Barbican has commissioned the award-winning Pakistani artist Imran Qureshi to create a new body of work for The Curve.
For his first major London commission, Qureshi presents Where the Shadows are so Deep, a series of exquisite miniature paintings, drawing upon The Curve as a motif in this tradition. Beginning with gentle scenes of nature, the sequence of works gradually introduces darker elements, subtly implying the uncertainty of what lies around the bend. Hung at varying heights along the dramatic 90-metre span of the space, these delicate, jewel-like paintings lure the visitor in, demanding an altogether different kind of looking.
This extensive exhibition spanning four generations explores the myriad ways in which artists have employed the impulsive yet de-personalized and non-gestural forces of SPRAY.
It begins with Paul Klee’s work on paper Seltsames Theater (1929), where he improvised with a blowpipe to achieve hazy background effects in a circus scene. This tentative experiment presaged the bold and diverse artistic licence that would come with the post-war advent of aerosol paint as a consumer product and the use of the industrial paint compressor.
From the mid-1950s, sculptor David Smith sprayed enamels over various studio objects and offcuts laid on canvas and paper as stencils; the resulting images recalled Paleolithic cave paintings made by blowing pigment over hands pressed flat. John Chamberlain blurred the lines between painting and sculpture by torquing scrap automobile parts into painterly abstractions, then enhancing the original paint surface with fresh sprays of coloured lacquer. Lawrence Weiner’s interaction with the medium resulted in a simple, dispassionate instruction: Two Minutes of Spray Paint Directly Upon the Floor From a Standard Aerosol Spray Can (1968); while Martin Barré tested it at different distances and pressures in a series of rapid strikes producing sequences of stripes and cryptic punctuations on paper.
From the late sixties, spray assumed a new scale and level of exposure, from Dan Christensen’s vast “post-painterly” abstractions—where he used a spray gun to create intersecting coloured loops of paint alive with cool-tempered energies—and Jules Olitski’s ethereal gradations of tone, texture, and depth; to Richard Artschwager’s furtive urban Blps; Jean-Michel Basquiat’s existential aphorisms tagged on New York City walls; and Keith Haring’s exuberant political pictography that covered bodies, canvases, and subways. In the ultimate debunking of Ab Ex posturing, Andy Warhol produced a series of alchemical Oxidation Paintings by urinating on canvases primed with metallic paint.
Marlene Dumas is one of the most prominent painters working today. Her intense, psychologically charged works explore themes of sexuality, love, death and shame, often referencing art history, popular culture and current affairs – themes you can explore through related events.
‘Secondhand images’, she has said, ‘can generate first-hand emotions.’ Dumas never paints directly from life, yet life in all its complexity is right there on the canvas. Her subjects are drawn from both public and personal references and include her daughter and herself, as well as recognisable faces such as Amy Winehouse, Naomi Campbell, Princess Diana, even Osama bin Laden. The results are often intimate and at times controversial, where politics become erotic and portraits become political. She plays with the imagination of her viewers, their preconceptions and fears.
An innovative exhibition of works by established and emerging artists from the street and graffiti art scenes. Featuring works by over 50 internationally recognised artists such as Shepard Fairey, Swoon and Aryz, alongside rising stars from Australia to Argentina, Sweden to Spain and France to Finland.
Graffiti and street artists have an intimate relationship with the cities that they use as a canvas. They understand and engage with the urban landscape in unique ways – through subjective surveying rather than objective ordinance. Mapping the City will present a series of cartographic representations of the artists’ chosen cities. Ranging from literal to highly abstract, each map will be an individual response to the way these artists experience and interpret the places that they know so well.
The Other Art Fair is London’s leading artist fair and the only event that connects art lovers of all tastes and experience, directly with 130 of the most talented emerging and unrepresented artists.
Choose from over 1,000 pieces to buy from just £50. More than just an art fair, an art experience, enjoy art talks, immersive theatre, art and music performances, kids create area, food & drink and much more.
The Other Art Fair will once again share its home with Moniker Art Fair during London’s most important art week. Your ticket will gain you entry to both fairs.
2 fairs. 130 unrepresented artists. 20 innovative galleries. 1 big weekend of art!
From radical innovations in the use of colour and form to new materials like neon and interactive, kinetic sculpture, this exhibition reveals some of the most original art of the last 100 years.
