tag:blogger.com,1999:blog-12623002178214122772024-03-12T18:57:48.095-07:00Contemporary ArtBenhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.comBlogger34125tag:blogger.com,1999:blog-1262300217821412277.post-53069874220587776782010-10-30T13:52:00.000-07:002010-10-30T13:52:04.385-07:00Putting the sex back into nudes<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 16px; line-height: 19px;">The power of Degas and Michelangelo shatter the pleasant 18th-century fiction of the sexless nude</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTVMQkDBuXq64FdMasIb3xoceSbBj2Rgpux9dLZg5ScOEH-Uj53qxVy2m7GX6wc5zd2d4XO-22qG9CL21lqFCJnO_8QRdlKO81DSjEhk6xYGdSRaA9nu6lK9kA7MOyTSiidVIwtrXrj0jJ/s1600/A-reproduction-of-Degass--006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTVMQkDBuXq64FdMasIb3xoceSbBj2Rgpux9dLZg5ScOEH-Uj53qxVy2m7GX6wc5zd2d4XO-22qG9CL21lqFCJnO_8QRdlKO81DSjEhk6xYGdSRaA9nu6lK9kA7MOyTSiidVIwtrXrj0jJ/s320/A-reproduction-of-Degass--006.jpg" width="320" /></a></div><span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; line-height: 19px;"><br />
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<span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; line-height: 19px;"><span class="Apple-style-span" style="color: #333333; font-size: 14px; line-height: 18px;"></span></span></span><br />
<span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif;"><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">There are a lot of paintings from London's <a href="http://nationalgallery.org.uk/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="National Gallery">National Gallery</a> described in my book <a href="http://www.guardianbookshop.co.uk/BerteShopWeb/viewProduct.do?ISBN=9780743285391" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="The Lost Battles">The Lost Battles</a>, about Leonardo da Vinci, <a href="http://www.guardian.co.uk/artanddesign/michelangelo" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Michelangelo">Michelangelo</a> and the Renaissance. Of course there are: Britain's public museum of European <a href="http://www.guardian.co.uk/artanddesign/painting" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Painting">painting</a> is home to some of the supreme works of the period. But the picture there that actually influenced me most during the final writing of the book was not a Renaissance work and is not mentioned in the text. It is <a href="http://www.guardian.co.uk/artanddesign/degas" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Edgar Degas">Edgar Degas</a>'s <a href="http://www.nationalgallery.org.uk/paintings/hilaire-germain-edgar-degas-after-the-bath-woman-drying-herself" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="After the Bath: Woman Drying Herself">After the Bath, Woman Drying Herself</a>.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The power and passion of this nude fired me at a critical moment when I was getting to grips with a central and tricky theme of the book. But why? I won't keep you guessing. Degas's study of a young woman seems absolutely direct: an observation inflamed by desire. But it is also a homage to Michelangelo. Her pose is closely modelled on male nudes that Michelangelo did in competition with Leonardo da Vinci in Florence in 1504-6.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Degas drawing translates Michelangelo's male bodies into a female image. And, to be blunt, that helped unlock my own appreciation of the erotic power of the youthful art of Michelangelo. I refuse to see the "nude" as being different in some elevated way from the "naked". Eroticism and intimacy are inherent in any strong depiction of the human body, but writing about the nude is tricky. You can't really do it unless you acknowledge your own feelings – which, I suppose, is the reason the pleasant fiction of the sexless nude was invented by 18th-century critics: to avoid embarrassment.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The drawing by Degas helped me recognise the sexual nature of Michelangelo's art. So the National Gallery helped me with the book, just as it has helped me to learn about great art, and it will mean a lot to be speaking here about The Lost Battles on <a href="http://nationalgallery.org.uk/whats-on/calendar/lunchtime-talk-15-november-2010" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="15 November">15 November</a>. I promise not to be too embarrassing, either about nudes or about my love of the gallery.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">• Jonathan Jones will be the speaker at the National Gallery's lunchtime talk on Monday 15 November from 1-1.45pm.</div></span>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com1tag:blogger.com,1999:blog-1262300217821412277.post-13278100784531837892010-10-30T13:50:00.000-07:002010-10-30T13:50:29.762-07:00Clive Head's National Gallery exhibition draws record crowds<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY6W6hUlJe5BWqrOoSIE6_8Tz17XGhVrjVGhogLdU7-QTPtFb0184dsyki1bFNPuvVDQSWu4rLXaSb57DpVUticJifhROOBDH76-rpsnSDXDbK16q_mgIqgbWq7Z9XjMWrzIbTK63CdNho/s1600/Clive-Heads-Coffee-at-the-006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY6W6hUlJe5BWqrOoSIE6_8Tz17XGhVrjVGhogLdU7-QTPtFb0184dsyki1bFNPuvVDQSWu4rLXaSb57DpVUticJifhROOBDH76-rpsnSDXDbK16q_mgIqgbWq7Z9XjMWrzIbTK63CdNho/s320/Clive-Heads-Coffee-at-the-006.jpg" width="320" /></a></div><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: arial, sans-serif; font-size: 14px; line-height: 18px;"></span><br />
<div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">A little-known Yorkshire painter has become the talk of <a href="http://www.guardian.co.uk/uk/london" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on London">London</a>'s art world after drawing record crowds to an exhibition at the <a href="http://www.guardian.co.uk/artanddesign/national-gallery" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on National Gallery">National Gallery</a>.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Visitors have queued in the first fortnight to see Clive Head's modest sideshow to the gallery's current major display of Canalettos – a linked display commissioned to give a contemporary twist to the great Venetian's work.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Based in Scarborough, where he headed the art department at York University's local campus, the interest in 45-year-old Head's three large "cityscapes" has astonished gallery staff.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"He has broken the record for a contemporary artist in Room One [the gallery's small temporary exhibition space]," said Colin Wiggins, the National Gallery's chief curator.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"But it is the time which people are spending in front of his pictures that is really impressive. The room is always thronged. We are busy, busy. The statistics speak for themselves – 7,300 visitors in the first week, 9,300 in the second – but the level of interest defies that sort of analysis by numbers.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"Head's work seems to be the kind of painting that people really love. There's a sense of delight in discovering that it is alive and well, alongside what might be seen as 'Turner Prize art" and the work of more highly-publicised artists."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Head is by no means a secret in the art world, with his paintings fetching up to £160,000 and appearing regularly in West End galleries, but his name has seldom made major headlines. His career was knocked back by a muscular condition five years ago, but he recovered and developed a style variously described as Hyper or Cubist Realism.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"I rate him as the first artist to create a visual language of the 21st century," said Michael Paraskos, an art critic and former colleague of Head's, whose monograph on the artist came out this year.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"His technique is complex, detailed and apparently realistic – but only apparently. Just look closely, as all these visitors are doing, at what is going on."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Head, who discusses his work with Paraskos at the National Gallery on Monday, said that he was warmed and intrigued by the interest – to the extent that he spent time this week watching people watch the paintings.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"There is an appreciation of technique – you know the sort of thing: 'This chap knows how to paint,' but what really seems to appeal is the gradual discovery of how much is happening in the paintings. It's the spatial complexity, the sense that different times and places are contained within initially seems a straightforward, hyper-realistic picture."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Head's guest stint in Trafalgar Square followed a visit by Wiggins to the Marlborough Fine Art gallery two years ago, when negotiations for the Canaletto exhibition were in progress.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Wiggins said: "I went there to have a look at their summer show, which features work by all their artists. I saw the effect of Head's work. People were mesmerised."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Wiggins and his colleagues sensed a connection with Canaletto's own spatial mastery and intrigue, and decided to offer room for three paintings, which will be followed in December and January by a second guest exhibition by another "cityscape" master, Ben Johnson.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"Contemporary work in the National Gallery is a very delicate matter. When artists are exhibiting alongside Rembrandt and Michelangelo, there is a clear risk that it can end up looking stupid," said Wiggins. "That is certainly not the case here. We have a very fine example of contemporary and classical art which connect."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Head works mainly in London, and the trio of paintings are of Haymarket, seen through almost 300 degrees, a cafe in South Kensington, both inside and out, and a stairway in Victoria Underground station, which gives a powerful sense of taking in different views.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Head said that living in Yorkshire had allowed him detachment, something which has also marked the drama of Scarborough's best-known resident, Sir Alan Ayckbourn. Head said: "It's helpful to keep a distance from fads and fashions. You are more likely to find your own path.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"Scarborough is a very level-headed place. People know who I am but they have other things to get on with. I get stopped in the street more often in Mayfair than I do in Scarborough."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Head's agent at Marlborough, Armin Bienger, said that the reaction in Room One had not surprised him, after previous experience in the West End. He said: "Every time I have showed Clive's work, I have had this experience. It is like a magnet. People become more and more fascinated, the more they look.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"This is not remotely like photography, nor like traditional photorealism. The landscapes exist in the real world, for example at the Cottage Delight cafe near the Natural History Museum, but they are not as Clive shows them. He has found a way of creating an image which takes us through time."</div>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-39407450977311747482010-10-30T13:48:00.000-07:002010-10-30T13:48:55.989-07:00This week's new exhibitions<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: arial, sans-serif; font-size: 14px; line-height: 18px;"></span><br />
<h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Breon O'Casey, London</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Leggy birds with beaks and wings fashioned as graceful geometries are typical of Breon O'Casey's sculpture. So too buxom Earth Mothers, primitive nudes with vast hips, cast in mottled bronze. It's no surprise to learn that this son of the Irish playwright Sean O'Casey was assistant and friend to Barbara Hepworth. Now in his 80s, he's one of the last surviving members of the St Ives School. His first love, though, is<a href="http://www.guardian.co.uk/artanddesign/painting" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Painting">painting</a>. Canvases feature classic abstract subjects from nudes to landscapes, in the manner of the gods of modern art, Picasso and Mattisse. Birds and fish become teardrop shapes in earthy hues, a view of a Venetian canal is transformed into mirrored half-moons while a reclining nude becomes a satisfying series of ripe ovals, half-moons and circles.</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPXcANpKUbU5FJk2vjbgwjXyoZqsyxWLtTRcg9KAwJvwJE1RCpgPyG7pqGHImD5hs9JCCQQlIA3Jt-zY0meIiARbh7EOj9rCAf9DCUcw2ovMb33adYRVDnUtQkTEjalULYemyh__ZGpCmq/s1600/Breon-OCasey-005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPXcANpKUbU5FJk2vjbgwjXyoZqsyxWLtTRcg9KAwJvwJE1RCpgPyG7pqGHImD5hs9JCCQQlIA3Jt-zY0meIiARbh7EOj9rCAf9DCUcw2ovMb33adYRVDnUtQkTEjalULYemyh__ZGpCmq/s320/Breon-OCasey-005.jpg" width="320" /></a></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><b><i><br />
</i></b></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Somerset House, WC1, to 30 Jan</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Skye Sherwin</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">David Gledhill, Corin Sworn, Manchester</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">David Gledhill's Doctor Munscheld photo-realist paintings are meticulous renditions taken from a 1950s photo album picked up from a Frankfurt flea market. The paintings' chilling air of displaced nostalgia derives from the seeming incompatibility of dead ordinary family snaps and the artfulness of Gledhill's painterly dedication. Corin Sworn's Endless Renovation visuals are a run of projected slides salvaged from a skip. Sworn adds a voiceover monologue that transforms them into a plaintive meditation on the unstoppable passage of time.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Castlefield Gallery, to 19 Dec</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Robert Clark</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Contemporary Eye, Chichester</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Using craft techniques in contemporary art has gone from being a radical bit of revisionism to par for the course in recent years. The subversive works here represent both newbies and artists at the vanguard of the trend. Laura Ford's Chintz Girl riffs on the oppressive limits of the mantelpiece while Debbie Lawson turns home decor into a site for imaginative escape, with her Turkish rug sprouting fabric flowers. There are stuffed animals aplenty in Nina Saunders's amalgams of taxidermy forest creatures and elaborately upholstered furniture, but no show of this kind would be complete without Grayson Perry. Here he switches ceramics for an anti-war tapestry, depicting guns, helicopters, Osama Bin Laden and a priapic angry teddybear.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Pallant House Gallery, to 6 Mar</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">SS</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Rebecca Lennon, Liverpool</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Rebecca Lennon's first solo show is a celebration of our common fallibilities titled We Are Stuck Here Together. Past work has included a pigeon video, and a sound collage of the sole word Satisfaction sampled from 38 cover versions of the Rolling Stones classic. Lennon's gift lies in knowing precisely what to lift from the most seemingly arbitrary of sources. The current show includes such ready-made gems as a film clip of a man acting out a sleep disorder and a painting apparently offered to a debt collecting agency in part payment for a debt. And all these things are posited in a spirit of deadpan earnestness as documents of rare cultural import. And, indeed, they could well be just that.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ceri Hand Gallery, to 28 Nov</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">RC</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Rirkrit Tiravanija, London</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Rirkrit Tiravanija's people-friendly projects included cooking Thai curry for gallery-goers and transforming a white cube into a makeshift studio for bands to practice in. In recent years, however, his work's got less utopian and more political. Here he explores the business of art in two very different worlds: London and Thailand. An eight-hour video portrait shot in continuous close-up records the working day of an aged Thai man, the artist's model. It's an endurance test, like one of Andy Warhol's early films. Meanwhile, slides show Tiravanija's London gallerist at Speaker's Corner, using a blackboard to announce daily tasks like emailing collectors.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Pilar Corrias, W1, to 1 Dec</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">SS</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Joan Ainley, Castle Donington</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Joan Ainley's new set of collaged prints, The Eye Of Time Rewrites History, is the second in her ongoing series Portraits Without Pictures, Sound Without Noise. Ainley's work tends towards the poetic and enigmatic, more obliquely evocative than clearly descriptive. She has a distinct taste for the conjuring of objects that have a unique drawing power but which frustrate any attempt at prosaic interpretation. She goes in for empty frames and blank mirrors, and contraptions that hint at the potential for creative sound rather than producing actual audible music. The raw materials for her collages were sourced from old catalogue illustrations for barbershop supplies, lab equipment and Army & Navy stores. The antiquated engravings excavate the surreal formalities of barely obscured collective memories of railway station clocks, starched collars and cutthroat razors.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Tarpey Gallery, to 4 Dec</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">RC</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Pioneering Painters: The Glasgow Boys 1880-1900, London</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Until the Glasgow Boys came along, Scotland's <em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">fin-de-siècle</em> painting was a staid, sombre affair. At the end of the 19th century they looked to innovators across the water, introducing the hot colours of southern France, the dappled light of impressionism and the social span of French realism in their experimental painting. Taking their materials out of the studio and into the countryside to work in the fresh air, the group gave rural life in the chilly north an image makeover. Included in this survey are such delights as James Guthrie's depictions of age and youth, his little girl herding geese, and Arthur Melville's vision of the Trossachs as a fiery autumnal haze. The highlight though is EA Hornel and George Henry's The Druids: a cavalcade of Celtic priests, resplendent in scarlet, aquamarine and gold leaf against a winter backdrop.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Royal Academy Of Art, W1, Sat to 23 Jan</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">SS</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Jorn Ebner, Newcastle upon Tyne</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Jorn Ebner's graphic digital mischief tends to fluctuate between a utopian heaven and a dystopian hell in an atmosphere of distinctly spaced-out bewilderment. The overall title of his recent work Uncertainty Underneath Immense Skies is taken from Jack Kerouac's On The Road. Ebner's computer-enabled protagonists might prance about amidst the flower-power daisies and appear to go in for elaborate variations on a theme of free love, but there's an ever-present undertone of deadpan irony. In one inkjet print titled Richard Brautigan Pounding At The Gates Of American Literature, the trouserless poet stands forlornly above a prone nude girl with his erection pointing to a sky infected by a multicoloured psychedelic plague.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Vane, to 27 Nov</em></strong></div><div><b><i><br />
</i></b></div>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-8723704760560278882010-08-23T08:28:00.000-07:002010-08-23T08:33:16.955-07:00Gilbert & George’s only major paintings go on display in Netherlands<h5 style="color: black; font-family: Georgia, 'Times New Roman', Times, serif; font-size: 1em; font-weight: lighter; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 5px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Huge series of triptychs may be sold to Dutch museum</h5><div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><br />
<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><img alt="Gilbert___George_The_Paintings_1HR.jpg.jpg" src="webkit-fake-url://47B22E57-9D38-498C-88FB-B92C4F1D5B67/Gilbert___George_The_Paintings_1HR.jpg.jpg" /></div></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="color: #999999; font-family: arial, 'sans serif', helvetica; line-height: 16px;">Gilbert & George, The Paintings (With Us in the Nature)</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="color: #999999; font-family: arial, 'sans serif', helvetica;"><span class="Apple-style-span" style="line-height: 16px;"><br />
</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="color: #999999; font-family: arial, 'sans serif', helvetica;"><span class="Apple-style-span" style="line-height: 16px;"><span class="Apple-style-span" style="color: black; font-family: Times; font-size: medium; line-height: normal;"></span></span></span></div><span class="Apple-style-span" style="color: #999999; font-family: arial, 'sans serif', helvetica;"></span><br />
