Friday, 22 November 2013

Hidden in Plain Sight , Plymouth City Museum and Art Gallery

Plymouth City Museum and Art Gallery 
Saturday 26 October 2013 to Saturday 11 January 2014

An insight into the exhibition from curator and artist Adam Milford:

What motivated you to create the exhibition?
The main motivation behind this exhibition was to curate a show from the collection that could be researched and delivered relatively quickly, and on a very limited budget. The exhibition is running in parallel with Artists Make Faces, a large scale, externally curated show (by Monika Kinley), that is on a different level in terms of budget and loans. The expectation was that I would work on both exhibitions simultaneously, acting as curator for Hidden in Plain Sight, and Learning Officer (my usual position) for Artists Make Faces.

Post-war painting is a particularly strong area of our fine art collection, especially from artists based in the South West, so my goal was to bring works out that hadn’t been on display from a long time for our visitors to experience. Some of the works have been out in the last five years, while others haven’t been in over 20 years, and there is a possibility of that one hasn’t been out since it was purchased in 1967, though unfortunately our records can neither prove nor disprove that claim.

Another goal was to select work solely from our collection, though I broke my own rule by loaning a Barbara Hepworth sculpture from the Hepworth Estate, by including a live recording of Keith Rowe’s extraordinary guitar abstractions, and an unseen film of Patrick Heron at work in his studio from 1959.

How was the work acquired and by whom?
The majority of the work was purchased by Alex Cumming, the City Curator of the City Art Gallery, Plymouth (our title changed to Plymouth City Museum and Art Gallery in the 80s, I believe). Cumming was appointed in the late 1930s, and excluding his time serving in WWII, was City Curator until 1976. During his tenure, he added a collection of Camden Town work, A Fish Sale on a Cornish Beach by Stanhope Forbes, material relating to Sir Francis Drake, and the majority of our modern collections. In his time here, we presented (amongst other things) the first public gallery solo exhibition by Peter Lanyon in 1955, exhibitions by the Plymouth Society of Artists, a major retrospective of Barbara Hepworth’s work in 1970, along with other solo shows, and national touring shows. We had a particular reputation in the late 60s/ early 70s for our exhibitions of sculpture.

The work was often purchased directly from artists. For example, Justin Knowles’ painting Three Reds with White was purchased direct from the artist, along with Patrick Heron’s Rectilinear Reds and Blues, also from Knowles’ collection. Other works were bought from the important art societies of the region – Plymouth Society of Artists, St Ives Society of Artists, Newlyn Society of Artists, and probably the most well-known, the Penwith Society of Arts. Work by lecturers and students from Plymouth College of Art were also collected. Cumming was an early advocate for the educational importance of children being exposed to art at an early age, encouraging visits to the galleries, and he also organised exhibitions of children’s work

Which is the most recent work to be bought?
Sadly, the ability for us to purchase works for the collection has become more difficult. When Cumming collected these works we were lucky enough to have been given a grant, I believe from the Gulbenkian Foundation, which allowed their purchase. The most recent work to come into our collection that is included in the exhibition is Julian Lethbridge’s Untitled, 1991-1992, which was given to us in 1996 through the Contemporary Art Society. CAS have also recently allowed us the opportunity to purchase a work by Turner Prize 2013 nominee Lynette Yiadom-Boakye, which is currently at the Venice Biennale. We’ve also had a very generous donation from Cornwall-based painter David Whittaker of a work currently on display in Artists Make Faces. We can’t compete with current market prices unfortunately.

What difficulties did you have?
Some of the works I would have like to have shown have not stood the test of time. I’d fully intended to show a sculptural piece by Harry White, an artist working in Liverpool in the late 60s, but after bringing it out from storage it was obvious that it had corroded and deteriorated in areas of the work that couldn’t be conserved in the short time we had. Other than small things, the process was remarkably smooth.

