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.looking into Richard Tuttles work in relation to materiality however I love his works aesthetic...

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homesick as a nail, Richard Tuttle | Artspace.com

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homesick as a nail, by Richard Tuttle. A vital force in the development of Conceptualism and post-Minimalism, Richard Tuttle is one of the most...

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materiality seems to be more intrinsically linked to woman in a way... especially when it comes to soft sculpture. this exhibition is really engaging as it shows how the female connection to materiality has changed through the ages but still stayed intrinsic to so many of their practises.

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Material girls: needles and thread are tools of rebellion at Turner Contemporary

For the landmark 'Entangled: Threads and Making' exhibition at Turner Contemporary, Karen Wright played the double-role of curator, and 'international artist matchmaker'. She brought together a diverse group of over 40 female artists, many of whom desccended on the seaside resort of Margate for the weeks surrounding the exhibition's opening. Together, they occupied the bars and cafes once frequented by the likes of JMW Turner, and more recently, Tracey Emin. 'One evening, when they had all left, I went to the local pub on my own,' Wright explains, 'and the barman asked where all my interesting friends had gone. It was quite lonely!'

The artistic community Wright has helped foster is clearly felt when entering the David Chipperfield-designed museum, where friendliness abounds. Works in the entrance and upstairs loby ( The Three Graces by Kashif Nadim Chaudry, and Knot Project by Anna Ray, both from 2016) have been handmade by local volunteers. What's more, no less than three school groups were wandering around the small museum when Wallpaper* visited, which made for a noisy, but intensely encouraging trip.
Samara Scott created a site-specific installation in the museum's lift
Wright's show focuses on textiles in post-1940s female art. On paper, it doesn't seem like a groundbreaking concept. After all, women have been using a needle and thread since they were invented. On looking round, the curation's bravery and progressive attitude jumps off the walls. But it has not been met without controversy. Margate local (and Turner Contemporary benefactor) Emin is notably absent from the group, which has been a particular sticking point for some critics, Wright explains. 'She's an artist who has had so much coverage already. This exhibition was about bringing together more up and coming names.'

Artists like Anna Ray, Karla Black and Laura Ford, whose 2012 Penguins sculptures provide another political texture to the already statement-making exhibition. Huddled in the back corner of the gallery, Ford describes these shifty looking characters as 'sculptures dressed up as animals which are dressed up as people'. In their many guises, they comment on global warming, youth culture and materiality, with a rare sense of humour.
'Penguins', by Laura Ford, 2012
This focus on emerging talent doesn't mean the exhibition lacks 'big ticket' works. Anni Albers' structural, taughtly-woven silk tapestry (designed in 1926) stands as an important juxtaposition to its later counterparts, like Ann Cathrin November Høibo's Untitled (Diptych) created specifically for the show, where threads colourfully explode, pull and unravel from their constraints. Elsewhere, Louise Bourgeois' profound bra clasp sculpture promises to be the smallest object that will ever halt you in your tracks.

It feels like an over-used phrase at the moment, but this exhibition couldn't have come at a better time. Despite this, Wright has been persuing the exhibition in various forms for the best part of a decade. 'Let's be honest, women have always had a bad deal, and there's no way I could have planned this to happen when it did,' she reasons. But as hand-knitted pink pussy hats dance across the world's major cities, the needle and thread are becoming tools of rebellion, reimagined as contemporary symbols of female unity; an idea solidified by Wright's international, welcoming and progressive showcase.

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Material girls: needles and thread are tools of rebellion at Turner Contemporary

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Material girls: needles and thread are tools of rebellion at Turner Contemporary For the landmark 'Entangled: Threads and Making' exhibition at Turner Contemporary, Karen Wright played the double-role of curator, and 'international artist matchmaker'. She brought together a diverse group of over 40 female artists, many of whom desccended on the seaside resort of Margate for the weeks surrounding the exhibition's opening.

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here weavings are a statement on our current consumer culture both by the presence of household objects in her work but also through the act of slow weaving(with no earning of mistakes). I am really interested in how materialism exposes and informs us about our material culture as well as hopefully pushing to incite positive environmental change. can the act of making do this? how can my work promote a more sustainable future(not just through what its made by but the way its made and how its perceived)?

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Weaving is central to Ann Cathrin November Høibo's art. It is the main medium that she works in, but also a spatial metaphor used to create tenuous links between the disparate objects in her installations. Weaving is the anchor, the framework, around and through which the narrative in her work threads. The natural and synthetic sit side-by-side in Ann Cathrin's work like flotsam and jetsam washed up on the shoreline. The artist seems to make no distinction between the two vastly different kinds of material. Her installations, which include stretched fabric framed works, woven tapestries and loosely sculptural pieces, are studies in materiality and sensory tactility. Yet the subtle contrast between handmade and readymade makes a quiet statement on the ubiquity of synthetic materials today, which have become intertwined with the fibre of contemporary life. Ann Cathrin's work is neither explicit nor didactic. She makes no bold statement nor asserts any direct message. Rather, between the strands of natural wool, raw ash branches and mass-produced plastic objects, she weaves a subtle protest against speed and convenience that underpin consumer culture. Weaving by its nature offers a counterpoint to this, requiring patience and time; it is slow, laborious, meditative. "Weaving is a workout in being patient", Ann Cathrin says of this ancient craft that is more than 12,000 years old. Ann Cathrin's art reflects the pared back aesthetic of her Nordic heritage. The colors in her work echo the northern landscape-whites, sage greens, small flashes of yellow, black, grey and bone-with interruptions of bright artificial colors and synthetic textures. Ann Cathrin studied at the National Academy of Art and Handcraft, Department of Textile in Oslo, Norway. She received her MA from the Department Art Academy before furthering her studies at Städelschule in Frankfurt, Germany. AMM: Hello Ann Cathrin. To begin, can you share your earliest art-related memory?
ACNH: Hi! One early one is of my mother leaving me and my older brother at the National Museum of Art in Oslo. It was raining a lot and she had to fix something, so she left us there. I didn't really get along with my brother as a kid, so I wandered off by myself, it was wonderful.
AMM: In your growth as an artist, what have been some of the pivotal learnings or experiences or teachers that have shaped you and your work?
ACNH: I think I have learned a lot from the really good teachers and the really bad ones... also lovers and older friends who wanted to become artists. I think also being sick as a child changed the way I see things. Or maybe the time I randomly read an article at the dentist, about Hannah Ryggen. That moment changed my life a bit, I found true love.
AMM: Weaving and textiles have historically been associated with the female domain and crafts. In what ways do you engage with and subvert these traditions in your work?
ACNH: I have always been really proud of the feminine vibe of weaving and craft. It's always been empowering to me, not the opposite. I also saw all of that as a good thing for me, that weaving and craft had a lower status in the contemporary art scene, at least in Norway. I saw it as a great opportunity to change that, a purpose. I intentionally only applied to the craft school to learn some weaving skills, the rest I could manage I thought.
AMM: Weaving enacts a bringing together of disparate parts into a new whole. How might this metaphor relate to themes in your work?
ACNH: I never make sketches and I never unravel what I do. I just continue and try to make the best of what is happening in front of me. It does not always look good close up, and it's a shitty feeling and I give up, and then do other stuff for a while. But the bad parts or the mistakes often look really good in the end. Also color combinations, colors I do not like so much often end up more interesting than what I am really into. When I weave I think about my life, my current situations and everything that comes to mind and what's important kind of unfolds in front of me. Mostly the work finds the themes as I go.
AMM: Your aesthetic doesn't try to hide or obscure the structure of an artwork, for example the loom of a tapestry, or soldered brass rods. Instead, these seem to be emphasised as another material and element of the composition, drawing attention to the handmade quality of the artworks. Can you tell us more about this?
ACNH: I guess I try to be as honest as possible in my work, so to hide important details like this or try to cover up something feels so wrong to me. I think I try to transfer this honesty into the materials. It's like I'm trying to be a better person through my work.
AMM: In contrast to this, you often incorporate mass-produced found objects in your installations. What is the relationship between the handmade and the mass-produced in your work?
ACNH: Balance. It's the personal meets the impersonal... I don't know the exact word... I don't like it when it's too much of one vibe in my work, it has to be diverse. I want my work to contain as much as possible, but in a light and elegant way. I want lots of references that you can understand, instantly or over time. Or both. Also the mass-production tells something about the time we live in right now, and the craft for me is more timeless. Or maybe not. I aim for complexity to look easy.
AMM: Please tell us about the specific materials you choose to use in your art and about mixing natural and synthetic materials?
ACNH: I guess it's the balance again. They have different qualities. Same color in different materials gives many colors if you know what I mean. I want the materials to change attitude in my work, by saying that I think I mean that I want them to change their personalities and become something new. I'm also a bit curious about how the materials will age in contrast to each other.
AMM: Weavings and the materiality of your work have a strong tactile quality, inviting notions of touch and skin. In what ways do you engage with these ideas in your work?
ACNH: I'm so into qualities of the materials, I feel it with my eyes I think. The skin is so sensitive; it's our biggest sense organ they say. I had really bad allergies as a child; it had its own language of telling me things. So this goes back to your second question. I think this forced me to be very concerned about my clothes, second skin. Then again materials.
AMM: What ideas are you currently exploring in your work?
ACNH: I just down-scaled my studio from 360m2 to 60m2, from the seaside to the city. So I think that will have some effect. And I just arrived in Berlin to an empty studio. So I think about that, downscaling, in general. Buying less, eating less, pollute less, travelling less, stressing less, spending less time on the internet and all that. We all need to change the way we live. That's what I really like about weaving. It's so slow. I only use a fork and scissors and mostly daylight. A longtime dream of mine is to have some sheep and spin my own yarn. I used to say that to people I wanted to impress, as a very young artist. But life has been too hectic, I need to calm down.
AMM: How do you conceptualise and incorporate negative space into your compositions and installations?
ACNH: Interesting question. It's more intuitive for me I guess.
AMM: In what ways does your art relate to your own emotional or psychological state of being?
ACNH: I think I have answered that in every question? I am my own tool.
AMM: Weaving is a laborious medium that must perhaps be quite meditative. What is your process of working?
ACNH: Weaving is a workout in being patient, it's been very difficult. I used to say weaving is hardcore boring and splatter romantic. I moved one of my big looms home. I bought a house in a small town on the Norwegian coast. So now the loom is in the library, at least it looks great. It's hard to sit still, and weaving takes forever. But it feels a bit like reading or running, the more you do it the faster it goes. Some days I can weave for hours, other days it's impossible. It all depends on the mood and the time pressure.
AMM: How does your studio look and feel?
ACNH: My studio feels a bit like a girl cave. My private room with my own rules. Clean but messy, kind of cozy but practical. Full of textiles, clothes and yarn. And most important, a daybed.
AMM: Do you have any daily habits or rituals that feed you creatively?
ACNH: No, but often I change clothes all day long, to inspire myself and feel different. I probably should have more rituals, but I'm not good at following rules. A plan is to walk more.
AMM: Do you have any shows or projects coming up? What's next for you?
ACNH: Next is a solo show at STANDARD (OSLO) in March, and one in LA which is still in the planning. I'm just starting research for a public project. Stage curtains for a new prison in Norway, which I am very excited about. Oh, and I'm doing a book with a project I curated back in 2017 at Kristiansand Kunsthall together with Linn Pedersen.

Find out more about the artist: www.carlfreedman.com/artists/ann-cathrin-november-hoibo
Interview by Layla Leiman for ArtMaze Magazine.

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"I am my own tool": Weaving and materiality in Ann Cathrin November Høibo's work

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Weaving is central to Ann Cathrin November Høibo's art. It is the main medium that she works in, but also a spatial metaphor used to create tenuous links between the disparate objects in her installations. Weaving is the anchor, the framework, around and through which the narrative in her work threads.

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story telling through fabric always seems to emphasise the emotions and

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Following the new guidance issued by the government, Modern Art Oxford will be closed from Wednesday 23 December, until further notice. We look forward to welcoming you back to the gallery as soon as we can.

Hannah Ryggen (b. 1894, Malmö, Sweden - d. 1970, Trondheim, Norway) was one of Scandinavia's most outstanding artistic figures of the 20th century. In the first major presentation of the artist's work in the UK, this exhibition surveys her career from an early painted portrait created in 1914, to the intricate tapestries that characterised her extraordinary career from the 1920s onward.

Ryggen's work demonstrated her impassioned responses to the socio-political events of her time. She dealt with a range of issues from the rise of fascism ( Ethiopia, 1935) and the Nazi occupation of Norway, including its impact on her own family ( 6 October 1942, 1943); to the post-war growth of nuclear power ( Mr Atom, 1952) and media coverage of the Vietnam War ( Blood in the Grass, 1966).

The artist's intense relationship to the world around her forms the heart of this exhibition, which celebrates both her vibrant tapestries and the processes involved in creating them.
The exhibition has been organised in partnership with Nordenfjeldske Kunstindustrimuseum / Museene I Sør-Trøndelag. The development of this exhibition was supported in part by an Art Fund Jonathan Ruffer Curatorial Research Grant.

Hannah Ryggen

Born in 1894 in Malmö, Sweden, Hannah Ryggen's introduction to art began with evening classes in painting, whilst working as a teacher. It was not until a study visit to Dresden in 1922 that she stopped painting in favour of dedicating her artistic career to weaving.

In 1924, Ryggen moved with her husband to Ørlandet - a remote region in Norway's Trondheimsfjord. Here Ryggen taught herself the various processes of tapestry making, from the carding and spinning of wool, to the concoction of locally-sourced natural dyes from insects, plants, lichens and bark.

While Ryggen was included in several major international exhibitions in the 1950s and '60s, she remains largely unknown outside of Scandinavia. Recent showcases of her work include dOCUMENTA 13 in Kassel (2012) and a major retrospective at the National Gallery, Oslo and Moderna Museet in Malmö ( Weaving the World, 2015/6).

Images

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Responses

"This exhibition has been brilliant in showing the creative process Hannah Ryggen went through for her tapestry work."

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"I really liked the way in which the exhibition introduces the artist to the visitors and contextualises her art in the events of their own life. "

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"The Hannah Ryggen exhibition at Modern Art Oxford is wonderful. What a woman."

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"Terrific Hannah Ryggen show at Modern Art Oxford. Stirred, unsettled, inspired."

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Supported by

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Skip to main content Following the new guidance issued by the government, Modern Art Oxford will be closed from Wednesday 23 December, until further notice. We look forward to welcoming you back to the gallery as soon as we can. Hannah Ryggen (b. 1894, Malmö, Sweden - d.

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uses simple processes ie inkjet printer to create distorted yet familiar imagery. I love the use of the line in his printed images. the bold and simple colours allow his work to stand out

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Over the past decade, New York-based artist Wade Guyton (b. 1972) has pioneered a groundbreaking body of work that explores our changing relationships to images and artworks through the use of common digital technologies, such as the desktop computer, scanner, and inkjet printer. Guyton's purposeful misuse of these tools to make paintings and drawings results in beautiful accidents that relate to daily lives now punctuated by misprinted photos and blurred images on our phone and computer screens. Comprising more than eighty works dating from 1999 to the present, Guyton's first midcareer survey features a dramatic, non-chronological design in which staggered rows of parallel walls confront the viewer like the layered pages of a book or stacked windows on a monitor. The exhibition includes paintings, drawings, photography, and sculpture, and concludes with two spectacular new canvases, stretching up to fifty feet in length, which Guyton created specifically for the Whitney's Marcel Breuer-designed building. The title, Wade Guyton OS employs the common acronym for a computer's "operating system," linking Guyton's art to the technologies of our time.

Wade Guyton OS is organized by Scott Rothkopf, Curator and Associate Director of Programs.

