Martin Creed: What’s The Point of It? at Hayward Gallery, 29 January – 5 May 2014 (extended run)
A survey of Martin Creed’s playful, thought-provoking art. Over the past two and a half decades British artist Martin Creed has pursued an extraordinary path by confounding the traditional categories of art. Winner of the 2001 Turner Prize, Creed is recognised around the world for his minimalistic approach that strips away the unnecessary, but preserves an abundance of wit, humour and surprise. Crossing all artistic media and including music, his art transforms everyday materials and actions into surprising meditations on existence and the invisible structures that shape our lives.
This exhibition will be the first major survey of Martin Creed’s work, spanning its most minimal moments and extravagant room-sized installations.
This major exhibition will display works by these giants of twentieth century western art. A large collection of paintings by Bacon and sculptures and drawings by Moore have been carefully selected for this show to bring out the similarities and differences between their work.
Despite working in different media, Bacon and Moore were exhibited together from the end of the Second World War into the 1960s. This new exhibition aims to bring a fresh perspective to Francis Bacon and Henry Moore highlighting the important influences and experiences which they shared and exploring specific themes in their work. Bacon, regarded as one of the 20th century’s greatest painters, was fascinated by sculpture and approached Moore for lessons, whilst Moore renowned for his sculptures was an excellent draftsman and the exhibition will show the poignant shelter drawings that first brought Moore fame as a war artist in the early 1940s.
Francis Bacon/Henry Moore: Flesh and Bone will reveal surprising parallels in the work of these two great figurative artists whose careers have rarely been linked until now.
Conference: April 12th, 2014, UCL; CFP Deadline: December 15th, 2013.
Historic iterations of abstraction in the visual arts have traditionally been associated with terms such as the non-representational, the non-figurative, and the immaterial, in opposition to a loosely defined concept of realism. In the post-war period, however, both realism and abstraction became unstable concepts, deployed to refer to a range of diverse practices, from Nouveau Réalisme to Art Informel to Abstract Expressionism. This conference invites papers that rethink the relation between realism and abstraction in the period between 1970 and the contemporary moment. Of particular concern are the impacts of two intersecting events: the advent of Neoliberalism and the dismantling of Modernism in art history.
‘Art in the Age of Real Abstraction’ seeks to investigate contemporary forms of abstraction through the analysis of different modes of representation, affectivity and performativity, drawing lines of continuity and addressing points of ambiguity between post-war abstraction and contemporary iterations. In recent critical discourse reification has been described as both a process of abstraction and as a figural process. On this view ‘Real Abstraction’ might be understood as the becoming-concrete of the abstract. As such ‘Real Abstraction’ calls for a rethinking of what the terms realism, figuration and abstraction might mean today.
Yale Center for British Art: Thursday, November 14, 2013–Sunday, March 9, 2014
At times realistic, at other times fable-like, the work of the British sculptor Nicola Hicks captures something of the physical and psychological power of living beings. The striking, often life-sized creatures that Hicks creates are vividly animated. Usually executed in straw and plaster, her works appear tactile and spontaneous, retaining a sense of the working process in the studio even when painstakingly cast into bronze.
This exhibition features seven recent sculptures by Hicks and a selection of eighteenth- and early nineteenth-century paintings from the collection of the Yale Center for British Art. These paintings have been selected by Hicks based not on art-historical criteria, but on a personal, subjective response to the works. The selection underscores her interest in art that captures expression and emotion, and that demonstrates human empathy for the life-force of different creatures. The Center is home to one of the world’s most important collections of British animal paintings and portraiture, and Hicks’s intervention offers a unique opportunity to reflect upon the contemporary resonances of these traditions. Continue reading Coming Soon: Sculpture by Nicola Hicks→
A one-day conference at the University of York, Berrick Saul Building, Friday 29th November 2013, 10.00am – 6.30pm
Speakers: Elena Crippa (Tate), Antony Hudek (Liverpool John Moores), Dominic Johnson (QMUL), Carmen Juliá (Tate), Courtney J. Martin (Brown), Lucy Reynolds (Central St Martins), Joy Sleeman (UCL), Lisa Tickner (Courtauld Institute of Art), Isobel Whitelegg (Nottingham Contemporary) & Andrew Wilson (Tate).
