Tag: cool exhibitions (page 1 of 2)

The Radical Eye: Modernist Photography from the Sir Elton John Collection @ Tate Modern / until 21st May 2017 📷

TIME AND PLACE:

Doors:
Monday to Sunday 10.00–18.00
Friday to Saturday 10.00–22.00

@ Tate Modern, Bankside, London SE1 9TG

Tickets: £15 book online

www.tate.org.uk/whats-on/tate-modern/exhibition/radical-eye-modernist-photography-sir-elton-john-collection

This is a once-in-a-lifetime chance to see one of the world’s greatest private collections of photography, drawn from the classic modernist period of the 1920s–50s. An incredible group of Man Ray portraits are exhibited together for the first time, having been brought together by Sir Elton John over the past twenty-five years, including portraits of Matisse, Picasso, and Breton.

With over 70 artists and nearly 150 rare vintage prints on show from seminal figures including Brassai, Imogen Cunningham, André Kertész, Dorothea Lange, Tina Modotti, and Aleksandr Rodchenko, this is a chance to take a peek inside Elton John’s home and delight in seeing such masterpieces of photography.

The American Dream: Pop to the Present @ British Museum / until 18th June 2017 🇺🇸

TIME AND PLACE:

Doors: 10am – 5.30pm (Fri until 8.30pm)

@ British Museum, Great Russell Street, London WC1B 3DG

Tickets: £17.50 book online

Trace the creative momentum of a superpower in this major new exhibition.

The past six decades have been among the most dynamic and turbulent in US history, from JFK’s assassination, Apollo 11 and Vietnam to the AIDS crisis, racism and gender politics. Responding to the changing times, American artists produced prints unprecedented in their scale and ambition.

Starting with the explosion of pop art in the 1960s, the exhibition includes works by the most celebrated American artists. From Andy Warhol, Jasper Johns and Robert Rauschenberg to Ed Ruscha, Kara Walker and Julie Mehretu – all boldly experimented with printmaking. Experience this extraordinary history through their eyes.

Taking inspiration from the world around them – billboard advertising, global politics, Hollywood and household objects – American artists created highly original prints to rival their paintings and sculptures. Printmaking brought their work to a much wider and more diverse audience.

The sheer inventiveness and technical ingenuity of their prints reflects America’s power and influence during this period. Many of these works also address the deep divisions in society that continue to resonate with us today – there are as many American dreams as there are Americans.

This exhibition presents the Museum’s outstanding collection of modern and contemporary American prints for the first time. These will be shown with important works from museums and private collections around the world.

teamLab: Transcending Boundaries @ Pace Gallery / until 11th March 2017

TIME AND PLACE:

Doors: Tues-Sat 11-4

@ PACE London, 6 Burlington Gardens, London W1S 3ET

Free entry, booking essential!

www.pacegallery.com
www.pacelondon.team-lab.net

Exploring the role of digital technology in transcending the physical and conceptual boundaries that exist between different artworks, with imagery from one work breaking free of the frame and entering the space of another.

The installations also dissolve distinctions between artwork and exhibition space, and involve the viewer through interactivity.

The largest room in the exhibition will include six works and feature Universe of Water Particles, Transcending Boundaries (2017), a virtual waterfall that extends beyond the gallery wall onto the floor, flowing through the exhibition space and around the feet of the viewer. It engages with the concept of Ultra Subjective Space, central to teamLab’s practice, referencing the non-perspectival depiction of space in premodern Japanese art and situating the viewer directly within the realm of the artwork.

Encompassing the second room, Dark Waves (2016) is a simulation of the movement of waves based on the behaviour of hundreds of thousands of water particles. The waves are created in a three-dimensional virtual space, expressing water as a living entity that immerses the viewer and suggests an intrinsic connection with nature.

In the last room, the darkened space is transformed by the presence of the viewer, which activates Flowers Bloom on People (2017). With the body as a canvas for the projections, flowers are in a process of continuous change—growing, decaying and scattering in direct response to the viewer’s movements.