<span class="Apple-style-span" style="color: #999999; font-family: arial, 'sans serif', helvetica;"><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">British artist duo Gilbert & George are likely to sell a monumental early work that has remained in their personal collection since it was made in 1971—a set of six triptychs that together total nearly 30 metres in length. The Kröller-Müller Museum in Otterlo, the Netherlands, is to borrow <i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Paintings (With Us in the Nature)</i>—the only major paintings ever made by the artists—and it hopes to then raise the money to buy the work.</div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Kröller-Müller director Evert van Straaten told us that he first met Gilbert & George in 1971, a few months after the work was completed and while it was on show at the Stedelijk Museum in Amsterdam. “I was puzzled and intrigued, because they called themselves ‘the living sculptors’. Painting was becoming seen as obsolete,” he said. <i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Paintings</i> remained in Van Straaten’s mind for nearly 40 years, and last year he contacted Gilbert & George, asking if they still owned it.</div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Paintings</i> comprises six huge triptychs, each 2.3m by 6.8m. Based on photographs, the images were then crudely transferred to canvas, overpainted and splashed with green. The youthful figures of Gilbert & George appear in the landscapes of each of the central panels. Since 1972 the work has only been exhibited very occasionally, in Edinburgh (1986), Turin (1992), Porto (1994) and Bordeaux (1990, 1997, 2001 and 2005).</div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Kröller-Müller Museum is set in a national park in the eastern Netherlands, with the gallery windows framing views of the surrounding woods. This makes it a particularly appropriate place to display the Gilbert & George landscapes. After completing this work, the artists not only abandoned painting for photography, but focused on their urban surroundings, reflecting east London life.</div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Van Straaten is borrowing <i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Paintings</i> for a temporary display (9 July-21 November), and while the work is on show he will fundraise to purchase it. Discussions on the price are currently underway, and the hope is that it will be below the market value, since Gilbert & George are keen for the work to remain at the Kröller-Müller.</div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Paintings</i> will need a very large gallery for itself, so it might be shown for three months a year. This opens the possibility that the work could be lent to other exhibitions. Van Straaten is also keen on an eventual extension to the museum building, which would provide more space for the British duo’s unique venture into painting.</div></span></div>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-3552984132973851362010-08-23T08:26:00.000-07:002010-08-23T08:26:33.226-07:00So much more than the “Father of Pop”<h5 style="color: black; font-family: Georgia, 'Times New Roman', Times, serif; font-size: 1em; font-weight: lighter; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 5px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">That Richard Hamilton has such a relatively low profile is surely scandalous</h5><div><br />
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<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><img alt="books-Hamilton.jpg.jpg" src="webkit-fake-url://7232C3DC-5DD6-40E0-BBDA-E7883E6CE920/books-Hamilton.jpg.jpg" /></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="font-family: Times; font-size: medium;"></span></div><h5 style="color: black; font-family: Georgia, 'Times New Roman', Times, serif; font-size: 1em; font-weight: lighter; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 5px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="color: #999999; font-family: arial, 'sans serif', helvetica; font-size: 12px; line-height: 16px;">Richard Hamilton, I'm Dreaming of a White Christmas, 1967-68</span></h5><div><span class="Apple-style-span" style="font-family: arial, helvetica, 'sans serif'; font-size: 14px; line-height: 18px;">The publication of this book is evidence of a continuing historical and cultural injustice. How could it be that Richard Hamilton is identified by his publishers as “a key figure in 20th-century art” and at the same time be “still little-known in the US”? It is just as alarming that these disjunctive (but, on reflection, hardly contradictory) phrases form the first sentence for this book’s blurb, but, more surprisingly, this work is the only book (rather than an exhibition catalogue) in print on the artist.</span></div><div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Thus it carries quite a burden of expectation, with mixed results. How could a book that collects together texts garnered from magazines and exhibition catalogues satisfy one’s thirst in such a desert of available publications? Yet satisfy it does because of the judicious choice of texts and by the way it suggests how one might view a side of Hamilton that has been emerging since the 1980s—as a history painter engaged in the translation of personally felt moral and political issues, a development seen most recently in the exhibition earlier this year, “Richard Hamilton: Modern Moral Matters” at London’s Serpentine Gallery (a slightly altered version of “Richard Hamilton: Protest Pictures” at Inverleith House two years earlier).</div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">This new view of the artist is signalled by the decision to reproduce Hamilton’s painting of the IRA’s “dirty protest” in the Maze prison, <i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Citizen</i>, 1982-83, on the book’s front cover. It is a world away from the more commonly accepted view of Hamilton as the “Father of Pop” that might have been communicated, say, by his proto-pop collage of 1956,<i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Just What Is it That Makes Today’s Homes So Different, So Appealing?</i>The choice of cover image is confirmed by Hal Foster’s essay “Citizen Hamilton” (reprinted from <i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Artforum</i>). Foster’s is the last essay in this book, and makes the identification of Hamilton as history painter most forcefully.</div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">However, it is Mark Francis’s introductory essay from 1988, a text that brilliantly sets the work of the 1980s in context, such as the portrait of Margaret Thatcher, <i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Treatment Room</i>, 1983-84, and <i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Citizen</i>, and not just alongside earlier works of political hue (Hugh Gaitskell as a <i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Famous Monster of Filmland</i>, 1964), but also with regard to enigmatic paintings such as that of Bing Crosby, <i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">I’m Dreaming of a White Christmas</i>, 1967-68, and Hamilton’s long engagement as reader and interpreter of James Joyce.</div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="bodytext" style="color: black; font-family: arial, helvetica, 'sans serif'; font-size: 0.9em; line-height: 1.3em; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">It is Joyce, as Francis explains, that provides one way of understanding how politics, pop and Hamilton’s long held fascination with the mechanics of making and translating images (not just painting, but also, primarily, photography and other forms of printmaking) co-exist. One clear way is by reference to the Joycean notion of “epiphany”, paraphrased by Hamilton as “a crystallisation of thought that gives us an instant awareness of life’s meaning”, and also by his work of the same name from 1964—a giant-sized presentation of a button badge bearing the words “Slip It To Me”. Epiphany describes a revelation that is by definition personal, and informs all areas of Hamilton’s practice as this book starts to make clear.</div></div><br />
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</div>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-35804062446930361612010-08-23T08:21:00.000-07:002010-08-23T08:21:39.476-07:00Marlene Dumas's paintings of nudes and kids are always unsettling.<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><img alt="Marlene-Dumas---Bronze-Me-001.jpg" src="webkit-fake-url://174B4F39-73F2-4577-958B-7A3916CA9DEF/Marlene-Dumas---Bronze-Me-001.jpg" /></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; line-height: 16px;">Bronze Meryl, 1998 (detail), by Marlene Dumas. Photograph: copyright Marlene Dumas</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px;"><br />
</span></span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px;"><span class="Apple-style-span" style="color: #333333; font-size: 14px; line-height: 18px;"></span></span></span></div><span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif;"><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://www.saatchi-gallery.co.uk/artists/marlene_dumas.htm" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Marlene Dumas">Marlene Dumas</a> is like Marmite. You either love her or you hate her. I have loved her since the 1990s, when I first encountered her paintings of nude women: transformed versions of the stock images of commercial pornography, thoroughly recognisable, unsentimental, sometimes brutal, but at the same time profoundly compassionate. These female figures have been dredged from the very edges of the world, complying perforce with their own exploitation, spreading their legs, squeezing their breasts together, looking at the viewer through bruised thighs. Dumas's way of <a href="http://www.guardian.co.uk/artanddesign/painting" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Painting">painting</a> them veils them, dissolves their edges as if by pooling body fluids.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Some people rage that she is adding to her subjects' humiliation and exploiting them in her turn, but it seems to me that her frame of reference includes the rest of us in a single venal culture that lives by prostituting everything, including art. Innocence would not have recognised these pictures for what they were. Dumas's brush tars us all. She works slowly, distilling her archetypal image from all kinds of media sources, and for the last 10 years there have been more buyers for her work than there were works to buy.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Dumas was born in South Africa 57 years ago; she trained first in Cape Town and then at Atelier 63, an art school in the Netherlands. Success came swiftly. After one-woman shows in Paris and Basel, she entered into a relationship with the <a href="http://www.galeries.nl/mijngalerie.asp?galnr=654&marge=6" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Galerie Paul Andriesse">Galerie Paul Andriesse</a> in Amsterdam, which endures to this day. By the beginning of the 1990s, she was becoming a name outside Europe, with important exhibitions in New York, Chicago and Tokyo. When Charles Saatchi featured her in his first <a href="http://www.saatchi-gallery.co.uk/artists/exhibition.htm.en" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Triumph of Painting">Triumph of Painting</a> exhibition in 2005, her prices on the primary art market increased tenfold.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Chief among her collectors, besides Saatchi, was <a href="http://www.dacra.com/bios.php" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Craig Robins">Craig Robins</a>, the developer who transformed Miami's South Beach and masterminded the<a href="http://www.miamidesigndistrict.net/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Miami Design District.">Miami Design District</a>. Altogether, Robins acquired 29 works by Dumas, including Reinhardt's Daughter, painted in 1994. (The Reinhardt it refers to is the American abstract-expressionist painter Ad Reinhardt, best known for his <a black"="" href="http://squarewhiteworld.com/2009/05/27/poetry-of-physics-as-of-painting-diagramme-notwithstanding-the-reversability-of-time-or-as-of-the-three-paradoxes-as-in-deleuze-and-the-redundancy-of-the-possible-being-everything-is-alive/" paintings"="" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">"black" paintings</a>.) Dumas's images of children, including her own, are always unsettling. To a shocked viewer who asked what age the child in one of her pictures was, Dumas snapped, "It's not a child. It's a painting." (Go, girl!)</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">In 2004, Robins needed cash to finance his divorce, so he took Reinhardt's Daughter back to Jack Tilton, the New York dealer who sold it to him. Tilton sold it to "a Swiss gallery" who had a buyer for it, for $925,000. David Zwirner, another New York dealer who was wooing Dumas, told her about the sale. Dumas keeps a blacklist of collectors who buy her work only to <a href="http://en.wikipedia.org/wiki/Flipping" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="flip">flip</a> it, and Robins found himself on it. He wanted to buy three of the best pictures in her last New York exhibition and found that his money was no longer good enough. So in March he<a href="http://latimesblogs.latimes.com/culturemonster/2010/04/robins-v-zwirner-on-marlene-dumass-marketand-blacklist.html" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="brought a lawsuit ">brought a lawsuit </a>alleging breach of a confidentiality agreement by Zwirner, demanding $3m in compensatory damages, plus another $5m in punitive damages. He lost. Though <a href="http://artsbeat.blogs.nytimes.com/2010/05/21/art-collector-fails-to-get-court-order-against-gallery/?partner=rss&emc=rss" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="the judge was disgusted">the judge was disgusted</a> by what the proceedings had revealed about the international fine art milieu, "a world of self-proclaimed royalty full of 'blacklists', 'greylists' and astonishing chicanery", he could find no evidence of a binding guarantee of confidentiality, nor of any breach of contract or agreement.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">As New York is the most parochial of cities, and the art scene its most incestuous clique, the court case kept the chattering classes entertained for weeks. Some of the blogs bitched that Dumas got thousands from the sale anyway, so where was the beef? She didn't, and she couldn't, because the New York art market acknowledges no <em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">droit-de-suite</em>, which entitles artists to a share of prices fetched for their work on the secondary art market; that is, when a work is sold for a second or subsequent time. Some would say that the New York art market keeps its ascendancy because it has no <em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">droit-de-suite</em>, but even if it had, Dumas would have had no more than a nibble of the hundreds of thousands of dollars Robins made from selling her work.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://www.cinoa.org/page/2315" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Droit-de-suite"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Droit-de-suite</em></a> is so mean that you wonder if it's worth the paperwork. It also hits the small collector much harder than the big. In Europe, which includes the UK, if the artist is alive or less than 70 years dead, he or she or the artist's legatees can expect 4% of the first €50,000 (£41,000) reached in a secondary sale, 3% of the next tranche to €200,000, 1% of the next to €350,000, and so on in descending increments as the price gets higher. After the price reaches €2m, the artists can claim nothing; €12,500 is the maximum they can receive.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Even at the level of primary sale, artists make more money for other people than they do for themselves. Commercial galleries set their own commission, which is seldom less than 50% of the agreed price for a work; if the gallery is launching an unknown, it may ask for as much as 90%. Fine art auctioneers also set their own rates, with the difference that both buyer and seller will be expected to pay commission of 20% to 30%. It is far more profitable to trade in art than to make art. Marlene Dumas may live to regret that she bit the hand of her most loyal fan.</div></span>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-46283065843280224652010-08-21T15:16:00.000-07:002010-08-21T15:16:29.997-07:00This week's new art picks<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh65fn7NAgGzBNNI7shBDfyqD47bmeJomlW0hTqEOfEWfNIjrGD689VDPn5YQ-xEqfGtwVLqWSG-SE7d5684ZlwEDQs864kvCC2uznHVYqFVnUAZaqc2GtLGO5LGK_mlRp8XmUBi8-LYBsq/s1600/ambulation-006.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh65fn7NAgGzBNNI7shBDfyqD47bmeJomlW0hTqEOfEWfNIjrGD689VDPn5YQ-xEqfGtwVLqWSG-SE7d5684ZlwEDQs864kvCC2uznHVYqFVnUAZaqc2GtLGO5LGK_mlRp8XmUBi8-LYBsq/s400/ambulation-006.jpg" width="400" /></a><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 12px; line-height: 16px;">A different stripe: work by Phil Smith and Polly Macpherson as part of Ambulation at Plymouth Arts Centre, to 10 Oct.</span><br />
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<span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif; font-size: small;"><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ambulation, Plymouth</strong></h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Building on the history of art and ambulation, for the eight contemporary artists and collectives in this group show, journeying itself becomes an artform. Projects designed to get ideas on the move include Simon Persighetti and Tony Whitehead's soundtrack to experience city noises from the 1950s-70s, while Phil Smith and Polly Macpherson have created objects inspired by a walk round a local 19th-century Royal Navy complex, including fossils, gargoyles, biscuits and a bag of clay evoking the softness of flesh. Architecture cooperative ad:HOC have designed a mobile home for an itinerant art project and Tim Brennan sees walking as a tool for creative contemplation. Similar exercises in free thinking are encouraged by Bridgette Ashton's alternative map of Plymouth. Like an anti A-Z, this takes walkers on random expeditions around curious sites of no historical importance.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Plymouth Arts Centre, Sat to 10 Oct</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Skye Sherwin</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Simon Yuill, Glasgow</strong></h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Simon Yuill's film, sound, internet and printed publication art makes a series of sophisticated, theoretically reflective and painstakingly researched observations on the social, cultural and economic politics of various local societies. Questions are instigated about the politics of labour, architecture, ethnic identity, the law and ecology. This is essentially subversive stuff. One video and photo piece documents and celebrates the history of the Pollock Free State, a Glasgow woodland camp, initially formed in the 1990s to protest against the building of the M77 motorway, which developed in time into a substantial working class community of environmental concern.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">CCA, to 18 Sep</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Robert Clark</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Hypercomics, London</strong></h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Masterminded by comics expert Paul Gravett, this show does great things with notions of the expanded comic, drawing on the innovations of interactive hypercomics – web-based, choose-your-own-adventure type comic strip experiments. It's worth seeing for artist Adam Dant's input alone – his Swiftian wall drawing follows the journey of Dr London through the city's digestive tract. Daniel Merlin Goodbrey's project explores both the dreamlife and waking existence of the sole archivist of glam rock dictator Hieronymous Pop's murky history. Dave McKean's offers perspectives on childhood betrayal, while Warren Pleece's animated installation gives a glimpse into the lives of others.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Pump House Gallery, SW11, to 26 Sep</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Skye Sherwin</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">ORIGIN010, Sheffield</strong></h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Paul Evans's installation adds up to a personal hymn to natural diversity. Semi-abstract watercolour and graphite drawings, accompanied here by Chris Jones's succinct haiku poems, are images of nature in the making. As ambiguous as they are highly evocative, the amoebic cells might be ultimately unidentifiable yet they are nevertheless forceful presences that make your imagination creep. There's also an enchanting animation of metamorphosing butterflies, created in collaboration with the Humanstudio group. The central image here, however, is A Cure For Melancholy, Evans's life-size drawing of a narwhal, whose horns were apparently sold as unicorn horns and an antidote to creative and philosophical disillusionment.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Sheffield Institute of Arts Gallery, Mon to 12 Sep</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Robert Clark</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Archiving Place And Time, Wolverhampton</strong></h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">A selection of politically concerned art from Northern Ireland created since the 1998 Belfast Good Friday Agreement. The artists generally approach their difficult and delicate subject from oblique, ironic and non-partisan perspectives, signalling a recognition of the complex tensions and ambivalences involved in the conflict. Some of the work is almost mockingly humorous in its dealing with the unthinkable – Rita Duffy's Dessert is a chocolate cast taken from a decommissioned AK47 paramilitary gun – but other works uncompromisingly face grim facts. Willie Doherty's <a href="http://www.guardian.co.uk/artanddesign/photography" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Photography">photography</a> of The Westlink, a now demolished pedestrian bridge spanning the Catholic Falls Road and the Protestant Donegal Road, is a haunting image of division and dread.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Wolverhampton Art Gallery, to 4 Dec</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Robert Clark</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://www.guardian.co.uk/artanddesign/fourth-plinth" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Fourth plinth">Fourth Plinth</a> Maquette, London</strong></h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Love it or loath it, Trafalgar Square's Fourth Plinth is British public<a href="http://www.guardian.co.uk/artanddesign/sculpture" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Sculpture">sculpture</a>'s hot spot. Coinciding with the Olympics, the 2011 commission is the most prominent yet, and the next six proposals, presented as a show of maquettes, are eagerly anticipated. Top secret until the unveiling, the spread of world class artists bodes well: Allora & Calzadilla, Elmgreen & Dragset, Katharina Fritsch, Brian Griffiths, Hew Locke and Mariella Neudecker. While Fritsch's eerily slick icons like neon-bright Madonnas have made her a global art star and Elmgreen & Dragset promise a glossy mix of queer politics and design culture, it will be interesting to see what London-based Griffiths – who's turned junk materials into huge vessels of adventure, from spaceships to Krypton Factor-style obstacle courses – will suggest for that small slab of stone.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Crypt of St Martin-in-the-fields, WC2, Thu to 31 Oct</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Skye Sherwin</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Locate, London</strong></h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">A quest for origins and originality has taken three young artists on very different journeys here. Inspired by the infamous British art forger Shaun Greenhalgh, Sarah Pickering has photographed a selection of his forgeries in a mock up of his living room as created for a BBC documentary. Mel Brimfield is something of a faker himself, with his film installation where actors give suspiciously different accounts of a performance that perhaps never was. Meanwhile, Aura Satz's sound piece explores where sound is located, with listeners required to plunge their heads inside a sculpture featuring an antique brass horn or witch's hat.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Jerwood Space, SE1, to 12 Sep</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Skye Sherwin</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Steven Cairns, Stirling</strong></h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The cut-and-paste aesthetics of collage might be a century old, but it appears to have been given a new lease of cultural relevance with the availability of digital sampling and layering. Collage is, of course, an art of compositional fragmentation and free association, a means of experimenting with dislocated spaces and unpredictable images. Steven Cairns makes full use of digital collage's ability to lift images from a wide diversity of cultural sources, to superimpose previously disconnected images just for the experimental hell of it. Furthermore, his use of collage has something in common with the "cut up" techniques of such subversives as William Burroughs and Harmony Korine, a technique of insubordinate disruption of proper and decent modes of cultural behaviour. A new video piece focuses on the hypnotic rhythmical geometries of gabber, a hardcore techno subgenre.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Changing Room, to 25 Sep</em></strong></div></span>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-48739287198694384582010-08-21T15:12:00.000-07:002010-08-21T15:12:17.901-07:00Fourth plinth battle: the heroic child takes the cake<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiimo8fgsq-K-KID3jnpM4_V6nl2BpDsBsXK2EylAezwsS7cVyHY_LSHzl_c7tpqMqJtKkepN_spWrNXs41oW2F-u_giGvz-Xf_UjN0b-V_u1eloIjRbz44dGRB9O7lpnrok-bkZiuMr46N/s1600/Michael-Elmgreen-left-and-006.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiimo8fgsq-K-KID3jnpM4_V6nl2BpDsBsXK2EylAezwsS7cVyHY_LSHzl_c7tpqMqJtKkepN_spWrNXs41oW2F-u_giGvz-Xf_UjN0b-V_u1eloIjRbz44dGRB9O7lpnrok-bkZiuMr46N/s400/Michael-Elmgreen-left-and-006.jpg" width="400" /></a></div><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 12px; line-height: 16px;">Danish artist Michael Elmgreen, left, and Norwegian artist Ingar Dragset, right, pose by a model of their proposal entitled Powerless Structures Fig 101. Photograph: Sang Tan/AP</span><br />