Generous support for Wade Guyton OS is provided by the National Committee of the Whitney Museum of American Art, Candy and Michael Barasch, Allison and Warren Kanders, Miyoung Lee and Neil Simpkins, and IPPOLITA.

Significant support is provided by Mike De Paola, Erin and Peter Friedland, Marie-Josée and Henry Kravis, Tony Salamé: Aïshti foundation, Constance R. Caplan, Nina and Frank Moore, Suzi and Andrew B. Cohen, Brigitte and Arend Oetker, Martin and Rebecca Eisenberg, Barbara and Howard Morse, and The Cowles Charitable Trust.

Installation Photography

In the News

"The Whitney Museum has a hit on its hands: a beautiful show organized by a young curator that makes a cogent case for the work of a young artist."
-The New York Times

"In 2002, Wade Guyton invented a new paintbrush. Its name was the Epson printer."
-New York Magazine

"[Wade Guyton's] exploration of what constitutes a painting, a sculpture and a drawing offers enough information and leaves enough room for rumination to reward multiple visits."
-Art in America

"The work is ingenious, and also moving, as a counterattack of the spirit on a culture whose proliferating technical means disembody imagination."
-The New Yorker (subscription required)

Profile on Wade Guyton: "Painting, Rebooted"
-The New York Times

"Sprawling, Grandiose Paintings Made From Humble Jammed Printers"
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Over the past decade, New York-based artist Wade Guyton (b. 1972) has pioneered a groundbreaking body of work that explores our changing relationships to images and artworks through the use of common digital technologies, such as the desktop computer, scanner, and inkjet printer.

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© (c) Bowness, Hepworth Estate

Details

Dimension

Sculpture (inc base) - 407 x 1043 x 228 mm/ Base

Media

ROSEWOOD ON WOODEN BASE

Accession number

P167

Summary

The shapes we are creating are not abstract, they are absolute. Naum Gabo, 1937 (1)

Barbara Hepworth was a practitioner of direct carving, and resonating through

Rhythmic Form are various rhythms: those of the artist at work, of the work in space, and of the context of its production. Alan Wilkinson has described the shape of Rhythmic Form as a 'soaring upright'.(2) It has all the grace of Brancusi's Bird in Space (1927),(3) and yet it is hewn from the land, shaped in such a way as to create a spatial bond between place, form and the inner creative spirit of the artist. For Hepworth, sculpture was the 'plastic projection of thought' - a way of translating ideas that can only be expressed through direct and spontaneous acts of engagement with a material in order to arrive organically at something whole and complete.(4) Once finished, the work can then stand by itself, its power lying in the fact that, as she wrote in 1937, it 'puts no pressure on anything'.(5)

Hepworth's earliest sculptures were largely figurative. During the 1930s, having visited the studios of Arp and Brancusi whilst in Paris, and under the influence of Nicholson, Moore, Gabo and other members of the Unit One group in London, her work took on a greater level of abstraction. The human figure was re-imagined and taken in new directions exploring scale, poise, and natural form. Wilkinson has argued that seeing the work of Arp generated what was to become for Hepworth 'a life-long obsession - the almost mystical identification with the human figure and human spirit inhabiting the landscape'.(6) In 1937, the critic J. D. Bernal compared her sculpture to 'the Neolithic Menhirs which stand through Cornwall and Brittany as memorials to long forgotten dead' and whose stones were pierced so as to 'furnish a means of egress for the soul'.(7) In 1939, at the invitation of critic Adrian Stokes, Hepworth left London for Carbis Bay, just outside St Ives, travelling with her husband, Ben Nicholson, and their three children. The area was to play a key role in Hepworth's work, and later sculptures frequently referred to local sites.

Another recurring motif in Hepworth's sculpture is the hole. It is a powerful gesture of both creation and amputation that can be seen as a resolutely feminine act of empowerment. It is like an eye that has bored right through the wood, uniting both sides of the work and endowing it simultaneously with asymmetry, incision and cohesion. Another technique, first prompted by Moore's figures of the late 1930s, was to incorporate string. Works such as Pelagos (1946)(8) and Wave (1943)(9) are good examples of this, and it can also be seen developed in later bronze sculptures such as Winged Figure, which adorns the John Lewis Partnership building on Oxford Street, London, inaugurated in April 1963. The sense of a dynamic equilibrium between competing shapes and asymmetries is crucial to Hepworth. As she states, 'Asymmetry can be found in the tension, balance, inner vital impact with space and in the scale.'(10) Within this tension is held the 'inner force and energy' between 'thought and medium', which gives the work its lasting vital presence.

RP

1. Naum Gabo, 'Sculpture and Construction in Space', in J. L. Martin, Ben Nicholson and N. Gabo (eds.), Circle (London: Faber and Faber, 1937), 109.
2. Alan G. Wilkinson, 'The 1930s: Constructive Forms and Poetic Structure', in Penelope Curtis and A. G. Wilkinson, Barbara Hepworth, exh. cat. (London: Tate Gallery, 1994), 64.
3. Museum of Modern Art, New York.
4. Barbara Hepworth, 'Sculpture', in Circle (1937), 114.
5. Ibid., 116.
6. Wilkinson, 'The 1930s', 45.
7. Ibid., 62.
8. Tate Collection, London.
9. National Galleries of Scotland, Edinburgh.
10. Hepworth, 'Sculpture', 114.

Published in Passports British Council Collection, British Council, London 2009

Glossary

Abstraction

To abstract means to remove, and in the art sense it means that artist has removed or withheld references to an object, landscape or figure to produce a simplified or schematic work. This method of creating art has led to many critical theories; some theorists considered this the purest form of art: art for art's sake. Unconcerned as it is with materiality, abstraction is often considered as representing the spiritual.

Bronze

A metal alloy made from copper with up to two-thirds tin, often with other small amounts of other metals. Commonly used in casting. A work cast in bronze is sometimes referred to as 'a bronze'.

Sculpture

A three-dimensional work of art. Such works may be carved, modelled, constructed, or cast. Sculptures can also be described as assemblage, in the round, relief, and made in a huge variety of media. Contemporary practice also includes live elements, as in Gilbert & George 'Living Sculpture' as well as broadcast work, radio or sound sculpture.

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RHYTHMIC FORM, Dame Barbara Hepworth | Current | Exhibitions | British Council − Visual Arts

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Dimension Sculpture (inc base) - 407 x 1043 x 228 mm/ Base Media ROSEWOOD ON WOODEN BASE Accession number P167 The shapes we are creating are not abstract, they are absolute. Naum Gabo, 1937 (1) Barbara Hepworth was a practitioner of direct carving, and resonating through Rhythmic Form are various rhythms: those of the artist at work, of the work in space, and of the context of its production.

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looking at how he has used screens, this work seems to act both as an artwork in its own right(the middle insert allowing it to fit in with the contemporary feel of his other works) and a screen that separates art. I guess as the screen holds such a clear function it is hard for one not to view it in that way even if it was not intended as such.
does making something an artwork remove its other function? how does an artworks presence in the gallery effect its perceived function?

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Martin Boyce, 'Broken branches and flyovers' (2007) Share this:Share on Facebook (Opens in new window)Click to share on Tumblr (Opens in new window)Click to share on Pinterest (Opens in...

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Not inscribed
Wood, composition board, fluorescent lights and mirror, approx. 120 x 7 x 480 (305 x 17.8 x 1220)
Purchased from the Galerie Konrad Fischer (Grant-in-Aid) 1973
Prov: With Galerie Konrad Fischer, Düsseldorf (purchased from the artist)
Exh: Bruce Nauman, Galerie Konrad Fischer, Düsseldorf, March 1971 (no catalogue); Amerikansk Kunst 1950-70, Louisiana Museum, Humlebaek, September-October 1971 (42, repr.); Bruce Nauman: Work from 1965 to 1972, Los Angeles County Museum, December 1972-February 1973 (67, repr.); Whitney Museum, New York, March-April 1973 (67, repr.); Bruce Nauman: Werke von 1965 bis 1972, Kunsthalle, Bern, June-August 1973 (67, repr.); Overzichtstenroonstelling Bruce Nauman, Van Abbemuseum, Eindhoven, October-November 1973 (67, repr.)
Lit: Willoughby Sharp, 'Nauman Interview' in Arts, XLIV, March 1970, pp.23-6; Marcia Tucker, 'PheNAUMANology' in Artforum, IX, December 1970, pp.38-40; Willoughby Sharp, 'Bruce Nauman' in Avalanche, No.2, Winter 1971, p.23

Nauman's first corridor was made in 1969 and consisted of two parallel walls 20in apart, 8ft in height and 20ft in length (51 x 244 x 610cm). It was originally built in his studio as a prop for a videotape in which he walked slowly towards and away from the camera in a stylised way, with his hands clasped behind his neck. Then in May-July 1969 it was constructed in the Whitney Museum, New York, under the title '. The visitors were allowed to enter the work, which was closed at one end, and thereby became performers within it. This idea was further elaborated in an Performance Corridor' as part of the exhibition Anti-Illusion: Procedures/Materials installation which he made in January 1970 for the Nicholas Wilder Gallery in Los Angeles, consisting of a series of wallboard panels running parallel along the length of the gallery. Cameras and videotape monitors were set up in such a way that a person walking the length of one corridor and turning into the next would see himself on a monitor only as he turned the corner. The corridors varied in width, so that some could be entered and some not. Then in May 1970 (for instance) he made a V-shaped corridor at San José State College, California, 2ft (61cm) wide at the beginning and narrowing down to about 16in (40.5cm), with a mirror at the end a little less than 5 1/2ft (167.5cm) high, so that a person about the same height as himself walking into the piece would see his own reflection cut off at the neck. Other later corridors included a 'Green Light Corridor' designed in 1970-1 which was 12in wide, with walls 10ft high and 40ft long (30.5 x 305 x 1220cm). This was open at both ends but had one end within 3 or 4ft (91.5 or 122cm) of a room wall. The interior was painted white and was illuminated by a row of green fluorescent tubes along the top.

The present work resembles 'Green Light Corridor' in its proportions but is closed at one end by a mirror 7ft (213.5cm) high, set at an angle of very nearly 5 degrees off square either to the right or to the left, so that when one looks down the corridor it appears to bend either to the right or the left. Moreover the fluorescent tubes mounted just below the top edges of the walls are white. When first constructed it was made (like 'Green Light Corridor') 12in (30.5cm) wide, which made it possible for people who were not too bulky to edge their way down it. As they got close to the end, they suddenly saw their own reflection in the mirror. However the artist states (letter of 15 May 1973 to Konrad Fischer) that it was not his intention that people should enter this particular work. 'In New York at the Whitney Museum, I built the piece narrower ... due to a particular installation problem (7in wide by 10ft by 40ft) and I liked the piece much better and so far as I know, no-one attempted to enter this space. I would suggest that the Tate build the piece to these dimensions and I would prefer it so.' Instead of being a 'performance area', it becomes a space which is inaccessible and which appears to extend out of sight. It has also sometimes been known as 'Corridor with Reflected Image'.

The Gallery has a documentation by the artist showing how the work should be constructed. It can be built up against an existing wall, or it can be set further into the room or used as a divider between two rooms. The artist writes (August 1973): 'The inside dimensions should be seven inches wide by a minimum of 40 feet long by at least 10 feet high. It does not help much to make it longer than 40 feet, but if your ceiling is higher than 10 feet, it is possible and interesting to extend the piece in that dimension.' The outside is left rough to show the construction.

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.552-3, reproduced p.552

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'Corridor with Mirror and White Lights', Bruce Nauman, 1971 | Tate

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Artwork page for 'Corridor with Mirror and White Lights', Bruce Nauman, 1971 In his corridor pieces, Nauman's sculpture assumes the dimensions of architecture. The spaces are often claustrophobic yet they seem to extend indefinitely, like a corridor seen in a dream.

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my line of enquireys main of this work, it seems particularly relevant at the moment with the amount of time we are all spending indoors. it takes a analytic look at the domestic space and the boundaries it contains. I find this work to be really impactful, I remember looking at it in foundation. it speaks to the somewhat mundane nature of size and space but dehumanises it allowing the viewer to think about it in a new way.

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EXHIBITIONS

Mel Bochner "Measurement Room: Perimeter, 1968" at Fine Arts, Sydney

Fine Arts, Sydney is presenting an exhibition of work by Mel Bochner.

Mel Bochner is recognised as one of the leading figures of Conceptual art. Bochner was at the forefront of developments in art during the 1960s and 1970s, amongst a generation of artists working in New York who were looking at ways of breaking with art's traditional and conventional means. Bochner was pioneering in his use of language and measurement in art making. He began exploring the interpretation of information and the representation of space, using photographs, words and numbers to rethink art in terms of the abstract and seemingly rational ways we express our belief in knowledge of the world around us.

Bochner's series of works using measurement began as sketches in 1967, and developed during 1968. In 1969 he made an exhibition titled 'Measurements' at Galerie Heiner Friedrich in Munich. It was here that Bochner made the first iteration of 'Measurement Room', for which the architectural features of a room were measured and marked out directly onto its walls.

The measurement works, which Bochner has continued, have followed certain procedures whereby a stable object or place either has its measurements marked directly onto it, is oriented with its measurement relative to something else, or is measured in relation to a given standard. The focus of the work is on actual measurement, and the presentation of something that seems self-evident. Bochner has spoken of measurement as being of interest because it is essentially without meaning, despite being one of the ways we express understanding. In part, Bochner's measurement works speak to the truism that it is not necessary to understand something in order to explain it.

Fine Arts, Sydney
until 28 July 2018

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Mel Bochner "Measurement Room: Perimeter, 1968" at Fine Arts, Sydney

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Fine Arts, Sydney is presenting an exhibition of work by Mel Bochner. Mel Bochner is recognised as one of the leading figures of Conceptual art. Bochner was at the forefront of developments in art during the 1960s and 1970s, amongst a generation of artists working in New York who were looking at ways of breaking ...

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David Thorpe - The Colonists - 04.04.2004 – 15.05.2004, Meyer Riegger, Karlsruhe

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David Thorpe - The Colonists - 04.04.2004 – 15.05.2004, Meyer Riegger, Karlsruhe

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The Colonists | Exhibitions | Meyer Riegger

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Robert Adams - Large Screen Form No. 2 - 1962

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Robert Adams - Large Screen Form No. 2 - 1962

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Catalogue entry

T00555 LARGE SCREEN FORM NO.2 1962

Inscr. 'Adams 1962' on top of base r.
Bronzed steel, 75 3/4×36×9 (192·5×91·5×23), on base, 21 1/2×12× 1/2 (54·5×30·5×1·25).
Purchased from Gimpel Fils (Grant-in-Aid) 1962.
Exh: Gimpel Fils, November 1962 (5, repr.).
Repr: The Tate Gallery Review 1953-63, 1963.

The screen is related to a number of works made over the previous three or four years embodying sheets of . An earlier 'Large Screen ' was in the Venice Biennale 1962, and other 'Screen Forms' were in the exhibition at Gimpel Fils in November 1962 (e.g. Nos.6, 8, 10, 11, 20, 21, 23, 24 and 25). Adams began welding in 1955 and in these recent 'Screens' has suggested their three-dimensional aspect both by boring holes through the welded plates and by inserting rods of varying lengths at right-angles to the main . The artist has stressed that the should be free-standing with a well-lit plain white background so that light reflected from it can shine through the perforations. (Information from the artist, 21 January 1963.)

Published in:
Mary Chamot, Dennis Farr and Martin Butlin, The Modern British Paintings, Drawings and Sculpture, London 1964, I

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'Large Screen Form No. 2', Robert Adams, 1962 | Tate

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"Mending and Anatomy: I’ve got holes on the heels of my socks, on the fingertips of my gloves, on my elbows, on my knees, at the folds and seams of my jeans, where my backpack rubs against my shoulder" 2014 and 2016.
this project looks at the relationship between the study of anatomy and that of mending objects. through this it draws parallels between human tissue and thread/wool.