How does the work stand up against current practice and are there any connections that have become evident?  
Well, it seems sensible to start by saying that a number of the artists included are still working today. Painting seems to be in the ascendency once again, and the inevitability of questions of influence or precedent arise when discussing this work. I wouldn’t want to suggest that artists at work today are particularly influenced by the work of the artists included in this exhibition, however the legacy of their practice is echoed somehow in the work of artists today. Take an artist like Justin Knowles, from his decision to become an artist in 1965, to his solo shows in Milan, New York, London, and here in Plymouth in 1967. His work progresses from hard-edge, shaped painted canvases to systems-based wall pieces and three dimensional work, echoes of which I believe can be seen in the work of artists such as Andrew Bick. I’m sure there are other echoes – again maybe filtered through others – in the work of artists such as Katrina Blannin, Onya MacCausland, or Richard Nott.

The work I selected for the exhibition, certainly the paintings, all share a sense of the picture plane being flattened or modulated to offer a more shallow depth of field. This is something I’m dealing with in my own painting practice, no doubt influenced in part by my critical thinking around this show. I didn’t want to just curate an exhibition that looked at St Ives modernism, though a number of the artists included are first or second generation St Ives artists. It was perhaps an attempt to reframe them in a broader context, post-Situation. This is why I allowed myself to include much later work by Ian Davenport and Julian Lethbridge, whose works both share a sense of a flattened or shallow surface.

What are you expecting the audience response to be?
I expect that most people will be challenged by the work, to be honest. Most of the work is over 40 years old, and yet many people still feel they cannot relate to or ‘understand’ the work. One thing I hear is that people don’t ‘get it’, or it’s not ‘their cup of tea’, but through talking about the work with them that fear subsides. I deliberately chose the title Hidden in Plain Sight to reflect a kind of paranoia – that they’re ‘out to get you’ – when in reality they’re no more challenging than a Renaissance allegorical painting or Victorian narrative painting might be. We might not instantly recognise the content or context, but there is nothing wrong with that. I’ve already given a half-hour talk about the progression of artists work in the region from ‘St Ives’ to hard-edge, and will be giving another to talk about painting as ‘object’. These, plus the interpretation in the gallery should soften the blow in many ways, without detracting from the intention of the artist.

Thursday, 21 November 2013

Nick Mauss, Bergen Kunsthalle, Germany


Interesting artist, Nick Mauss from 303 Gallery, at Bergen Kunstalle Opens on Friday the 15th of November at 8 pm. Curated by Steinar Sekkingstad, Mauss is like an interesting and more articulate Warhol...

'In recent years the American/German artist Nick Mauss has formed his work through a finely tuned sensory register, with drawing at the centre of a praxis which otherwise eludes all simple categorizations.

“Mauss’ work is work in progress,” the critic Dan Fox has stated, with reference to the fragile, suggestive and tentative quality inherent in most of Mauss’s works. The sketch-like temporality of the drawing medium, and the paper as a locus for testing and projection, seem to influence his whole exhibition practice. A drawing never looks ‘finished’ but exists rather in a constant state of intrinsic potential. This quality of the drawing as a draft, or a preliminary medium, recurs throughout Mauss’s production, whether as sculpture, ceramics, photography, video, or curatorial processes. The works look as if they have been captured in an instant of becoming.

With technical brilliance and an almost total absence of large gestures, Mauss’s work speaks through a controlled caution where the suggestive and indefinable constitutes the tension in the work. Forms and fragments are often repeated in several variants in several places in the same exhibition. Each work, or series of works, communicates with the surrounding works and forms a dense constellation of connections, where the viewer has to find his or her own readings and negotiate the blank spaces.

Mauss adheres to a formalism that many people think belongs to a different epoch from our own, mis-recognized as a patina of the past. However, Mauss’ works never become nostalgic; rather, they express a highly self-aware attitude to the possibilities inherent in a craft-based practice on the present-day art scene. Mauss may well be viewed as a counter-force to referentialism-oriented and neo-conceptual contemporary art — where the idea is ‘read out’ of the artwork, often in a causal, direct way. In these works it is rather the form itself that materializes an idea: tentatively and ambivalently. Mauss strives for a shimmering illegibility, and balances on a razor edge between form and syntax, between what can be read out of and read into the work by the viewer.

Nick Mauss (b. 1980) was born in New York. He lives and works in Berlin and New '

Wednesday, 20 November 2013

Brice Marden 'Graphite Drawings' Matthew Marks Gallery, New York

 An interesting little show of Brice Marden's 'Graphite Drawings' is currently on at Matthew Marks, until 21st December, looks great, what do you mean they look too much like Malevich, outrageous...