<span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif; font-size: small;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 12px; line-height: 16px;"><br />
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<span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif; font-size: small;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 12px; line-height: 16px;"><span class="Apple-style-span" style="color: #333333; font-size: 14px; line-height: 18px;"></span></span></span><br />
<span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif; font-size: small;"><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Luckily, there are no sport-themed proposals among the six shortlisted works for the next <a href="http://www.guardian.co.uk/artanddesign/fourth-plinth" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Fourth plinth">fourth plinth</a> commission, one of which will be on display in time for the 2012 Olympics. Brian Griffiths's hunk of brick‑built cake is the daftest and most inert of them. This is the apotheosis of Carl Andre's at one time infamous <a href="http://www.tate.org.uk/servlet/ViewWork?workid=508" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Equivalent">Equivalent</a> series of brick sculptures. Andre gave us an ankle-high rectangle of plain grey bricks, piled two deep. Griffiths gives us <a href="http://www.guardian.co.uk/artanddesign/gallery/2010/aug/19/fourth-plinth-trafalgar-square-shortlist#/?picture=365909918&index=4" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="a sagging length of battenberg">a sagging length of battenberg</a>, one of the world's dreariest tea-time comestibles. However much attention to cake-like patina and squidgy form his proposed use of glazed and unglazed, new and old bricks might achieve, it remains a half-baked gag.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://www.guardian.co.uk/artanddesign/gallery/2010/aug/19/fourth-plinth-trafalgar-square-shortlist#/?picture=365909939&index=7" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Katharina Fritsch's ultramarine-blue cockerel">Katharina Fritsch's ultramarine blue cockerel</a> has both a great sense of scale and of the absurd, in a way that Griffiths's cake doesn't. We are told that the cock refers to male-defined British society and biological determinism. To me the cock looks more Gallic than British, and the deep ultramarine colour reminds me of the works of French artist Yves Klein, who covered everything from sponges to live women in a patented ultramarine hue. In the end, it's a chicken.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Mariele Neudecker's work frequently alludes to German high Romanticism, and the idea of a <a href="http://www.guardian.co.uk/artanddesign/gallery/2010/aug/19/fourth-plinth-trafalgar-square-shortlist#/?picture=365909928&index=2" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="a mountain range set atop the plinth has a certain grandeur">mountain range set atop the plinth has a certain grandeur</a>. That the peaks and valleys will have a footprint that corresponds to a map of Britain seems somehow superfluous. Neudecker's mountains will be cast in coloured fibreglass, and mounted on polished stainless-steel legs, like some impossible coffee-table. It looks more fussy than sublime. I like the way <a href="http://www.guardian.co.uk/artanddesign/gallery/2010/aug/19/fourth-plinth-trafalgar-square-shortlist#/?picture=365909916&index=8" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Allora and Calzadilla's gigantic pipe-organ">Allora and Calzadilla's gigantic pipe organ</a> rises from the plinth, but the idea that it will play a sonorous chord when anyone uses the ATM machine fixed on the side of the plinth is less convincing. Once, the duo fixed a trumpet to the exhaust pipe of a moped, which blared as the bike was ridden around Puerto Rico, where the couple work. The organ looks ecclesiastical, and the relation between God and mammon is a tad obvious.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Both Hew Locke and Scandinavian artists Elmgreen & Dragset return us to the theme of the equestrian statue. Locke's looks like a kind of overdressed hippy Genghis Khan, but is based on the commemorative statue of Sir George White – hero of Britain's misbegotten 19th-century military adventure in Afghanistan – in Portland Place. The <a href="http://www.guardian.co.uk/artanddesign/gallery/2010/aug/19/fourth-plinth-trafalgar-square-shortlist#/?picture=365909920&index=1" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="horse and rider are dragged up in all sorts of colourful tat and are also meant to represent a fanciful Sikander">horse and rider are dragged up in colourful tat and are meant to represent a fanciful Sikandar</a>, otherwise known as Alexander the Great. This might be a popular choice but it doesn't do much for me.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://www.guardian.co.uk/artanddesign/gallery/2010/aug/19/fourth-plinth-trafalgar-square-shortlist#/?picture=365909930&index=5" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="Elmgreen & Dragset">Elmgreen & Dragset</a>'s golden boy on a rocking horse is by far the best. Like Fritsch's cockerel, but unlike Locke's work, it avoids being kitsch. The simplified detail and expression feel just right. Leaning back and with one arm raised aloft, he's more than a toy boy. This is the child as hero of the battles of his imagination.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">There's something poignant but unsentimental about the relationship the<a href="http://www.guardian.co.uk/artanddesign/sculpture" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Sculpture">sculpture</a> will have with all those sombre bronze generals on the other plinths.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Golden boys don't always grow up to be heroes. They might end up cannon fodder or unemployed, or fighting only private wars against the world. <a href="http://www.guardian.co.uk/artanddesign/gallery/2010/aug/19/fourth-plinth-trafalgar-square-shortlist#/?picture=365910270&index=6" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="It's a rich sculpture, playful but also serious">It's a rich sculpture, playful but also serious</a>. This is the one.</div></span>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-91431292927469439562010-08-21T15:06:00.000-07:002010-08-21T15:06:48.169-07:00Vincent van Gogh painting recovered after being stolen from Cairo museum<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKX3cXlDJhCzoNR7vzfixQ1_d47ZhDZUBqoxwPhwReM4gR8GokRbeWwRXdFluvaSN1jbu8MyLkIEN5iQm-OiiF2ikWeiGrbuF2jaH5QYKy0V_bWYGuEUQEFFisGeGDQT5u8eFaAejtDG-X/s1600/Vincent-van-Gogh-self-por-006.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKX3cXlDJhCzoNR7vzfixQ1_d47ZhDZUBqoxwPhwReM4gR8GokRbeWwRXdFluvaSN1jbu8MyLkIEN5iQm-OiiF2ikWeiGrbuF2jaH5QYKy0V_bWYGuEUQEFFisGeGDQT5u8eFaAejtDG-X/s400/Vincent-van-Gogh-self-por-006.jpg" width="400" /></a></div><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 12px; line-height: 16px;">A self-portrait by Vincent van Gogh. Egyptian officials are on the hunt for a painting of his that was stolen from a museum in Cairo. Photograph: Fiona Hanson/PA</span><br />
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<span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif; font-size: small;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 12px; line-height: 16px;"><span class="Apple-style-span" style="color: #333333; font-size: 14px; line-height: 18px;"></span></span></span><br />
<span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif; font-size: small;"><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Thieves broke into a museum in central Cairo and made off with a painting by Vincent <a href="http://www.guardian.co.uk/artanddesign/van-gogh" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Van Gogh">van Gogh</a> valued at $50 million (£32 million) – but officials recovered the artwork within hours.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Farouk Hosni, <a href="http://www.guardian.co.uk/world/egypt" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Egypt">Egypt</a>'s minister of culture, said security officers at Cairo airport confiscated the painting from two Italians – a man and a woman – as they were trying to leave the country. No further details were immediately available.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The artwork, which goes by two titles: Poppy Flowers or Vase with Flowers, was stolen earlier on Saturday from Cairo's Mahmoud Khalil Museum.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">It was the second time the painting had been stolen from the Cairo museum. Thieves made off with the canvas in 1978, but authorities recovered it two years later at an undisclosed location in Kuwait.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Authorities have never fully revealed the details of the first theft. When it was recovered, Egypt's then interior minister said three Egyptians involved in the heist had been arrested, and had informed police where the canvas was hidden. Authorities never reported whether the thieves were charged or tried.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The painting resembles a flower scene painted by the French artist Adolphe Monticelli, whose work deeply affected the young van Gogh. The Monticelli painting also is part of the Khalil collection.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Experts believe the Cairo canvas was painted around 1887</div></span>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-39380424488423587472010-08-21T01:27:00.000-07:002010-08-21T01:27:41.284-07:00Warhol's box of tricks<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIM6_y4ikOvGuCP2Ho-WH1FmElesCNfBTM88d4YzS1eM4mcJiOgyObgm7CvsBp5NHE_Ho2dfvF-R3rGECW4zga14Dbz29QGD1JGk1C8mwv6WQPppEkxAKZFRjva5tlgqpl_dJW-X0q7Ua5/s1600/Warhol--Brillo-Boxes-At-S-006.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIM6_y4ikOvGuCP2Ho-WH1FmElesCNfBTM88d4YzS1eM4mcJiOgyObgm7CvsBp5NHE_Ho2dfvF-R3rGECW4zga14Dbz29QGD1JGk1C8mwv6WQPppEkxAKZFRjva5tlgqpl_dJW-X0q7Ua5/s400/Warhol--Brillo-Boxes-At-S-006.jpg" width="400" /></a></div><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 12px; line-height: 16px;">Warhol in New York's Stable gallery, 1964, amid the Brillo box sculptures at the centre of the scandal. Photograph: Getty Images</span><br />
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<span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif; font-size: small;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 12px; line-height: 16px;"><span class="Apple-style-span" style="color: #333333; font-size: 14px; line-height: 18px;"></span></span></span><br />
<span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif; font-size: small;"><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">In late 2003, Mayfair gallery owner Brian Balfour-Oatts was offered the deal of his career – a collection of rarely seen Warhol sculptures never before put up for sale. Painted white and silk-screened red and blue, the wooden boxes mimicked the 60s cardboard packaging for <a href="http://www.artchive.com/artchive/W/warhol/warhol_brillo_box.jpg.html" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Brillo</a> pads and represented a benchmark in Warhol's artistic output.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">After shocking the art world with his infamous portraits of <a href="http://www.moma.org/collection/object.php?object_id=79809" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Campbell's Soup cans</a> in 1962, Warhol began work on 100 wooden sculptures of packing containers for a range of products from Brillo scourers to Del Monte peach halves. When they went on show in Manhattan's <a href="http://en.wikipedia.org/wiki/Stable_Gallery" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Stable Gallery</a> in 1964, many of his contemporaries denounced the artist for "capitulating to consumerism" but <a href="http://en.wikipedia.org/wiki/Arthur_Danto" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Arthur Danto</a>, today one of the world's foremost Warhol experts, and a professor of philosophy at New York's Columbia University, recalled walking out of the exhibition in awe, believing he had just witnessed "the end of western art".</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">By the 1990s, Danto's view had come to dominate, with the wooden Brillo boxes much sought after. Since his death in 1987, the value of Warhol's work had sky-rocketed and Balfour-Oatts knew that, if genuine, these boxes were a gold mine.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Warhol's radical working methods can make it hard to discern what is and what is not by the artist. Delegating to a team of technicians who worked in a Manhattan studio he called <a href="http://en.wikipedia.org/wiki/The_Factory" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">the Factory</a>, the artist created a conveyor belt that consciously blurred the line between individual authorship and mechanical reproduction. But Balfour-Oatts knew his way around the art world. He had worked for auction house <a href="http://www.sothebys.com/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Sotheby's</a> before opening his own gallery, <a href="http://www.archeus.co.uk/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Archeus Fine Arts</a>, which showed artists such as <a href="http://www.tate.org.uk/britain/exhibitions/freud/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Lucian Freud</a> and <a href="http://www.hockneypictures.com/home.php" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">David Hockney</a>. After decades in the business, he was convinced of the sculptures' authenticity. The reason for his confidence was his source: <a href="http://www.nytimes.com/2006/10/30/world/europe/30iht-obits.3334409.html" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Pontus Hulten</a>, a seminal figure in the contemporary art world who could provide an impeccable provenance for the pieces. An early champion of contemporary art and friend to Warhol, the Swedish curator had enjoyed an unimpeachable international career. Now approaching his 80th birthday, he was living in semi-retirement in the Loire valley, France. Balfour-Oatts arranged a meeting at Hulten's chateau, La Motte, unaware he was about to become ensnared in one of the most audacious art frauds of modern times.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">As director of Stockholm's <a href="http://www.modernamuseet.se/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Moderna Museet</a>, Hulten had staged Warhol's first European retrospective in 1968, filling the entrance to the gallery with 500 Brillo boxes. Quite a number were still decorating La Motte, Balfour-Oatts recalled: "A few were even being used as bedside or coffee tables."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Hulten described to Balfour-Oatts how the Stockholm exhibition had come about: "Pontus told me he went to see Andy in New York. Andy gave him a cardboard supermarket carton and told him to use it as a template for the Brillo boxes. So Pontus went back, made screens and created the [wooden] boxes." At least 100 had been fashioned in Sweden on Warhol's behalf, Hulten told him. This authorised manufacturing of Warhol's work did not faze Balfour-Oatts. By 1986, Rupert Smith and Horst Weber von Beeren, two printers employed by the artist, had created more than 20,000 Warhols, the former telling one biographer: "We had so much work that even Augusto [the security man] was doing the painting."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Warhols had become a shrewd investment, especially since 1995 when the Museum of Modern Art in Manhattan had bought the artist's 32 Campbell's Soup Cans for £24m, and Balfour-Oatts had been following the market ever since. A few months before his visit to La Motte, market analysts from <a href="http://www.bloomberg.com/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Bloomberg</a> predicted that the Warhol wave was nowhere near cresting, while the website <a href="http://www.artnet.com/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Artnet</a> calculated that some pieces had achieved a 27.09% rate of return for investors over the last four decades. Gold over the same period had reaped under 7%. Balfour-Oatts concluded that Hulten's 1968 wooden Brillo boxes were a good way in. The first batch had come up for sale in December 1994, a set of 20 sold by Hulten to a Belgian dealer, <a href="http://www.artnet.com/gallery/167915/galerie-ronny-van-de-velde.html" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Ronny van de Velde</a>. They had gone for £3,700 each, and sold the same year for more than £6,700 each. By 2000, the Wall Street Journal was advising would-be collectors to invest in a 1968 wooden Brillo box, highlighting one then being sold by dealer <a href="http://www.anthonymeierfinearts.com/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Anthony Meier</a>, in San Francisco, as "a blockbuster work" at only $50,000.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Balfour-Oatts firmed up the deal. "I eventually bought 10 pristine ones for £45,000 each and another 12 that were slightly scuffed or had coffee stains on them for much less." He paid approximately £640,000, with help from a group of investors. Hulten provided a certificate of authenticity and, as a sign of goodwill, chucked in the original cardboard carton Warhol had given him as a template. Within three months Balfour-Oatts had sold on 10 of the wooden boxes through <a href="http://www.christies.com/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Christie's</a> to a mystery buyer for £475,650, clearing at least £150,000 profit. The rest went to a rich American client for slightly less.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">And the boxes would only increase in value. In 2005, Hulten donated his remaining collection of art works, including six 1968 Brillo boxes, to the Moderna Museet in Stockholm. In an accompanying catalogue, he left an account of their creation. "The Brillos were stacked in front of the entrance rather high," Hulten wrote. "There were some 100 Brillo boxes made in Sweden according to Andy's instruction. As the hundred did not seem enough in the rather big space, some cardboard Brillo boxes were added to the upper part of the stack and at the back. These came from the Factory. I still have one such cardboard box…" The wooden boxes, after the 1968 show, had been stored at the museum. "I retrieved them when I moved to Los Angeles," he added. When Hulten died in 2006, a single 1968 wooden Brillo sold at Christie's for £120,000, and the following year, 10 of these wooden Brillos, sold on by Balfour-Oatts, went on public display for the first time.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Their mystery buyer had been British dealer <a href="http://en.wikipedia.org/wiki/Anthony_d%E2%80%99Offay" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Anthony d'Offay</a>, who has dominated the European contemporary art market for 30 years. Once Warhol's UK agent, d'Offay's Brillos now took centre stage at a retrospective staged by the <a href="http://www.aboutscotland.co.uk/edin/artsngma.html" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Scottish National Gallery of Modern Art</a> in Edinburgh to mark the 20th anniversary of Warhol's death. The following February, d'Offay announced he would be selling the Brillos to the nation, along with his entire private art collection – worth £125m, but knocked down, philanthropically, to £26.5m, or what he had paid for the works.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Then, earlier this year, Balfour-Oatts received the letter all dealers dread. He was being sued by d'Offay. It was alleged that there was a problem with the Brillos. They might even be fakes. With a mounting sense of doom, Balfour-Oatts made some calls only to discover that Christie's, too, was being sued. "I did everything I should have done to check out the boxes before I sold them on," Balfour-Oatts says. "They had come to me with glowing provenances and left my care endorsed by Warhol's estate. And now, suddenly, three years on, there's a whiff of scandal."