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Mending and Anatomy: I've got holes on the heels of my socks, on the fingertips of my gloves, on my elbows, on my knees, at the folds and seams of my jeans, where my backpack rubs against my shoulder Parallel Practices, Dr Richard Wingate and Celia Pym, Dissecting Room, Kings College London, 2014. Sponsored by Crafts Council, UK and Kings Cultural Institute

A Mending Project in KCL's Dissecting Room. The project placed mending next to the study of anatomy through dissection of human tissue. Students and staff who use the Dissecting Room (DR) were invited to bring damaged clothing (and bags) to be mended and repaired at the 'mending desk' which was set up in the heart of the DR. In between the mending and the studying there were conversations about the generosity of donors and their families to give their bodies; gifts in general; taking time to care for things; how amazing the body is; how strong the smell in the DR is; becoming doctors; becoming surgeons; grandmothers; feeling queasy; being gentle and other matters. Celia Pym was artist in Residence at the KCL Dissecting Room Autumn 2014 and Spring 2016 Parallel Practices Blog Film How the Other Half Live

Photographs by Michele Panzeri

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Mending and Anatomy: I've got holes on the heels of my socks, on the fingertips of my gloves, on my elbows, on my knees, at the folds and seams of my jeans, where my backpack rubs against my shoulder Parallel Practices, Dr Richard Wingate and Celia Pym, Dissecting Room, Kings College London, 2014.

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I find the art of mending really interesting, especially when done as an act of giving. I find great enjoyment from meeting my friends and families clothes, I like that my array of skills that I have built up (mainly from a point of inward thinking) allows me to help out others as well as saving clothes from there death. giving new life to a used object, in my mind, makes it more valuable.

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Genetologic Research Nr. 2&4 - 2003

looks the work collates wood from various trees to create 1 log that holds the form of a normal log but the viewer can clearly see the strands of different trees. its either an object void of history and reference or one with an abundance of such.

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2003
Different kinds of wood, wood glue
30 x 50 x 180 cm.
(In private collection, Italy)

Lengths of wood from different trees are glued together so as to resemblea tree trunk. The growth rings are matched together like a puzzle, as if an attempt has been made to recreate a tree's original shape without any surviving point of reference, the growth rings being the only visible guidelines available. 'Genetologic Research no. 2 & 4' are among the earliest examples of an imaginary journey into a fictional future past, where knowledge is lacking and frames of reference are flawed.

Copyright 2021 © Maarten Vanden Eynde

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2003 Different kinds of wood, wood glue 30 x 50 x 180 cm. (In private collection, Italy) Lengths of wood from different trees are glued together so as to resemblea tree trunk.

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Thinking about materiality - bringing in objects from that hold clear histories.

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Elephant is a large floor and wall installation by the British artist Bill Woodrow. The central feature is an elephant's head, the skull of which is made from car doors and panels which still bear their original red, blue and black paint. The logo of the car manufacturer Volvo is visible on one of the blue panels. The elephant's cream, red and silver trunk is made from the metal and hose of a vacuum cleaner, and the head itself has been constructed on an old ironing board then affixed to the wall. The elephant's ears are cut from the paper of two large maps, the remainders of which hang a short distance from either side of the head, with each ear remaining attached to the map from which it was cut by means of a twisted paper ribbon. These maps, which show cut outs of South America on the left side and Africa on the right, are suspended from nails on wooden hanging frames. The end of the trunk is wrapped around a fake automatic gun, the hilt of which hangs down towards ten car doors of various colours that are placed upside down on the floor in front of the elephant's head in a broad circle.

Elephant was made in Woodrow's studio at Acre Lane in Brixton, London, in 1984. The work's making involved welding, paper cutting and assemblage. As Woodrow recalled in 1985:

It became big, very big, very quickly. The studio was a jagged sea of car doors of all colours and growing out of the centre of them all was this multi-coloured, ear-, trunk- and tusk-less volvo elephant head. To attach the trunk and tusks I had to get the half completed head into its final position on the wall: well I tried, but it was impossible, it was too big, too heavy, and I was very nearly crushed after having managed to almost lift it above my head.
(Woodrow 1985, accessed 15 June 2015.)

Themetal used for Elephant was salvaged from a car breaker's yard in Bermondsey in south London. In 1985 Woodrow said that these 'fifteen or sixteen car doors and assorted body panels ... had been stacked outside my studio for five or six months and I remember one of the strongest things about them was their colour, especially in the wet weather' (Woodrow 1985, accessed 15 June 2015). Although the colours of the metal remain vivid in Elephant, the paint has worn away in some areas revealing the original silver of the panels prior to their painting. The art historian John Roberts has described Woodrow as an 'urban rag-picker and scavenger' who habitually trawled the streets of Brixton and Peckham to find materials for his work (Roberts 1996, p.9). Woodrow's reliance on found objects that are transformed through manipulation and their newfound associations with each other can also be seen in Car Door, Ironing Board and Twin Tub with North American Indian Head-Dress 1981 (Tate ).

Woodrow has suggested that the meaning of Elephant evolved during the creative process, and that the initial impetus for its production was his return to London after a two-month period in Canada:

The only way for me to avoid chronic depression was to set out to make a sculpture that at a minimum would keep me warm and at best keep me mentally alive, hopefully excited. I remember thinking, it has to be big, much bigger than anything else I had made before. The idea of an elephant appeared quite rapidly ... I had no desire to change the scale of anything I made, just make it to what I thought was life size, no measurements or visits to the Zoo, maybe a quick visual reference to an old cover of the National Geographic.
(Woodrow 1985, accessed 15 June 2015.)

Woodrow has explained further that he had no inclination to make a complete elephant, instead producing just the head 'mounted colonial fashion high on the end wall of the studio' (Woodrow 1985, accessed 15 June 2015). Political metaphors and associations increasingly crept into the sculpture, for instance the ears, which were crafted from old school maps found on a rubbish skip that still bore colonial place names. Woodrow stated in 1985 that as he worked on this sculpture he came to recognise that 'Africa and South America were/are third world continents, a point, in fact the point, that became more and more important in my reflecting on the work' (Woodrow 1985, accessed 15 June 2015).

Roberts has commented that during the early 1980s, 'nature and culture are in irrevocable and damaging conflict in Woodrow's art' (Roberts 1996, p.18). It could be argued that in Elephant the natural world as represented by the creature is displayed as a trophy object of 'culture', which is represented by the car materials, maps and the gun. Narrative and symbolic elements such as these have appeared regularly in Woodrow's work, although since the late 1980s he has increasingly used welded steel and cast bronze as his main materials. Woodrow has been associated with the New British Sculpture movement that developed in London in the 1980s. This group of artists, which included Anish Kapoor, Richard Deacon and Antony Gormley focused their work on the materiality of sculpture, the process of fabrication and narrative or metaphorical imagery.

Further reading
Bill Woodrow, 'Elephant', 18 July 1985, extract from Entre el Objeto y la Imagen, exhibition catalogue, Ministerio de Cultura, Madrid, and British Council, London 1986, available on the artist's website, http://www.billwoodrow.com/dev/texts.php?page=2&text_id=7, accessed 15 June 2015.
Lynne Cooke, Bill Woodrow: Sculpture 1980-86, exhibition catalogue, Fruitmarket Gallery, Edinburgh 1986, pp.6 -7, 71.
John Roberts, Fool's Gold, exhibition catalogue, Tate Britain, London 1996.

Jo Kear
June 2015

Supported by Christie's.
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Artwork page for 'Elephant', Bill Woodrow, 1984 Woodrow has commented: 'The head, mounted colonial fashion on the wall, was constructed around an ironing board because of its triangular shape and strong frame. I used the ear shape of some old wall maps of Africa and South America...

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Thinking about materiality - Serras work is big bold and often representative of some part of our current culture.

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The Matter of Time | The Guggenheim Museums and Foundation

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Visit the Frank Lloyd Wright-designed Guggenheim Museum in NYC, part of a UNESCO World Heritage Site. See the renowned permanent collection and special exhibitions.

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Summary

Black Square is a monochrome black painting depicting the trunks and branches of a clump of trees in textured paint. The image derives from a photograph taken by Carnegie at Hampstead Heath in North London. The painting surface is intensely tactile, combining matt and glossy paint, while the heavy black impasto makes it hard to decipher the brush's linear markings on the surface, relying on external lighting and the viewer's own movement to fully reveal the image.

Black Square is one in an ongoing series of monochrome black paintings, begun in 2000 with Honer, that explores variations on the same theme - a night view of a landscape. The painting takes its title from an earlier version, Black Square 2002 (reproduced in Tufnell, p.49 and Carey-Thomas, [p.7]). The title makes explicit reference to the Suprematist painting Black Square 1914-5 (State Tretyakov Gallery, Moscow) by Russian artist Kasimir Malevich (1878-1935). Regarded as an icon of early modernism,the intense abstraction exercised byMalevich in Black Square suggested a 'world without objects' and 'was the first step in the pure creation of art' (Kasimir Malevich, 'From Cubism and Futurism to Suprematism: The New Realism in Painting', Essays on Art 1915-1933, Vol. I, London 1971, p.38). Following Malevich's invention, Carnegie's monochrome black paintings take the viewer to the limits of what is visible, but as opposed to her predecessor, Carnegie's original impetus for these works 'was the challenge of depicting a night scene, rather than as a conscious referencing of the monochrome tradition in painting' (Tufnell, p.48). The figurative content of Carnegie's Black Square subverts the early twentieth century claims to the end of illusionism in painting and the creation of a new multidimensional and infinite space as a new realisation of reality. In this series, Carnegie follows this modernist tradition by drawing attention to the physical qualities of the painting and emphasising its status as an object. However, unlike the early modernist tradition of monochrome painting, she does not do this through the introduction of geometric and non-referential forms, but by emphasising the painting's materiality through her use of it to describe a representational image. Crowded with texture and visual information, Carnegie's monochrome series is closer in one respect to the tradition of monochrome black painting developed in New York during the 1950s. The paintings in this series partially echo The Black Paintings 1951-3 by American artist Robert Rauschenberg (1925-2008), which were constructed with layers of newspapers, crumpled, folded and pasted on to the canvas surface and coated with thick layers of enamel, creating an alternately matt and glossy surface that reflects light unevenly. Carnegie's figurative and textured representation takes Rauschenberg's abstraction one step further.

Working on different series as a painterly exercise, Carnegie plays with the conventions of academic figurative painting and the genres of still life, landscape, the nude and portraiture. It is significant that the sources for her paintings are photographs that she has taken herself, and that the genres of painting she uses as motif do not include narrative or history painting, and provide subjects that can be treated in themselves as academic exercises in painting. The visceral qualities of paintings such as Black Square articulate Carnegie's 'obsession with exploring the construction of potent images from the base materiality of paint' (Staple, p.75). The abundance of paint, its indefinite and messy forms, makes the painting's materiality present at all times, while the use of only one colour draws the viewer's attention to the way in which the artist has literally built the image out of paint, through a variety of brush strokes. In Carnegie's work the contradiction between matter and image is never resolved; on the contrary, it is precisely this contradiction that informs the works.

Further reading:

Lizzie Carey-Thomas, 'Gillian Carnegie', Turner Prize 2005, exhibition brochure, Tate Britain, London 2005 [pp.6-7].
Ben Tufnell, 'Gillian Carnegie', Days Like These, exhibition catalogue, Tate Britain, London 2003, pp.48-53.
Polly Staple, 'The Finishing Touch', frieze, number 64, January-February 2002, pp.72-5.
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'Black Square', Gillian Carnegie, 2008 | Tate

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Black Square is a monochrome black painting depicting the trunks and branches of a clump of trees in textured paint. The image derives from a photograph taken by Carnegie at Hampstead Heath in North London.

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working with natural materials, still connected to the earth, not destroying them? however would the grass then die from not getting sufficient sunlight.

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The Braiding the Knoll project happened during a two-year fellowship I completed at Penland School of Crafts in western North Carolina. The project stemmed from an ongoing interest in visualizing human connection to the land, as both beneficiaries of nature's abundance and as agents of destructive development practices.

Penland School is located in a remote location in the Blue Ridge Mountains and is adjacent to a large meadow which frames the view of the mountains. Each year the meadow is mown into walking paths which include mown circles for picnicking or reading. I braided the rim of each of these circles over the course of a week. The project became an exercise in observation, in allowing my thoughts to quiet enough to hear the grass rustling under my hands, notice the incredible variety of pattern and color in the field, smell the earth baking in the heat of early summer. It was satisfying and surprising to see the strength of the grass over time: the braids stayed sturdily intact for over two weeks before they were mown.

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The Braiding the Knoll project happened during a two-year fellowship I completed at Penland School of Crafts in western North Carolina. The project stemmed from an ongoing interest in visualizing human connection to the land, as both beneficiaries of nature's abundance and as agents of destructive development practices.

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his sculptures are mechanical yet manage to look very natural in their movement. wood also adds to the natural aesthetic.

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Theo Jansen is an artist from Netherlands. But not any kind of artist! He creates sculptures, or "skeletons", as he calls them, that "walk on wind"! By using yellow plastic tubes, the artist attempts to create "new forms of life".

Over time he was able to make structures more resistable to wind and water. Theo Jansen's ultimate aim is to release these beautiful "animals" at the beach and let them lead their own lives.

More info: strandbeest.com

Using yellow plastic tubes, the artist manages to create sophisticated structures, which move with the wind

Theo's creations move freely with the wind on the beach

Theo Jansen at work

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Dutch Artist Creates Wind-Powered Walking Sculptures

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Theo Jansen is an artist from Netherlands. But not any kind of artist! He creates sculptures, or skeletons, as he calls them, that walk on wind! By using yellow plastic tubes, the artist attempts to create new forms of life. Over time he was able to make structures more resistible to wind and water.

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Peter Doig (London, UK) -Reflection (What Does Your Soul Look Like?)

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Peter Doig (London, UK) -Reflection (What Does Your Soul Look Like?)

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Grasshopper is Doig's third print portfolio, following Ten Etchings 1996 (Tate -) and Blizzard '77 1997 (Tate -). It was produced in an edition of thirty-five. Tate's copy is one of seven additional proof sets. Each print is individually signed and numbered 'TC' (Tate copy) by the artist. The portfolio is presented in a pale yellow, hinged solander box bearing the artist's name in dark brown. The title and colophon pages were designed by Peter B. Willberg and printed in dark green. The contents were printed at Hope Sufferance Press, London on 350gsm Zerkall paper and published by Charles Booth-Clibborn under his imprint, The Paragon Press. Colour etching involves a layering process sympathetic to Doig's painting process of building up colours and image in many stages. The prints in Grasshopper were created using between one and three plates and a range of etching techniques. Variety in texture and tone was created with aquatint (a process for creating an even tonal field), open bite (a method in which unprotected areas of the plate are exposed to acid to produce a very light tone), deep bite (a process which results in very dark tones), spit bite (a method involving painting or splashing acid onto the plate resulting in painterly effects) and sugarlift (a process which allows the artist to paint marks that print rather than having to outline them negatively). The individual prints were originally untitled, but were titled by the artist on publication of Contemporary British Art in Print: The Publications of Charles Booth-Clibborn and his Imprint The Paragon Press 1995-2000 in 2001.