William Kentridge: Thick Time @ Whitechapel Gallery / until 15th January 2017 🎨🎶🎭

TIME AND PLACE:

Doors: Tue-Sun 11am–6pm (closed Mondays)

@ Whitechapel Gallery, 77-82 Whitechapel High Street, London E1 7QX

Tickets: £11.95 book online

www.whitechapelgallery.org/exhibitions/william-kentridge

South African artist William Kentridge (b.1955, Johannesburg) is renowned for his animated expressionist drawings and films exploring time, the history of colonialism and the aspirations and failures of revolutionary politics.

In this major exhibition of six large-scale installations by the artist, music and drama are ruptured by revolution, exile and scientific advancement.

Highlights include the film work Second-hand Reading (2013), installation O Sentimental Machine (2015) and The Refusal of Time (2012), an immersive work created with composer Philip Miller, projection designer Catherine Meyburgh, choreographer Dada Masilo, scientist Peter Galison and collaborators from around the world.

Daydreaming with Stanley Kubrick @ Somerset House / until 24th August 2016

TIME AND PLACE:

Doors: 10am-6pm (last admission 5pm)

@ Somerset House, Strand, London WC2R 1LA

Tickets: £12.50 book online

www.somersethouse.org.uk/visual-arts/daydreaming-with-stanley-kubrick

A new exhibition, curated by Mo’Wax and UNKLE founder, artist and musician James Lavelle, featuring a host of contemporary artists, film makers and musicians showcasing works inspired by Stanley Kubrick.

Participating artists have been invited to respond to a film, scene, character or theme from the Kubrick archives, shining new perspectives onto the cinematic master’s lifework. James Lavelle is collaborating with contemporary musicians and composers to produce a soundtrack to some installations creating a multi-disciplinary experience for the visitor.

Pioneering conceptual artist Joseph Kosuth will create an installation of text from Kubrick’s films based on the language of Kubrick’s work, while Britain’s foremost political artist Peter Kennard will juxtapose images of characters set in the War Room of Dr Strangelove with present day leaders of nuclear states, in a statement about the renewal of Trident. Inspired by the Stargate sequence in 2001: A Space Odyssey, film maker Doug Foster will invite visitors to experience an endless, widescreen tunnel and referencing the same film, Mat Collishaw will make a spaceman’s helmet featuring otherworldly sights and sounds.

Doug Aitken will provide ‘Twilight’, a public pay phone bathed in a luminous glow, which will be reminiscent of the Dr Strangelove scene where Mandrake attempts to make a collect call to the President of the United States. Sarah Lucas will lend ‘Priapus’, a phallic sculpture suggestive of the iconic murder weapon in A Clockwork Orange.

The exhibition is supported by artist Christiane Kubrick, the director’s wife of 41 years, who will be exhibiting a painting and Jan Harlan, Kubrick’s Executive Producer for 28 years. It is additionally endorsed by Warner Bros. Pictures, who collaborated with Kubrick on all his films since 1971.

The exhibition is co-curated by James Putnam who was formerly founder curator of the British Museum’s Contemporary Arts and Cultures Programme and is currently Senior Research Fellow Exhibitions at University of the Arts, London (UAL) where the Stanley Kubrick archive is housed.

FOUND @ The Foundling Museum / until 4th Sep 2016

TIME AND PLACE:

Doors:
Tue-Sat 10-17
Sun 11-17
Mon closed

@ The Foundling Museum, 40 Brunswick Square, London WC1N 1AZ

Tickets: £10.25

www.foundlingmuseum.org.uk/events/found

Foundling Fellow Cornelia Parker has invited over sixty outstanding artists from a range of creative disciplines to respond to the theme of ‘found’, reflecting on the Museum’s heritage.

Combining new and existing work with found objects kept for their significance, this major exhibition unfolds throughout the Museum, interacting with historic works in the Collection and with each other. Parker’s inspiration has in part been taken from the Museum’s eighteenth-century tokens – small objects left by mothers with their babies as a means of identification should they ever return to the Foundling Hospital to claim their child.