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">It was coming from Sweden, where another 1968 wooden Brillo box had, in April 2007, been pulled from a sale at the respected <a href="http://translate.google.co.uk/translate?hl=en&sl=sv&u=http://www.auktionsverket.se/&ei=0OhjTIG4LMbd4Ab53aTJCg&sa=X&oi=translate&ct=result&resnum=1&ved=0CCAQ7gEwAA&prev=/search%3Fq%3DStockholm%2BAuktionsverk%26hl%3Den" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Stockholm Auktionsverk</a> (auction house) following allegations that it was a modern fake. Its removal had kick-started something that had never happened before – an investigation into the two secretive bodies that straddle the world of Warhol: the <a href="http://www.warholfoundation.org/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Andy Warhol Foundation for the Visual Arts</a> and its<a href="http://www.warholfoundation.org/legacy/authentication_procedure.html" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">authentication board</a>. This inquiry's findings would prove shocking for the foundation, its board and the lucrative market in <a href="http://en.wikipedia.org/wiki/Pop_art" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">pop art</a>.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">By virtue of its enormous bequest – 4,118 paintings, sculptures and collaborations, 5,103 drawings, 66,000 photographs, more than 100 films, 4,000 hours of video, as well as Polaroids, notes and sketches – the <a href="http://www.guardian.co.uk/artanddesign/andywarhol" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Andy Warhol">Andy Warhol</a> Foundation for the Visual Arts has, since its creation in 1987, become a powerhouse in the contemporary art world. Besides the millions of dollars it accrues in selling its own Warhols, it also makes money licensing Warhol images and merchandising. All of this has enabled the foundation to govern an endowment of approximately $260m. In return, it is required (under the terms of Warhol's will) to give annual cash grants to artistic causes, that must, according to US charity laws, amount to 5% of the value of its holdings. The foundation has also gained kudos by opening a well-regarded <a href="http://www.warhol.org/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Warhol museum</a> in the artist's hometown of Pittsburgh, Pennsylvania.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Its influence stretches well beyond its headquarters in New York's Lower East Side. The foundation has also come to dominate the global market in Warhol by embarking on a project to publish a <a href="http://en.wikipedia.org/wiki/Catalogue_raisonn%C3%A9" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">catalogue raisonné</a>, a multi-volume compendium (still in progress) that purports to list all genuine Warhols, each item having been approved by the Warhol authentication board.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Set up by the foundation in 1995, the board was formed to quell rising concerns about the quality of the Warhol market at a time when the prices for the late artist's work were beginning to soar. By focusing on what could be said to be by Warhol, this board also decided what was not. According to dealers close to the foundation, the board was also a response to an internal inquiry that found that <a href="http://www.observer.com/node/43903" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Fred Hughes</a>, Warhol's former manager, who died in 2001, had authenticated numerous dubious Warhols.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The foundation has always insisted that it and its board are separate institutions and that the decisions of the board, whose advisors include experts and scholars, are completely independent from the foundation. Others dispute this, as two of the most important paid foundation staffers also work as principals at the board. The foundation's sales agent Vincent Fremont attends all board meetings and Joel Wachs, head of the foundation, is nominally the board chair. The foundation's catalogue raisoneé includes work verified by the board, and its research is conducted by two people who sit on both the board and the foundation.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">With the board's backing, an "authenticated" work wins a much-cherished catalogue number. If rejected, a work is stamped twice with the word "denied" in red ink, before leaving its offices worth less than a beer-mat.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">It is a process shrouded in secrecy. Decisions are never explained and a legal waiver indemnifies the board's decisions, protecting its members from being sued by irate collectors. The waiver also authorises the board to change its mind about a work's status, at any time, a sensible addition given that art scholarship is always being refined. However, the waiver has also bought the silence of dealers and collectors who fear upsetting the Warhol establishment lest it decide to transform their authenticated treasures into junk.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Talking Warhol with anyone in the international art world is extraordinary. "Don't tell anyone you've met me," says one famous east London dealer. A millionaire collector in New York warns, "I'll tell you and then deny we've met should it ever come out." A third sends emails using a specially generated address, shorn of all identifiers.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Before buying from Hulten in 2004, Balfour-Oatts approached the authentication board. It confirmed that Hulten's boxes were genuine. The 22 he intended to buy were among 94 Swedish boxes that had been authenticated since 1994, and that would be included in the 2004 catalogue raisonné. The entry states: "The wood boxes have been catalogued as they have been examined and identified since 1995. Although there are slight discrepancies among individual examples, the Stockholm boxes may be said to constitute a uniform edition."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">But in June 2007, three months after the Stockholm Auktionsverk withdrew its Brillo box, the Swedish newspaper <a href="http://en.wikipedia.org/wiki/Expressen" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Expressen</a> sought out art critic Olle Granath, a personal friend of Hulten, who had helped prepare the 1968 Warhol retrospective. Granath, who later became director of the Moderna Museet, had some startling information: there had been no wooden Brillo boxes on display in Sweden in 1968. Short of time and money, someone at the museum had decided to buy 500 cardboard packaging cartons directly from the Brillo factory in Brooklyn, New York. In an essay penned by Granath from 2007, he explained: "They were shipped in flat packs across the Atlantic and folded at the museum. The museum attendant and I became real wizards at folding boxes." Granath told Expressen that he had warned the art market to be wary of fakes as far back as 1997, going so far as to write to the authentication board when he had heard some wooden Brillos from Stockholm were up for sale, and doing the same in 2002, when he was approached by the board as it prepared to include them in its catalogue raisonné. He had heard nothing back.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Others who had worked at the Moderna Museet, such as professor Ulf Linde and professor Karin Lindegren, backed Granath's story, while Björn Springfeldt, who had arrived at the museum in the summer of 1968 and spent six subsequent years as its director, stated that he had never seen wooden Brillo boxes in the museum stores, as Hulten had claimed in his 2004 catalogue. Since all Hulten's sculptures that had sold in auction houses were made of wood, dealers and collectors were left to ponder where these boxes had come from and how he had got them past the Warhol foundation and board.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Moderna Museet scoured its archives and located an invoice dated 10 January 1968, that proved decisive: 500 cardboard boxes had been imported directly from Brillo's factory in Brooklyn, New York. It sensationally "re-catalogued" the six boxes it had on display as "copies/exhibition material", while institutions and private collectors around the world, who had paid tens of millions of pounds for the 1968 Brillos, waited to see what the foundation and board would do.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Swedish journalists carried on digging and found that more than 105 wooden Brillo boxes had actually been manufactured at Hulten's behest in 1990, 22 years after the Warhol exhibition had closed and three years after the artist's death, the work carried out by two carpenters, moonlighting from the Malmo Konsthall gallery. But why would Hulten have risked his reputation? Thomas Anderberg, a Swedish art critic, suggests that these Brillo boxes were commissioned as props for a pop art show at the State Russian Museum in Leningrad, in 1990, where 10 had been exhibited. Forty five of them had turned up later that year at a museum in eastern Denmark, with 105 exhibited in 1992 at a Bonn museum where Hulten had become artistic director. By then, these boxes were recorded as the "property of a private collector", a subtle change in attribution that suggested props were becoming art works.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"Hulten didn't need the money," Anderberg says. "He had to be lampooning the market and dealers." Hulten's colleagues believe this, too. They point to his connection to a satirical Swedish magazine called Blandaren (The Mixer), a Private Eye-style journal that pokes fun at the establishment. Hulten was known, too, as a severe critic of the money-driven contemporary art market. His last job had been curating the inaugural exhibition at the Museum Jean Tinguely in Basel, dedicated to the esoteric Swiss artist who created sculptures that self-destructed in the galleries that displayed them. Says Anderberg: "I believe Hulten decided to show up the entire Warhol industry."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">As Hulten was having his Brillo boxes knocked-up by carpenters in Malmo in 1990, the Andy Warhol Foundation was defending itself against a legal action that questioned a valuation of £60m that it had placed on Warhol's estate. What was regarded by some as a staggeringly low valuation enabled it to make far fewer charitable grants. Paul Alexander, an American journalist who reported on that trial, reflected: "Lawyers paid for by Warhol's own foundation happily arrived in court to denigrate Warhol's work – even claiming at one point that investing in Warhol could be 'risky' – to lower the value of the estate."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">A New York judge ruled that the real value was £325m, a decision that coincided with the start of another legal battle, this time between the foundation and the <a href="http://en.wikipedia.org/wiki/New_York_State_Attorney_General" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">New York attorney general</a>, who began investigating allegations of mismanagement. This inquiry was in full swing by December 1994, when Hulten submitted a written statement to the foundation setting out the provenance of his wooden Brillo boxes as having been manufactured in Sweden in 1968 "according to Andy Warhol's instructions" for inclusion in the show. Hulten supplied no additional corroborative information and art historians who advised the foundation (the board was not set up until the following year), including Kasper Koenig, a colleague of Hulten's and a recognised Warhol expert, were perplexed. Koenig warned the foundation that the boxes on show in 1968 had been made of cardboard, having measured the gallery space himself in 1966 and calculated that 500 were needed in order to fill it. No one close to Warhol, especially <a href="http://en.wikipedia.org/wiki/Paul_Morrissey" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Paul Morrissey</a>, the artist's manager who attended the 1968 show, could recall seeing wooden boxes either. However, the foundation went ahead and authenticated Hulten's works.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">On 3 March, 1998, the authentication board interviewed Hulten. Despite the 1994 warnings from Koenig and the 1997 letter from Granath, both of whom stated that all boxes from the show were cardboard, the wooden boxes were again authenticated, without corroborative photographic material or interviews with organisers of the 1968 show, the boxes subsequently appearing in the 2004 catalogue raisonné.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">In 2006, the Scottish National Gallery of Modern Art in Edinburgh began putting together a major Warhol retrospective. Scheduled to run the following year, to coincide with the 20th anniversary of Warhol's death, the show had as its centrepiece the 10 Hulten Brillo boxes, said to be from 1968, that Balfour-Oatts had sold to d'Offay. The show ran from August to October 2007. Although the foundation knew the scandal about the 1968 Hulten Brillos was about to break by April 2007, when it was contacted by an auction house and critic in Sweden raising serious concerns, it remained silent until November. A source close to the Edinburgh show says: "Having collaborated closely with the foundation, getting images licensed, a catalogue prepared, checking the accuracy of all that we were showing, it felt like we were hung out to dry."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">And no official report came until December 2007, when the board finally gave its initial response. While registered owners were told a probe was underway, Lars Nittve, then director of the Moderna Museet, was advised by the board that it "cannot determine whether or not these boxes were produced in accordance with the terms of a verbal agreement Pontus Hulten made with Warhol in 1968". The board signed off its report: "We want to assure you that the board is continuing to research into these works and will keep you informed of its findings."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Warhol experts such as Danto were incredulous: "Andy would never have given blanket permission to reproduce his work in this way." Brillo owners were furious.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The board's broad-minded approach towards the Brillos certainly seems to conflict with some of its own recent rulings, notably against Anthony d'Offay. In 2003, a Warhol print from the so-called Red Series of 10 self-portraits produced in 1965, was unexpectedly "denied" by the board. It was being offered by d'Offay to Charles Schwab, an American investment tycoon, for £1m and the dealer was now forced into the embarrassing position of calling off the sale.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The self-portrait appeared to have rock-solid credentials. Warhol had signed it, dedicating it to his business partner Bruno Bischofberger, who had bought it directly from the artist in 1969. Warhol had then chosen the image for the cover of his first catalogue raisonné, published in 1970. In 1986, Warhol had also signed a copy of this catalogue owned by d'Offay. Ten years later, the work had been bought by a private collector in Germany and exhibited at the Hamburger Bahnhof museum in Berlin, where a postcard depicting the image was copyrighted by the Warhol foundation.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">And yet in 2003, this work was denied. The board told d'Offay: "It is the opinion of the authentication board that said work is NOT the work of Andy Warhol, but that said work was signed, dedicated, and dated by him."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The board explained that this series of self-portraits had been produced by an outside printer – although Warhol selected a photograph, chose the colours, guided the process and approved the results. It's a decision that seems even more mysterious given the fact that the foundation owns one of the same Red Series prints.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">D'Offay has declined to comment on the controversy over the Red Series self-portrait or the 10 1968 wooden Brillo boxes he bought from Balfour-Oatts. But others who own pictures from the same series are now suing the foundation and its board, claiming that these decisions are not random but part of a calculated policy of monopolising the market to manipulate prices – something the board and foundation are vigorously contesting. These litigants include Joe Simon, an American film producer based in London, and Susan Mearns, an American collector. Both allege that the foundation and board have come to exercise a questionable domination of the market, artificially controlling prices and creating scarcity to increase value, in a fraud that goes back 20 years.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Claudia Defendi, for the authentication board, recently issued a statement in response to the Red Series furore, saying that, "Warhol was a highly productive artist, and like many other successful artists such as Rubens and David, he employed assistants and carefully supervised them; that Warhol controlled the way his work was made, how it looked, and was well aware of how many of each subject and series were made. There are clear distinctions between what Warhol made and what he did not, and that the goal of the Andy Warhol art authentication board is to clarify these distinctions." Denying Simon's Red Series painting, Sally King-Nero, of the authentication board, commented: "The board knows of no independently verifiable documentation for the period in question, 1964 through 1965, to indicate or suggest that Warhol sanctioned or authorised anyone to make [the work]."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Meeting the foundation is a strange affair. Joel Wachs, its president since 2001, is a former Los Angeles city councilman. Dressed down in an open-necked Hawaiian shirt at the headquarters in Bleeker Street, he wraps up the process in so many preconditions that there is not much we are able to report. Taping the interview is not allowed. Anything we would like to attribute to Wachs has to be agreed by him in advance. And he reserves the right to change his quotes upon reading them.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">But the gist is this: there will be no settlements with anyone. And what he wants Joe Simon especially to know is that he is coming after him. He will never back down. And, should they lose, he will force them to pay every cent of the foundation's legal bills. Given that Wachs has hired<a href="http://en.wikipedia.org/wiki/David_Boies" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">David Boies</a>, one the most expensive trial lawyers in the world, the bill, for pre-trial hearings alone, is estimated to run into more than £2.6m of Warhol's money.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The trial, which is expected to start this winter, will not be restricted to the Red Series. It will also scrutinise the Brillo affair and many more of the board's decisions – including the recent authentication of thousands of works that it appears were never seen or approved by Warhol. One of them is an unsigned, un-numbered <a href="http://www.google.co.uk/images?hl=en&q=Marilyn+%2B+Warhol&um=1&ie=UTF-8&source=univ&ei=uSRpTKbEI8iK4gb8w6iZBA&sa=X&oi=image_result_group&ct=title&resnum=1&ved=0CCkQsAQwAA&biw=1920&bih=1008" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="">Marilyn</a> print, put up for sale by Sotheby's in 2008. Slated for sale at between $30,000 and $50,000, this work has on its reverse three separate markings made by the foundation and the board. First it was initialled and authenticated by Vincent Fremont, official sales agent to the Warhol Foundation, some time before 1994. Fremont inscribed the work as "out of edition", meaning that, although identical to a numbered print run of 250 from 1967, it had not been approved by Warhol. Ivan Karp, New York dealer and Warhol's informal manager in the early 1960s, says, "Such works were normally printer's copies, an extra run to account for any mistakes in the series, or sometimes a souvenir for the printer, even his payment, as Warhol was known to frequently trade his art for services."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The next stamp on the Marilyn is a red cross "denied", added by the board after it came into being in 1995 and, according to Karp, decided that it could not authenticate works the artist did not know about. Then there is a third stamp, added when the print was returned to the board after 2007 – this time an outright authentication. Karp says that the reason the board reversed its decision was because it had itself amassed thousands of these out-of-edition prints, and begun to market them. "It changed its mind as it began to sell in 2007 and contacted dealers offering the works for sale, including the Marilyn." One of those approached was d'Offay, whose Red Series self-portrait had been "denied" and whose 10 wooden Brillo boxes were now being scrutinised.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The board has issued a statement on these issues: "The panel adamantly refuses to disclose the reasons works are denied authentication. This could provide a road map to forgery [and] moreover, explanations are subject to misunderstanding and misinterpretation."</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The foundation is now understood to be justifying its selling of work that Warhol never saw or approved of by saying it is "expanding its curatorial base". A source familiar with the foundation predicted that new categories of Warhols were soon to be announced, ones that would encompass the 1968 Hulten Brillo boxes and account for the Marilyns with multiple authentication stamps.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">In London, Balfour-Oatts, who has moved into a new business, remains disillusioned. "It's all very upsetting. I met Pontus several times. If he did do this he is a sneaky old bastard," he says. "This business is turning into what everyone always wanted the art world to be: full of dodgy dealings, fakes and forgeries. I'm glad to get out."</div></span>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com1tag:blogger.com,1999:blog-1262300217821412277.post-32193913743430175472010-06-01T02:39:00.000-07:002010-06-01T02:39:56.059-07:00The YBAs are over. Long live the OBAs!<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: arial, sans-serif; font-size: 14px; line-height: 18px;"></span><br />
<div class="image" style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><img alt="Planet by Marc Quinn " height="276" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/5/31/1275313876200/Planet-by-Marc-Quinn--006.jpg" style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="460" /><br />
