visual culture that question art historical discourses. Lenkiewicz’s ‘post-historic’ practice deconstructs the linearity of historical perspective to challenge our notions of past and present and delineate a new space that lies outside of history. Rather than relegating a painting to a time period, recent paintings by von Lenkiewicz can be viewed more accurately as a form of hybrid, a fulcrum between ages. The work in this exhibition ‘borrows’ from Jacques-Louis David’s (1748 – 1825) icon of the French Revolution, The Death of Marat, 1793, held in the collection at the Royal Museum of Fine Arts of Belgium, and Gerhard Richter’s Wolken, or cloud paintings, whose vaporescent forms create delicate sfumato brushwork around the figure of Marat. The painting hovers between past and present, engaging with both traditional craftsmanship and the readymade through the strategy of appropriation.
Gavin Turk (b. 1967) first came to prominence as a key member of the much- mythologised Young British Artists of the early 1990s, and his oeuvre consistently deals with issues of authenticity, identity, the ‘myth’ of the artist, and the authorship of a work of art. Presented for the first time in the UK, Large Transit Disaster (Blue, Copper & Ochre), 2013, is a seminal example of Turk’s on-going Transit Disaster series. Appropriations of appropriations, Turk takes on the iconography of Andy Warhol’s infamous Death and Disasters series, 1962-63, the imagery for which the Pop master took from newspaper photographs of fatal car accidents. Where Warhol’s repetitions of the images blunted their tragedy, Turk takes inspiration from the 1960s silkscreens to comment on contemporary British society. Rather than an American car, Turk uses the icon of the white transit van, a symbol of a disappearing era of working class Britain. The expressive shapes of the van’s distorted metal also allude to the underlying social tensions that led to the 2011 London riots. In recasting an iconic work from the annals of art history, Turk emphasises the power of artists to transform materials and question the uniqueness of creativity.
Artists Glenn Brown, Luke Caufield, Gordon Cheung, Stephane Graff, Henry Hudson, Nick Hornby & Sinta Tantra and Mariele Neudecker are also part of this exhibition.
21 Evesham Street, London W11 4AJ
12th January – 24th February 2017
Private View: Wednesday, 11th January, 6.30 – 8.30pm
For this year's iteration of the LA Art Show, Other Criteria are pleased to present a bright and bold show of unique and editioned work by Harland Miller, Thomas Scheibitz, and John Hoyland, as well as a selection of Damien Hirst’s latest releases.
Already considered one of the largest international art fairs in the United States, with 70,000 attendees last year, the LA Art Show is significantly expanding its footprint for its 22nd edition opening January 11-15, 2017. The 2017 fair will feature the most international list of exhibitors to date, with more than 100 galleries from over 20 countries including China, Czechoslovakia, France, Japan, Mexico and the United Kingdom; an expanded group of corporate and media partners, including Stella Artois and the China Cultural Media Group, among many others; and an exciting roster of new exhibitions and programs curated by major local and international museums and arts organizations.
In recognition of Los Angeles’s new position as an international hub for cutting-edge contemporary art across all mediums — from painting, sculpture and drawing to performance, video, and installation — the fair’s board of directors is placing a new focus on post-war modern and contemporary artwork. This year the LA Art Show will also launch ROOTS, an exclusive curated section of historical dealers from the old Los Angeles Fine Art Show, presenting exhibitions of 18th Century European, Contemporary Realism, California Plein Air and Hudson River School paintings.
“As Los Angeles takes its place at the vanguard of the global art scene, our ability to adapt and evolve to meet the art market’s current trends and provide strong civic support is vital,” says LA Art Show producer and partner Kim Martindale. “The evolving role of the art fair as a fulcrum for art commerce, connecting galleries, artists, curators and international and multi-generational collectors drives our program.”
For the third year in a row St. Jude Children’s Research Hospital® will be the beneficiary of LA Art Show’s Opening Night Preview and Premiere Party, which will kick off festivities on January 11, 2017 with a portion of ticket proceeds benefitting the hospital’s mission. Last year’s Opening Night Preview was attended by more than 7,000 VIPs and was hosted by Anne Hathaway and Adam Shulman.
The LA Art Show is strategically situated at the city’s dynamic epicenter with convenient access to world-renowned LA LIVE!, home to the Grammy Awards, The Grammy Museum, and an impressive entertainment complex that includes the Nokia Theatre, the Staples Center Arena, top restaurants, and The Ritz Carlton Hotel and Residences. Patrons of the arts gladly drive to Downtown L.A. for the best in Classical Music (Disney Hall), Theater (Mark Taper and Ahmanson), and Contemporary Art (MOCA, Art District).
Los Angeles Convention Center
1201 S Figueroa St, Los Angeles, CA 90015
Red card special collectors preview: January 11th, 3pm – 5pm
Opening night: January 11th, 7pm – 11pm
Fair: January 12th – 14th, 11am – 7pm & 15th, 11am – 5pm
The exhibition to be held at mfc-michèle didier gallery will be a presentation of works by British artist Fiona Banner. On this occasion, Banner – who continuously investigates the slippage between object, image and text through the prism of graphic and editorial works – has hinged the exhibition on her adaptation of Joseph Conrad’s novella Heart Of Darkness.