The title Grasshopper is associated, for Doig, with lines found in a book on the history of ice hockey (a sport the artist enjoys from his adolescence spent in rural Canada). A farmer settling in the northern American prairies in the nineteenth century is quoted as having remarked: 'Man is a grasshopper here, a mere insect making way between the enormous discs of heaven and earth' ( Contemporary British Art in Print, p.313). The portfolio shares its title with a painting created in 1990 (Saatchi Collection, London) depicting a vast landscape seen from the perspective of an insect. For early settlers on the northern American continent, the conquest of nature (or at least its partial taming) was of prime importance and the landscape has a power and significance largely lost in densely populated and more ancient Europe. It represents potential for both sublime beauty and the horror of death, decay and obliteration. The tension between these two has been a recurring theme in Doig's paintings since the early 1990s. The prints in Grasshopper are dominated by black and as a result are far darker than Doig's previous imagery. This heightens the sense of danger suggested in the human relationship with the landscape.

Like almost all Doig's prints, the images in Grasshopper are derived from previously made paintings whose title they have acquired. Reflection (What Does Your Soul Look Like?) is based on a painting made in 1996 (Mima and Cesar Reyes, Old San Juan) showing a semi-abstracted reflection in water. Both works were based on a close-up of a photograph Doig took of someone standing on the edge of a pond. At the top of the image, the edge of the pond and the feet and ankles of a man are visible. Below these, the water and reflections of tree trunks extend down to the bottom of the page. In the print, the tree trunks' reflections are olive green and merge with the man's reflection in a dark central area. The water has tints of violet and yellow. In the richly coloured painting, the water is framed at the bottom edge of the page by a narrow band of white ice or snow. Lumps of ice float in the water and the man's reflection is visible separate from that of the trees. In the print there is no ice at the bottom of the page and the lumps of ice floating in the water have dark outlines. Because of the watery application of violet colour on the print, they have lost the sense of opacity that they have in the painting. The snow on the shore behind the man's ankles has yellow tints. The print is portrait in format. It was made using two etching plates and the techniques of softground, sugarlift and hardground.

The reflective surfaces of water in ponds and lakes are common themes in Doig's work, and are the subject of several prints in the portfolio Grasshopper, including Window Pane () -another view of the surface of a pond - and Canoe Lake (), Camp Forestia () and Lunker () which show reflections in a lake. As the title of this print emphasises, the artist intends to evoke the psychological and spiritual dimensions of the notion of reflection.

Further reading:
Patrick Elliott, Jeremy Lewison, Contemporary Art in Print: The Publications of Charles Booth-Clibborn and his Imprint The Paragon Press 1995-2000, London 2001, pp.100-111 and 313, reproduced p.101 in colour.
Peter Doig: Blizzard seventy-seven, exhibition catalogue, Kunsthalle zu Kiel, Kunsthalle
Nurnberg, Whitechapel Art Gallery, London 1998, p.109.
Peter Doig: Version, exhibition catalogue, Kunsthaus, Glarus 1999.

Elizabeth Manchester
November 2002/January 2008

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‘reflection (what does your soul look like?)’

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'Reflection (What Does Your Soul Look Like?)', Peter Doig (London, UK), 1997 | Tate

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Artwork page for 'Reflection (What Does Your Soul Look Like?)', Peter Doig (London, UK), 1997 Born in Edinburgh and raised in Canada, Peter Doig returned to live and work in the UK in 1979. He is known for his large landscape paintings, shown at the Tate in 1994 when he was shortlisted for the Turner Prize.

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Peter Doig ( ; born 17 April 1959) is a Scottish painter. He has settled in Trinidad since 2002.

In 2007, his painting White Canoe sold at Sotheby's for $11.3 million, then an auction record for a living European artist. In February 2013, his painting, The Architect's Home in the Ravine, sold for $12 million at a London auction. Art critic Jonathan Jones said about him: "Amid all the nonsense, impostors, rhetorical bullshit and sheer trash that pass for art in the 21st century, Doig is a jewel of genuine imagination, sincere work and humble creativity."

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Mark Bradford (born November 20, 1961) is an American visual artist. Born in Los Angeles, Bradford studied at the California Institute of the Arts. Recognized for his collaged painting works, which have been shown internationally, his practice also encompasses video, print, and installation. Bradford was the U.S. representative for the 2017 Venice Biennale. He lives and works in Los Angeles.

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may heaven preserve you from dangers and assassins

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Mark Bradford (born November 20, 1961) is an American visual artist. Born in Los Angeles, Bradford studied at the California Institute of the Arts. Recognized for his collaged painting works, which have been shown internationally, his practice also encompasses video, print, and installation. Bradford was the U.S. representative for the 2017 Venice Biennale.

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Wabi-Sabi: for Artists, Designers, Poets & Philosophers

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Wabi-Sabi: for Artists, Designers, Poets & Philosophers

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Wabi - Sabi. thinking aboutt my aesthetic and its origins I am drawn to a lot of the same ideas surrounding wabi-wabi however my work lacks the minimalist ideas present.

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GAVLAK Los Angeles is pleased to present Karen Carson: Middle Ground, the artist's first solo exhibition with the gallery running from January 9 through March 6, 2021. Centered around her current bas relief works and her early "zipper" series, both bodies of work deploy geometric configurations to explore the convergence of gender, nature and the material world. The exhibition's title refers to the interplay between these two series; both operate as key historical markers that speak to Carson's artistic importance for the past five decades, creating work with an expansive visual language that has engaged contemporary issues and political culture in myriad ways.

"It's an immense pleasure to work with an artist who engages with materiality in such a multi-faceted, multi-disciplinary way," said owner Sarah Gavlak. "The gallery's mission since its founding has always been devoted to supporting under-represented voices. As a staple in the Los Angeles art scene since the 1970s, we are thrilled to have the opportunity to introduce Karen's prolific output and unique practice to audiences beyond the West Coast."

Karen Carson: Middle Ground is situated amongst an integral art historical conversation around minimalism. Carson's rich legacy began in the early 1970s when artists such as Lynda Benglis, Dan Flavin and Donald Judd became prominent names in the minimalist movement, which sought to explore the dialogues between representation, abstraction, agency and aesthetic judgment. Additionally, Carson's work engages with the art historical legacy of Georgia O'Keeffe, as both artists found visceral inspiration in the natural phenomenon of the American West, seeking to articulate the endless expanse of the unknown.

Visually and conceptually, Carson's bas relief series revolves around the artist's recent use of acrylic paint on wood, a body of work emerging from a summer spent in her Montana studio following an extended period of experimentation. Rich natural elements-mountain ranges and pine trees-appear to produce a close relation with the luminous, exterior environments. Intricately and individually, Carson incorporates these elements into her work. Nature influences her color palette and provides a stark sense of contrast throughout the series, giving us the illusion that they are illuminated from within, glowing like a fluorescent tube. All the wood is cut by Carson herself with a manual saw and chop saw, laid beforehand and then mounted onto a panel. The wood is then laid, glued and ultimately painted once the assemblage is completed. Each work becomes unique through this intricate process that blends the human hand with organic material.

Further into the exhibition are works from Carson's 1970s "zipper" series, which initiate a dialogue around male-domination of the minimalist movement, objecthood and raw materials such as steel and concrete. Inspired by childhood camping trips, Carson makes reference to a tent's triangular shapes and zipper openings. By sewing each of the works herself, the artist creates elaborate geometric wall works that are conditioned and textured by a patient, repetitive act of female labor. The components of "zipper" are interactive; viewers can pull the zippers themselves, creating new arrangements that complicate the origin of the work. This allows for an almost infinite number of combinations among canvases, creating a relational dimension. There is an implied seduction, as the act of unzipping launches each work into the sensory realm.

ABOUT KAREN CARSON

Karen Carson was born in Corvallis, OR, received her B.A. in 1966 from the University of Oregon and her M.F.A. from UCLA in 1971. In 1994 she was an artist in residence at the University of Nevada, Las Vegas. She began exhibiting in 1969 at the Atheneum Gallery, CalTech, Pasadena and Cirrus Gallery in 1973-1977. She first exhibited at Rosamund Felsen Gallery in 1979 and continues to the present. A 25 Year Survey of her paintings was held at the Santa Monica Museum of Art in 1996. She has exhibited at the Pomona College Museum of Art's Project Series; an exhibition, "Movers and Shapers: Combines, Tractors and Swathers by Karen Carson," at Oklahoma State University Museum of Art, Stillwater; and "Canvas Constructions: Karen Carson and Allan McCollum," Henry Art Gallery, University of Washington, Seattle. Her work has appeared in group exhibitions at San Diego Museum of Fine Arts; San Francisco Museum of Art; Pasadena Art Museum; The Art Institute of Chicago; Lang Art Gallery, Scripps College, Claremont, CA; La Jolla Museum of Contemporary Art; Newport Harbor Art Museum; Corcoran Gallery of Art, Washington, DC; Fort Worth Art Museum; Brooke Alexander, NY; McNay Institute, San Antonio; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; Fisher Gallery, USC; Sezon Museum of Art, Tokyo and Tsukashin Hall, Osaka; Bill Maynes Gallery, NY; Museum of American Art of the Pennsylvania Academy of Fine Arts, Philadelphia; Neue Galerie, Graz, Austria and numerous others.

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GAVLAK Los Angeles is pleased to present Karen Carson: Middle Ground, the artist's first solo exhibition with the gallery running from January 9 through March 6, 2021. Centered around her current bas relief works and her early "zipper" series, both bodies of work deploy geometric configurations to explore the convergence of gender, nature and the material world.

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Recent GSA graduate, her work explores objects and their history by looking at there material form. this questioning links to ideas of the home and the value we give to something we use in our daily lives. im interested in how her material exploration (mainly carried out by changing the martial of an object) exposes and changes how we view the object.

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Under the Microscope is an arts research project conceived and led by artist Sofie Layton. The work explores how children and their families interpret medical information and understand disease, and culminated in a series of exhibitions and installations made in partnership with clinicians, researchers, patients and their families at Great Ormond Street Hospital (GOSH) April 2015 - April 2016.

Heart Narratives are stories collected when working alongside patients and parents. The piece incorporates embossed hearts created with young people and parents from intimate, often one-to-one workshop sessions. ( more about workshops here)

Under the Microscope was created in partnership with GO Create! and the National Institute of Health Research Great Ormond Street Biomedical Research Centre (NIHR GOSH BRC).

The project is kindly funded by the Wellcome Trust, NIHR GOSH BRC, Great Ormond Street Hospital Charity and the Blavatnik Family Foundation.

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Under the Microscope is an arts research project conceived and led by artist Sofie Layton. The work explores how children and their families interpret medical information and understand disease, and culminated in a series of exhibitions and installations made in partnership with clinicians, researchers, patients and their families at Great Ormond Street Hospital (GOSH) April 2015 - April 2016.

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Giuseppe Penone (born 3 April 1947, Garessio, Italy) is an Italian artist and sculptor, known for his large-scale sculptures of trees that are interested in the link between man and the natural world. His early work is often associated with the Arte povera movement. In 2014, Penone was awarded the prestigious Praemium Imperiale award. He currently lives and works in Turin, Italy.

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Giuseppe Penone (born 3 April 1947, Garessio, Italy) is an Italian artist and sculptor, known for his large-scale sculptures of trees that are interested in the link between man and the natural world. His early work is often associated with the Arte povera movement. In 2014, Penone was awarded the prestigious Praemium Imperiale award.

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110 boulevard Saint Germain 75006 Paris (France) - info[at]aware-art[.]org - +33 (0)1 55 26 90 29

© 2021 Archives of Women Artists, Research and Exhibitions.
Tous droits réservés dans tous pays/All rights reserved for all countries.

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Evelyne Axell - AWARE Women artists / Femmes artistes

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Axell is one of the rare European representatives of Pop Art. Born into a middle-class family, she received a catholic education at the Institut des dames de Marie, which would lead to a life-long disgust for Christian morality. In 1953, she studied ceramics at the...

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Villa Vassilieff - 21, avenue du Maine 75015 Paris (France) - info[at]aware-art[.]org - +33 (0)1 55 26 90 29

© 2023 Archives of Women Artists, Research and Exhibitions.
Tous droits réservés dans tous pays/All rights reserved for all countries.

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Jann Haworth - AWARE Women artists / Femmes artistes

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Born in 1942, Jann Haworth moved to London in 1961 to study at the Slade School of Fine Art. She discovered that the art school was a profoundly sexist environment, which led her to think not so much about her gender as about the "battle...

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boundaries has/is a topic present in many places and cases. the fact that the world is divided into counties means we are always going to have arguments(wars) over such. covid has brought this idea to a smaller scale in a way, we each are our own island...

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Walking the "Red Line" is the artist's attempt to find balance during a time of change in his kibbutz home.

The performance piece " L'lo Reshut- Without Domain" is the first stage in Ken Goldman's current socially engaged public art series. The project in which the artist explores and reacts to the drastic changes in ideology and lifestyle rocking the foundations of his kibbutz home.

In this project, Goldman chose to walk the Eruv ( a symbolic Rabbinic device used to unite individual domains into one shared domain) in a symbolic attempt at the reunification of his community and its members after they voted to no longer preserve the classic collective kibbutz lifestyle it had maintained for nearly 70 years.

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"LELO RESHUT" -WITHOUT DOMAIN - Ken Goldman

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Walking the "Red Line" is the artist's attempt to find balance during a time of change in his kibbutz home. The performance piece " L'lo Reshut- Without Domain" is the first stage in Ken Goldman's current socially engaged public art series.

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EXHIBITIONS

Jannis Kounellis "Jannis Kounellis" at Fondazione Prada, Venice

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Fondazione Prada presents " Jannis Kounellis ", curated by Germano Celant, the major retrospective dedicated to the artist following his death in 2017. The exhibition runs from 11 May to 24 November 2019 at the historic palazzo of Ca' Corner della Regina, Fondazione Prada's Venetian venue.

Developed in collaboration with Archivio Kounellis, the project brings together more than 60 works from 1959 to 2015, from both Italian and international art institutions and museums, including Tate Modern (London), Centre Pompidou - Musée national d'art moderne (Paris), Boijmans Van Beuningen Museum (Rotterdam), Walker Art Center (Minneapolis) and Castello di Rivoli Museo d'Arte Contemporanea (Turin), as well as from important private collections both in Italy and abroad. The show explores the artistic and exhibition history of Jannis Kounellis (Piraeus 1936 - Rome 2017), highlighting key moments in the evolution of his visual poetics and establishing a dialogue between his works and the eighteenth-century spaces of Ca' Corner della Regina.

The artist's early works, originally exhibited between 1960 and 1966, are presented in the spaces on the first floor of the Venetian palazzo and deal with urban language. In an early phase, these paintings reproduce actual writings and signs from the streets of Rome. Later on, the artist transferred black letters, arrows and numbers onto white canvases, paper or other surfaces, in a language deconstruction that expresses a fragmentation of the real. From 1964 onward, Kounellis addressed subjects taken from nature, from sunsets to roses- these latter represented on canvases using automatic buttons. In 1967 Kounellis' investigation turned more radical with the aim of overcoming the traditionally pictorial uniformity of his early production, embracing concrete and natural elements including soil, cacti, wool, coal, cotton, and fire.

Kounellis moved from a written and pictorial language to a physical and environmental one, where the conceptual process became interwoven with elementary materials. The elitist, aseptic and authoritative language typical of the art world is replaced by a more expressive one based on the primacy of vital elements and a terrestrial relationship with art. Thus the use of organic and inorganic entities transformed his practice into corporeal experience, conceived as a sensorial transmission and investigation. In particular, the artist explored the sound dimension through which a painting is translated into sheet music to play or dance to. Already in 1960, Kounellis began chanting his letters on canvas, and in 1970 the artist included the presence of a musician or a dancer. An investigation into the olfactory, which began in 1969 with coffee, continued through the 1980s with elements like grappa, in order to escape the illusory limits of the painting, embrace the world of the senses and join with the virtual chaos of reality.