Artists participating in FOUND include: Ron Arad RA, Phyllida Barlow RA, Jarvis Cocker, Richard Deacon RA, Tacita Dean RA, Jeremy Deller, Edmund de Waal, Brian Eno, Antony Gormley RA, Mona Hatoum, Thomas Heatherwick RA, Christian Marclay, Mike Nelson, Laure Prouvost, David Shrigley, Bob and Roberta Smith RA, Wolfgang Tillmans RA, Marina Warner, Gillian Wearing RA and Rachel Whiteread. Twenty-two Royal Academicians have contributed to the show, echoing the role that the Foundling Hospital played in the development of the Royal Academy. Founded in 1739 to care for babies at risk of abandonment, the Foundling Hospital was supported by the leading artists of the day, many of whom donated work, thanks to the revolutionary involvement of the artist William Hogarth and the composer George Frideric Handel. The Royal Academy’s origins can be traced to the collective mobilisation of artists and the promotion of British art that took place at the Hospital during the eighteenth century.

The Great British Graphic Novel @ Cartoon Museum / 24th July 2016

TIME AND PLACE:

Doors:
Mon-Sat 10:30–17:30 (including Bank Holidays)
Sun 12:00–17:30

@ Cartoon Museum, 35 Little Russell Street, London WC1A 2HH

Tickets: £7

www.cartoonmuseum.org

An exhibition looking at the rise of the British Graphic novel with works by William Hogarth, Kate Charlesworth, Dave Gibbons, Martin Rowson, Posy Simmonds, Bryan and Mary Talbot and many others.

The Cartoon Museum is the only museum in the UK to celebrate our cartoon and comic heritage, from the 18th century to the present day. Four special exhibitions a year explore the work of cartoonists, graphic novelists and animators and themes found in cartoon artwork.

The two permanent displays tell the story of cartooning in all its forms, from the political satire of William Hogarth, Gerald Scarfe, Ralph Steadman and Steve Bell, to the social satire of H.M. Bateman and Pont, to the extraordinary works of William Heath Robinson and the fantastical comic strip creations like Dennis the Menace, Desperate Dan, Rupert Bear and Andy Capp.

Jeff Koons @ Newport Street Gallery / until 18th October 2016

TIME AND PLACE:

Doors:
Tuesday – Friday and Sunday 10am – 6pm
Saturday 10am – 10pm

@ Newport Street Gallery, Newport Street, London SE11 6AJ

Free entry

www.newportstreetgallery.com/exhibitions/current

www.jeffkoons.com

Jeff Koons is widely considered to be one of the most significant artists to have emerged in the postwar era. Since the late 1970s, his diverse work has explored themes pertaining to taste, consumerism, mass culture, beauty, acceptance, and the role of the artist.

‘Now’ is the first major UK exhibition to be devoted to the artist since ‘Jeff Koons: Popeye Series’, at the Serpentine Gallery in 2009. Spanning thirty-five years of the artist’s extraordinary career, ‘Now’ features over thirty paintings, works on paper and sculptures dating from 1979 to 2014. Drawn from Hirst’s collection, a number of these works have never before been shown in the UK.

Tracing the development of the artist’s radical reconfiguration of the readymade, the exhibition features one of Koons’s earliest works, Inflatable Flowers (Short White, Tall Purple) (1979), a vinyl blow-up flower displayed on a mirrored floor tile.

Signalling the conception of one of Koons’s most enduring themes – the inflatable – it is here presented alongside a number of his iconic Hoover sculptures. Part of The New series (1980–1983), the wall-mounted Hoovers – in which immaculate, unused household appliances are displayed in fluorescent-lit, acrylic boxes – date from Koons’s time working as a Wall Street commodities broker. Two of the Hoovers, which remain eternally pristine despite being outdated, were included in Koons’s first solo exhibition, at New York’s New Museum in 1980. Part of that installation – originally displayed in the museum’s storefront windows – has been reassembled for this exhibition. For the artist, the readymade, whether in the form of a child’s toy, Baroque sculpture or advertising billboard, provides “the most objective statement possible”.

