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Other Criteria is at @expochicago booth 911 until Sunday 25 September https://t.co/6vPWmnu7mh #DamienHirsthttps://t.co/ugzRqlGSwG
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Adam Dix’s exhibition ‘All Are Welcome’ will be running at @elevenfineart from 23 September to 29 October 2016.… https://t.co/kDf5CAeMhA
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The Goss-Michael Foundation

July 1, 2009 by Ellie

Part of the Foundation's public rotating schedule of exhibitions includes EAT ME – DRINK ME, a group exhibition featuring new acquisitions of Contemporary British Artists including: Mat Collishaw, Matthew Darbyshire, Ian Dawson, Tracey Emin, James Hopkins, John Isaacs, Rachel Kneebone, Mark Titchner, Christian Ward, and Gary Webb.

The exhibition runs from 18th June - 22nd August 2009 and takes its starting point from Lewis Carroll's Alice's Adventures in Wonderland.

Mat Collishaw, Leda and the Swan, 2006,
Marble, one way mirror, DVD projection, 198 x 99 x 41 cm

Mat Collishaw, Leda and the Swan, 2006, Marble, one way mirror, DVD projection, 198 x 99 x 41 cm

Gary Webb, Basel Split, 2008,
coloured mirrors on American White Ash and metal brackets, 241 x 559 x 18 cmGary Webb, Basel Split, 2008, coloured mirrors on American White Ash and metal brackets, 241 x 559 x 18 cm

In the foundation's own words, the exhibition 'proposes to transform the galleries into a place of reflection, introspection, and a cabinet of curiosities. This exhibition evokes the fascination in the history of art, and even more in today’s contemporary art of fairy-tales, fables, and folk-laws that can be traced back to Greco-Roman mythology in which they tried to use the supernatural to interpret natural events and to explain the nature of the universe.

You said you would always be there, 2006,
Epoxy resin, expanding foam, bronze, nickel, wax, newspaper and paint, 71 x 41 x 94 cmYou said you would always be there, 2006, Epoxy resin, expanding foam, bronze, nickel, wax, newspaper and paint, 71 x 41 x 94 cm

Combining painting, sculpture, and video in a 21st century palette the GMF curatorial team introduces ten artists to this fascinating dialogue and attempts to make sense of humanity’s need for myth.

One gallery has been transformed to accommodate Mat Collishaw’s video installation of ‘Leda and the Swan’ which evokes the conquest of beauty by telling the Greek myth of Zeus (king of the gods) who came to Leda in the form of swan to seduce her. Teasing with the viewer’s visual consciousness, James Hopkins’ sculpture ‘Inside Reflection’ draws from the techniques of optical illusionism with a Champagne bottle kaleidoscope that diverts the image from objective reality. John Isaacs’ sculpture ‘You Said You Would Always be There’ depicts a unicorn head, this solitary creature that could only be captured by unfair means lays slain on the concrete gallery floor. Known for a distinctive visual vocabulary made of broad brush-strokes and saturated by technicolour palettes, Christian Ward’s painting ‘Le Plateau’ recalls the psychedelic landscape of a fantasy world like that of Alice’s Adventures in Wonderland. ‘Basel Split’ by Gary Webb distorts the senses with the use of angled mirrors revealing how the brain normally organizes and interprets sensory stimulation, and deals with the perception of attaining awareness and understanding of natural events in the modern world.'

[caption id="attachment_1457" align="alignnone" width="486" caption="Sometimes the Dress is Worth More Money Than the Money, 2000-1, Single screen projection and sound, shot on Mini-DV, Duration: Four minutes"]Sometimes the Dress is Worth More Money Than the Money, 2000-1, Single screen projection and sound, shot on Mini-DV, Duration: Four minutes