The time: 1930s
The place: South America
The stage was set for a major innovation in art. Over the next 50 years, artists across five cities would pioneer a new visual language to express their deeply held beliefs about art and its power to change the world around them.
Dancer Master, the vibrant and energetic multi-media show by the talented RUN – artist, muralist and street artist. Dancer Master will celebrate painting, rhythm, body language and dynamism in a new body of work created exclusively for Hang-Up.
Revealing his core inspirations behind the show, RUN explains, “Many years ago when visiting South India, a taxi driver that was driving me around the streets of the city of Colombo took me to a Hindu temple. Pointing to a statue of a divinity he said to me, “Here lies the dancer master”. The statue was beautiful; full of colours, with hands and arms that were made to give the viewer the impression of a dance of the spirit”.
Since then, RUN’s work has taken the direction of multiculturalism and has a distinct ethnic flavour. His signature style can be defined as traditional craft meets fine art with a modern touch of the urban, street art influence. Fascinated with life, feelings, cultures and ideas, RUN welcomes us to a new world – complex, but full of colours, spiritual and vivacious. Known for his love of travel and experiencing diverse, unfamiliar cultures, the artist returns to London with ‘Dancer Master’ to push the boundaries of the known and expected and give a totally different meaning of life and art as we know it.
Created between 2012 and 2013, both on location and in the artist’s studio in Southern California, the exhibition presents three distinct bodies of works; the Frustrated Actions, the Mirage and the Water Portraits series. Through these works, Viola engages with complex aspects of human experience, including mortality, transience and our persistent, yet ultimately futile attempts to truly and objectively understand ourselves and the meaning of our brief lives.
Viola’s work focuses on the ideas behind fundamental human experiences such as birth and death, and different aspects of consciousness. Absolutely one of the most interesting video artists of our time, we recommend seeing his highly affecting work first hand, especially as Viola’s most recent London exhibition was back in 2006.
To see “Look Mickey” in person, Roy Lichtenstein’s breakthrough painting, is like looking at a lost relic – the root of all things Pop: his early, definitive style and satire already visible in his controlled brushstrokes, comic-book aesthetic and signature hand-painted Benday dots. This is a precursor to the most comprehensive exhibition of Lichtenstein’s work, spanning 13 rooms of the Tate Modern, which include his famed War and Romance works such as Whaam! And Oh, Jeff… I Love You, Too… But…. In spite of their notoriety, these works formed only four years of the artist’s expansive career, and in a wonderful conclusion to this thorough retrospective are presented his large-scale and lesser-known nudes and Chinese landscapes. Conceived towards the end of his life, Lichtenstein’s palette has paled, the tone is serene. There is a lack of speech-bubbles and the scale used is paramount to gently tease the viewer with a hint of quiet honesty that his earlier works exchange for their hugely influential commentary on mass reproduction and the mechanical age.
This remarkable and captivating retrospective is a masterful nod towards Lichtenstein’s oeuvre that changed art forever, showcasing his work contextually through the chronology of his life as well as allowing the viewer to understand the times and influences of his work. Notably the Art about Art room highlights Lichtenstein’s adherance to his formal training, his composition of line, form and colour, seen in his homage to Picasso’s Femme d’Alger and the reproduction of the Vatican’s Laocoön: within this idiom is embedded infinite creative potential to stylise anything. This is emotionalism pre-packaged in accordance with the masked outlines of his work (Plus and Minus VI) and the finite edges of the canvas as comic strip panels (Masterpiece): this is the legacy of one of the central figures of American Pop Art.
TIME AND PLACE
Daily from 10am – 6pm,
Friday and Saturday until 10pm
Roy Lichtenstein (1923-1997) is one of the central figures of American Pop Art. In the early 1960s he pioneered a new style of painting, executed by hand but inspired by industrial printing processes. He became renowned for works based on comic strips and advertising imagery, coloured with his signature hand-painted Benday dots, as an ongoing examination of representation and originality in mass media culture. It will also highlight Lichtenstein’s engagement with art history, revealing his lesser-known responses to Futurism, Surrealism and German Expressionism. In the final years of his life, the artist went on to create a series of huge female nudes and sublime Chinese landscapes, neither of which have previously been shown within the wider context of his oeuvre.