Untitled   1971
Graphite and beeswax on Arches 300lb Fin
(Medium) Natural White paper
30 1/2 x 22 1/2 inches; 78 x 57 cm

Untitled 1964 - 65
Charcoal and graphite on white wove paper
19 3/4 x 22 1/4 inches; 50 x 57 cm

'This exhibition includes twenty-two of Brice Marden’s seminal early works on paper and is the first exhibition devoted solely to this body of work. The drawings, made between 1962 and 1981, feature luxurious surfaces of graphite and beeswax worked into dense, reflective planes of blacks, whites, and grays. Within these surfaces, Marden reveals the underlying geometries of the rectangle and the grid, a formal strategy that has characterized his work from the 1960s to the present.'

The gallery also has some great classics of Marden's:

Second Letter (Zen Spring)
2006-2009, Oil on linen
96 x 144 inches; 244 x 366 cm

Epitaph Painting 5
1997-2001, Oil on linen
108 1/2 x 104 inches; 275.5 x 264 cm

'De Kooning: Ten Paintings' at Gagosian, New York

This will be an intriguing exhibition of ten selected works between 1983-85 is at Gagosian Gallery, New York. De Kooning often discussed the idea of being a 'slipping glimpser', capturing that moment between the idea and the moment of action, of contact with pigment on canvas, which when De Kooning developed Alzheimer's, became a reality. Curated by the eminent John Elderfield, whose book on Matisse, is still a great book, all these years later. The show is on until 21st December, looks great..
This is what Gagosian say: 'Gagosian Gallery is pleased to announce an exhibition of ten paintings by Willem de Kooning, created between 1983 and 1985. The exhibition highlights the critical three-year period in the last decade of de Kooning’s long career, during which he radically transformed his style. Organized in close collaboration with The Willem de Kooning Foundation, it is curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York, and a consultant at Gagosian Gallery.'

John Elderfield has observed: “These were very highly regarded when they were first exhibited in the 1980s, and they resonate even more today. De Kooning truly reinvented himself in these extraordinary canvases. He had the confidence to give up the lush painterliness and visibly reworked appearance of his earlier works in favour of something more reductive; but they remain not only spatially complex, but also extremely physical pictures, both visually open and densely embodied.”

Monday, 28 October 2013

Anthony Caro, British sculptor dies...

Anthony Caro, 'Early One Morning' 1962
Anthony Caro, British sculptor is a geat little video here from the RA show a few years ago..

What I think is interesting about Caro, is that he studies engineering, eventually took up sculpture in a figurative style, became an assistant to Henry Moore, travels to America, realises his direction is through abstraction from visiting Kenneth Noland and David Smith, changes direction when he comes back and still makes it as a British sculptor in the UK!

'Painting's dead!' (again..) Ryan Sullivan at Sadie Coles/Basil Beatie, Jerwood Gallery, London..

Ryan Sullivan, 'January 30, 2013 - February 11, 2013'
These are great works by the American artist Ryan Sullivan currently being shown at Sadie Coles HQ, London. These show a loosening up of our current 'Richteresque' aesthetic needs, into a new open and expansive possibilities, this show is on until 2nd November. Much has been written over the years about the 'Death of Painting' and to be honest it's poor art journalism to even go there now, it's not dead, it hasn't died and never will, it's been around since man/woman spread pigment on the cave wall and it would be arrogant to suggest we've moved on from those basic unconscious needs and wants felt then, even in the 21st Century.
Ryan Sullivan 'July 6, 2013 - July 26, 2013'

Ryan Sullivan 'June 3, 2013 - June 22, 2013'
There is a fascinating article in The Art Newspaper this week,  that touches on the resurgence of painting, in 'Paint, canvas, action!' see it here. and below is an extract from Sadie Coles Press Release:

'In his first exhibition at Sadie Coles HQ, Ryan Sullivan presents a series of new large-scale paintings. The exhibition marks the inauguration of Sadie Coles HQ’s new gallery on Kingly Street. Sullivan’s singular painting style arises from an open-ended process that is focused on the physical properties of his media. Each canvas bears witness to its making – asserting the dynamic movements and mutations of its raw materials.'
 These works are also an example of someone at the top of there game through selection of nuances and surface and a continuing questioning of the processes used. Unfortunately, I don't feel the same about the current show of Basil Beatie's at Jerwood Space, where they are busy comparing him to Rothko and Guston, he's not in the same league in my books and they've got his old mate Mel to big him up..(yawn).....