In the installations featured in this exhibition and realized toward the end of the 1960s, the artist sets up a dialectic battle between the lightness, instability and temporal nature connected with the fragility of the organic element and the heaviness, permanence, artificiality and rigidity of industrial structures, represented by modular surfaces in gray-painted metal. This opposition operates as a metaphor for the living human condition, crushed between a desire for absolute freedom and a sense of physical and moral constriction brought about by social structures.

Kounellis participated in exhibitions and artistic events that paved the way to Arte Povera, which in turn translated into avoiding the exaltation of materials in favor of an authentic form of visual expression. An approach that recalls ancient culture, interpreted according to a contemporary spirit, in contrast with the loss of historical and social identity that took place during the postwar period. Oscillating between a classical and a radical practice, the artist would create fundamental works that led to an energetic and cultural exchange with the viewer. He created an increasingly intense and fluid art that enveloped components at once natural and historical, corporeal and symbolic, emphasizing their mythical valence.

Beginning in 1967, the year of the so-called "fire daisy," the phenomenon of combustion began to appear frequently in the artist's work: a "fire writing" that enlights the transformative and regenerative potential of flames. Fire comes in the form of a gas torch freely hung and set at eye level for the viewer, allowing visitors a potential use, or blocking its view in favor of greater attention to interior sensations. It would later become a network of flames set out across the floor, as in the 1971 installation, to announce the desire for a total change. Over the years, with the advent of a political and artistic situation of conservative nature, this practice would take on the reductive form of a candle and paraffin lamp, ultimately transforming into a cannula, light and barely visible, running along the metal surface of the painting.

At the height of the mutation and sublime result of combustion, according to alchemical tradition, we find gold, employed by the artist in multiple ways. In the installation Untitled (Tragedia civile) (1975), the contrast between the gold leaf that completely covers a bare wall and the black clothing hanging on a coat hanger underlines the dramatic nature of a scene that alludes to a personal and historical crisis. It is a self-portrait of the artist, here
sacrificed and therefore absent, expressing the suffering of an existential and creative condition. A division between past and present that still retains some hope of coming back together again, as the presence of the lit acetylene lamp suggests.

In Kounellis' work smoke, naturally connected with fire, functions both as a residual of a pictorial process involving an energetic transit, and as proof of the transformation of substances and the passage of time. The traces of soot on stones, canvases and walls that characterize some of his works from 1979 and 1980 indicate a personal "return to painting," in opposition to the anti-ideological and hedonistic approach employed in a large part of the
painting production in the 1980s. During those same years the artist develops the industrial chimney motif, in other words the exact opposite of the primitive force of flame that is in fact imprisoned in the brick structure. While fire symbolizes the possibility of a revolutionary intervention on reality, soot and smoke released from the industrial chimney represent dissolution and the end of every potential political and social act through art.

The two works from 1980 and 2006, composed of musical instruments connected to gas cylinders and wrought iron bells, are ideally connected to two works dated 1971. In the first case, several flutists play a fragment of a composition by Mozart, while in the second an oil painting portrays the notes of another sacred composition by Bach, this time played live by a violoncellist. With these two operations, Kounellis renews the sacred dimension of music connected to the myth of Orpheus, which attributes the ability to convert inert objects into living things to music, thus placing it in opposition to death. These works substitute or connect the image with sound, overcoming the traditional distinctions between artistic languages. The repetition of musical fragments and the physical presence of musicians allow the artist to explore once again the corporeal dimension of the work, as well as the sharing
of a conceptual and sensorial experience between the author and the viewer.

Throughout his artistic research Kounellis develops a tragic and personal relationship with culture and history, avoiding a refined and reverential attitude. He would eventually represent the past with an incomplete collection of fragments, as in the work from 1974 made up of portions of plaster casts of classical statues laid out on a table and accompanied by a lit paraffin lamp. Meanwhile, in other works the Greco-Roman heritage is explored through the mask, as in the 1973 installation made up of a wooden frame on which plaster casts of faces are placed at regular intervals. This wooden support encloses a black canvas that evokes a theatrical space in which the mask, according to Greek tradition, establishes the role and identity of the character, defining its origins and destiny.

The door, displayed in this exhibition in three different declinations dating from 1972 to 2004, is another symbol of the artist's intolerance for the dynamics of his present. The passageways between rooms are closed up with stones, iron reinforcing bars and lead sheets revealing the historical interiority of the building and making several spaces inaccessible in order to emphasize their unknown, metaphysical and surreal dimension. Over
the years Kounellis would present the door motif in various versions, sometimes accompanied by bells and plaster casts of classical statues, the stratified memory of a visual and sensorial legacy at once profound and impenetrable.

The exhibition narrative is completed with large-scale installations realized by Kounellis from the end of the 1980s. These ensembles, which multiplied the modularity of historical works in order to inhabit the space, envelop shelves or metal constructions containing objects of various origins: from plaster casts to stones, from coats to glasses and mechanical gears. The large interventions hosted in the central rooms of the two main floors of Ca' Corner della Regina are included in this context. On the first level visitors will find three large-size works from 1994, 2011 and 2013 respectively. The most recent is made up of two train tracks that support six iron structures that echo his "cotton" piece (1967), each of which contains 200 kg (441 lbs) of various different materials within. The large room of the second floor hosts an intervention from 1993-2008 made up of different colored closets and forms hanging from the ceiling. Conceived for the first time for the spaces of Palazzo Belmonte Riso in Palermo, the work challenges the laws of gravity and, through the series of casually opened doors, seems to imitate the impossible perspectives of baroque painting.

In terms of external interventions, already as early as 1967 Kounellis dealt with the motifs of gravity and equilibrium in his works, taking advantage of the formal and imaginative possibilities of the act of hanging an object. However, it wasn't until the 1980s and 1990s that he developed a deeper dialogue with architectural and urban spaces. Both of these aspects would result in the monumental 1992's installation presented in the internal
courtyard of the Venetian palazzo. Originally conceived for the external façade of a building in Barcelona, it is composed of seven metal plates that support sacks filled with coffee
beans.

The retrospective is completed on the ground floor by documents 3⁄4including films, exhibition catalogues, invitations, posters and archival photographs3⁄4 that trace Kounellis' exhibition history, and by a focus on his theater projects. The exhibition is accompanied by a volume that includes an essay by Germano Celant and an extensive illustrated chronology, documenting and exploring Jannis Kounellis' artistic career and biography. Designed by 2×4
(New York), the book is published by Fondazione Prada.

At Fondazione Prada, Venice
Until 24 November 2019

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Jannis Kounellis "Jannis Kounellis" at Fondazione Prada, Venice

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Fondazione Prada presents "Jannis Kounellis", curated by Germano Celant, the major retrospective dedicated to the artist following his death in 2017. The exhibition runs from 11 May to 24 November 2019 at the historic palazzo of Ca' Corner della Regina, Fondazione Prada's Venetian venue. Developed in collaboration with Archivio Kounellis, the project brings together more ...

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lots of her work includes mixed media, embroidery on cardboard or canvas. I find this one particularly interesting as it highlights the juxtaposition of the medium. the movement created by embroidering the fire is amazing and extremely violent against the still monochrome image of the house and land. this idea changes the "stillness" of embroiderey that is often portrayed.

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Claudia Gutierrez makes wool embroideries of scenes from her neighborhood Puente Alto also sometimes called "Puente Asalto" in Santiago, Chile.

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her work contrasts the harsh scenes seen on the streets of her hometown in Chile with the somewhat domesticated and usually calm medium of embroidery. I am really interested in the way this affected the images that are being portrade as it takes a while for the viewer to fully take in and understate what they are seeing.

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a lot of his material work looks at time spent in isolation - prison - relating to may quilt works.

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The Fruitmarket Gallery, 21 January -- 9 April 2012

She talks about how the work is displayed, the frames the glass all becoming part of the work, I think this is most prevalent in her works about windows as it is the display that makes them recognisable as such.

She also talks about making works/installations specifically for the gallery she is in, both so that the work can address the space around it and due to the scale of many of her works being to big to make in her studio. This way of working in my mind allows the work to be born in the space it is displayed and is therefore function build in a sort of way. (Is standing in space the works function?)

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Anna Barriball at The Fruitmarket Gallery 21 January - 9 April 2012

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I'm keen to explore creating cut outs of a similar vein but with materials etc.

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Questions by Emily Burns

What is the major structural component of your large cutout pieces? Do you refer to these as paintings?
I think of those works as objects because of they way that I physically handle things in the studio. I hesitate to call them paintings.. I rarely apply something onto a surface, and the process of making them involves actual spatial depth and relief more often than pictorial depth. My process is so tactile and the works don't always exist on the wall, so yes, I tend to use the word "object" more than anything else. Structurally speaking, what you see as the "ground" or skeleton of a piece is a type of urethane resin that I've been using for a while now. It is the material foundation for my recent cast pieces.

Can you walk us through your overall process for making one of your large-scale works?
Oh man, the process is so different and long each time! My ideas usually show up at unexpected times, and they rarely come from a direct reaction to something I see in front of me. I have a pretty strong visual memory, so I only make preparatory drawings when I feel like I could easily forget the specificity of a color or a curve or a shape. The actual making of my larger pieces starts with an outlined image of an object, which is then made into a mold, which is the negative for the finished object. This mold is what determines the boundaries of a piece. My process is similar to quilting in that I prepare all of the components I need separately, but with a specific goal or image in mind. The goal for me can be something like "I want this platter to be wearing a skirt but to also house a staircase going through it" or "this work needs to be in "greenscale" instead of "greyscale" or "this work needs to feel like the bathroom in my grandmother's house". I make or collect all of the separate elements in order to serve that end conceptually, but they also have to physically and logistically fit together, similar to a Jigsaw puzzle. When all of the components are ready, and when I've made the mold for them to go in, I then pour resin over and around them. This is how the objects become embedded and also what holds the whole piece together. Once I pull the piece out of the mold, I then make further interventions into it if I feel like it's still not doing what I want it to do. For instance, I might change the color of something if it's not quite right. Also, I've recently been drilling holes through the pieces, cutting them up and rearranging them, or threading other materials through them. I feel like that loosens them up if they feel too uptight and also reinforces the feeling that these things might have some sort of strange function or history of use. Sometimes I save a component from the very beginning of a piece to add at the end because I want it to sit above the surface rather than flush with it. I usually know a work is finished when it embarrasses me slightly and makes me disoriented and excited at the same time. I think the word for that is giddy.

Details of materials and textures seem so important-how do you source the materials that appear in your work?
The material details are really important to me. I usually know very quickly whether a material is something I want to be associated with or not. Everything has such specific cultural cues. Sometimes I'll come across materials by chance, usually in stores. I'm drawn to objects that are specific enough to be recognizable, but that have the potential of being ambiguous in their function or identity. I get a lot of things at baking supply stores, beading stores, and other specialty-type stores. Most things come from stores catered to specific crafts, though I end up using these in a completely different way than they are meant to be used. Other times, when I know exactly what I want, I order it online. If I can't find a material or texture that I want, I just make it myself and treat it as if I bought it somewhere. It always ends up looking like I made it, which to me is interesting in and of itself-the idea of treating something I made as a readymade in my own work.

Do you need to do a lot of tests in order to create the surface textures? How much experimentation is involved in your process?
I don't really believe in testing when it comes to my work because I like to have a sense of immediacy and spontaneity in the process of making, like the way that making a mark with a brush can be very impulsive. I don't work in a serial way, so each piece feels like its own separate project or idea. I guess you could say that each work is a test for the next. I embrace the awkwardness that comes from doing something for the first time, as long as it's balanced by control in other aspects of the piece. I see testing as being very different from experimentation though. There is so much experimentation in my process. I feel so bored in the studio if I'm just executing. The moments that I feel the most excited are when I'm making decisions I've never made before in the work.

What is the relationship of your works on paper to the larger paintings?
I see my drawings as a separate body of work that runs parallel to the large resin works. The drawings are autonomous pieces and they're not studies or sketches. I keep going back to making drawings because they allow me to move much faster in the studio. I can finish one in a few hours or a day, which is a change of rhythm that I need sometimes when I'm working on a sculpture or one of the resin pieces.

The piece Royal Palm has a very explicit reference to the ubiquitous car air freshener. What inspired this form as a model?
Yes. It's an icon that is mundane but also a recognizable piece of Americana. I think it's funny to use this item as a central motif in a work. It's strange that no matter what scent you buy, it always comes in the shape of that same pine tree, as if that tree can produce all kinds of different smells. I wanted the air freshener to feel prominent in the piece but then it's actually the opposite of that because it's invisible and absent and only exists as a cutout. Still, as this invisible image, it has a strong bearing on what's happening in the rest of the piece. I was thinking of different types of plants, and wanted to take the monstera leaves, something that holds it's own ubiquity in Brazil where I'm from, and let them live with a pine tree in this absurd collection of air fresheners.

How important is scale for you?
It's really important! I naturally arrived at this scale for my resin pieces because it allows them to read both as spaces and as images simultaneously. They are large enough to contain space and to feel architectural, but small enough so that you can see the gestalt all at once without standing too far away. The tactility and variation in textures is important to me, so I want certain parts of the objects to be the right size for a hand or a finger to be able to touch.

How delicate are the large paintings?
They're not as delicate as they look. Obviously the ceramic components are, but the urethane I use is super resilient and also malleable, which is important for me because it can be manipulated and pushed in a lot of ways.

Are there any consistent themes in your most recent body of work? What's on your mind right now?
There are definitely a lot of things on my mind right now... Like, how can I make psychological space in my work as opposed to illustrated space? I think a lot about blueprint type drawings or proposals for dystopian cities or bedrooms.

At which point does a scene become a still life?
I think a lot about how spaces take on psychological and emotional qualities and project them onto the people inhabiting them.

I've recently been trying to find ways that I can make my larger pieces exist away from the wall or how each work can demand to be presented in a certain way.

I think a lot about architecture that is connected to leisure, because the formal language used is so expressive, shameless, and indulgent.

What makes a color scheme feel "sporty"?

What makes an entranceway that is arched feel warm, and one with sharp angles feel cold?

I've been daydreaming a lot about my mom's daily life in Rio, always being surrounded by this amazing landscape and foliage but also by gang violence..?

I'm interested in the tipping point between using a flat surface to serve food on and going for something with a bit of a lip. I'm thinking a lot about ladles right now.

I was also recently remembering a lecture that Charline Von Heyl did on her work and a separate one that Trisha Donnelly did and the way that they each have completely different and unique eloquent ways of addressing, but also completely avoiding, speaking about nonverbal ideas happening in their work. And it's all done with such poise.

I've been thinking a lot about Dorothea Tanning's paintings.

And also about how all the clothing that Alessandro Michele has made since he took over Gucci is just completely drool-inducing and delicious.

What is a typical day like for you?
My schedule is pretty inconsistent. During 9 consecutive days out of each month, I switch gears from being in the studio and work my side job doing props on a cooking TV show. Those days are very long and intense and all-consuming. The rest of the month, on days I am in the studio, I wake up and make eggs every morning. My morning time is precious to me because It's when I get to sit down and sort of catch up on things and center myself. Then I walk or take the bus to the studio. During my studio day I'll usually work until around 7:30 or 8. When I take breaks I look at artist books or talk on the phone and catch up with friends or family. I'm usually there until my partner, Lior, who is also an artist, will come back from work and either pick me up at the studio or stay and work for an hour or so. When he's not at his side job, we'll go to the studio together. His is next door to mine. Then we'll go home and if we have energy, make dinner and lounge around with our cat, Therese. I'm not an evening person so I'm usually completely out of it and tired and black out from then on until I fall asleep.