Conrad’s tale, published in 1899, relates a slow voyage up the Congo River through the eyes of a young British officer named Marlow who sets out to find Kurtz, an ivory trader reported missing. The narrative acts as a pretext, allowing Conrad to denunciate the horror and hostility of colonialism. It is this idea of a narrative structure as space for criticism that also appealed to later generations of film directors.
Thus, when Orson Welles penned a script adapting Conrad’s novella, it was not to decry the violent conflict wreaking havoc in the colonial Empires but to signal the rise of fascism at the time in Europe. However, the film never made it to the screen after its producers took the decision to pull out, not backing the financial costs for political reasons. In 2012, Banner directed what was to be the world premier of Welles’s Script.
In 1970, with the production of Apocalypse Now, Francis Ford Coppola took on Conrad’s narrative, this time updating its historical setting to the mess of the Vietnam War. Banner references this film in her first publication The Nam, 1997. Here she presents the book blown up in the form of a coffee table, humorously recalling the words of one critic when referring to the over blown scale of her book, “Fiona Banner’s The Nam is not so much a coffee table book as a coffee table.”
Having continuously triggered multiple contributions, each inherent to a specific context or generation of conflict, Heart of Darkness was appropriated again in 2015 by Banner. A body of works has stemmed from her adaptation of the tale, spanning a variety of media and commenting on a political reality – the violent nature of economics in today’s society.
In what constitutes the centrepiece of the exhibition – Heart of Darkness, an illustrated reprint of Conrad’s original novella – Banner juxtaposes her own drawings representing swathes of magnified pinstripe fabric, the Square Mile trader’s uniform de rigeur with images she commissioned from Magnum conflict photographer Paolo Pellegrin, giving him the instruction to photograph the financial district of London as a conflict zone. The publication takes the form of a luxury magazine.
We encounter the publication Heart of Darkness for a second time in Banner’s film Phantom (2015). A drone camera banks and hovers, attempting to focus on the magazine’s image spreads; the downdraft from the spinning rotors simultaneously causes the pages to turn and chases the magazine across the ground.
In addition to the film, mfc-michèle didier is also pleased to present a series of five movie posters entitled The Greatest Film Never Made. Destined to act as genuine promotional tools, these posters (commissioned by Banner from three industry movie poster design studios) echo the narrative’s dramatic intensity through the use of radical contrasts in black and white.
With Banner’s work Breathing Bag, Conrad’s words see a new life breathed into them: A plastic bag fixed to the wall bearing an inscription seems to inhale and exhale air, deforming the sentence in turns between the original “Mistah Kurtz – He dead ” and the deceptive “Mistah Kurtz – He not dead ”.
These four works will be accompanied by Banner’s Full Stop Bean Bags, quite literally soft bean bags which take on the shape of full stops in different typefaces, including “Font” – The artist’s typographical chimaera which crossbreeds typefaces previously used in her work. In the past Banner has rendered these bean bags in Polystyrene and Bronze, here they are playfully blown up to human proportions and provide a moment to sit, to pause for thought.
Newly produced pieces will also join the body of existing works: Taking on the aspect of wallpaper, a large drawing covers an entire side of the gallery, presenting us with a close-up view of a suit-wearing man’s crotch. The black and white lines, here blown up to extreme proportions reference the pinstripe pattern so prevalent in the Financial Industry.
Lastly, no exhibition dedicated to Fiona Banner could omit her practice of publishing and so a selection of publications from the artist’s own imprint, The Vanity Press (created in 1997) will be on view and available for consultation.
66 rue Notre-Dame de Nazareth, 75003 Paris
Opening on Thursday November 17, 2016 from 6 pm to 9 pm
Exhibition from November 18, 2016 to January 7, 2017
For this year’s Art Miami Fair Other Criteria are pleased to present an exclusive Damien Hirst print release, as well as his highly anticipated sculptural collaboration with the renowned Nymphenburg Porcelain Studio. We will also be exhibiting new original work by Harland Miller and taxidermist artist Polly Morgan.
Art Miami is the leading international contemporary and modern art fair that takes place each December during art week at the midtown Miami complex in the renowned Wynwood Arts District. It is one of the most important annual contemporary art events in the United States, attracting more than 82,000 collectors, curators, museum professionals and art enthusiasts from around the globe annually.
Entering its 27th edition, Art Miami remains committed to showcasing the most important artworks from the 20th and 21st centuries. One of the nation’s leading international contemporary and modern art fairs will showcase an array of iconic and exemplary works, dynamic projects and special installations from more than 130 international exhibitors.
This year’s fair kicks off on Tuesday evening with a VIP Private Preview to benefit Pérez Art Museum Miami (PAMM) in the Art Miami Pavilion (3101 NE 1st Avenue, Miami, FL), sponsored by Christie's International Real Estate. As one of the top-ranked international art fairs 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, members of the press and art world luminaries annually to its 200,000 square foot pavilion in the Wynwood Arts District.
Art Miami Pavilion | Midtown Miami – Wynwood 3101 NE 1st Avenue Miami, FL 33137
VIP Preview: November 29, 5.30pm – 10pm
Fair: November 30 – December 3, 11am – 8pm; December 4, 11am – 6 pm