“These new paintings are exhilarating: terrifically energetic, urgent and mysterious... Beattie is in full flight.” - Mel Gooding, Guest Curator

see what you think? Let us know..
Basil Beattie, Ascent, 2012 © the artist

Monday, 21 October 2013

Spotlight on: Erin Lawlor, George Lawson Gallery, San Francisco

Some gorgeous exploration of the viscosity of oil paint here at George Lawson Gallery...

Erin Lawlor, Untitled 15 (cat. no. ERL15) 2012
oil on linen
26 x 19.5 in.
Erin Lawlor, Those Hats (cat. no. ERL29) 2013
oil on linen
63.75 x 51 in. (162 x 129.5 cm.)

Friday, 11 October 2013

Beirut artist, Saloua Raouda Choucair at Tate Modern, London

There is a very powerful exhibition by the Beirut artist Saloua Raouda Choucair curated by Jessica Morgan. An unknown artist largely in the international scene and now suffering from Alzheimer's disease. There  are beautiful sculptures in polished wood, see below..

Saloua Raouda Choucair, Poem 1963–5, © Saloua Raouda Choucair Foundation

and abstract paintings that suggest her early influence of European abstraction, she once worked in Leger's studio in Paris.

Saloua Raouda Choucair, Composition in Blue Module 1947–51 © Saloua Raouda Choucair Foundation

Also the work bellows still retains the glass fragments from an exploded bomb outside her studio apartment in Beirut..
Saloua Raouda Choucair, Two=One 1947-1951 © Saloua Raouda Choucair Foundation

Panel discussion: Painting in New York in the 1970's, Mary Heilmann...

The 1970's started in 1968..

Karel Appel painting

"Gerhard Richter Painting" by Corinna Belz

Monday, 7 October 2013

Video: JOAN MITCHELL: The Last Decade at Gagosian Gallery, Beverly Hills, LA

A great little video of the exhibition of a couple of years ago. Cheim and Read have brought Joan Mitchell to London to new audiences recently. If you get a chance, I recently re-watched a great little film made of Joan Mitchell the year she died, which explores her last brilliant works and looks back on her career and the issues she had as a women and American painter living in France...
Joan Mitchell: Portrait of an Abstract painter by Marion Cajori,

Against The Grain 2: Interview with Helen Frankenthaler

Against The Grain: Helen Frankenthaler collection of woodcut prints, National Gallery of Australia, Sydney

This a great collection of the subtle woodcut prints exploring abstraction of the late Helen Frankenthaler at National Gallery of Australia.
Frankenthaler standing in front of Freefall October 1992 photo: Marabeth Cohen-Tyler
For exhibition walk through click here.

Abstraction in The EY Exhibition: Paul Klee at Tate Modern, London

A new exhibition on the modernist works of the Swiss painter, Paul Klee is about to take place at Tate Modern this month. The exhibition entitled The EY Exhibition: Paul Klee, charts his development from his early years to his most prolific when working in the late 1920's and early 30's at the Bauhaus and beyond. The show runs from the 16th October until 9th March next year and is a steep £16.50 for entry (only £14.50 for Concessions, sorry art students, this will be expensive).

Paul Klee, Fire at Full Moon 1933 Museum Folkwang (Essen, Germany)

The Tate states: 'Witty, inventive, magical, his exquisite paintings resist easy classification. He is mentioned in the same breath as Matisse, Picasso and his Bauhaus contemporary Kandinsky. He cuts a radical figure in European modernism. His influence on abstraction can be seen in the works of Rothko, Miró and beyond. And yet, for an artist of such stature, there is still so much to discover about him.'
However, he is the master of beautiful and subtle paintings playing in and out of abstraction. These paintings are often much smaller than you think when you finally see them in the flesh. I am sure this will be a powerful exhibition and a re-evaluation of his work.
We'd be interested in what visitors have thought of the show..