Who are some of the artists that have influenced your work the most?
Thinking way back to my earlier years of making work: Oldenburg, Eva Hesse, Isa Genzken, Jessica Stockholder, Tom Nozkowski, Andrea Zittel, Noguchi, Rachel Harrison. And more recently: Ree Morton, Matthew Ronay, Elizabeth Murray, Diane Simpson, Jo Baer, Nancy Shaver, Betty Woodman, Giosetta Fioroni, Paul Klee, David Hockney, Emma Kunz. Also artists in the Groupo Frente from Rio in the 60s like Helio Oiticica, Lygia Pape, Lygia Clark. A lot of architects and designers have been huge influences in my work too: Roberto Burle Marx, Lina Bobardi, Oscar Nyemeyer, the Memphis group, Peter Pilotto, Mary Katrantzou, Michael Graves, Robert Venturi and Denise Scott Brown, Vera Neumann, Lewis Comfort Tiffany...

What are a few of the stimuli or experiences that get you really excited to get back into the studio, particularly if you have been experiencing a spell of tepid inspiration?
Seeing really amazing art around New York, traveling, or seeing my friend's work and talking to them about art. Looking at beautiful buildings and interiors. Cooking is a big one too-the intuitiveness of it and the sensuality of it feels similar to the studio.

Whenever I go back to Brazil to visit my mom and grandmothers. Being in that landscape is so charged, vulnerable and nostalgic for me. The gap between actually being there and only having memories of it when I'm back in New York gives me so much material to work through in the studio.

Another big one is my part time job as a prop stylist on a cooking television show. I've always been obsessed with domestic objects, especially kitchen objects, vessels, and utensils. This is basically what I get to think about and deal with all day whenever I'm at work. The way that these objects are so attached to the human experience, the ergonomics of them, the diversity of them, is all really inspiring to me.

Is there anything that significantly supports or destroys your groove or energy in the studio?
Being hungry destroys my groove! Anxiety really destroys my groove. Even sometimes something as simple as the weather can affect my studio mood. Usually when I'm feeling calm, confident, happy, and free, that really supports me in the studio. My productivity is generally fueled by positivity as opposed to negative feelings like anger or sadness. Music helps sometimes too. It's usually one pop song played endlessly on repeat.

Has there ever been a book/essay/poem/film/etc that totally changed or influenced you? What are you reading right now?
Right now I'm reading "Life A Users Manual" by Georges Perec. It's a novel that describes all of the different apartments in one building in extreme detail and all the characters living in it during one moment in time. It's so vivid and visual and super maze-like. The way it's written makes you feel like you're floating through this building like it's a giant doll house, which I'm really into.

In terms of film, I am always influenced by ones that feature amazing interior spaces and architecture or that are focused around people's dynamics inside of a place. To name a few: Suspiria, Mon Oncle by Jacques Tati, The Secret Garden, T he Shining, Belly of an Architect.

I recently read an article about the story of Eileen Grey, the architect, whose home that she designed was defaced and taken ownership of by le Corbusier. I'm drawn to the mysticism and karma involved in the story and how it ends. And the way it's tied up with the kind of strong opposition that women in creative fields can get when they are in a position of power. This whole story really hits close to home for me.

Any advice from your past that has stuck with you or helped you?
When I was at Skowhegan for a summer, Matthew Brannon told us something like "Don't ever let yourself get in your own way, because there will inevitably always be people or things out there that will." I'm sure he has no idea how much this resonated and stuck with me. I feel like I'm always fighting against my own anxieties, so I think about this advice a lot.

What has been one of the most challenging aspects of your career as an artist so far?
There are just so many challenging aspects of being an artist. I think a big one for me is remembering that it is crucial and an asset to stay true to myself and what I believe in, no matter what environment I'm in, whether it's graduate school, or the New York art scene, which are two very different places with their own unique sets of pressures.

How do you navigate distraction in the studio and in life?
Life distractions are always trying to pull me away from the studio. Just basic things like the exhaustion from commuting in New York, dealing with bureaucracy, doing taxes, jury duty, immigration documents, the DMV, etc. There is just way too much of that kind of stuff and sometimes it feels like it takes forever to take care of, especially here. I think it takes a lot of practice and willfulness to manage these distractions. I just try to focus all day every day on ultimately making it to the studio. Being there is the easy part. I just always have to demand and fight for my time there.

Favorite studio snack?
Cashews.

Do you have any other news, shows, residencies or projects coming up?
A few group shows in New York this fall, and I've also been working on a small publication of my drawings with a friend of mine who runs an imprint called Oso press, which will be finished very soon.
Thanks so much for taking the time to talk with us! To find out more about Sacha and her work, check out her website.

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Questions by Emily Burns What is the major structural component of your large cutout pieces? Do you refer to these as paintings? I think of those works as objects because of they way that I physically handle things in the studio. I hesitate to call them paintings..

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Textiles is associated with comfort, so when used for social political expression it becomes a deceiving set-up. Stitch holds the power to comfort those who are ignored in our society, but also holds the power to make societies predators uncomfortable.

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Brainwave.
For this series Jan van Munster made an EEG of the electrical activity of his brain. The works are exact, in glass enlarged copies of the EEG prints of the brain waves of the artist."

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For his 'Brainwaves' Jan van Munster made an EEG of the electrical activity of his brain. The works are exact, in glass enlarged copies of the EEG prints of the brain waves of the artist. The work of Jan van Munster is about energies; about time and space in which contrasts such as light and dark, warmth and cold, hatred and love, attract and repel, noise and silence are a given. Photo: Michiel Vermet

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Hanging Brainwave | Jan van Munster | Gallery Viewer

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For his 'Brainwaves' Jan van Munster made an EEG of the electrical activity of his brain. The works are exact, in glass enlarged copies of the EEG prints of the brain waves of the artist.

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What do artists do all day ep.
Her methods of research and exploration are very interesting. I'm always interested however when an artist does not make their own work, where does the ownership lie. we never reached the culmination of the dematerialisation movement and material properties are important in her work, son feel it somewhat matters that she does not make them. however I guess she is telling them exactly what she wants so why should it matter? it just means her work cannot have much material exploration.

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GOLDEN SQUARE

7 June 2013 – 2 August 2013

This exhibition focusses mainly on her work surrounding cracks. I really like the use of natural looking lines in this work.

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Frith Street Gallery is pleased to announce an exhibition of new works by Cornelia Parker. In this exhibition Parker turns her attention to facets of the city streets that are usually overlooked, from the cracks in the pavement and accidental spills, to discarded pieces of wood, transforming them into evocative and highly charged images and objects.

In Black Path (Bunhill Fields) 2013 Parker has cast the spaces between the paving stones of the non-conformist cemetery of Bunhill Fields. The graveyard's most famous incumbent is William Blake, painter and poet who wrote the poem 'Jerusalem' (later turned into the popular anthem by composer Hubert Parry). Parker had often played 'don't step on the lines' or Hopscotch while walking her daughter to school on a route that took them through the graveyard. These games rekindled an obsession with pavement cracks that had lain dormant since the artist's own childhood. By pouring liquid cold-cure rubber into some of the gaps and letting it set, Parker was able to lift up this part the geography of the city that had been mapped out in stone many years before. The captured rubber cracks were upturned and then cast in black bronze. Placed on steel pins, they appear to hover just above the floor, creating an obstacle in the form of a petrified line drawing.

Building joists, pallets and broken pieces of furniture can be found abandoned in any cityscape, often left leaning precariously against a wall. Unsettled 2012 uses wood collected from the streets of old Jerusalem. Parker has plucked these pieces from an uncertain future and reassembled them. Now relocated in another country they are suspended just above the ground, seemingly, but not quite touching the wall.

Cracked walls provide the inspiration for Prison Wall Abstracts: A Man Escaped 2012 - 2013. This set of 12 photographic prints depicts the perimeter wall of Pentonville Prison in London. The broken surface of wall had been repaired by workmen with white filler in gestural patterns worthy of any abstract expressionist painter. Parker photographed the marks literally seconds before they were obliterated forever by a layer of magnolia paint. Later that day, after the paint was barely dry, a prisoner (incarcerated for a shot gun murder) escaped from the prison after scaling the walls.

This exhibition coincides with Thames & Hudson's publication of a major new monograph on Cornelia Parker by Iwona Blazwick with a foreword by Yoko Ono, Introduction by Bruce Ferguson and commentaries by the artist. Price £35 hardback.

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Cornelia Parker - Exhibitions - Frith Street Gallery

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Frith Street Gallery is pleased to announce an exhibition of new works by Cornelia Parker. In this exhibition Parker turns her attention to facets of the city streets that are usually overlooked, from the cracks in the pavement and accidental spills, to discarded pieces of wood, transforming them into evocative and highly charged images and objects.

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Artist who was born in Mozambique and lived there several years, she now lives and works between Los Angeles and New York. She has also lived in many African contries for example Uganda and Angola. She looks at the different colonial pasts in many places of Africa and how that shows itself today through things like religion and spirituality.

No formal background in painting but still moved to western countries to pursue hr career further, how does this effect her status as a non western artist. Most of the artists she references as inspiration are also western artists, how will this have affected her art, can non western artist only fit in the western art seen if they generate art that fits into its sense/is influenced by it? Is her art just western art about non western places.

She talks about how people say there is abaguity of who has made the paintings and the interviewer says that is good as they are universally read - does this allow them to be more accessible to westerners ?

She is always thinking about access and trying to get people of colour marginalised groups in her shows, she finds it interesting that people are always looking for big painting and they commented that she should make her small works bigger but that removes the intimacy of the paintings and can make them less accessible.

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Cassi Namoda (b. 1988, Maputo, Mozambique) is a painter and performance artist who explores the intricacies of social dynamics and mixed cultural and racial identity. Capturing scenes of everyday life, from mundane moments to life-changing events, Namoda paints a vibrant and nuanced portrait of post-colonial Mozambique within an increasingly globalised world.

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Birch Trees And Steel (2018)

I like the simplicity of this piece, the muted tones allow it to be very peaceful.

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Martin Boyce | Birch Trees And Steel (2018)

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specs start]] Laser cut on Velin Arches Blanc 300gsm.76.5 x 57.5 cm [30.1 x 22.6 inches].Edition of 30 works, signed and numbered recto.

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looking at mixing thread and wood.

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Opening Reception Day July 11th 12-6pm

Closing Reception July 31, 6-9pm

10% of all sales will be donated to the NAACP to support the Black Lives Matter movement.

Natalie Ciccoricco is a Dutch artist, living in California. Her work involves creating mixed media collages by stitching embroidery thread through up-cycled vintage images and photographs, as well as postcards and fruit labels. By resuing and changing found images, Ciccoricco literally weaves a new narrative through the piece, altering the surface and composition to give the viewer a new way to see color in the world around us. Her work is strictly analog, with no digital alterations, transgressing the line between craft and fine art. Inspired by her dreams, the natural world, art, literature, and travel, she hopes to give new life to these images so they are appreciated again.

This show brings together past series with most recent works, showing the range of different styles Ciccoricco has experimented with as an artist. Earlier artworks from her "Ice Cream Noir," and "Memory Lane," series focus more on collage and paint, while her "Color Blocking," and "Color Hole," series move away from line and shift focus into exploring color theory. Changing these images can alter perspective and bring new meaning to her source material. "A Thread of Color," is the first time these works have been shown side by side, giving a deeper understanding of how her work has evolved.

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A Thread of Color: The Art of Natalie Ciccoricco

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Opening Reception Day July 11th 12-6pm Closing Reception July 31, 6-9pm 10% of all sales will be donated to the NAACP to support the Black Lives Matter movement. Natalie Ciccoricco is a Dutch artist, living in California. Her work involves creating mixed media collages by stitching embroidery thread through up-cycled vintage images and photographs, as well as postcards and fruit labels.

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"My artistic practice is currently focused around rug making; the tactile aspect of rug making has turned my images into objects that are intended to be touched and interacted with. I use my work to explore my own sexuality and have used my image making to express a counter opinion to a heavily conservative schooling

environment where I was constantly in trouble for expressing interest in queer and alternative cultures and literature."

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My artistic practice is currently focused around rug making; the tactile aspect of rug making has turned my images into objects that are intended to be touched and interacted with. I use my work to explore my own sexuality and

have used my image making to express a counter opinion to a heavily conservative schooling

environment where I was constantly in trouble for expressing interest in queer and alternative

cultures and literature. This is something I believe has moulded my desire to create.

In my recent practice I have just finished making a suit made from rugs for a South London Magazine

called Swim. ( notaswimmingmagazine.com ) The domestic and therefore gendered connotation of

rug and dress making is something that I am excited to be exploring in my work: I remember reading

that Louise Bourgeois' mother made a collaged tapestry of penises that she had removed as a

seamstress from 'modest' aristocrats' tapestries. It's these playful and everyday acts of female

rebellion that have always fuelled my passion for creating art and finding likeminded "disobedient"

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My artistic practice is currently focused around rug making; the tactile aspect of rug making has turned my images into objects that are intended to be touched and interacted with. I use my work to explore my own sexuality and...Read more →

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work outside the Tate

I really like how he uses the negative space of the cracks as the spaces that form the letters. the different angles of the letters force the viewer to interact with the work be walking around in correspondence with the direction each one is facing. it must create some sort of pattern in walking, I would be interested to see a second of how people walk through the work to see how many people follow the same path.

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Martin Boyce commission at Tate Britain. Photo: © Tate (Joe Humphrys)

Turner Prize winning artist Martin Boyce has been commissioned to create a new installation outside Tate Britain. The new work, unveiled today, was commissioned with the support of the Clore Duffield Foundation. It consists of a new paved terrace into which the words 'Remembered Skies' have been spelled out in illuminated letters, situated between the Clore Gallery - the home of JMW Turner's paintings - and the Clore Centre for school visits to Tate Britain.

Martin Boyce is best known for his atmospheric installations recalling archetypal 20th century landscapes, such as the urban park, the abandoned garden and the corporate lobby, as well as modernist interior motifs and objects like fireplaces and lamps. Many of his works incorporate text, written in an angular typeface developed from a repeat pattern designed by the artist and based on the geometric shape of four concrete trees created by the modernist sculptors Jan and Joe Martel in 1925.

For his new work at Tate Britain, Boyce has developed a 'fractured' version of this repeat pattern to produce a new terrace outside the Clore Gallery. The spaces between the custom cast concrete paving give way to illuminated letters. With some letters orientated upside down and on their side, the constellation of tumbling shapes deliberately slows down the act of reading, requiring the viewer to piece together the phrase 'Remembered Skies' by walking across the work and seeing it from different angles.

The texts and phrases that Boyce has used in his work over the years come from a wide variety of sources. Some are found in literature, others written by the artist himself while others might be overheard or misread then altered and rewritten.

Talking about the development of this new commission, Martin Boyce said: 'The phrase Remembered Skies came about through Turner's paintings. While watching a documentary on Turner the question of composition was raised and how Turner would at times construct his compositions by moving mountains, repositioning trees and the framing of buildings. For his skies the constant changing conditions of clouds and light would necessitate a composite of the seen, imagined and remembered'.

Alex Farquharson, Director of Tate Britain, said: 'This beautiful intervention by Martin Boyce joins the many other works currently incorporated into Tate Britain's building, from the Rex Whistler mural in our restaurant to the handmade glass window designed by Richard Wright. Martin's installation of glowing geometric letters and shaped pieces of paving is sculpture in the form of architecture. Combining references to Turner's landscapes and mid-20th century art and design, it will quietly transform the terrace outside the Clore Gallery.'

Tate Britain's Clore Gallery is home to the world's largest collection of JMW Turner's work, including a large-scale free display of over 100 paintings, as well as thousands of sketches and watercolours accessible to the public in the Prints and Drawings Room.