<div class="caption" style="background-repeat: no-repeat; border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 0.857em; font-weight: normal; line-height: 1.25; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Strangled at birth? Marc Quinn's sculpture Planet at Chatsworth House. Photograph: Christopher Furlong/Getty Images</div></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The glory years of youth and concept in British art are ending, not with a bang, but with a whimper. Nothing could look less urgent, aggressive or dangerous than <a href="http://www.guardian.co.uk/artanddesign/video/2010/may/25/yinka-shonibar-fourth-plinth" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Yinka Shonibare's ship in a bottle</a> outside the National Gallery. Is this what it all amounted to? The hype and hopes invested in the art of my generation just come down to this consensus-friendly decoration.<br />
<br />
At White Cube meanwhile <a href="http://www.guardian.co.uk/artanddesign/2010/may/01/marc-quinn-interview" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">an ugly exhibition by Marc Quinn</a> conveys the cynical message that schlock beats substance. And from another world, another dimension, <a href="http://www.timothytaylorgallery.com/" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Sean Scully, 65, has a thrilling exhibition of new paintings at Timothy Taylor Gallery</a>. If Scully is the most modern and important artist in town - and he is - an era has ended. A lie has died. It is a great moment when truth shines forth. Scully's heroic art exposes the shams we have endured with forced smiles on our ageing faces.<br />
<br />
The death of the British boom in hot! new! young! art has been predicted before, but now it really seems to be happening. In its place a more catholic, and more honest era may be beginning.<br />
<br />
<a href="http://www.guardian.co.uk/artanddesign/2009/dec/07/turner-prize-winner-richard-wright" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Richard Wright's Turner Prize triumph last year </a>was a defiance of everything that is supposed to be exciting in contemporary art. Here was a 49-year-old with no public image at all and no desire to sell his work at art fairs. And he won, not through the whim of the judges, but because his truly original work shone in everyone's eyes. How many Wrights are we denying ourselves, in our cult of the obvious and banal in art? And that includes Wrights who are 18 years old. This is not about age versus youth – it is about ambitious and personal work versus the fluff of the marketplace.<br />
<br />
So here we are. I can point to other signs. No Soul For Sale at Tate Modern <a href="http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2010/may/17/tate-modern-birthday-soulless" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">certainly felt like the debris of something</a>. But above all the logic of <a href="http://www.guardian.co.uk/artanddesign/damienhirst" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Damien Hirst">Damien Hirst</a>'s return to painting and <a href="http://www.telegraph.co.uk/culture/art/6329047/It-couldn't-get-worse-for-Damien-Hirst.html" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">self-exposure as a tiny talent</a>needs to be faced.<br />
<br />
Hirst, as artist, curator and in his prime a cod philosopher of almost Warholian dumb articulacy, was the true author of British art's fame in the 1990s. The innumerable artists who swam in his wake and shared his success were minnows by comparison. Now the great white shark himself has turned out to be such a little fish after all, what does that make his contemporaries? Plankton.<br />
<br />
This year's <a href="http://www.guardian.co.uk/artanddesign/turnerprize" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Turner prize">Turner Prize</a> follows the Wright trail with <a href="http://www.guardian.co.uk/artanddesign/gallery/2010/may/04/turner-prize-2010-shortlist-gallery" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">a shortlist of mature artists</a>. Surely the next stage must be dropping the age limit. When that happens, we will know the age of Young British Art is over. It's a good time to be a critic – lots of plankton to eat.</div>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com1tag:blogger.com,1999:blog-1262300217821412277.post-47052228602279105402010-06-01T02:34:00.000-07:002010-06-01T02:34:44.974-07:00Louise Bourgeois dies in New York, aged 98<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: arial, sans-serif; font-size: 14px; line-height: 18px;"></span><br />
<div class="image" style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><img alt="Louise Bourgeois" height="276" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/6/1/1275349065565/Louise-Bourgeois-005.jpg" style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="460" /><div class="caption" style="background-repeat: no-repeat; border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 0.857em; font-weight: normal; line-height: 1.25; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Louise Bourgeois was most famous for her giant spiders. Photograph: Christopher Felver/Corbis</div></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://www.guardian.co.uk/artanddesign/bourgeois" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Louise Bourgeois">Louise Bourgeois</a>, the French-born, American-based artist best known for her sculptures of vast metal spiders, died yesterday in a New York hospital at the age of 98. Bourgeois, who only found widespread acclaim late in life, had suffered a heart attack at the weekend, a spokeswoman said.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">With her death, American and European art has lost not only a tremendous and hugely influential artist, but a direct link between the art of the 21st century and belle epoque Paris, with cubism, symbolism, surrealism and abstract expressionism, and all that followed.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Born in Paris, on Christmas Day 1911, she recounted that the attending doctor had told her mother, "Madam, you are quite ruining my day." Her personality and her art were to match, and there are few artists who have claimed so outspokenly that their work has been founded in childhood and adolescence.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Her parents ran a prosperous family business devoted to the repair and resale of medieval and 17th and 18th century tapestries and textiles, living above the showroom in Paris.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">As a child, Bourgeois had a talent for mathematics. In adolescence, she began helping in the workshop of the business, repairing the destroyed lower portions of old tapestries, sewing fig-leaves on to the genitalia of the naked figures on works destined for prudish American collectors. At about this time her philandering father introduced his lover, an Englishwoman called Sadie, into the household as the children's tutor. From her, Bourgeois learned English, as well as jealousy and hatred.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">All of this became part of the Bourgeois legend and the engine of her art. As an emigre French artist who moved to New York in 1938, her career developed slowly. Critical and commercial success only came when she was in her 60s. Although it was not until 1982 that New York's Museum of Modern Art gave her a retrospective – the first it had ever mounted of a woman artist – she was by then already well-known, if regarded as uncategoriseable, marginal, even eccentric. The exhibition transformed her into the grande dame of American art.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">In the same year, the photographer Robert Mapplethorpe took a number of famous portraits of Bourgeois. She wore a black coat of monkey fur and carried something under her arm as a sort of prop: a big, obscene black latex <a href="http://www.guardian.co.uk/artanddesign/sculpture" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Sculpture">sculpture</a>, resembling a gigantic penis and balls. She insisted it was not a phallus at all. It was, she said, her little girl. In Mapplethorpe's images, Bourgeois smiles mischievously for the camera. The image is immensely seductive.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Bourgeois made sculptures in all kinds of media; she made wonderful prints and drawings, created claustrophobic installations and fabricated little sewn dolls and giant metal spiders with equal care. She even recorded herself singing childhood songs, broadcast in an empty Venetian tower.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">There were many-breasted creatures, beautifully carved marble hands, things that were sexual and strange and filled with secrets and barely suppressed violence. Refusing to describe herself as a feminist, she was one anyway. She has lessons for all artists alive now – inpersistence, commitment and individuality, and in the difference between art made as an adjunct to a career, and art borne out of inner necessity.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Bourgeois made great work and bad work, and didn't care to choose. She even published her insomniac bedside drawings.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"My memories are moth-eaten", she wrote recently, in a crabby hand, next to a beautiful, abstract drawing. We have lost a great artist, but the art goes on.</div>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-86758330517365141132010-05-31T09:24:00.000-07:002010-05-31T09:24:25.225-07:00Exhibitions picks of the week<span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-size: small;"><span class="Apple-style-span" style="font-size: 11px;"><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: arial, sans-serif; font-size: 14px; line-height: 18px;"></span></span></span><br />
<span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-size: small;"><div class="image" style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><img alt="Newspeak" height="276" src="http://static.guim.co.uk/sys-images/Guardian/About/General/2010/5/27/1274973111702/Newspeak-006.jpg" style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" width="460" /><div class="caption" style="background-repeat: no-repeat; border-collapse: collapse; color: #666666; font-family: arial, sans-serif; font-size: 0.857em; font-weight: normal; line-height: 1.25; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Riotous ... Real Special Very Painting by Barry Reigate, on show at Newspeak in London. Photograph: Barry Reigate</div></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Newspeak: British Art Now Part 1, London</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">After art from China and the Middle East, Charles Saatchi's back on home turf for the third survey show at his west London gallery. The title Newspeak refers to the lingo of dictatorship from Orwell's Nineteen Eighty-Four: a new language in which words are limited and experience thus restricted. Though intended to be taken ironically, the restriction in this show is a crucial one: Saatchi doesn't collect video, which means some of the most dynamic work to emerge in recent years is absent. Nonetheless, his pick of 29 artists has enough going on to give a sense of the questioning approach and variety of contemporary British art, a marked contrast to the YBA moment that cemented the collector's rep. Highlights include Karla Black's vulnerable, makeup-dusted <a href="http://www.guardian.co.uk/artanddesign/sculpture" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Sculpture">sculpture</a>, Spartacus Chetwynd's handmade animal costumes and Barry Reigate's riotous pop art collage, Real Special Very <a href="http://www.guardian.co.uk/artanddesign/painting" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Painting">Painting</a>.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://www.guardian.co.uk/artanddesign/saatchi-gallery" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Saatchi gallery">Saatchi Gallery</a>, SW3, Wed to 17 Oct</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Skye Sherwin</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">David Nash, Wakefield</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">It's easy to belittle David Nash as the ultimate back-to-nature artist, one for the macho men of the woods, hacking away with his chainsaw, churning out monumental erections. Yet there's something disarming in Nash's singularity of purpose. "I want a simple approach to living and doing," he has said. The more than 300 works in this retrospective could well temporarily find their true cultural home amid Yorkshire Sculpture Park's undulating hillsides. Indoors and out, there are eucalyptus spheres, redwood towers, burnt twig drawings and extensive documentation of such site-specific projects as Wooden Boulder, a sculptural lump of oak set to sail on a stream in the Welsh mountains in 1978. Organic flux and decay are essential elements of Nash's various projects, with warping and cracking contributing a crucial finesse to the works' blunt and bold aesthetic.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Yorkshire Sculpture Park, to 27 Feb, 2011</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Robert Clark</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Rachel Khedoori, London</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">For the past seven years, Rachel Khedoori has been searching the internet for news stories about the Iraq war. As her Iraq project demonstrates, that's a weighty amount of text. Collated in giant tomes, they're dictionary-dense, the articles running on and on: a physical testament to the burden of recent history, which the words circle and repeat, in near countless attempts to nail the fugitive business of what happened and what's still happening. Shifting from global politics to personal meditation, a new film work explores this effect on the landscape of the artist's childhood home, Australia. Both works create a sense of shifting space, inside the mind and in the world.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Hauser & Wirth, W1, Fri to 31 Jul</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Skye Sherwin</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">The Glass Delusion, Sunderland</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Glass Delusion takes its title from a term, coined in the Middle Ages, for a form of depression in which sufferers fear they are made of glass and therefore impossibly vulnerable to psychic and physical breakage. It is recorded that victims would refuse to sit down as they believed their body weight would fracture their buttocks. So here, an impressive array of artists, including Susan Hiller and Matt Mullican, reflect on the dual nature of glass's hardness and fragility. A highlight is bound to be Beryl Sokoloff's film celebration of the House of Mirrors, built in 1960s Woodstock by the wonderfully obsessive Clarence Schmidt.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">National Glass Centre, to 3 Oct</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Robert Clark</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">001 London, London</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The big city is the subject of this zingy show of prints created by a who's who of up-to-the-minute graphic artists. There's the mastermind behind big boys' "character toy" company Arnos, James Jarvis, whose 2D orange ball on legs looks like a distant cousin to Tony Hart's iconic Plasticine chum Morph. Fashion designer and fabric-print whiz David David has created a signature bright op-art design. Meanwhile Anthony Burrill, a kingpin of the scene, provides a tart take on life in the capital with a print featuring a mass of prohibitive road signs. Look out, too, for young designer Kate Moross, Lizzie Finn's needlework-inspired illustration, plus "Victorian punk revivalists" the Rubbishmen.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">7 Marshall St, W1, to 3 Jul</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Skye Sherwin</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Dürer and Italy, Port Sunlight</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">A lovely show on loan from Glasgow's Hunterian Museum, enchantingly displayed in the quirky Port Sunlight village's equally lovely Lady Lever Art Gallery. While the exhibition ostensibly charts in part the great German Renaissance artist's creative cross-fertilisation with his Italian contemporaries, any excuse is welcome to get another glimpse of his engravings, surely some of the most sensitively skilful pieces of printmaking of all time. Each image could only be by Dürer and no one else before or since. Here you can see his Eve with corkscrew locks and Adam with his naked foot planted, for some reason, on a mouse's tail. Here's his Self-Portrait, all dolled-up hippy-style like someone out of the Incredible String Band. But Dürer's most unforgettable print is Melancholia, an enigmatic reflection on the mysteries of creation and the expectation for artists to be somewhat wired to the moon.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Lady Lever Art Gallery, to 26 Sep</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Robert Clark</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Lily Van Der Stokker: No Big Deal Thing, St Ives</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Lily Van Der Stokker's art will do anything to make friends. The Dutch artist's relentlessly cheery giant wall drawings teem with flowers, greetings-card messages, dopey blobby shapes and candy-coloured polka dots. They indulge in decoration, pretty colours, niceness and mawkish charm. In fact, they're so girly, childish and cute as to become a little belligerent: an alternative kind of feminist challenge to art world machismo and its yen for the grave and drily intellectual. She seems to ask, quite seriously, what's wrong with artists being upbeat or talking about love and family – while also pondering how it is that many people go weak at the knees for this stuff. This is her largest UK exhibition yet and includes wall drawings and works on paper.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Tate St Ives, to 26 Sep</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Skye Sherwin</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: initial; border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">MadeIn, Birmingham</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">The Chinese artists' collective MadeIn presents installations that make often deceptively playful comment on assumptions of national culture. In addition to amalgamating the words "made in", the term apparently translates phonetically into Chinese as "without a roof". This is art that likes to sidestep easy categorisation as well as the creative restrictions of recent Chinese history, and the work itself tends to tackle big, bad themes of Middle Eastern conflicts with audacious assemblages of throwaway raw materials. The toe-ends of combat desert boots are arranged in an inward facing circle. An inert pile of rubble, like some bomb blast debris, can be seen on closer inspection to be animated by a rhythmical electrical breathing.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ikon Gallery, to 11 Jul</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Robert Clark</em></div></span>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-2668378987279463302010-05-31T09:22:00.000-07:002010-05-31T09:22:53.019-07:00Exposed: Voyeurism, Surveillance and the Camera Tate Modern, London<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj80Qwgonk2sY89GQPywIOpjQ4EUCE1iCi7eR4vtaUdlQ0Xr5Sge6K9CBd3sMFiVL-EncOlMBy7_EKEYw2ROq1Ju3hg1ov62X-EcnhTvzE5QOCIyB6Z48zy-JWpw9-yEPanI1yjxLOxGvT5/s1600/tate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj80Qwgonk2sY89GQPywIOpjQ4EUCE1iCi7eR4vtaUdlQ0Xr5Sge6K9CBd3sMFiVL-EncOlMBy7_EKEYw2ROq1Ju3hg1ov62X-EcnhTvzE5QOCIyB6Z48zy-JWpw9-yEPanI1yjxLOxGvT5/s320/tate.jpg" /></a></div><br />
Exposed is full of sneaky images and surreptitious views, hidden cameras and nefarious goings-on. This is a rough ride, by turns entertaining, horrifying, morbid and compulsive. Taking us from the American civil war to the burning oil fields of the first Gulf war, from an 1860s execution in China to the death chamber in a modern Mississippi penitentiary, there's plenty that is ghastly and ghoulish, much that is seamy, much that is innocuous but invasive, such as Harry Callahan's images of women lost in thought, and Yale Joel's 1946 shots through a two-way mirror in a Broadway cinema lobby.<br />
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Kohei Yoshiyuki photographed people having sex, and watching others having sex in a public park at night. We spy a KGB agent rummaging through files, and approaching a secret meeting place in the woods. The paparazzi snap Liz Taylor and Richard Burton snogging. Merry Alpern's great series of shots through dirty windows of a brothel, seen from the photographer's own building, are all the more tantalising for being such fragmentary views. There's sex and strangeness here, electrocutions and suicides, lynchings and murders and death squad assassinations.<br />
<br />
As Kim Novak takes her seat in the railroad dining car, all the guys in the carriage turn to watch, and we watch them watching her. Greta Garbo avoids the camera, and a dead man on an Italian garage ramp, hit in the back, no longer cares. There's a vitrine of walking stick cameras, watch-fob cameras, cameras with hidden second lenses that point in a different direction to the one you think they do.<br />
<br />
But key images are missing, the most obvious being the infamous shots taken at Abu Ghraib. I keep thinking there's an even better show to be made – one with a less obvious American bias.<br />
<br />
Until 3 October. Details: 020-7887 8888.Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-43077546209423798712010-04-01T08:48:00.001-07:002010-04-01T08:49:27.043-07:00<table style="background-color: #dddddd; border-collapse: collapse; border: 0 none; margin-bottom: 10px; width: 400px;"><tbody>
<tr><td style="background-image: url(http://www.garageccc.ru/files/img/12f5a71ca5e45ce74918c7f8fc89e3ba.jpg); background-repeat: no-repeat; height: 201px; padding: 0px; vertical-align: top; width: 308px;"></td><td style="cursor: default; font-family: Arial,Helvetica,sans-serif; padding: 5px 10px 0 12px; vertical-align: top;"><h5 style="border-bottom: 1px solid #77787B; color: black; font-size: 20px; font-weight: normal; margin: 0 0 5px; padding: 0;">23 апреля - 14 августа 2010</h5><div style="font-size: 16px; line-height: 18px; margin: 0 0 5px;"><a href="http://www.garageccc.ru/eng/exhibitions/342.phtml" style="color: #1b9ac2; font-style: italic;">Mark Rothko: Into an Unknown World</a></div><div style="border-bottom: 1px dashed #77787B; font-size: 1px; line-height: 1px; margin-bottom: 6px;"></div><div style="color: black; font-size: 13px; line-height: 15px; margin: 0 0 5px;"></div></td></tr>