Tuesday, 1 October 2013

Amy Silman at Campoli Presti

A Shape That Listens: new drawings
18 October – 15 December 2012 
Campoli Presti Paris

The show features fourteen new drawings along with one painting by Amy Silman.

A Shape that Stands Up and Listens #2, 2012 
Ink, gouache, pencil, chalk, charcoal on paper 
76.2 x 60 cm / 30 x 22 inches
Installation view, Campoli Presti, Paris

The mood is distinctly different from Amy's Thumb Cinema exhibition. 

Friday, 20 September 2013

Soundings at MOMA

MOMA: Soundings: A Contemporary Score August 10- November 3

MoMA's first major exhibition of sound art presents work by 16 of the most innovative contemporary artists working with sound.  The exhibition presents work from some of the most innovative contemporary artists are working with sound today. These artists approach sound from a variety of disciplines, and their responses include architectural interventions, visualizations of inaudible sound, explorations of sound ricocheting within a gallery, and a range of field recordings—of bats, abandoned buildings in Chernobyl, bells in New York City, and a factory in Taiwan. Published in conjunction with MoMA’s first major exhibition of sound art, Sounding presents an overview of the recent history of sonic art.

Carsten Nicolai Wellenwanne lfo 2012. Photo Osamu Nakamura Courtesy Galerie Eigen Art/Pace Gallery

In this work Carsten Nicolai demonstrates the impossibility of achieving true silence. Rippling through the piece are visualizations of inaudible, low-frequency sound waves. Through the shifting, concentric patterns on the water's surface, the piece renders visible what would otherwise exist beyond our range of perception. Nicolai is interested in exploring if and how these frequencies might affect us, despite their inaudibility.

Saturday, 14 September 2013

Abstract painting is not dead, it is in a different dimension.

2nd October – 3rd November 2013 
The inaugural exhibitor at Paynes and Borthwick Gallery is Rubedo, founded in 2004 by Laurent-Paul Robert and Dr Vesna Petresin Robert.

Curators Futurecity launch Paynes & Borthwick Gallery – a real-time virtual replica of an actual gallery space, due for completion in autumn this year, at the Paynes & Borthwick development project on the banks of the River Thames in West Greenwich, SE8. 

The new gallery provides a unique, first-of-its-kind opportunity for artists and designers to create experiences for an online real-time medium. This has been enabled by Futurecity, who have programmed a series of interactive exhibition experiences into the gallery. 

Rubedo examines complex geometry, acoustics and synesthesia, through performance, installation and artefact. The exhibition will be available to view online for 4.5 weeks with 24 hour access, and as with exhibitions in physical spaces, there will be no opportunity to view it after the final day. Don't miss it.

Upon entering the virtual gallery space two works can be seen. Diodicity, which explores transformation and flux, and is the latest version of the original which was shown as the closing performance of Topology at Tate Modern in 2012. Diodicity hovers in mid-air, challenging the viewer to explore its bubble-like and ever-transforming shape and soundscape. 

The second piece, Trans_Lux, is entered through a portal within the virtual gallery space, as if being transported through space and time to another world. The work is a fully immersive synaescape, which evolves and responds to the viewer as one passes through it, interacting with its choreographed landscape of light and sound. 

Rubedo’s work has been shown at Tate Modern, the Royal Academy of Arts, the Royal Festival Hall, Venice Biennale, Critics' Selection at the Cannes International Film Festival, World Architecture Festival, Sydney Opera House, Casa da Musica and the Vienna Secession. 

Thursday, 12 September 2013

Cengiz Çekil Abstrakting abstraction.

September 17th - October 26th at Rampa 
With a Cleaning Cloth, 2012–13. Acrylic paint, lace, tulle, string and cleaning cloth on 144 canvases, 81 x 60 cm each

Born in 1945, Cengiz Çekil grew up in Bor, in Central Turkey. He received his BFA from Gazi Institute of Education in Ankara, and went on to study at École Nationale Supérieure des Beaux-Arts in Paris. There he held his first solo exhibition “Réorganisation pour une Exposition”, in the basement of a café in 1975. He returned to Turkey in 1976 and received an MFA in Sculpture from Ege University in İzmir. His first solo exhibition at Rampa was held between May-July 2010. 