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martin boyce unveils new artwork outside tate britain’s clore gallery

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Martin Boyce unveils new artwork outside Tate Britain's Clore Gallery - Press Release | Tate

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Turner Prize winning artist Martin Boyce has been commissioned to create a new installation outside Tate Britain. The new work, unveiled today, was commissioned with the support of the Clore Duffield Foundation.

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interview.
Biggers produces a whole range of work but I a most interested in his quilt like wall pieces. the one shown behind him with the shadow has interesting dimestionality.

- keep reading this

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WEISS: With the "BAM" pieces, you did not physically pull the trigger on the African sculptures. Is that something you knew you were not going to do, or did you choose in the moment?

BIGGERS: No, I thought I was going to do it. I've shot guns before and I thought, "Okay, well, this is just a way of sculpting," so it was important for me to wield the tools. But when we set up the whole shoot, and we were about to do it, I was like, "You know what, I actually don't want to do that." I think somehow that implies me in the work in a way that I don't want to be implied. Not only that, it feels like I'm shooting myself, like some type of effigy of myself or one of my friends. So my cameraman pulled the trigger.

WEISS: Have you always been this interdisciplinary?

BIGGERS: Forever. I was chastised by professors when I was in college saying, "You have to make a decision. You can't be a painter and a sculptor and you definitely can't be a painter, sculptor, and a musician." I knew right there that that was total bullshit. Come to find out, that same professor said it because they were always sitting around playing guitar and writing songs, but they never thought they could do it because they were so invested in being what they consider a sculptor. I think it's a generational slip on how an artist can live in the world. So, by nature, I'm an interdisciplinary artist.

WEISS: Talking about history, you were saying how obviously this violence has been happening for decades, this maltreatment of black men and black people generally has been happening for such a long time, but it's now really in the national consciousness with Black Lives Matter, all of these shootings being on tape, and outrage over the cops not being-

BIGGERS: Held accountable.

WEISS: Yes. Since this has happened and these videos are out there, have people reacted differently to your works than they did prior to that?

BIGGERS: Yeah, I think so, and that's a really strange thing. I've always thought about that, far before this sort of convergence of social zeitgeist and my work, that artworks can change meaning over time. They're not fixed. I often say time is malleable, but the reception of an artwork is malleable too. When the culture changes, the view and the way you see that work, your perspective, changes. It's something that you can't control. It's sort of daunting and intimidating, but at the same time very fascinating, extremely fascinating.
FOR MORE ON SANFORD BIGGERS, VISIT HIS WEBSITE. "SUBJECTIVE COSMOLOGY" AT THE MUSEUM OF CONTEMPORARY ART DETROIT OPENS ON SEPTEMBER 9, 2016.

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Artists at Work: Sanford Biggers - Interview Magazine

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"There's no way you can make a huge, inflatable, dying Fat Albert and not expect some people to be offended," Sanford Biggers tells us. As an interdisciplinary artist, Biggers has built a body of assertive body of work that doesn't pull punches.

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macrame artist, using string to create 3d structures, im interested in how 1 material is used in various ways to create her big pieces. the repetition in her work is similar to that of needle work but for some reason in my mind the use of string makes it more masculine. however macrame is defiantly seen as a female craft.

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Meet Jacqueline Surdell - JAX. She is an interdisciplinary artist working with the histories, materials, and processes of fiber and painting. The results are large-scale macrame-tapestry-paintings thinking through the influences of landscape paintings historically and within contemporary culture.

Read our Q&A with Jacqueline below: What was your process in becoming an Artist?

Both my grandmother and great aunt are working artists and I was lucky enough to grow-up understanding making as a bonding activity between generations. My earliest memories are sitting on the floor of my Oma's studio - surrounded by the lush materiality of an artist studio: paints, bushes, pallet knives of all sizes, easels, wax paper, flat files, etc. As I child I was in awe of her and her work - and remain so today! Growing up in the midwest, sports are a big part of life. My Dad went to college on a football scholarship and my brother and I spent many an afternoon running pays in the alleyway behind our home. Sports made me feel strong and capable. I can still throw a perfect spiral ;). Around the age of 10 I began playing competitive (year-round/travel) volleyball. I was recruited to play volleyball at Occidental College in Los Angeles where I simultaneously painted, sculpted, and started exploring large-scale macrame. The building up of knots, of something relatively small to eventually make something large, struck me as similar to the ways in which exercise works for the body and ideologically how a successful "team" works. It just stuck. The laborious process is physically demanding while the forms themselves are similar to organic topographies and historic landscape paintings. What is the most inspiring piece of advice you ever received?

My second semester senior year of college I took a journalism class. The professor is a working editor who brought in journalists to lecture on their experiences and work. The class was riveting and each guest speaker inspiring in their own specific way. I learned, perhaps not "advice" from this course / professor, but the value of curiosity in practice: asking questions. I learned to be critical, skeptical, and then ask how will this work? why this? why not this? what about this? This translates to the courting of the unknown in art making rather well. How do you define yourself or your work?

I asked my mom one word to describe me and she said "effervescent" - and explained that it was vibrant, celebratory, and often unexpected / dangerous. She knows me, and it makes sense.
What is the last great book/podcast that you read/listened to?

- When I work I listen to audio books about myths, lore, and fantasy. I recently listened to the Lord of the Rings and am working on the "Eragon" series (currently on Brisenger).
- Recent books: "The Gift" by Lewis Hyde and a text my Oma recommended, "Art and Fear" by David Bayles and Ted Orland. Both quick reads full of juicy thought nuggets for artists.
- I often return to the work of Barbra Kingsolver; Prodigal Summer, The Poisonwood Bible, etc. I love the richness of her tone, her words, and her dynamic female protagonists.
What has been the biggest obstacle for you creatively?

I struggled for a long time (and continue to struggle) with my own expectations bumping into the expectations of others. I spent countless hours worried about what others thought of me and my work, which was basically countless hours spent NOT WORKING. If I can give some advice it would be f** what other people think. At the end of the day all you have is yourself. I found that accepting this struggle liberated me in my work (and in my life). This is not to say that you should be impervious to considered critique / comments from trusted individuals, but, when it comes to your work, no one will truly care the way you care. So work that way. Work however you want. This is the anxiety and glorious agency that comes in being an artist. You have all the control and that can be terrifying. It's just you so make it work for you. Own yourself and resist performing for others. You will be happier this way! What advice to you have for young artists?

I feel so "young" so please take this "advise" with a grain of salt !

1. You have heard it before and I will say it again: trust your intuition. If a situation and or a person doesn't feel right then it probably isn't. Try to enter every situation with the idea of "what can I add to this relationship?" And if the person you're speaking with is not receptive and reciprocal to that idea then reconsider the relationship.

2. Foster relationships with people and be kind as often as possible.

3. Workout ! run, walk, stretch, do interval training and get on the yoga mat. We owe it to ourselves (and to our work) to stay strong and agile for years to come. #artlete

Where you can see my work in the coming times

I am currently showing "untitled vi {full} naturally nasty goes dark" (pictured below) in "Beginning to See the Light" at Hyde Park Art Center, Chicago IL

I am very excited to be part of a three-person exhibition at Patricia Sweetow Gallery in San Francisco

Solo show at Heaven Gallery, Chicago IL (October 2019)

Solo show at Wisconsin Parkside, Kenosha WI (Fall 2019)

Jacqueline uses all different types and sizes of rope in her incredible creation. Check out all the macramé rope, string, and supplies we offer on our website - modernmacrame.com. Our Be sure to follow along with Let us know if you have any questions or comments: Jacqueline Surdell , and stay updated withModern Macramé's future events, tutorials, sales, artist features, etc. by signing up for ourEmail Newsletter! rope is soft, easy to work with & comes in many dreamy colors! Could also be used for knitting, crochet, weaving, gift wrap, jewelry making, household ties & more!

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Meet Jacqueline Surdell - JAX. She is an interdisciplinary artist working with the histories, materials, and processes of fiber and painting. The results are large-scale macrame-tapestry-paintings thinking through the influences of landscape paintings historically and within contemporary culture. Read our Q&A with Jacqueline below: What was your process in becoming an Artist?

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stone work.
I like his work sit looks at texture and materials, making one question the weight and form of the stone.

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News

Exhibitions, Events, Publications, Press

Large-scale photography of sculpture detail

Rising Stars, Photo Print on Dibond / Foto Print Light Box, 160 110 x 160 cm, 2018

Here you'll always find the latest info and most recent foto posts.

Here you'll always find the most recent foto posts.

Thanks for visiting, sharing and liking!

Newsletter

Stay up to date about events, exhibitions and news by signing up to my newsletter.

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Sibylle Pasche - Sculptures, Paintings, Mixed Media

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Exhibitions, Events, Publications, Press Large-scale photography of sculpture detail Rising Stars, Photo Print on Dibond / Foto Print Light Box, 160 110 x 160 cm, 2018 Here you'll always find the latest info and most recent foto posts. Here you'll always find the most recent foto posts. Thanks for visiting, sharing and liking!

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The Crystal Quilt 1985–7

"430 women over the age of 60 gathered to share their views on growing older. The resulting performance, The Crystal Quilt, was broadcast live on television and attended by over 3,000 people."

Looking at quilts and their community connections.

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Suzanne Lacy
The Crystal Quilt 1985-7
© The artist Photo: Gus Gustafson

On 10 May 1987 in Minneapolis, 430 women over the age of 60 gathered to share their views on growing older. The resulting performance, The Crystal Quilt, was broadcast live on television and attended by over 3,000 people.

It was the culmination of the Whisper Minnesota Project, a three-year public artwork empowering and giving a voice to older women. The process was consciously guided by a desire to represent diverse ethnic and social backgrounds alongside life experience and achievements, forming an active comment on the representation of older women in the media. Lacy has stated: 'In some sense The Crystal Quilt was successful politically, in that the work was bigger, it had more social impact in that region, but do one or two events ever change the way people - other than those who directly experience it - see? This raises this issue of whether you can expect art to create social change, and at what point is it no longer art.'

The Crystal Quilt now exists in the form of a video, documentary, quilt, photographs and sound piece, combining the original elements of performance, activism and broadcast in an ambitious work that fuses social responsibility with the power of aesthetics: something Suzanne Lacy has pioneered in her long career as activist artist, writer and teacher.

The Crystal Quilt took place at the IDS Center Crystal Court, Minneapolis, and was broadcast by KTCA television. Suzanne Lacy collaborated with Phyllis Jane Rose, Miriam Schapiro, Nancy Dennis and Susan Stone.

The Tanks: Suzanne Lacy

Suzanne Lacy (born 1945, USA) has worked collaboratively with artists and communities since the 1970s. In 1991 she founded TEAM (Teens + Educators + Artists + Media Makers) with photographer Chris Johnson and producer Annice Jacoby. A writer she edited the influential Mapping the Terrain: New Genre Public Art in 1995, a book that prefigured much current writing on politically relevant performance art. Lacy was Dean of the School of Fine Arts at the California College of Arts from 1987 to 1997, between 1996 and 1997 she co-founded the Visual and Public Art Institute at California State University at Monterey Bay with artist Judith Baca, and in 1998 she became Founding Director of the Center for Art and Public Life. She is currently the Chair of Graduate Public Practice at Otis College of Art and Design in Los Angeles.

Part of the series The Tanks: Art in Action

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On 10 May 1987 in Minneapolis, 430 women over the age of 60 gathered to share their views on growing older. The resulting performance, The Crystal Quilt, was broadcast live on television and attended by over 3,000 people. It was the culmination of the Whisper Minnesota Project, a three-year public artwork empowering and giving a voice to older women.

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And forever shall be

1 July — 30 September 2000

Her works are made and displayed in the same location, her work can not be moves. im interested in this idea of the work representing and belonging to a particular space, although I think it would be interesting to see this work displayed somewhere else to see how much it would change the way its viewed.

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Ikon Gallery is temporarily closed. Our online shop remains open - please support Ikon by making a purchase or donation online.

Ikon Gallery

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Monday - CLOSED
Tuesday - Sunday, 11:00 am - 4:00 pm

Ikon Shop

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Monday - CLOSED
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Yorks Café at Ikon

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Open daily, visit yorkscafe.co.uk for current opening times

Margaret Barron

Sited outdoors, Margaret Barron's miniature oil paintings confounded expectations of where paintings can be seen and by whom. Focusing on Birmingham's infamous Bullring Shopping Centre, Barron was concerned to depict the distinctive 1960's architecture and spirit of the place before its demolition. The title given to the series refers to the rapid re-development that is occurring in this historical trading district. Thus the paintings constitute instant nostalgic vignettes.

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Ikon Gallery is temporarily closed. Our online shop remains open - please support Ikon by making a purchase or donation online.

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SELAH

Marianne Boesky Gallery,
New York, NY.
September 7 – October 21, 2017

Looking at his 3D work its interesting to see how he combines texture and form. the works still look very regimented like a quilt however there forms seem to juxtapose this.

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Marianne Boesky Gallery,
New York, NY.
September 7 - October 21, 2017

Press Release:

Marianne Boesky Gallery is pleased to present Selah, Sanford Biggers' first solo exhibition with the gallery. Through symbolic gestures and imagery Biggers creates an experience that highlights often overlooked cultural and political narratives in American History. The artist's expansive body of work encompasses painting, sculptures, textiles, video, film, multi-component installations, and performance. Biggers' syncretic practice positions him as a collaborator with the past, adding his own voice and perspective to those who made and used the antique quilts, African sculptures, and cultural imagery he references. His work speaks to current social, political, and economic happenings as well as to the historic context that bore them.

"Central to the theme of this exhibition is the potential of objects to transform our experience and understanding of the human condition. This includes a cycle of life and death, and within it a relationship between the living and the dead. Veneration both honors those who have passed and seeks their guidance and perspective. In this way, Seated Warrior acts as a gatekeeper to the rest of the exhibition, allowing visitors to meditate on both the experiences of the dead and on the path forward for those of us still here," said Biggers. Seated Warrior is part of the artist's ongoing BAM series responding to recent and ongoing occurrences of police brutality against Black Americans. The series of bronze works are made from wooden African sculptures that the artist collected, dipped in wax, and transmogrified with piercing bullets and then subsequently cast in bronze and accompanied by a video recording their "ballistic" sculpting. Seated Warrior, punctured by a single gunshot, expands the series beyond the recognition and remembrance of these tragedies into an exploration of the human condition and the desire for transcendence.

The show's central figure, also entitled Selah, stands over ten feet tall with its arms raised. Like the BAM works, its shape originates from a wooden African sculpture of a figure preparing to bend in worship or prayer. The posture bearing a striking resemblance to one of "hands up". Covered with antique quilts, and lined with sequins, Selah also shares direct connections with the artist's well-known textile works in which the body is a critical component. The antique quilts serve as signifiers of bodily protection, presence and absence, and the conflated histories that are sewn onto each surface. The quilts provide warmth; hold the legends of their use as signposts on the Underground Railroad; and contain the presence of the original makers' hands in the stitches, appliques, and patterns. Drawn to respond not only to the patterns and colors of the textiles, but to their deeper meanings, Biggers paints and draws directly on the quilts using acrylic and spray paint, tar, charcoal and oilstick. This dismantling and reassembling of patterns has also led Biggers to recently expand the quilts dimensionally into multifaceted wall works, creating a congregation of histories secreted away in niches and nooks.

"These quilts in most cases are over hundreds of years old. Some have already been altered and re-contextualized by subsequent owners and I see myself as a late collaborator, contributing to their history and function in this present moment. Perhaps decades from now, this work will also be re-contextualized, creating an ongoing narrative over time," said Biggers. "It's very much like history itself, a patchwork of experiences, perspectives, and reportage that attempt to construct a single narrative but these works recognize that history is always subject to time itself, and subsequently unfixed."