Bringing together new research on the national and international networks that came to characterise the London art world during the 1960s and 1970s, this conference at the University of York aims to trace the many informal, impromptu and experimental relationships that exist alongside, and fragment, more established institutional histories of British art in this period. The day will explore a diversity of practices, movements and spaces, ranging from painting, sculpture and film through to land art, performance and activism, addressing in particular the impact of feminism, international exchange – specifically with Latin America – and changes in art education on the works produced during these two extremely lively and innovative decades, when understandings of the ‘art world’ were challenged and reformulated in multiple ways. Papers will include studies of Alexander Trocchi’s Project Sigma, Stephen Willat’s Control Magazine, Expanded Cinema at Gallery House, the emergence of the artist performance-lecture, and the performances of COUM Transmissions, and the day will end with a roundtable discussion to which all are invited to contribute. Continue reading Conference: London Art Worlds – Mobile, Contingent, and Ephemeral Networks 1960-1980→
Two exhibitions at Christies and Sotheby’s provide an opportunity to see a great selection of mid-twentieth century British Art. The Christies exhibition, opening in October focuses on Pop artists including Peter Blake, Pauline Boty, Richard Hamilton and David Hockney and is produced with Waddington Custot to launch the new Christie’s gallery space in Mayfair. At Sotheby’s work by Hockney, Allen Jones, Bridgey Riley and Anthony Caro is shown alongside Derek Boshier, Joe Tilson, Richard Smith, Phillip King and Liliane Lijn among others. The exhibition is curated by John Kasmin, a prominent dealer and gallerist in the 60s, it celebrates the art of ‘Swinging London’.
The Sotheby’s show open only until Wednesday offers five rooms of sculpture and painting as well as some drawings, prints and two Richard Smith maquettes. Claiming to broaden the acclaim of the exhibited artists, The New Situation attempts to frame a new canon of British 60s art. Taking place within the thick-carpeted rooms of Sotheby’s Bond Street headquarters and lit with aura-inducing back lights, the works are carefully placed with more well-known works speaking to the lesser known, providing some context but more cache. In the accompanying catalogue we are told that the show (in both content and name) pivots on three key exhibitions, Situation (1960), The New London Situation (1962) and London- the New Scene (1965-66), the latter of which toured North America. Like the galleries at Bond Street, these three exhibitions also sought to show British art in sleek settings comparable to the ‘cool clean’ museum spaces in America. Underlying this appropriation are the complex political, economic and social relationships between Britain and American that structured artistic exchange the 1960s. The witty pop bricolage, luscious colours and sleek materials in The New Situation trace a British canon curtailed commercially but the exhibition fails to account for the dynamics, interactions or overlaps that many of these artists used to disrupt national association or canonicity .
The Christie’s show likewise proposes a return to the overlooked and under-celebrated of British art. Taking place in their new private sales space, the exhibition will usher in a new chapter in the history of the auction house. An expansion that echoes the shifting impact of commercial spaces of the 1960s.
This exhibition explores the period between the First and Second World Wars was one of rich and varied creativity in Britain. This exhibition celebrates the diversity of this era in which British artists both adopted and rejected artistic innovation in order to explore a new expression for the particular time in which they lived. The impact of the First World War was as devastating for the arts as it was for society as a whole. Prior to the start of the War in 1914, contemporary British art celebrated modernity and the dawning of the machine age. However, many artists served in the armed forces during the War and experienced the full horror of the trenches on the front line. Their experience of the destruction wrought by the new weapons of the machine age brought about a significant reaction against innovation and experimentation in art.
During the 1920s, artists returned to traditional, uncontroversial and often timeless subject matter, especially landscape and still life. They went back to explore earlier artistic styles and to engage with the very tradition they had once rejected. Their initial attempt to recover from the War led to a tendency towards escapism and nostalgia in art. By the 1930s, British artists began again to engage and experiment with creative developments including abstraction and Surrealism. However, the new mood of artistic idealism was now in strong contrast to the bleak realities of the economic and political situation. The Great Depression was a period of high unemployment and great hardship for many people in Britain, especially in the north where industries such as steel, ship building and coal mining suffered the most. It was also a troubled period of European history characterised by the rise of radical political movements including Fascism and Communism. Rather than represent this decade of economic and political upheaval, the subject of much British art remained escapist. Throughout this period, British artists explored, questioned and rejected the requirement that to be truly modern was to break with the past.