Thursday, 28 July 2011

Abstract sculpture, Roche Court/New Art Centre, Hampshire, UK

New Art Centre (Roche Court Sculpture Park) in Hampshire, continues to champion abstraction with new sculptural works to add to its collection from contemporary and modernist works from Eva Berendez, Richard Deacon, Eva Rothschild to Barbara Hepworth

Eva Rothschild 'Someone and Someone' 2008. Aluminium, enamel paint.
Edition 2 of 3 + 1 AP, 450 × 400cm / 14ft 9 1/5 × 13ft 1 1/2 ins
 'The New Art Centre was founded in 1958. The original gallery was located in Sloane Street, London. In 1994 it was relocated to Roche Court in Wiltshire, a nineteenth-century house in parkland. The existing house and Orangery were built in 1804. Together with the grounds, Roche Court is now used as a sculpture park and educational centre where work is shown' inside and out providing a survey of sculpture for the enjoyment of the public. The New Art Centre represents various artists' estates including Barbara Hepworth, Kenneth Armitage and Ian Stephenson. The gallery is the venue for a changing programme of exhibitions. All works are for sale and the New Art Centre exhibits annually at the Basel Art Fair.'

   Eva Berendez, 'Untitled' 2011, plaster, 55.5 × 36.5 × 3.9 cm / 1ft 9 3/4 × 1ft 2 1/4 × 1 1/2 ins
Richard Deacon 'Path' 2011 Edition 8 of 12, 4 cast polyester resin pieces

In addition the New Sculpture Centre also have a show coming up of Alison Wilding: How The Land Lies

Jonathan Jones tells it like it can be

Jonathon Jones art critic with The Guardian discusses how our perceptions of the natural world has changed and so has the way it is represented and with this observation comes a route into the work of some artists. The look may be different, abstract even, but the romantic inclination is still evident. What is not widely acknowledged is this romantic tag with all it's idealism and fantasy can also apply to those that are constructing the models of reality under the guise of science and the abstraction of maths. After years of asserting this and having had my intentions that align with this described as gimickry I am delighted to read an art critic that gets it. I now wonder how Mr Jones will get on finding art that matches this mighty ongoing challenge. For artists, like the scientists faced with the quantum description of the world, it has become harder without huge colliders, real or metaphorical to reveal god, nature......reality. Maestros Bohr and Feynman have gone and so has the Romantic Realist Mr Twombly. There are some still working at it Mr Jones but like many scientists without their Cern, they are hidden away in small rooms with the odd discovery going unnoticed and badly in need of imaginative support. To take up this challenge is a difficult art. The comfort of pop and the concrete is so comforting.

Again Mr Jones provides a good read.

Wednesday, 27 July 2011

Darrell Viner at The Henry Moore Institute

 Darrell Viner Early Work 28th July 2011 - 30th October 2011

Computer Drawing Darrell Viner, 1975/6, Courtesy Farah Bajull / Leeds Museums & Galleries (Art Gallery)