Having begun his career focusing on the status of the object, ‘Now’ demonstrates how Koons quickly embarked on his lifelong investigation into the means by which objects are represented and communicated. With his sculptures cast in stainless steel, he returned to the inflatable; seductively replicating pre-existing objects in the gleaming, simulated opulence of the proletarian material. Employing cutting-edge technology, seemingly fragile, air-filled vinyl blow-ups and balloon animals are reproduced in stainless steel, sometimes rendered on the monumental scale of Balloon Monkey (Blue) (2006–2013), here exhibited in Newport Street’s double-height gallery. The reflective surfaces of these sculptures serve to “constantly remind viewers of their existence”, as Koons maintains, “it’s all about you”.

Koons’s enduring ability to delight, fascinate and provoke is evident throughout this broad survey. Employing easily-identified images, he explores social mobility in the Equilibrium Nike posters, the ways alcohol is advertised to different demographics in Luxury and Degradation, and the evocative imagery of childhood toys represented in Celebration. Whilst with his Made in Heaven series – erotic scenes involving the artist and his then-wife Ilona Staller (aka ‘La Cicciolina’) – he investigates the stigma and shame that inheres in contemporary conceptions of sexuality, succeeding in transforming the erotic into a study of: “the biological eternal… the preservation of life, the continuation of life”.

Summarised by curator and critic Norman Rosenthal as “manifestations of a joyful acceptance of American culture”, Koons’s work – which here fills Newport Street’s six, expansive galleries – challenges and teases in equal measure, reflecting as much on the profundities of our existence as the banalities of daily life.

The exhibition contains sexually explicit material.

Avedon Warhol @ Gagosian / until 23rd April 2016

TIME AND PLACE:

Doors: Tue–Sat 10-6

@ Gagosian 6-24 Britannia Street, London WC1X 9JD

Free entry

www.gagosian.com/exhibitions/avedon-warhol

First major exhibition to pair works by Richard Avedon and Andy Warhol. Both artists rose to prominence in postwar America with parallel artistic output that occasionally overlapped. Their most memorable images, produced in response to changing cultural mores, are icons of the twentieth century.

Portraiture was a shared focus of both artists, and they made use of repetition and serialization: Avedon through the reproducible medium of photography, and in his group photographs, for which he meticulously positioned, collaged, and reordered images; Warhol in his method of stacked screenprinting, which enabled the consistent reproduction of an image. Avedon’s distinctive gelatin-silver prints and Warhol’s boldly colored silkscreens variously depict many of the same recognizable faces, including Marella Agnelli, Bianca Jagger, Jacqueline Kennedy, Marilyn Monroe, and Rudolf Nureyev.

Both Avedon and Warhol originated from modest beginnings and had tremendous commercial success working for major magazines in New York, beginning in the 1940s. The 1960s marked artistic turning points for both artists as they moved away increasingly from strictly commercial work towards their mature independent styles. The works in the exhibition, which date from the 1950s through the 1990s, emphasize such common themes as social and political power; the evolving acceptance of cultural differences; the inevitability of mortality; and the glamour and despair of celebrity.

Each gallery will juxtapose works that underscore these themes, beginning with The Family (1976), Avedon’s ambitious conceptual portrayal of sixty-nine individuals at the epicenter of American politics at that time, together with Warhol’s monumental portrait of the revolutionary Mao Tse-tung, Mao (1972). In both works, little emotion or expression is revealed in the sitters’ faces or postures. Such deadpan was a mark of Pop art ambivalence, more commonly associated with Warhol, but equally applicable in this instance to Avedon.