</tbody></table>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-2847467000415948612010-03-30T07:48:00.000-07:002010-03-30T07:48:49.784-07:00Artist Alert - Marcus Jansen<span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-size: small;"><span class="Apple-style-span" style="font-size: 11px;"><span class="Apple-style-span" style="font-family: 'Times New Roman'; font-size: 16px;"><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><span class="Apple-style-span" style="font-family: Arial; font-size: 13px;">With a keen awareness of his surroundings he creates a surreal urban like atmosphere filled with subconscious revelations that foretell of a future fraught with consequence. Violent brushstrokes, changing textures, and instinctive contrast of color reflect an explosive spontaneity that is the direct and raw effect of emotion.</span></div><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt;">Jansen's Intellectually provocative and paradoxical work encourages discourse among viewers. Inspired by political and social events of today, he paints his own interpretations as he tries to separate truth from fiction in a world of increasing disinformation. His paintings ask us to look at the world in a new way and to consider not only our interdependence, but also the universal nature of our existence. We are forced to recognize the repercussions of our own apathy and then ask ourselves what are our responsibilities and how much are we willing to sacrifice.<o:p></o:p></span></div><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt;">Jansen continues to remind us that progress has a price. In his most recent work, the streets are now filled with the crumbling infrastructure of a previous generation. Isolated figures walk in the aftermath without refuge from the surveillance of new world technology. Spotlights illuminate the scenery, as the stage is set for a virtual wasteland rich in metaphorical imagery.<o:p></o:p></span></div><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt;">Cornered pigs wait with targets on their back, as we crossover into Jansen’s suburban landscapes and are confronted with foreclosed homes, receding farms and the scattered debris of industry. A school bus careens head on into a collision, the wheels no longer turning. Sheep graze in once green pastures replaced with the urban sprawl of the forgotten cities.<o:p></o:p></span></div><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><br />
</div><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><span lang="EN-US" style="font-family: Arial; font-size: 10pt;">The themes that run through Jansen’s work are vast in scope and are indicative of his insightful ability to see the correlations that connect them. Genetically modified food, increasing surveillance, the degradation of education, corporate greed, and global dominance are just a few. In his work lies a deeply rooted spirituality that becomes evident by his willingness to explore the unknown. He brings our attention to the things we would normally overlook, while reminding us that within our struggle resides beauty.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ6_2HSUi5x5q5vVUh6KcdJEri_IzVF_zLAb1IvvLm07MQpCVUPeWFLjvJo-51OzHygmBmgKYMl8YyARoU1-TNOdBTRkPdYvR52SfZajwAWia7o6coJXmOrj2uVgdfFXoGJCg96IN7desB/s1600/in+search+of+a+heart.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ6_2HSUi5x5q5vVUh6KcdJEri_IzVF_zLAb1IvvLm07MQpCVUPeWFLjvJo-51OzHygmBmgKYMl8YyARoU1-TNOdBTRkPdYvR52SfZajwAWia7o6coJXmOrj2uVgdfFXoGJCg96IN7desB/s320/in+search+of+a+heart.jpg" /></a></div><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><br />
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</div><div class="MsoNormal" style="font-family: 'Times New Roman'; font-size: 12pt; margin-bottom: 0.0001pt; margin-left: 0in; margin-right: 0in; margin-top: 0in;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; border-collapse: collapse; color: green; font-family: arial, sans-serif; font-size: small;"><a href="http://www.101exhibit.com/">www.101exhibit.com</a></span></div></span></span></span>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-35364330264556694302010-03-30T05:18:00.001-07:002010-03-30T05:18:54.253-07:00Martin Creed 2006<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/5AYIf3nHNxY&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/5AYIf3nHNxY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
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<h3 style="font-size: 19px; font-weight: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-transform: none;">Martin Creed</h3><h5 style="color: #888888; font-size: 12px; font-weight: normal; line-height: 1.2em; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-transform: none;">2006</h5><div style="font-size: 12px; line-height: 1.3em; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">"First scene from <i style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Sick Film</i>, 2006, 35 mm color film transferred to DVD, 21 minutes. Premiered at the Curzon Mayfair on Friday, October 13, 2006. On general release July 2007.</div>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-72258233989973381002010-03-30T05:02:00.000-07:002010-03-30T05:12:49.899-07:00Next 5 Days - Your Guide to Openings in London<table cellpadding="5" class="showlistingtable" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-bottom-color: rgb(126, 38, 34); border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(126, 38, 34); border-left-width: 1px; border-right-color: rgb(126, 38, 34); border-right-width: 1px; border-top-color: rgb(126, 38, 34); border-top-width: 1px; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody id="thelist">
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table cellpadding="5" class="showlistingtable" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-bottom-color: rgb(126, 38, 34); border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(126, 38, 34); border-left-width: 1px; border-right-color: rgb(126, 38, 34); border-right-width: 1px; border-top-color: rgb(126, 38, 34); border-top-width: 1px; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody id="thelist">
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><table id="midtable" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><div id="midcol" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><table class="listtable" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 5px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 635px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><div id="innerlist" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><table cellpadding="5" class="showlistingtable" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-bottom-color: rgb(126, 38, 34); border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(126, 38, 34); border-left-width: 1px; border-right-color: rgb(126, 38, 34); border-right-width: 1px; border-top-color: rgb(126, 38, 34); border-top-width: 1px; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody id="thelist">
<tr><td class="showlistinggroup" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><div class="subform_header" style="background-color: #898989; font-size: 18px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 10px; padding-right: 0px; padding-top: 0px;"><span class="subform_name" style="float: none; font-size: 18px; font-weight: normal;">march 30th </span></div></td></tr>
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/99664-nathlyn-baptiste" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><img alt="Nb" src="http://assets1.artslant.com/work/image9/273235/fcfwrb/nb.jpg?1269548404" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></span></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><b><a class="event" href="http://www.artslant.com/lon/events/show/99664-nathlyn-baptiste" style="text-decoration: none;"><span class="artist"><span class="Apple-style-span" style="color: black;">Nathlyn Baptiste</span></span><span class="Apple-style-span" style="color: black;">: </span><i><span class="Apple-style-span" style="color: black;">Nathlyn Baptiste</span></i></a> </b><br />
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<b>A&D Gallery </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> mayfair </span><br />
51 Chiltern Street, Marylebone<br />
London W1U6LY, United Kingdom<br />
02074860532<br />
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<span class="Apple-style-span" style="color: black;"><a href="http://www.aanddgallery.com/" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;">http://www.aanddgallery.com</a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">6:30 PM - 9:00 PM</span> </b><br />
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<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/95627-fraser-muggeridge-studio" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><img alt="Press_release_fms1" src="http://assets2.artslant.com/work/image8/259913/fcfwrb/press_release_FMS1.jpg?1267487421" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></span></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><b><a class="event" href="http://www.artslant.com/lon/events/show/95627-fraser-muggeridge-studio" style="text-decoration: none;"><i><span class="Apple-style-span" style="color: black;">FRASER MUGGERIDGE STUDIO</span></i></a> </b><br />
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<b>Kaleid editions </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> shoreditch </span><br />
Unit 2, 23-25 Redchurch Street<br />
London E2 7DH, United Kingdom<br />
07870 173 524<br />
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<span class="Apple-style-span" style="color: black;"><a href="http://kaleideditions.com/eshop/" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;">http://kaleideditions.com/eshop/</a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">6:00 PM - 9:00 PM</span> </b><br />
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</b></td></tr>
</tbody></table><hr /></td></tr>
<tr><td class="showlistinggroup" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><div class="subform_header" style="background-color: #898989; font-size: 18px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 10px; padding-right: 0px; padding-top: 0px;"><span class="subform_name" style="float: none; font-size: 18px; font-weight: normal;">march 31st </span></div></td></tr>
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/99702-everybody-is-a-lake" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><img alt="Painting" src="http://assets3.artslant.com/work/image9/273315/fcfwrb/painting.jpg?1269558543" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></span></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><img alt="Featured" src="http://assets0.artslant.com/images/Featured.gif?1269417956" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="ArtSlant Key Venue" /> <b><a class="event" href="http://www.artslant.com/lon/events/show/99702-everybody-is-a-lake" style="text-decoration: none;"><span class="artist"><span class="Apple-style-span" style="color: black;">Louise Thomas</span></span><span class="Apple-style-span" style="color: black;">: </span><i><span class="Apple-style-span" style="color: black;">Everybody is a lake</span></i></a> </b><br />
<br />
<b>Bischoff/Weiss </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> mayfair </span><br />
14a Hay Hill<br />
London W1J 8NZ, United Kingdom<br />
+44 (0)207 629 5954<br />
<br />
<span class="Apple-style-span" style="color: black;"><a href="http://www.bischoffweiss.com/" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;">http://www.bischoffweiss.com</a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">6:00 PM - 9:00 PM</span> </b><br />
<b><br />
</b></td></tr>
</tbody></table><hr /></td></tr>
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/97200-construct" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><img alt="Esmond_bingham" src="http://assets0.artslant.com/work/image8/264771/fcfwrb/Esmond_Bingham.png?1268152964" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></span></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><b><a class="event" href="http://www.artslant.com/lon/events/show/97200-construct" style="text-decoration: none;"><span class="artist"><span class="Apple-style-span" style="color: black;">Esmond Bingham, John Christie</span></span><span class="Apple-style-span" style="color: black;">: </span><i><span class="Apple-style-span" style="color: black;">CONSTRUCT</span></i></a> </b><br />
<br />
<b>Eleven Spitalfields </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> shoreditch </span><br />
11 Princelet Street<br />
London E1 6QH, United Kingdom<br />
020 7247 1816<br />
<br />
<span class="Apple-style-span" style="color: blue;"><a href="http://www.elevenspitalfields.com/" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;">http://www.elevenspitalfields.com/</a></span><br />
<span class="Apple-style-span" style="color: blue;"><br />
</span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">6:30 PM - 8:30 PM</span> </b><br />
<b><br />
</b></td></tr>
</tbody></table></td></tr>
<tr><td class="showlistinggroup" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><div class="subform_header" style="background-color: #898989; font-size: 18px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 10px; padding-right: 0px; padding-top: 0px;"><span class="subform_name" style="color: white; float: none; font-size: 18px; font-weight: normal;">april 1st </span></div></td></tr>
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/91286-null-void" style="color: #01aa4f; text-decoration: none;"><img alt="Untitled-richardflyer_copy" src="http://assets0.artslant.com/work/image8/246285/fcfwrb/Untitled-rICHARDFLYER_copy.jpg?1264994222" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><b><span class="artist"><span class="Apple-style-span" style="color: black;">Richard Ducker</span></span><span class="Apple-style-span" style="color: black;">: </span><i><span class="Apple-style-span" style="color: black;">NULL & VOID</span></i> </b><br />
<br />
<b>Oblong Gallery </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> st. pancras </span><br />
69a Southgate Road<br />
London N1 3JS, United Kingdom<br />
0207 354 8330<br />
<br />
<a href="http://www.oblonggallery.com/" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;"><span class="Apple-style-span" style="color: blue;">http://www.oblonggallery.com</span></a><br />
<br />
</td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">6:00 PM - 8:00 PM</span> </b><br />
<b><br />
</b></td></tr>
</tbody></table></td></tr>
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/99640-hasadhu-in-the-night-before-a-storm-by-usugrow" style="color: #01aa4f; text-decoration: none;"><img alt="Usugrow_lifetime_commitment" src="http://assets2.artslant.com/work/image9/273063/fcfwrb/usugrow_lifetime_commitment.jpg?1269525298" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><b><span class="artist">Usugrow</span>: <i>‘Hasadhu, In The Night Before A Storm’ By Usugrow</i> </b><br />
<br />
<b>StolenSpace </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> shoreditch </span><br />
Dray Walk, 91 Brick Lane<br />
London E1 6QL, United Kingdom<br />
+44 (0) 207 247 2684<br />
<br />
<a href="http://www.stolenspace.com/" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;"><span class="Apple-style-span" style="color: blue;">http://www.stolenspace.com/</span></a></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">6:00 PM - 9:00 PM</span> </b></td></tr>
</tbody></table><span class="Apple-style-span" style="font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana;"></span><br />
<span class="Apple-style-span" style="font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana;"><table cellpadding="5" class="showlistingtable" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-bottom-color: rgb(126, 38, 34); border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(126, 38, 34); border-left-width: 1px; border-right-color: rgb(126, 38, 34); border-right-width: 1px; border-top-color: rgb(126, 38, 34); border-top-width: 1px; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody id="thelist">
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><div style="text-align: auto;"><span class="Apple-style-span" style="font-size: medium;"><br />
</span></div></td></tr>
</tbody></table><table cellpadding="5" class="showlistingtable" style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-bottom-color: rgb(126, 38, 34); border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(126, 38, 34); border-left-width: 1px; border-right-color: rgb(126, 38, 34); border-right-width: 1px; border-top-color: rgb(126, 38, 34); border-top-width: 1px; font-size: 12px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 10px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody id="thelist">
<tr><td class="showlistinggroup" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><div class="subform_header" style="background-color: #898989; font-size: 18px; margin-bottom: 5px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 10px; padding-right: 0px; padding-top: 0px;"><span class="subform_name" style="color: white; float: none; font-size: 18px; font-weight: normal;">april 2nd </span></div></td></tr>
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/98714-iain-macleans-passion" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><img alt="Mac" src="http://assets1.artslant.com/work/image9/270230/fcfwrb/mac.jpg?1268999284" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></span></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><b><a class="event" href="http://www.artslant.com/lon/events/show/98714-iain-macleans-passion" style="text-decoration: none;"><span class="artist"><span class="Apple-style-span" style="color: black;">Iain MacLean</span></span><span class="Apple-style-span" style="color: black;">: </span><i><span class="Apple-style-span" style="color: black;">Iain MacLean’s “Passion”</span></i></a> </b><br />
<br />
<b>Candid Gallery </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> st. pancras </span><br />
3 Torrens Street, Angel<br />
London, Islington EC1V 1NQ, United Kingdom<br />
0207 837 4237<br />
<span class="Apple-style-span" style="color: black;"><br />
<br />
<a href="http://www.candidarts.com/candid_arts_trust.htm" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;">http://www.candidarts.com/candid_arts_tr...</a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">6:00 PM - 8:00 PM</span> </b><br />
<b><br />
</b></td></tr>
</tbody></table><hr /></td></tr>
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/94541-group-show-smile" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><img alt="Iampatchwork" src="http://assets2.artslant.com/work/image8/256758/fcfwrb/Iampatchwork.jpg?1266843587" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></span></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><b><a class="event" href="http://www.artslant.com/lon/events/show/94541-group-show-smile" style="text-decoration: none;"><span class="artist"><span class="Apple-style-span" style="color: black;">Soraia Almeida</span></span><span class="Apple-style-span" style="color: black;">: </span><i><span class="Apple-style-span" style="color: black;">Group Show, 'Smile'</span></i></a> </b><br />
<br />
<b>Red Gate Gallery </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> south bank, southwark </span><br />
209a Coldharbour Lane, Brixton<br />
London, London SW9 8RU, United Kingdom<br />
0207 326 0993<br />
<span class="Apple-style-span" style="color: black;"><br />
<br />
<a href="http://www.redgategallerylondon.co.uk/" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;">http://www.redgategallerylondon.co.uk</a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">6:00 PM - 1:00 AM</span> </b><br />
<b><br />
</b></td></tr>
</tbody></table></td></tr>
<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/95788-smile-an-exhibition-that-brings-back-laughter" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><img alt="Medicine_box_2_small" src="http://assets0.artslant.com/work/image8/260696/fcfwrb/Medicine_box_2_small.jpg?1267482461" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></span></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><b><a class="event" href="http://www.artslant.com/lon/events/show/95788-smile-an-exhibition-that-brings-back-laughter" style="text-decoration: none;"><span class="artist"><span class="Apple-style-span" style="color: black;">Group Show</span></span><span class="Apple-style-span" style="color: black;">: </span><i><span class="Apple-style-span" style="color: black;">Smile: An exhibition that brings back laughter</span></i></a> </b><br />
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<b>Red Gate Gallery </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> south bank, southwark </span><br />
209a Coldharbour Lane, Brixton<br />
London, London SW9 8RU, United Kingdom<br />
0207 326 0993<br />
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<a href="http://www.redgategallerylondon.co.uk/" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;">http://www.redgategallerylondon.co.uk</a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">6:00 PM - 1:00 AM</span> </b><br />
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<tr class="t1"><td class="showlistingcell" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 5px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left; vertical-align: top;"><table style="-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; width: 628px;"><tbody>
<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/96275-lived-in-landscapes-from-cornwall" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><img alt="Well_worn_steps" src="http://assets0.artslant.com/work/image8/261801/fcfwrb/well_worn_steps.jpg?1267644508" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></span></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><b><a class="event" href="http://www.artslant.com/lon/events/show/96275-lived-in-landscapes-from-cornwall" style="text-decoration: none;"><span class="artist"><span class="Apple-style-span" style="color: black;">Tom Henderson Smith</span></span><span class="Apple-style-span" style="color: black;">: </span><i><span class="Apple-style-span" style="color: black;">Lived-in Landscapes from Cornwall</span></i></a> </b><br />
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<b>Chapel Row Gallery </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> other (outside main areas) </span><br />
6, Chapel Row<br />
Bath BA11HN, United Kingdom<br />
07855386372<br />
<span class="Apple-style-span" style="color: black;"><br />
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<a href="http://www.hendersonsmith.co.uk/" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;">http://www.hendersonsmith.co.uk</a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">12:00 PM - 2:00 PM</span> </b><br />