From The Henry Moore Institute
Darrell Viner (1947 - 2001) was a pioneer in the field of computer art. He originally turned to computers to pursue his interest in movement and animation and went on to apply the technology to kinetic and interactive sculpture.
Darrell Viner:Early Work focuses on Viner's experimental work at the Slade School of Art in the mid-1970s and celebrates the recent acquisition to the Leeds Museum & Galleries Sculpture Collection of a series of his computer drawings from this period. Created with a pen plotter, which Viner regarded as a pliable drawing tool, the images have a remarkable hand-drawn quality. The artist described them as a 'journey in mark making'.
Together with the drawings, the exhibition includes documentation of Viner's early kinetic sculptures that show the continuity between his work in two and three dimensions. For his degree show at the Slade, he made a set of animated wooden sculptures, which he described as 'creepy crawly creatures'. These were later shown at the Royal Academy, where the moving legs scratched the wooden floor, taking on the character of automated drawing machines. This experiment led to the computer animation 'Inside/Outside' (1976), a film drawn by a virtual automaton programmed to simulate the actions of a kinetic sculpture, which is screened within the show. 
In addition to the works on paper and film, Darrell Viner: Early Work presents a later kinetic sculpture by Viner - from the mid-1980s - that is activated by the shadows of passers by. As with all of Viner's works, this opens a conversation between man and machine to propose an expanded understanding of the study of sculpture.
Viner was born in Coventry in 1946. His father, a clerk, died when his son was only five, leaving his wife, a factory worker, to bring up the family. The young Viner found inventive ways to stimulate his wide-ranging curiosity: he played Beethoven to himself on a wind-up gramophone, and detonated objects with homemade explosives.
After leaving school with three O-levels, Viner worked in the research department at Courtaulds Textiles in the late 1960s, where he experienced computer and electronic systems. When he moved to London around 1970, he worked on the lighting and rigging for rock bands, testing his designs in his landlady's garage. He is known to have built the first sound activated lighting system in the UK in 1968.
The Guardian Obituary "In the last months, Viner had been working on two installations for Thinktank, at Millenium Point in Birmingham, now almost completed. He leaves behind a body of work that will become increasingly visible as people appreciate the enlarged definition of art to which he adhered."
Darrell Viner, artist, born December 12 1946; died November 15 2001.

Tuesday, 26 July 2011

Bronx Calling: AIM biennial

My Big Ol Black Amex - G J Shuldiner - an example
Gabriel Shuldiner is one of the 72 artists selected by Wayne Northcross and Jose Ruiz to show in Bronx Calling, an AIM biennial exhibition at the Bronx Museum of the Arts. “AIM was launched 30 years ago to give participants in the program real-world experience on how to survive as a professional artist, the type of training you don’t get in art school,” said Bronx Museum Director Holly Block.  “The idea behind AIM is to empower artists, asking them what they want to learn about the profession, helping them network and build a sense of community, and exposing their work to new audiences.  We believe that artists play a critical role in exploring the issues and ideas of our time and supporting emerging artists is part of the core mission of the Bronx Museum.”
In conjunction with the 30th anniversary of AIM, the Bronx Museum is working with Fordham University Press to publish Taking AIM! The Business of Being an Artist Today, a detailed guide with information and tools to help emerging artists develop strategies for building and sustaining successful careers.  
The exhibition runs until September 26th

Tuesday, 19 July 2011

Zaha Hadid the abstraktionist

In a posting by Jon Michaud on The New Yorker blog from an original article by John Seabrook,  Zaha Hadid quotes Malevich as an inspiration and expresses why abstraction is valuable to her.

“Abstraction opened the possibility of unfettered invention,” Hadid said in her Pritzker [Prize] address. When I asked her to explain how, she said that abstraction gave her a way to study how lines intersect. When she drew, she said, “I wanted to capture a line, and the way a line changes and distorts when you try to follow it through a building, as it passes through regions of light and shadow. You know when you look through a building from a window on the outside, and the line you are following is distorted by the space? That was what I was trying to see with my paintings and my whooshings.”

Realism or abstraction?

Thursday, 14 July 2011

Abstraction and Atonality at Museum Kampa

This exhibition features three very important individuals of the art world - Wassily Kandinsky, František Kupka and Arnold Schönberg and will be the highlight of the year. Wassily Kandinsky and Arnold Schönberg are something very unique for Prague and to exhibit these artists together has a logic. The exhibition’s concept is based on the examination of the relationship between abstraction and atonality, whose principles are related. Indeed, patterns of music and visual compositions were to a large extent interlinked at the beginning of the twentieth century.
Abstraction and Atonality

The project emphasises that it stems from the Munich concert of Schönberg’s composition in 1911, where Kandinsky was present. The exhibition shows how music inherently influenced the development of abstract painting, but of course there exists a retroaction. Also during this period, that is around 1910, the long process of mutual penetration of various artistic fields begins the erasure of boundaries between them, the convergence of principles on which they are based.
In this sense the exhibition focuses on one of these possible relationships and at the same time builds on the exhibition titled the Origins of Abstract Art, which took place several years ago in Paris.
The article in The Prague Post by Mimi Fronczak Rogers discusses the interaction and history of these artists and examines the structure of the exhibition.