Cengiz Çekil combines textures, patterns, objects and colours that simply make me think about my perceptions of Turkish art, culture and politics. There is virtuosity in this man's touch.

Friday, 6 September 2013

'Painting Forever!', Kunst-Werke Institute of Contemporary Art, Berlin....

The Question: Is Painting really forever?...ArtMag, Deutsche Guggenheim..

'Art critics have been proclaiming the end of painting since the age of modernism, but a new interest in the medium’s complex and conflicting tradition, as well as its possibilities, has recently emerged. This is evident in “Painting Forever!,” a large, joint project celebrating contemporary painting in Berlin. But what does the future of painting actually look like? ArtMag has asked the experts....'

This is an interesting article on painting, 'Painting Forever!' for the exhibition coming soon at at Kunst-Werke Institute of Contemporary Art, Berlin..

Donald Judd at David Zwirner Gallery, London

A very minimal show on Donald Judd at David Zwirner, London until 19th September. I've always been interested in Donald Judd and his approach to sculpture via painting, I wish there were more of his early paintings around that show his transition into his minimalist sculptures. The Tate show a few years ago must have been one of the biggest shows of his work in London and was excellent..

'But I think that's a particular kind of experience involving a certain immediacy between you and the canvas, you and the particular kind of experience of that particular moment.' Donald Judd

                                               Donald Judd at Whitechapel Gallery, London, 1970
                                               Photo by Richard Einzig, Brechten-Einzig Ltd.             
                                               Judd Art © Judd Foundation. Licensed by VAGA, New York, NY
                                               Courtesy Whitechapel Gallery Archive

 Image above: Art © Judd Foundation. Licensed by VAGA,
New York, NY. Photo by Alex Delfanne.
Press details: This is the first gallery presentation of this seminal artist in London in nearly fifteen years and the first significant exhibition of Judd’s work in the U.K. since his 2004 retrospective at Tate Modern, London. From the early 1960s up until the time of his death, Judd developed a rigorous visual vocabulary that sought clear and definite objects as its primary mode of articulation. Together, the works in this exhibition present an overview of many of Judd’s signature forms and offer insight into his singular commitment to material, colour, and proportion. One of the most significant American artists of the post-war period, Judd’s oeuvre has come to define what has been referred to as Minimalist art — a label to which the artist strongly objected on the grounds of its generality.
The work of Donald Judd is included in numerous museum collections. Permanent installations of the artist’s work can be found at Judd Foundation spaces in New York City, at 101 Spring Street (following extensive restorations, his home and studio opened to the public in June 2013) and Marfa, Texas, along with the neighboring Chinati Foundation. Judd Foundation (Rainer Judd and Flavin Judd, Co-Presidents) is exclusively represented by David Zwirner. In 2011, the gallery exhibited a selection of works by the artist drawn from his seminal 1989 exhibition held at the Kunsthalle Baden-Baden, Germany and in 2013 a major installation by Judd was included in Dan Flavin and Donald Judd, the inaugural exhibition at David Zwirner’s new 20th  Street location in New York. Judd’s work is currently on view in the exhibition Donald Judd: The Multi-Colored Works  at the Pulitzer Foundation for the Arts in St. Louis (through January 4, 2014).

Wednesday, 4 September 2013, is returning from its long Summer holiday... is returning from its long summer holiday real soon, with news and events taking place this Autumn..

Tuesday, 9 July 2013

Turkish Abstract artists show at Haus Konstruktiv, Zurich

Hot Spot Istanbul
“Hot Spot Istanbul,” the first survey exhibition of Turkish abstract and conceptual art in Switzerland, at Museum Haus Konstruktiv in Zurich. The exhibition, curated by Dorothea Strauss, will continue until Sept. 22. 

Organized in cooperation with the Turkish Ministry of Culture and Tourism and Zurich Culture and Promotion Attache’s Office, the exhibition features more than 80 works by 21 artists from over 60 years, with Princess Fahrelnissa Zeid's work from 1947 being the earliest work on show.