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<tr><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: center; vertical-align: top;" width="110"><span class="imagethumbfield" style="display: block; float: left; padding-right: 15px;"><a href="http://www.artslant.com/lon/events/show/96369-the-great-escspe" style="text-decoration: none;"><span class="Apple-style-span" style="color: black;"><img alt="Bart_s_treehouse" src="http://assets0.artslant.com/work/image8/262007/fcfwrb/Bart_s_Treehouse.jpg?1267667367" style="border-bottom-width: 0px; border-color: initial; border-color: initial; border-color: initial; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-style: initial; border-style: initial; border-style: initial; border-top-width: 0px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;" title="" /></span></a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: left; vertical-align: top;"><b><a class="event" href="http://www.artslant.com/lon/events/show/96369-the-great-escspe" style="text-decoration: none;"><span class="artist"><span class="Apple-style-span" style="color: black;">Rob Reed</span></span><span class="Apple-style-span" style="color: black;">: </span><i><span class="Apple-style-span" style="color: black;">the great escspe</span></i></a> </b><br />
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<b>DegreeArt.com Ltd </b><span class="neighborhoodcell" style="font-size: 12px; font-weight: 700;"> shoreditch </span><br />
30 Vyner Street<br />
London E2 9DQ, United Kingdom<br />
020 8980 0395<br />
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<a href="http://www.DegreeArt.com/" onclick="window.open(this.href);return false;" rel="nofollow" style="text-decoration: none;">http://www.DegreeArt.com</a></span></td><td style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: right; vertical-align: top;" width="220"><b><span style="font-size: 12px;">6:00 PM - 9:00 PM</span> </b><br />
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</tbody></table>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-22283131890121786892010-03-30T04:39:00.000-07:002010-03-30T04:39:20.386-07:00Tony Cragg - Lisson Gallery<span class="Apple-style-span" style="border-collapse: collapse; color: white; font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana; font-size: 12px;"></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: white; font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana; font-size: 12px;"><div class="ep-profile-artists" style="color: #a2a19d; font-size: 16px; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 15px; padding-left: 0px; padding-right: 0px; padding-top: 5px; text-align: left;"><div class="ep-profile-title summary" style="font-size: 16px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Tony Cragg</div><div class="location vcard" style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><div class="ep-venue-name fn org" style="font-size: 16px; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 10px;"><a href="http://www.artslant.com/lon/venues/show/2439-lisson-gallery" style="color: #545454; text-decoration: none;">Lisson Gallery</a></div><div class="ep-profile-address adr" style="color: #545454; font-size: 14px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="street-address">52-54 Bell Street</span><br />
<span class="locality">London</span> <span class="postal-code">NW1 5DA</span><br />
<span class="street-address">United Kingdom</span><br />
<span class="geo"><span class="latitude"><span class="value-title" title="51.5212576"></span></span><span class="longitude"><span class="value-title" title="-0.1682417"></span></span></span></div></div></div><div class="ep-artist-name" style="color: #545454; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"></div><div class="ep-profile-extended" style="color: #545454; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><div class="xx-is-this" style="color: #545454; font-size: 12px; font-weight: bold; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><br />
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<span class="dtstart">March 17th - April 17th</span></div></div></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana; font-size: small;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 12px;"><span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-size: small;"><span class="Apple-style-span" style="border-collapse: separate; font-size: 11px;"><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuVLD6U5LyZGtJEA6THUr-yCJXzobSuAKAMyRYUzx3tf2a3dPiZD0bR-GADD5rXWzkGGWhEOVytppNIO2Gnl6h6BGEaFJsXIAjlE2XnZnqfbxEEoOBPKGT3ni7TMMrczsA8qR0Eddld1IZ/s1600/m.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuVLD6U5LyZGtJEA6THUr-yCJXzobSuAKAMyRYUzx3tf2a3dPiZD0bR-GADD5rXWzkGGWhEOVytppNIO2Gnl6h6BGEaFJsXIAjlE2XnZnqfbxEEoOBPKGT3ni7TMMrczsA8qR0Eddld1IZ/s320/m.jpg" /></a><span class="Apple-style-span" style="border-collapse: collapse; font-family: Arial, Helvetica, Sans, 'Trebuchet MS', Tahoma, Verdana; font-size: 12px;">Tony Cragg's abiding interest is in the dynamic potential of matter to assume form. At the Lisson, he will present five large new sculptures, a series of smaller works and a number of related drawings. The selection demonstrates the consistency with which Cragg has pursued his sculptural explorations, particularly since he moved from his early assemblages to casting sculptures in the mid-1980s; it also demonstrates the range and ambition of those explorations. Cragg, an unashamed materialist, is nevertheless a magician of matter, taking an essentially simple image like the human profile or the hollowness of many natural forms and subjecting them to extreme extrapolation. This often takes place around an active axial structure: Cragg has said that in these works 'there is no longer a straight axis, the axis bends and re-orients itself compressing the volumes around it. Obviously, the forms associated with these kinds of variable axis infer an energetic dynamic, the kind of constant material condition found in the whirlings of tornadoes...' (quoted in 'Tony Cragg, Signs of Life,' 2003). In his new exhibition, Tony Cragg works with wood, fibreglass, cast and constructed steel, in each case taking his interest in material beyond the conventional constraints and processes of fabrication or imagination. His drawings add another dimension to the work, often zooming in to microscopic detail or out to macrocosmic form.</span>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-38732193030337904942010-03-29T07:12:00.000-07:002010-03-29T07:14:47.887-07:00Artist Of The Week - Idris Khan<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRUIAZ4mFJKr43z_l8yotBERQ8-nbRH-2w7vT8OcE5Fp4SuHgHWA1LPWTyY_pwuZlYQ9DVf8XV0AMqhcoLuOoBPysYQOs5mqqKbhgltILhUpXdfaii0jNDoUScGDykOglvkW9IK7WU-SaF/s1600/idris+khan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRUIAZ4mFJKr43z_l8yotBERQ8-nbRH-2w7vT8OcE5Fp4SuHgHWA1LPWTyY_pwuZlYQ9DVf8XV0AMqhcoLuOoBPysYQOs5mqqKbhgltILhUpXdfaii0jNDoUScGDykOglvkW9IK7WU-SaF/s400/idris+khan.jpg" width="400" /></a></div><br />
<span class="Apple-style-span" style="font-size: x-small;">Music and mystery ... Idris Khan's Seven Times (2010) is a reference to Islamic worship. Photograph courtesy of the artist and Victoria Miro gallery</span><br />
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You'd be forgiven for not realising Idris Khan's photos were actually photos at all. With their accretions of smudgy black marks, they look more like hand-rendered charcoal drawings than flat snaps realised at the push of a button. Get up close, though, and the thick black lines dissolve into a spore-like buildup of words or musical notes. His images are composites built from layered sheets of music, book pages, paintings or other photographs that seem to squeeze journeys in time – like reading or hearing music – into a single picture.<br />
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Every … Stave of Frederick Chopin's Nocturnes For the Piano (2004), for instance, is just what its title claims. The music sheets are photographed and manipulated on a computer by Khan to become a lone image whose blurred hieroglyphs seem to convulse. It's as if each rendition of Chopin's music could be seen rather than heard, experienced in one visual cacophony. In Sigmund Freud's … the Uncanny (2006), Khan uses the same technique on the psychoanalyst's landmark essay on eerie recurrences. In the artist's image, the crease at the book's centre is built into a menacing well of darkness, like a trauma waiting to surface.<br />
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In fact, although the 31-year-old London-based artist was awarded the Photographer's Gallery prize in 2004, he doesn't consider himself a photographer. The camera was simply the tool he turned to as an aspiring art student who longed to paint or play music but couldn't. His first composite images stemmed from photos taken while travelling in 2002, such as Every … Photograph Taken in Portugal With My Ex-Girlfriend. From these experiments in compressed memories, Khan went on to tackle iconic photographic works – including books by theorists Susan Sontag and Roland Barthes – to high culture's greatest hits, such as Beethoven's sonatas and Rembrandt's self-portraits.<br />
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Though Khan stopped practising Islam at the age of 14, he remains fascinated by the rituals and devotion of his parent's faith. He has said it underscores the repetition and obsessive production processes behind his work; each image takes several months to complete. Yet he is not shy of addressing religion directly, as with a recent sculpture work, entitled Seven Times, which fuses references to minimalism and the Kaaba, the cubic shrine in Mecca that Muslims must try to visit once in their lifetime. Here, steel cubes echoing the proportions of the shrine are laid out in the arrangement of Carl Andre's 144 Graphite Silence. Sandblasted with lines of prayer, the overlying strings of Arabic script recall the five daily prayers uttered by Muslims all over the world.<br />
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Why we like him: The Creation (2009) is derived from the oratorio that took composer Joseph Haydn years to realise. From a distance, the bold grey-black bars of Khan's huge image recall the calming abstractions of an Agnes Martin painting. Up close, however, the myriad notes seem to hum with creative struggle and the energy of religious and artistic faith.<br />
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All about my mother: It was Khan's late mother who first stoked his passion for classical music. His recent work Black Horizon uses one of her favourite piano pieces, a Bach melody.<br />
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Where can I see him? Khan's solo exhibition is at Victoria Miro gallery, London, until 24 April 2010.<br />
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<a href="http://www.victoria-miro.com/exhibitions/_405/">www.victoria-miro.com</a>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-48635946339388910472010-03-29T06:24:00.000-07:002010-03-29T06:37:11.282-07:00Quilts 1700-2010 V&A, London<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAyEpaokwylaNx2AGP1Xg9q-4W-S7ZPZZRLg2fQmognL5Fx2cOIL11C86qoPPbxgZeTocoOhxIZT79Y-B2lfQsyNX5Ayxf89PW32TDacGbJ51HJwRPnxAFn3MfA0RTvhIZHxCg7rEit65A/s1600/Quilts-1700---2010-009.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAyEpaokwylaNx2AGP1Xg9q-4W-S7ZPZZRLg2fQmognL5Fx2cOIL11C86qoPPbxgZeTocoOhxIZT79Y-B2lfQsyNX5Ayxf89PW32TDacGbJ51HJwRPnxAFn3MfA0RTvhIZHxCg7rEit65A/s400/Quilts-1700---2010-009.jpg" width="400" /></a></div><br />
<div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="border-collapse: collapse; color: #666666; font-family: arial, sans-serif; line-height: 14px;">Natasha Kerr's At the End of the Day, 2007, part of Quilts 1700-2010 at the V&A. Photograph: Richard Davis</span></div><div style="font: 12.0px Helvetica; margin: 0.0px 0.0px 0.0px 0.0px;"><span class="Apple-style-span" style="color: #666666; font-family: arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; line-height: 14px;"><br />
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The soldier looks peaceful but alarmingly pale. He has a metal plate lodged in his head. They've patched him up at the military hospital and even given him something to keep his mind off the horrors of the Crimea. He is sitting up in his nightshirt stitching the most startling quilt.<br />
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The triangles alternate black and white, black and red, red and yellow in fierce chevron stripes. It is a terrific piece of op-art geometry. The painting that commemorates Private Walker's labours shows not only the quilt and exactly how it is done, right down to the difficulty of keeping each fiddly little triangle from curling up as you stitch it to another, but something else too.<br />
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There on the bed lies Walker's uniform, complete with medal. The quilt turns out to be made of his regimental colours, almost literally – a piecing together of the torn clothes, if not the bodies, of the dead.<br />
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Are all quilts an act of commemoration, more or less public or private? It seems so from this tremendous exhibition. Quilts 1700-2010 has had more advance bookings than any other at the V&A, with visitors due to fly in from all round the world. It deserves its enormous success.<br />
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For what it shows is an art form that takes scraps of the real world and transforms them into visions and images, that shores up the fragments of the past while making something new (and warm) for the future. This is not quilting as commonly imagined – Laura Ashley pre-cut squares machined together for the guest room – but something infinitely more imaginative, idiosyncratic, personal; another way of drawing or painting, another form of narrative or expression.<br />
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Look at the unknown 18th-century woman who has stitched her entire world into a coverlet, beginning with the clock at the centre that measures time and life, radiating out through the day's objects – comb, thimble, scissors, the very needle she is using right now – to the emblems of her home and the garden beyond, where the spring birds arrive, then depart for the winter sun. It feels like the whole of an existence, circumscribed, confined and yet rich in the mind, condensed to the visual equivalent of a sonnet.<br />
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Look at James Williams's anthology of wonders – a camel, an elephant, a Chinese pagoda, the whale swallowing Jonah; to which he has proudly added a perfect cloth reprise of Thomas Telford's miraculous suspension bridge in Menai. Williams was a Welsh tailor. It took him a decade to piece the quilt together after work, and no wonder, for each vignette is united in a web of tiny shifting mosaics that feels like a dream adrift in the mind.<br />
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Ten years, 40 years: the curators have been able to determine from the fabrics themselves how long some of these quilts were under the needle – picked up and abandoned and picked up again. Each quilt is the measure of its own making. And as time passes, relationships and events are both implicit and explicit in the work. The death of a husband is felt in darkening tone and sombre embroidery; the length of a pregnancy apparent as the baby's name is eventually added after the relief of a safe birth. Quilts reflect family history as much as private lives.<br />
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Some of these histories turn out to be dark or sorrowful. Miss Nixon's quilt, made in the 1870s, and known as a strippy piece for its bold stripes of turkey-red and white cotton, was stitched in poverty at a miner's quilting club in Northumbria. The painstaking art is all in the patterning of diamonds, roses and leaves described with infinitely small stitches, perhaps compensating in this case for the lack of affordable cloth with which to vary the design.<br />
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Even an inexperienced eye can gauge how many long months of patience, skill and eyestrain were involved just by examining a single inch. But such quilts earned for Miss Nixon and her friends nothing more than the equivalent of a miner's wage for a fortnight.<br />
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Other quilts tell of lost children, unfaithful husbands, imprisonment and poverty, of persecuted Baptists and women convicts transported to Van Diemen's Land. One of the most dynamic – and vitality, not weakness, remains the dominant characteristic – is the so-called George III coverlet which shows the monarch reviewing his troops in the middle. But this formality is surrounded, and nearly upstaged, by a wonderful border in which official portraits of soldiers alternate with unofficial portraits of women: talking, writing, painting, laughing, walking and – of course – making quilts. There is no sense of Penelope sadly spinning away the war years; this is Homer revised, with women rising to the moment, refusing to waste either life or time.<br />
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This coverlet includes fragments of regency petticoat. The condition of life is materially apparent, so to speak, in a quilt. A tiny piece of expensive brocade, a circle of Indian fabric illegally imported during the 19th century trade ban, the lace from a Victorian wedding dress: what's prized is presented like a jewel in the ordinary cloth.<br />
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There are quilts made entirely from striped pyjamas, blankets, old coats, black-out curtains. Ingenuity is underpinned by frugality. The curators of this show had their ears to the ground when they first began to gather quilts five years ago, for this is an art that speaks more clearly than ever to our make-and-mend era.<br />
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And it does feel like speech. The most obvious (and commonly drawn) analogy is with abstract art: primary shapes, blocked colours, modular non-representational arrangements. Quilts have the shape and form of paintings; museums and collectors like to hang them on the walls. The great Amish quilts look like precursors to the minimalism of Sol Lewitt, Joseph Albers and Frank Stella.<br />
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But this is an exhibition of British quilts, and though there is one stunning abstraction, mute in its glowing cobalt and red, the sense is far more of representation, of the power of quilts to make a direct address.<br />
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Which is precisely the subject of a piece by Sara Impey, one of 10 works specially commissioned for this show. Impey found a letter in a drawer after her mother's death that breathed a hint of lost love; she has preserved it, like scented air in a bottle, in a most beautiful quilt in which phrases and half-phrases are stitched into the spectral surface of the fabric in broken lines that both imitate the patterns of speech and the motion of sewing itself, piercing the cloth, then drawing the thread slowly away.<br />
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We are all familiar with quilts that anthologise a family's old clothes, or commemorate its story through births or marriages; with quilts as complex pixellations of colour, tone and shape, patterned in jockey's cap or sawtooth star. But what this show reveals is the sheer originality that can thrive within such precise parameters. It is a show to enthral and inspire in equal measure, not least because there is such a sense of order in this hardwon art, this creation of a world out of scraps. It is all there in the portrait of Thomas Walker in his bed: the strange peace of making a quilt.Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-80410354662814929212010-03-28T08:49:00.000-07:002010-03-28T08:50:54.706-07:00Hank Willis Thomas<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/36xMMVkmW3A&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/36xMMVkmW3A&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-13410427448974800952010-03-28T08:38:00.000-07:002010-03-28T08:38:25.418-07:00Exhibitions Pick of The Week<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: arial, sans-serif; font-size: 14px; line-height: 18px;"></span><br />