Saturday, 9 July 2011

Support Japanese Artists

Artists wanting to submit works, should send these by post this week to:
Galerie Appel
Corneliusstr. 30
60325 Frankfurt am Main
069 752364

Works should be ready for hanging.
Please send a biography with birth place and birth date to

AUCTION European artists support Japanese colleagues
The devastating tsunami and earthquake catastrophe in Japan is a tragedy, that will take the country several decades to come to terms with. Innumerable people died, were wounded, are homeless, have lost their livelihood and it will take a long time before a sense of normality can return.
Numerous artists - painters, sculptors, ceramicists and artists working in other media, have been affected by the destruction. Studios and workshops have been ruined, which makes it impossible to continue normal work.
In some cases, the largest part of the work of a lifetime has been destroyed, these are irreplaceable losses. Yet, even in such cases, the fundamentals to continue life and work, after the catastrophe have to be established.
Japans contribution to art history of the world is of vast importance and many artists world-wide have a close artistic and humane bond towards the country. Thus, more than fifty artists got together, to indicate their support, by means of a charity auction.
Artworks of the following artists will come up for auction: Hermann Nitsch, Yoko Ono, Hiromi Akiyama, Raimer Jochims, Thomas Kaminsky, Klaus Münch, Otto Greis, Heinz Kreuz, Icke Winzer, Hans Steinbrenner, Christa von Schnitzler, Yoshimi Hashimoto, Walter Moroder, Michael Rögler, Domenico d'Oora, Bernd Mechler, Ansgar Nierhoff, Klaus Jürgen Fischer, Hideaki Yamanobe, Hans Karl Kandel, Martina Kügler, Paul Zita, Jürgen Wegener, Winfried Virnich, Heinz Breloh, Mathias Völker, Nicole van den Plas, Lionel Röhrscheid, Dietz Eilbacher, Markus Friedmann Strieder, Angelika Gilberg, Leena van der Made, Claus Delvaux, Deniz Alt, Mirek Macke, Giorgio Capogrossi, Charles Köwi, Paul Greenberg, Max Pauer, Uta Schneider, Karin Raths, Eva Weingärtner, Heide Lauterbach, Rudolf Kaltenbach, Almut Aue, Marina Herrmann, Lisa Endriss, Yuko Takasudo, Mariam Sattari, Michael Runschke, Alexander von Falkenhausen, Peter Mc Lennon, Corinna Mayer, Tobias Rehberger. Further artworks have been requested from: Ottmar Hörl, Neo Rauch, and James Reineking.
The auction is under the patronage of the German ambassador in Japan, Dr. Volker Stanzel and is assisted by the German-Japanese Association in Frankfurt am Main, the Japanese Consulate General/Frankfurt, the Museum für Angewandte Kunst Frankfurt, and Auktionshaus Arnold/Frankfurt.
Auction: Preview : Public auction:
Museum für Angewandte Kunst, Schaumainkai 17, 60594 Frankfurt/M. 6. – 9. September 2011, 10 a.m – 5 p.m. Saturday, 10.9., 2 p.m.

Thursday, 7 July 2011

Jonathan Jones puts nail on head

"Are we a nation of abstract art snobs?
There's strength and truth to be found in abstract expressionism – British sceptics need to get over their puritanical hauteur.
Britain has never "got" abstract art. Even articles that appeared this week marking the death of Cy Twombly attracted comments of the "my child could do that" variety. It is tempting to dismiss these attacks as philistine, but that would be to ignore an eminently respectable and artistically sophisticated British tradition of disdain for abstract painting."
The full article can be read on the Guardian website but he finishes with " This scepticism must, in the end, go back to the Reformation and its fear of graven images. Somewhere in your psyche, abstraction-haters, when you look at Twombly's lush colours you see a medieval stained-glass window: and the puritan in you wants to smash it.".

Wednesday, 6 July 2011

Cy was here.

A brilliant, casual, visual poet that challenged the formal.
Cy Twombly
Photograph: Christophe Ena/AP courtesy of the Guardian
Bacchus courtesy of Artnet


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