Both artists sought out individuals who were outside, as well as inside, the mainstream. For Avedon, this resulted in the larger-than-lifesize mural of Andy Warhol and members of The Factory (1969), who represented the heart of New York subculture and incarnated the sexual and cultural revolution. Meanwhile, Warhol memorialized the beauty of drag queens—who he once described as “ambulatory archives of ideal moviestar womanhood”—in his pioneering series of silkscreens, Ladies and Gentlemen (1975).

The third gallery contains an extended meditation on the darker side of human existence, as well as its potential salvation: Warhol’s Skull and Guns paintings are juxtaposed with photographs from Avedon’s Brandenburg Gate portfolio, taken during the fall of the Berlin Wall in 1989.

Finally, celebrity was a topic that was equally explored by both artists: Avedon in his iconic images of Brigitte Bardot (1959) and Audrey Hepburn (1967); and Warhol in his dramatically rendered superstars, such as Double Elvis (1963) and Four Marilyns (Reversal Series) (1986). Driven by their cosmopolitan awareness and mindfulness of the potential for their work to stir change, as well as their diverse cast of modern muses, Avedon and Warhol harnessed the power of images to reflect the revolutionary social attitudes of their time.

A fully illustrated publication accompanying the exhibition will include essays by Michael Bracewell and Ara H. Merjian, as well as a chronology documenting the artists’ careers and points of intersection.

Richard Avedon was born in New York City in 1923 and died while on assignment for The New Yorker in San Antonio, Texas, in 2004. His work is included in the collections of major museums around the world, including the Museum of Modern Art, the Smithsonian, and the Metropolitan Museum of Art, along with countless other institutions worldwide. Avedon’s first museum retrospective was held at the Smithsonian Institution in 1962. Many major museum exhibitions have followed, including those at the Minneapolis Institute of Fine Arts (1970), Museum of Modern Art (1974), Whitney Museum of American Art (1994), and two at the Metropolitan Museum of Art (1978 and 2002). A 2007 retrospective exhibition organized by the Louisiana Museum of Modern Art in Denmark traveled to Milan, Paris, Berlin, Amsterdam, and San Francisco. “Richard Avedon: People” was presented at National Portrait Gallery, Canberra in 2013, and traveled to Art Gallery of Western Australia, Perth in 2014, and the Ian Potter Museum of Art, Melbourne from 2014–15.

Andy Warhol was born in Pittsburgh in 1928 and died in New York City in 1987. His work is included in public collections worldwide. His first major exhibition was at Ferus Gallery, Los Angeles, in 1962. Since then, his work has been the subject of numerous exhibitions in museums and galleries throughout the world, including retrospectives at Pasadena Art Museum (1970, traveled to Museum of Contemporary Art, Chicago; Stedelijk van Abbemuseum, Eindhoven; Musée d’Art Moderne, Paris; Tate Gallery, London; and Whitney Museum of American Art, New York); Museum of Modern Art, New York (1989, traveled to Art Institute of Chicago; Hayward Gallery, London; Museum Ludwig, Cologne; Palazzo Reale, Milan; and Musée National d’Art Moderne, Paris); and Neue Nationalgalerie, Berlin (2001–02, traveled to Tate Modern, London; and Museum of Contemporary Art, Los Angeles). Recent exhibitions include “Warhol: Headlines,” Galleria Nazionale d’Arte Moderna, Rome (2011–12); “Andy Warhol: Shadows,” Museum of Contemporary Art, Los Angeles (2014–15); “Transmitting Andy Warhol,” Tate Liverpool (2014–15); and “Andy Warhol: Campbell’s Soup Cans and Other Works, 1953–1967,” Museum of Modern Art, New York (2015).

David Shrigley: Drawings and Paintings @ Stephen Friedman Gallery / until 20th April 2016

TIME AND PLACE:

Doors:
10am – 6pm (Tuesday to Friday)
11am – 5pm Saturday

@ Stephen Friedman Gallery, 25-28 Old Burlington Street, London W1S 3AN

Free entry

www.stephenfriedman.com/artists/david-shrigley

Eighth solo show by acclaimed British artist David Shrigley. Using acrylic paint and oil stick, he returns to his ubiquitous satirical combination of drawing and text with new large-scale works on paper. Working with oil stick for the first time, here Shrigley riffs on Op Art, with insertions of dry humour that cut to the point of human nature and everyday situations.