<h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Tomory Dodge, London</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">While LA-based painter Tomory Dodge has plunged into abstract territory, his dense tangles of paint still retain something of the chaotic wildernesses depicted in earlier works. Smears and blocks of luminous pigments amass like a flurry of city lights. In new diptychs and large-scale paintings he explores symmetry, with the frame divided in two to create mirror worlds of curiously balanced frenzy.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Alison Jacques, W1, to 24 Apr</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531326069/Tomory-Dodge-002.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Exhibitionist 27/03: Tomory Dodge" border="0" height="500" id="main-picture" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531326069/Tomory-Dodge-002.jpg" width="431" /></a><a href="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531326069/Tomory-Dodge-002.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: #333333;">-</span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: #333333; font-style: italic;">Skye Sherwin</span></a></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Ron Terada and Susan Collis, Birmingham</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ron Terada's neon works stand like deadpan provocations for road-movie reveries. A towering aluminium sign reading Entering City of Vancouver is set against a series of posters for group <a href="http://www.guardian.co.uk/artanddesign/exhibition" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Exhibitions">exhibitions</a> by local artists. A neon Big Star sign is directly lifted from the logo of the cult rock band of the same name, who in turn lifted it from a supermarket chain. Susan Collins's installations initially appear to be in process of construction. On closer observation, however, we see that the old table spattered with paint is inlaid with pearls and opals; the paint-stained dust sheet is painstakingly embroidered; and there are nails of gold and silver. Enchanting stuff, playing at the age-old art of making magic of the mundane.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Ikon, Wed to 16 May<span class="Apple-style-span" style="font-style: normal; font-weight: normal;"></span></em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Robert Clark</em></div><div class="separator" style="clear: both; text-align: center;"><a href="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531324849/Ron-Terada-001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Exhibitionist 27/03: Ron Terada" border="0" height="500" id="main-picture" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531324849/Ron-Terada-001.jpg" width="334" /></a></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Anna Maria Maiolino, London</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Sao Paulo-based artist Anna Maria Maiolino is hand-rolling several thousand kilos of clay into hundreds of balls, which will be left to dry out and crumble, bearing the marks of kneading fingers like a stigmata to artistic industry. As physically impressive as the project promises to be, though, Maiolino seems more interested in the act of making, rather than any final result. The mass of sculptures allude to social structures, and the interplay between individuals and culture. Like peers Lygia Clark and Hélio Oiticica, her work has developed through the object-suspicious ethos of feminism and conceptual art. While she has worked with clay since 1989, several of her films included in this show reveal her as a polymorphous artist.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Camden Arts Centre, NW3, Fri to 30 May</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531327428/Anna-Maria-Maiolino-003.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Exhibitionist 27/03: Anna Maria Maiolino" border="0" height="390" id="main-picture" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531327428/Anna-Maria-Maiolino-003.jpg" width="492" /></a><a href="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531327428/Anna-Maria-Maiolino-003.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black;">-</span><span class="Apple-style-span" style="-webkit-text-decorations-in-effect: none; color: black; font-style: italic;">Skye Sherwin</span></a></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: Times; font-size: medium; font-weight: normal; line-height: normal;"></span>Vertical Thoughts, Dublin</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Subtitled Morton Feldman and the Visual Arts, this show charts the influence of the American composer on some of the most innovative visual artists of the 1960s and 70s, and vice versa. Feldman's "indeterminate" music has more in common with the open-ended colour fields of abstract <a href="http://www.guardian.co.uk/artanddesign/painting" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Painting">painting</a> than it does with the melodic linear structures of more traditional composers of the time. The show includes works by such pioneering visual art colleagues as Jasper Johns, Robert Rauschenberg and Cy Twombly. It's an engrossing reminder of one of the most exciting concentrations of artistic talent in the 20th century.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Irish Museum of Modern Art, Wed to 27 Jun</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Robert Clark</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;">Ilya and Emilia Kabakov, London</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">It's not hard to tell from Ilya Kabakov's work that he came of age in Soviet-era Russia. In his installations, impossible wishes are piled optimistically high, tempered by a hollow foreboding of failure. He has collaborated with his wife, Emilia, since 1989 on projects such as Palace for Projects (1998) and House of Dreams (2005). But the Kabakovs also work on a smaller scale, as demonstrated in the Malevich-inspired Flying Paintings on show here. Slanting geometric shapes contain happy, idealised scenes of outdoor gatherings and homely repose that threaten to slide off the canvas.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Sprovieri Gallery, W1, Tue to 29 May</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Skye Sherwin</em></div><h2 style="background-position: 0% 100%; background-repeat: no-repeat; border-bottom-color: rgb(153, 153, 153); border-bottom-style: dotted; border-bottom-width: 1px; border-collapse: collapse; border-left-color: rgb(153, 153, 153); border-right-color: rgb(153, 153, 153); border-top-color: rgb(153, 153, 153); border-top-style: dotted; border-top-width: 1px; clear: left; font-family: arial, sans-serif; font-size: 1em; font-weight: bold; line-height: 1.125; margin-bottom: 10px; margin-left: 0px; margin-right: 0px; margin-top: 20px; padding-bottom: 2px; padding-left: 0px; padding-right: 0px; padding-top: 2px;"><a href="http://www.guardian.co.uk/artanddesign/bacon" style="background-repeat: no-repeat; border-collapse: collapse; color: #005689; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;" title="More from guardian.co.uk on Francis Bacon">Francis Bacon</a>, Compton Verney</h2><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Francis Bacon: In Camera sets unforgettable paintings from 1944 to 1989 against the photographs the artist so often used as catalytic source material. On loan from the archives of Dublin City Gallery, The Hugh Lane, many of the images are soiled and distressed by the prevailing organised chaos of Bacon's studio. But the smooth surfaces of powerful photo-images by the likes of Eadweard Muybridge and John Deakin are further distorted and transformed by Bacon's messing with the oil paint. It's as if the artist needed the fixed certainties of the photographs to anchor his wayward, grotesque figures in real life. This, after all, is the thing Bacon was a master of: setting up poignant visual and psychological tensions between fierce passion and provocative restraint.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Compton Verney, Sat to 20 Jun</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><a href="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531368339/Francis-Bacon-006.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="Exhibitionist 27/03: Francis Bacon" border="0" height="500" id="main-picture" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531368339/Francis-Bacon-006.jpg" width="382" /></a><i><br />
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</i></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="font-size: 16px; font-weight: bold; line-height: 18px;">Tim Head, Cambridge</span></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Back in 1977, when Tim Head was the first artist fellow at Kettle's Yard, he had been doing disorienting things with mirrors and projections. Gallery walls were transformed into uncertain shifting surfaces with little more than reflections and light. Now, Head returns to the gallery as one of Britain's foremost innovators of digital art. Having developed his fascination for space through the logos and gizmos of consumer culture, evolving media and new technology, he has turned his attention now to computer pixels. Typically blown up large and projected in changing constellations, his recent works are kaleidoscopic and mesmerising, as if a Jackson Pollock painting had been created by 2001's supercomputer Hal in introspective mood.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Kettle's Yard, to 9 May</em></strong></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: Times; font-style: normal;"><img alt="Exhibitionist 27/03: Tim Head" height="390" id="main-picture" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2010/3/25/1269531370520/Tim-Head-008.jpg" width="585" /></span></em></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><i><br />
</i></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-family: Times; font-style: normal;"></span><span class="Apple-style-span" style="font-size: 16px; font-style: normal; font-weight: bold; line-height: 18px;">Simon Faithfull, Preston</span></em></div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">If Simon Faithfull's drawings and video installations are exploratory, it's because the process of exploration itself is being explored. A record of the artist's trip to the Arctic Circle, here viewed as a series of reflections captured in a human eye, includes a fascinating array of wild locations and complex scientific gadgetry. But the supposed object of the artist's exploration – the northern lights – are nowhere to be seen. Elsewhere, a lone figure is tracked by video camera as he uses a GPS device to follow the exact route of the Greenwich meridian from Peace Haven in Hampshire to Cleethorpes in Lincolnshire. Streams are waded through, windows and hedges climbed; but the point of it all is left up the air. There's an absurdist edge to all that Faithfull does, plus an obsessive and quixotic love of travel and random observation.</div><div style="background-repeat: no-repeat; border-collapse: collapse; font-family: arial, sans-serif; margin-bottom: 13px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><strong style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;"><em style="background-repeat: no-repeat; border-collapse: collapse; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px;">Harris Museum and Art Gallery, to 5 Jun</em></strong></div>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com1tag:blogger.com,1999:blog-1262300217821412277.post-32288699482363677132010-03-27T08:56:00.001-07:002010-03-29T06:50:57.475-07:00London Museum Shows<span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-size: small;"><span class="Apple-style-span" style="font-size: 11px;"></span></span><br />
<span class="Apple-style-span" style="font-family: 'Lucida Grande'; font-size: small;"><span class="Apple-style-span" style="font-size: 11px;"><div><b><span class="Apple-style-span" style="font-size: small;">Arshile Gorky: A Retrospective</span></b></div><div><b><span class="Apple-style-span" style="font-size: small;">TATE MODERN</span></b></div><div><b><span class="Apple-style-span" style="font-size: small;">LONDON</span></b></div><div><b><span class="Apple-style-span" style="font-size: small;">Through May 3</span></b></div><div><b><span class="Apple-style-span" style="font-size: small;">Curated by Michael Taylor</span></b></div><div><b><span class="Apple-style-span" style="font-size: small;"><br />
</span></b></div><div><span class="Apple-style-span" style="font-size: small;">When he took his own life in 1948 at age forty-four, Arshile Gorky was not only in the prime of his career but also in a sweet spot in the history of American art. No less a deft draftsman than a dazzling colorist, the artist had addressed advanced painting’s imperative at the time head-on: to work through the legacies of Picasso and Surrealism and arrive at a personal, abstract vernacular. The results, as they say, are history. Gorky’s large canvases, which remain emblematic of the New York School, will join sculptures, drawings, and prints in this 180-work retrospective, introducing to a new generation a seminal figure for whom painting’s stakes were a matter of life and death.</span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="color: #0000ee;"><u><br />
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</span></div><div class="" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-size: small;">A chief exponent of De Stijl, Theo van Doesburg was anything but doctrinaire. Like the elemental shapes that logically expanded from his canvases to the world itself, his activities reached out to involve such seemingly antithetical developments as the early Bauhaus and Dada. Organized in collaboration with the Stedelijk Museum De Lakenhal in Leiden, the Netherlands (where the show is on view through January 3), this exhibition comprises more than three hundred pieces by van Doesburg and some eighty of the artists he affected, from Mondrian to Schwitters. The curators have gathered works of painting, sculpture, typography, poetry, music, film, furniture, interior design, and architecture—including model reconstructions of the collaboratively designed Café Aubette in Strasbourg, France—making visible the range of van Doesburg’s influential practice. </span></div><div class="separator" style="clear: both; text-align: center;"><br />
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</span></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-size: small;"><b>Chris Ofili</b></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-size: small;"><b>TATE BRITAIN</b></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-size: small;"><b>LONDON</b></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-size: small;"><b>Through May 16</b></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-size: small;"><b>Curated by Judith Nesbitt</b></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-size: small;"><b><br />
</b></span></div><div class="separator" style="clear: both; text-align: left;"><span class="Apple-style-span" style="font-size: small;">It takes guts to shed your clothes in public, but this, in effect, is what Chris Ofili has done in his paintings over the past five years. Layer by layer, he has peeled away the resin, glitter, and signature fecal excrescences that once made his canvases such dense and enthralling objects, laying bare the sinewy contours and flat fields of color that long served as hidden armatures. This shift makes all the more timely Ofili’s Tate retrospective of forty-five paintings (some never previously exhibited) and a selection of works on paper. Spanning from the mid-’90s until today, the show should illuminate the continuities and ruptures between Ofili’s recent and earlier output, as well as between media like drawing and painting, the former of which has gained new clarity and prominence in the latter’s domain.</span></div><br />
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</div></span></span>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0tag:blogger.com,1999:blog-1262300217821412277.post-39739169910453238352010-03-27T08:37:00.000-07:002010-03-27T08:54:27.054-07:00TOP TEN Margaret Honda<div><br /></div><div><div>Los Angeles–based artist Margaret Honda most recently exhibited her sculptures and photographs in group shows at S1F Gallery, Los Angeles, and Estación Tijuana, Mexico, and as part of the 2008 California Biennial. Currently she is constructing a full-scale paper rendition of a house that is being published and distributed piece by piece in publications such as North Drive Press and the Drawing Center’s Drawing Papers.</div><div>1</div><div>DAVID L. MACADAM COLOR SOLID, 1944</div><div>A color solid proposes to be a standardized representation of how color differences are perceived, and no such rendering is stranger and more beautiful than the one devised by MacAdam. Of course, if you’re doubtful that such a bizarre shape––which looks like a partially unwrapped burrito—can accomplish this feat, you’re not alone. In his 1981 book, Color Measurement, the scientist admitted the failure of his own attempt (and everyone else’s, too). Still, I’m grateful he tried.</div><div><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYqs2Ih7fgrHmuRJjl0-p9ObqpBhlwoN8h25fpiHp5NiGTrPXwd_KQNr0JfxJpT0oo39aVGp1ArcRRnGa1kQX_ygyMj5Vp_fArFMxEcTAFy2llxAknCwsMlxRbmZ-ukc_JT0WD8G5DBxa7/s320/topten+1.jpg" style="cursor:pointer; cursor:hand;width: 320px; height: 314px;" border="0" alt="" id="BLOGGER_PHOTO_ID_5453338819849122642" /></div><div><br /></div><div><span class="Apple-style-span" style="font-size:x-small;">Illustration from David L. MacAdam’s Color Measurement: Theme and Variations (Springer-Verlag, 1981).</span></div><div><br /></div><div>2</div><div>CHARLES DARWIN, THE FORMATION OF VEGETABLE MOULD, THROUGH THE ACTION OF WORMS, WITH OBSERVATIONS ON THEIR HABITS (1881)</div><div>Darwin brings to this study of modest and overlooked creatures the same rigor that informs his better-known work, demonstrating the role earthworms play in forming topsoil, in the subsidence of the land and subsequent preservation of archaeological finds, and in the disintegration of rocks through chemical and mechanical processes. At the same time, he observes how worms pave their burrows with tiny stones to keep warm and dry, how their taste in food varies, and how they determine the best method for dragging paper triangles of different proportions. It is clear that Darwin finds his subject both charming and formidable, and in fact, we can describe his writing in those very terms.</div><div><br /></div><div>3<br />ROBERT BRESSON, AU HASARD BALTHAZAR (1966)<br />Everything I love and admire about Bresson is encapsulated by just one minute of one scene in this masterpiece: The donkey Balthazar, pulling a hay cart through a circus menagerie, comes face-to-face with four animals in succession—a tiger, a polar bear, a chimpanzee, and an elephant. As Balthazar passes before each, the film cuts back and forth between his gaze and that of the other creature. Presumably, only a few feet separate them, but that distance is insurmountable. It’s a standard construction in film to use this technique when two human characters meet, revealing in the eyes of each something of their feelings and motivations. In Bresson’s film, however, these looks are exchanged by animals. He gives us their point of view, but no entry into their thoughts or feelings, and thus no entry into the moment of which we find ourselves a part. The sequence is entirely inscrutable and can only leave us spellbound.</div><div><br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/BC2PseaQyNU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/BC2PseaQyNU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br /><br /><br /><br />Robert Bresson, Au Hasard Balthazar, 1966. (Excerpt)</div><div><br />4<br />CHARLOTTE POSENENSKE, “VIERKANTROHRE” (SQUARE TUBES), SERIES D AND DW, 1967<br />All of Posenenske’s work is amazing, but her square tubes of corrugated cardboard and sheet metal are a marvel. Her idea of producing modules in an unlimited quantity, pricing them at their production cost, letting other people install them according to their own criteria, and making them disposable was incredibly prescient and influential. The fact that you can see the screw holes at the exposed end of a tube means that more modules can be added and that the piece can go on forever, across space and over time. Lucky us.</div><div><br />5<br />MICHAEL ASHER, INSTALLATION MÜNSTER (CARAVAN), 1977, 1987, 1997, 2007<br />In this work the temporal and spatial ramifications of what you are seeing just melt together: For each of the four Skulptur Projekte exhibitions, Asher rented the same make and model trailer (Dodge Grand) and parked it in the same sequence of locations during the same time intervals. The project would be exactly repeatable, but for the world we live in. We see this quite plainly in the work’s photo-documentation, where a gap in the image sequence indicates that a given installation was not possible or the exhibition’s time frame had changed (or the photo wasn’t taken). I have seen this work only in 2007 but look forward to seeing it again in 2017, 2027, 2037, 2047, 2057 . . .</div><div><br />6<br />GIULIA LAMA (CA. 1685–1753)<br />I first learned of Lama in Venice, where I saw her Allegoria della Chiesa (Allegory of the Church) in the apse of Santa Maria Formosa, the church for the parish where she was born. Hooked, I’ve searched ever since for whatever else I could find by this painter who has barely escaped total obscurity; only a few works survive, but the power of their sketchlike assurance makes you wish there were many more. In Venice, you can also see the Crucifixion at San Vitale and Judith and Holofernes in the Accademia. Then there is The Martyrdom of St. Eurosia (probably a sketch) in the Ca’ Rezzonico: Even headless, Saint Eurosia appears to be pushing herself up, brazenly turning to deal with the smirking executioner behind her.</div><div><div><img style="cursor:pointer; cursor:hand;width: 223px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7eWzGDsbHL_XgsCqpXGeJ2kmh-ChtW-l1K8_UxTtl47a7CMjxp7vBvmnv9pJzyAw2Ze0YXCGfJKFvE-GPcV5gesGr3aroSKwTKMdlRWM9uF265Sxg76pwCGRZB_BvNFC11R9fYXg4pXOM/s320/topten+2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5453341084381778018" /></div><div><br /></div><span class="Apple-style-span" style="font-size: x-small; ">Giulia Lama, The Martyrdom of St. Eurosia, 1728, oil on canvas, 23 1/4 x 15 3/4".</span><br /><br /></div><div>7<br />JACK BROGAN’S SHOP, LOS ANGELES<br />Jack has fabricated work for Robert Irwin since the 1960s, for Lynda Benglis since the 1970s, and for artists of every generation since. In his studio, there are always major pieces being produced or conserved. But the objects that really catch my eye are the templates and tools he makes to make the art he constructs, each one usually with only a single function—whether it’s polishing or forming something or routing a single piece of material—so that the given step is done with absolute precision. Each jig is unique, uniformly handsome, and intriguing, reminding me what fabrication is all about.</div><div><br />8<br />CLOTHES INSIDE OUT<br />My mother was a couture dressmaker for the Hollywood designer Howard Greer. She summed up her deep knowledge and extreme standards as follows: A garment should be constructed well enough that you can wear it inside out.</div><div><img style="cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBxnbLaYRrqOWlieymL60tNxkvopeczKOVTCcFxuNM7s6EpPVZzjDAGL2Nm09jAfWDVe6SzuNkMpJr_EAXmeofVXYEBuW2oUhxONn-lqDi4MJ5CoEGkJBAqv_l5_v-m3Zh3cnWO0Z7r6f6/s320/topten+3.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5453341089521120562" /><br /><br /><span class="Apple-style-span" style="font-size: x-small; ">Jacket made by the writer’s mother, Ruth Honda, ca. 1960, shown inside out. Photo: Margaret Honda.</span><br /><br /></div><div><br /></div><div>9</div><div>WORTH FOUR-DOT TEST<br />Those of us who lack binocular vision need not miss out on 3-D media: We alone have the Worth four-dot test, a simple exam involving four lights and a pair of red-and-green-lensed glasses. Those with binocular vision who take the test see a standard combination of four red and green dots: Boring! Those without, on the other hand, are in for a treat: only green dots, only red dots, extra dots, shifting dots, dots that are half green and half red as in a painting by Gabriel Orozco. Because the anomalies are constructed in your brain, however, you realize, after taking the glasses off, that what you were looking at was, in fact, never there.</div><div><br /><img style="cursor:pointer; cursor:hand;width: 320px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitFoFVWKHfx_ivnqwwNx_P9WOZc-mXJEXMyDYTKXZljgwCadyqR8AWWFmbaXKtxZbSxv1TpMQGM9YI9xkm5P6VzTpmaSU13qk8Q_szUQRy-8E8QXAM6Oi5QmUW4qASGUkML919JMxHQcRi/s320/topten+4.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5453341093092311442" /><br /><span class="Apple-style-span" style="font-size: x-small;">Chart for Worth four-dot test.</span><br /><br /></div><div>10</div><div>KAMABOKO<br />The texture and flavor of this steamed fish cake define comfort food for me. But the main attraction is the piece of wood on which the kamaboko is made—and that, when a whole packaged loaf is bought, remains present as a kind of pedestal to which the treat is firmly attached. If kamaboko didn’t already exist in this form, I would have liked to have made it as a sculpture.<br /></div><div><br /></div><div><br /></div><div><br /></div></div>Benhttp://www.blogger.com/profile/09845187188926638989noreply@blogger.com0