Ömer Uluç Foto: S. Altenburger

Arslan Sükan Foto S. Altenburger

Wednesday, 12 June 2013

"Abstract art, the form that dominated the 20th century, once again reigns supreme..." Art Newspaper

The Art Newspaper published this piece 'Importance of Being Abstract'  by Charlotte Burns, Melanie Gerlis and Julia Michalska on the popularity of abstract art at Basel art fair.

"Can today’s artist move the once-radical form in a new, meaningful direction? “The problem is, there is a group of lower-tier abstract painters who are good and whose work looks beautiful, but what they are bringing to the table in terms of art history is nothing new. They are not adding to the conversation,” says the New York-based art adviser Lisa Schiff."

"It is “one of the great inventions of Modern art that is barely a century old”—rather, it is “a century young” Robert Storr, the dean of the Yale University School of Art"

 “The abstract is always relevant; you can have a rhetoric behind it that can be whatever you want.” Loring Randolph, a director at Casey Kaplan

“Who says that decorative art is not also serious art? Matisse and virtually all of Islamic tradition attest to the fact that it is or can be,” Robert Storr says, adding: “Is Mondrian eye-candy?”

and  "The trend is market-led, too." !

Sunday, 2 June 2013

Neue Stille at Vous Etes Ici

Another great initiative of Manuela Klerx
("We make no differences, but we like to do things differently. ")
José Heerkens 2012-L6 (Predawn) Oil on canvas 60 x 60 cm Luuk De Haan mogelijkheid 055_07_288 ultra chrome  print 50x70 cm
"Neue Silent" is an ongoing project, initiated by Klerkx Art Agency, with the aim of using new ways and partnerships to show. The work of contemporary (especially abstract) painters from different backgrounds and generations in constantly changing locations and contexts  Whether pure abstractions or paintings with references to nature or daily life, what these artists binds is their inner urge to loosen the issues of the day art. they do not bend with every wind: silence, reflection and experiment their driving force. Although the work is usually modest in size, its meaning is even more monumental. We believe that communication with the media and the public (thanks to social media) are essential to give the work of these artists deserves attention (and all too often do not receive).  We are pleased to take place in the beautiful gallery space and in cooperation with our friends VOUS ETES ICI on Sunday, June 9th from 16 to 18 hours.'s first "Neue Pacific" The exhibition runs until Sunday, June 23, 2013 (Wednesday - Sunday 12-18 pm). Pieter Bijwaard U-vormen 03 2012 Acrylic on paper 32,5 x 25

Monday, 27 May 2013

David Hawley Anita Traverso Gallery, Australia

"I never get it right the first time. In fact never getting it right (or getting it wrong) is beside the point. These are just two elements that contribute to the mix, and the mix is what matters. "
David Hawley 2013 at Anita Traverso
The layering of painting on separated animation cells diffuses the colours like ink washes on watercolour paper but there is a technical and contemporary quality that the PVC layers add to David's paintings that stops them simply being decorative.

Friday, 12 April 2013

TRANSMITTER / RECEIVER: The Persistence of Collage, Tullie House Museum and Art Gallery, Carlisle, Cumbria

 John Stezaker Pair V © the artist. Courtesy the Arts Council Collection

With the Schwitters show at Tate and the current interest in digital photographic techniques, we may be seeing more shows exploring the role of collage and photomontage. this looks like a greattouring show from the Arts Council Collection with the works of Nicholson, Ager and Penrose as well as more international contemporary artists. The show runs until 12th May 2013.

See the BBC slideshow of the works here..and the previous exhibitions here...

'The Arts Council Collection touring exhibition 'Transmitter/Receiver' traces some of the uses of collage in British art from the first influences of the Parisian avant-garde, in the early work of Ben Nicholson and British Surrealists Eileen Agar and Roland Penrose, through to present day practitioners such as Steve Claydon, David Noonan, Idris Khan and Grayson Perry. Bringing together over 50 works, it includes traditional collage on paper, alongside painting, sculpture, film and slide projections, all drawn from the Arts Council Collection.
An Arts Council Collection Exhibition from Southbank Centre.'
© the artist. John Stezaker, Mask LXIV, 2007