This exhibition runs concurrent with a major touring solo show organised by the British Council, enititled ‘Lose Your Mind’, which travels to Museo De Arte Contemporaneo, Santiago, Chile in May 2016. It also prefigures Shrigley’s ‘Really Good’ which will be unveiled in Trafalgar Square, for the Fourth Plinth Commission in September 2016.

For this show the artist turns his sharp art historical critique to optical art. This 1960s development in painting bewitches the eye, creating realistic movement or dimension where there is none. Through Shrigley’s lens and wiggly script the effect is totally undermined, ridiculing the smoothness of design particularly when paired with the mundane everyday subjects that Shrigley often engages with.

Using oil stick, Shrigley’s characteristic line is rendered as though he were drawing with a pencil, but is characterised here by the textured opacity of the material. The brightly-coloured paint, thicker and less controllable than pencil, brings Shrigley’s characteristic imaginings into a new dimension. These works undermine the distinction between painting and drawing, having the lightness of touch and deceptive simplicity of his drawing.

Shrigley’s practice is rich and varied, always underlined with an appreciation of the absurd, the overlooked and the necessity of humour. His subtle, darkly amusing work provides an antidote to everyday life. His skeptical project continues to delight, making us wonder where the never-ending stream of propositions, dilemmas and situations come from to fuel his imagination. Acerbic, weirdly profound and at the same time universal; his work does not require explanation. We are left to our own interpretations; it is whatever we take it to be. Displayed together in this way, the drawings in this exhibition form a fragmented dialogue. The viewer is bombarded with messages, in a way that it is pleasantly exciting. Rather than being confusing, the works create a warm buzz of humorous ambiguity.

The fundamental elements of Shrigley’s practice; the combination of pointedly witty text with immediately recognisable imagery, are maximised here. Having consistently experimented with work across different media, drawing remains the mainstay of Shrigley’s oeuvre. The use of coloured oil stick on primed paper is new to Shrigley’s practice, but relies on the same premise as the black and white drawings for which he is known.

Shrigley’s playful absurdity draws on references that we can all share and is amplified in this instance with colour and minimal text. Serious issues such as death, love, insecurity and in this case art history, are unapologetically tackled head on. Like all of his work, its strength lies in its deceptive simplicity and the power of engaging the viewer with laughter.

David Shrigley was born in 1968 in Macclesfield, UK. He is now based in Glasgow, Scotland. Best known for his distinctive drawing style and works that make satirical comments on everyday situations and human interactions. His quick-witted drawings and hand-rendered texts are typically deadpan in their humour and reveal chance utterings like snippets of over-heard conversations. Reoccurring themes and thoughts pervade his story telling capturing child-like views of the world, the perspective of aliens and monsters or the compulsive habits of an eavesdropper shouting out loud. While drawing is at the centre of his practice, the artist also works across an extensive range of media including sculpture, large-scale installation, animation, painting, photography and music. Shrigley consistently seeks to widen his public by operating frequently outside the gallery sphere such as in prolific artist publications and collaborative music projects. In 2012 he co-authored a ‘sort-of-opera’ titled ‘Pass the Spoon’, and more recently he transformed the Gallery at Sketch café in London as part of a long-term programme of artist-conceived restaurants.

His digital animations such as ‘Headless Drummer’ and ‘The Artist’ demonstrate what Shrigley calls ‘the economy of telling stories’, delivering a deftly crafted mix of dark and light through the simplest of forms. In his sculptural works that explore materials such as bronze and ceramic, the artist makes physical some of his more curious and eccentric propositions by transforming found objects or by playing with their scale. Taking Lewis Carroll’s perspective of Wonderland, Shrigley enlarges objects and imbues them with curious proportions.

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