This interplay of history, narrative and perspective is further typified by "Overstood," a towering sequin silhouette on the south wall of the gallery accompanied by a group of simulated African statues carved by the artist appearing to cast the tall shadows. At quick glance the portraits could be mistaken for a group of soul singers. But, a more studied examination reveals the visages of Ben Stewart, George Murray, Bobby Seale and an unnamed observer at a press conference in Oakland, California on November 21, 1968 during the longest and most violent student-lead protest in American history-a protest which culminated in the establishment of the College of Ethnic Studies at San Francisco State University in 1969. Biggers' shadowed figures remind us that the pursuit of social justice and equality remains just as relevant today, as it was fifty years ago, and in the fifty years prior and prior to that.

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Marianne Boesky Gallery, New York, NY. September 7 - October 21, 2017 Press Release: Marianne Boesky Gallery is pleased to present Selah, Sanford Biggers' first solo exhibition with the gallery. Through symbolic gestures and imagery Biggers creates an experience that highlights often overlooked cultural and political narratives in American History.

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2013, Paper collage with silkscreen and hand-coloring.

in this series Biggers creates quiltlibke images that reminisce one American history. I really like the delicate look of these, at first I thought that they were real quilts only discovering there true qualities when looking deeper.

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2013, Paper collage with silkscreen and hand-coloring.

In The Floating World, Sanford Biggers explores imagery from American history that can also be found in his series of Quilt Drawings. Through paper collage, Biggers recreates the feel of a handmade quilt and uses stencils, silkscreen, and spray-paint as a vehicle to create a unique and dynamic visual language.

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2013, Paper collage with silkscreen and hand-coloring. In The Floating World, Sanford Biggers explores imagery from American history that can also be found in his series of Quilt Drawings. Through paper collage, Biggers recreates the feel of a handmade quilt and uses stencils, silkscreen, and spray-paint as a vehicle to create a unique and dynamic visual language.

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I love her use of bold fabrics that give character and life to her portraits.
Batik wax fabrics originated in Indonesia but have become an iconic part of west African. Each fabric often already has a narrative surrounding it, therefore by using these Butler is telling the viewer and story.

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To God and Truth, 2019. Quilted and appliquéd cotton, wool, and chiffon. 144 x 120 x 1 in.

She mentions that this was her most ambitious project to date as the figures are life-sized. it depicts the 1899 baseball team from Morris Brown Collage, a historically black liberal arts collage in Atlanta.

“It was an incredible experience… It was deeply rewarding to discuss Bisa’s connections with family, fabric, and old photographs, and her commitment to giving visual expression to African American lives, often left out of history,” - one of the family members of

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Juxtapoz Art & Culture Magazine, fall 202, issue 4 Volume 27 - except

Talking about her experiences trying to get her textile art seen as a proper art form and how her race and gender negatively impacted this further.

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Forgiving Change, aluminum casts of a burned tree branch from Pepperwood Preserve, which was the site of one of the many forest fires that crossed the west coast of North America in 2017.
his work questions the boundaries between natural and unnatural.

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Letter to an unknown person no.2 1998

the drawing seems to both highlight the landscapes ever changing shape as well as its repetitiveness. although many of the angles and shapes change what we are seeing varies only between a few key things (eg towns countryside)

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Rachel Lowe, Letter to an unknown person no.2

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A LETTER TO AN UNKNOWN PERSON NO. 5 1996

drawing the view from a moving train. An impossible task of endless, repetitive drawing.

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© Courtesy of the artist

Dimension

Media

VIDEO, 1 MINUTE 40 SECOND SUPER 8 FILM ON VHS LOOP

Accession number

P7171

Mp>The sequence runs again and again: from the backseat of a moving car the camera views a hand scribbling on the inside of the window with a black marker pen. The lines are long, looped, scrawled - a kind of artless graffiti (or vent for childish cravings on long journeys). If this is a letter to an unknown person it's an indecipherable script, with illegible characters quickly running into a knotty mesh. Still, the mesh contains questions: how far do you impose your story on your surroundings? At what speed are you travelling?

Lowe is intent on capturing the experience of time and has set herself the impossible task of drawing the landscape directly onto the transparent glass as she sees it in passing. Of course the moving scene and her lines can't possibly match up. Speaking about the work soon after she made it, she said, 'It's about our desire to capture a moment in time and the fact that you never actually can - it's just i

Through the window, the background passes by every five minutes or so, evoking the basic technique used in old-fashioned animation - a circuit of images being repeated on a loop. The landscape is flat, with yellowish arable fields and splodges of green tree and the sky is blue. Against the colours of high summer, there are brick houses, red roofs and a concrete flyover flying into the distance; cars and trucks overtake our vehicle; the flash of a red Royal Mail lorry puts a stamp on this as England. This film is a love letter to passing time, to the meaning of place, but its title also echoes 'the grave of an unknown soldier' - that insignia of national identity in the entrance to Westminster Abbey. The anonymous memorial stands for many, and demands stillness.

The hand in A Letter is the hand of the artist, although the rest of Rachel Lowe remains off-screen: the focus is on the film itself rather than the performance. As a study in motion (after each loop the film starts again with a clean window screen), it recalls Muybridge's studies in stop-motion towards the end of the 19th century, capturing movement through photography. In 1998 Lowe was taking a wary view of late 20th century technology - and its habit of increasingly making decisions for you. Lowe preferred to be in touch with the changes she imposes as a physical process. Instead of filming on a video camcorder, A Letter was made as a Super 8 film loop and only after its first exhibition, at the Photographers Gallery in London, did Lowe have the film transferred to video. The production of Super 8 film cameras was halted by video cameras in the early 1980s, but for Lowe it was imperative to shoot on film, which she could handle with her own hands; the uneven quality, its jumpiness and irregularity, and the way it is exhibited as a loop on a projector, gets somehow closer to the capricious way that our eyes process movement.

A Letter upholds drawing, as an exercise at the core of visual practice (Lowe would draw the view from her studio on the actual window that she was looking though). The idea of tracing turns up elsewhere in her work: in A Rough Outline of the Plot for example she films a television set playing an excerpt from a film, except she has also drawn in marker pen over the screen. The original film has been reduced, through visual Chinese whispers, to a rough outline. This is a film of a film, and Lowe enjoys the repetition and the loopiness of the concept. As the title suggests, A Letter to an Unknown Person No.5 is the fifth attempt; Lowe has repeated this journey a number of times to get a final cut.

( ) Interview with Rachel Lowe, Brixton, 10 December 1998. (a href="http://www.safebet.org.uk/intervws/rachel.htm">http://www.safebet.org.uk/intervws/rachel.htm</>

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1 minute 40 second super 8 film on vhs loop

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A LETTER TO AN UNKNOWN PERSON NO. 5, Rachel Lowe | Current | Exhibitions | British Council − Visual Arts

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Dimension Media VIDEO, 1 MINUTE 40 SECOND SUPER 8 FILM ON VHS LOOP Accession number P7171 Mp>The sequence runs again and again: from the backseat of a moving car the camera views a hand scribbling on the inside of the window with a black marker pen.

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Her first recognised textile work is a quilt the she made for her newborn son, Charles.

The work seems to combine traditional techniques used by Russian peasant women with that of the modernists. this allows the work to blur the lines between craft and 'fine art.'

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This work is by one of my tutors on my foundation – it looks at the idea of the hobbyist and their labour. The Stirling engine is run through temperature difference and although its very efficient, Stirling engines were never able to compete with the power of steam and internal combustion engines in industry. Building Stirling engines has now become the domain of hobbyists, they are made to run for the beauty of it, not to power anything. She has built her own to explore failure, frustration, and satisfaction of this type of labour. By making these engines and placing them in a gallery, Carpenter is highlighting the similarities in the labour of the artist and hobbyist, and the beauty of making something for no other reason than to work

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Sonia Delaunay was a Ukrainian-born Russian artist, who spent most of her working life in Paris. She formally trained in Russia and Germany before moving to France and expanding her practice to include textile, fashion, and set design.
I like how her work
often toys between fashion textiles and fine art. allowing her to work freely
between domains.

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Russian born artist Sonia Delaunay arrived in Europe in 1910 and spent over a decade at the heart of Paris' avant-garde. Together with her husband Robert Delaunay, a pioneer in the field of abstract painting, the duo founded the Orphism art movement - a version of cubism - through their collective creative exploration of color and form. While Robert received numerous accolades for his artistic achievements, it was Madame Delaunay's work as a textile and fashion designer that made her stand out as a true visionary.

Stemming from an early fascination with color, inspired by Fauvism, Sonia's breakthrough work in textile design came shortly after meeting her husband in 1911, through a patchwork blanket the artist stitched for her newborn son, Charles, composed of a melody of pinks, creams, greens and maroon shapes contrasted by subtle hints of black. This spontaneous design constructed out of maternal desire, came to serve as an early embodiment of Sonia's trademark artistic style, which melded Russian folk-art with elements of the Parisian avant-garde.

Delaunay continued experimenting with color and geometry through a technique she coined 'simultanéisme,' denoting the simultaneous designs that occur when placing bright hues and shapes next to one another, similar to that of color theory. As figurative elements quickly fell out of her work in a movement towards total abstraction, as did painting. Before long, her art was wearable.

After the outbreak of WWI, Delaunay relied heavily on her work in costume design as a means of generating income. In 1917, the artist was commissioned to create garments for the Ballet Russes' adaptation of Cleopatra, which incorporated her simultaneous visual language, as well as glossy textures and rich gold detailing. The success of these designs was instrumental in Delaunay procuring a number of notable projects in the theater and film arena.

By the 1920s, as Delaunay transitioned her primary mode of expression to needlework, she began making clothing for herself and her friends, applying her dynamic, spontaneous technique to their design and construction.

Her garments rejoiced in movement and relished in contrasts, denoting a distinct lifestyle on part of the wearer, encapsulated by mystery and adventure. Her creations were for the modern women and focused on real-life requirements, offering driving caps for travel, bathing costumes for sports, and simple dresses as work attire, all of which included melodies of color, geometric shapes and a visual rhythm akin to the artist's earliest paintings.

Delaunay's trademark style quickly took over Paris. By the 1920s she established a studio called 'Sonia,' dedicated to creating textiles and clothing for private clients, as well as opening an atelier together with French couturier Jacques Heim. The artist's earliest commissions were garments for the upper echelon of society, including a coat for movie star Gloria Swanson, comprised of geometric shapes rendered in rich shades of spicy red, brown and cream. What began as a radical creative experiment in testing the limits of color and form, quickly became a high fashion brand.

The artist's newly established business and feverish focus on fabric and textile design unified an otherwise subdivided creative process. Delaunay understood the manner in which her prints would be utilized in the construction of a final garment, generating perfect visual harmony and an onslaught of female fans.

This unique creative consciousness continued throughout the 1920s when Delaunay responded to the work of the Parisian avant-garde and began incorporating surrealist text on her garments in a collection of embroidered poem dresses.

By the 1930s, Delaunay's textiles evolved from including mostly geometric lines and shapes to relying heavily on wheels, arcs and flowers. At which time, she became aware of the possibilities enabled by mass, mechanical production and once again took reactionary measures, understanding that fashion was becoming an increasingly democratic system.

Delaunay's radical move from painting to designing fabrics and garments was an early exercise in the celebration of female liberation. Today, many of her designs are national treasures, living mostly in institutions, while her unique textiles and masterful ability to manipulate shapes and colors still permeate the world through the collections of countless contemporary designers.

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Russian born artist Sonia Delaunay arrived in Europe in 1910 and spent over a decade at the heart of Paris' avant-garde. Together with her husband Robert Delaunay, a pioneer in the field of abstract painting, the duo founded the Orphism art movement - a version of cubism - through their collective creative exploration of color and form.

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Grayson Perry: The Vanity of Small Differences

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Grayson Perry: The Vanity of Small Differences

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Perry is known for playing with gender, often dressing up as a women for big events. I find this an interesting link to his craft work as many crafts, for instance needlework is seen as female. However his craft work being viewed as art and with worth to be attributed with him being a man.

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Victoria Miro is delighted to announce its fourth solo exhibition with Grayson Perry.

In The Vanity of Small Differences Grayson Perry explores his fascination with taste and the visual story it tells of our interior lives in a series of six tapestries at Victoria Miro and three programmes, All in the Best Possible Taste with Grayson Perry, for Channel 4. The artist goes on a safari amongst the taste tribes of Britain, to gather inspiration for his artworks, literally weaving the characters he meets into a narrative partly inspired by Hogarth's A Rake's Progress.

Grayson Perry comments: "The tapestries tell the story of class mobility, for I think nothing has as strong an influence on our aesthetic taste as the social class in which we grow up. I am interested in the politics of consumerism and the history of popular design but for this project I focus on the emotional investment we make in the things we choose to live with, wear, eat, read or drive. Class and taste run deep in our character - we care. This emotional charge is what draws me to a subject".

Perry has always worked with traditional media; ceramics, cast iron, bronze, printmaking and tapestry. He is interested in how each historic category of object accrues over time intellectual and emotional baggage. Tapestry is the art form of grand houses: depicting classical myths, historical and religious scenes and epic battles. In this series of works Perry plays with idea of using this ancient allegorical art to elevate the commonplace dramas of modern British life.

The artist's primary inspiration was A Rake's Progress (1732 -33) by William Hogarth, which in eight paintings tells the story of Tom Rakewell, a young man who inherits a fortune from his miserly father, spends it all on fashionable pursuits and gambling, marries for money, gambles away a second fortune, goes to debtors' prison and dies in a madhouse.

The Vanity of Small Differences tells the story of the rise and demise of Tim Rakewell and is composed of characters, incidents and objects Perry encountered on journeys through Sunderland, Tunbridge Wells and The Cotswolds. Hogarth has long been an influence on Perry's works, his Englishness, his robust humour and his depiction of, in his own words, 'modern moral subjects'. The secondary influence comes from Perry's favourite form of art, early Renaissance painting.

Each of the six images, to a greater or lesser extent, pays homage to a religious work. Including Masaccio's Expulsion from the Garden of Eden, Matthias Grünewald's Isenheim Altarpiece, Rogier Van de Weyden's Lamentation and three different paintings of The Annunciation by Carlo Crivelli, Grünewald and Robert Campin. The images also reference the pictorial display of wealth and status in The Arnolfini Portrait by Jan Van Eyck and Mr & Mrs Andrews by Thomas Gainsborough. Woven into each tapestry are snatches of text, each one in the voice of a participant in the scene illustrated. Each image also features a small dog, reminiscent of Hogarth's beloved pug, Trump.

Channel 4's three-part series, All in the Best Possible Taste with Grayson Perry was shown in June 2012.

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Grayson Perry: The Vanity of Small Differences

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Victoria Miro is delighted to announce its fourth solo exhibition with Grayson Perry. In The Vanity of Small Differences Grayson Perry explores his fascination with taste and the visual story...

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Discussing the difference between art and craft. Perry states that is the context in which the art is shown, seen/ who it is for defines it. I think this is an interesting point although it isn't always up to the artist, how their work will be interpreted and I feel as though that comment opposes that.

A key distinction he points out is that crafts can be taught – passed down through generations were as art is more closely linked to the person.

Thinking about how the lack of practical skill in today’s society makes craft more impressive to the everyday viewer.

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Grayson Perry in conversation with Decca Aitkenhead at the Guardian Open Weekend. The Turner prize-winning artist took to the stage to answer readers' searching - and often surprising - questions about his life and work

Guardian Conversations: see highlights from the interview at the Guardian Open Weekend

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Grayson Perry: watch the interview in full - video

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Grayson Perry in conversation with Decca Aitkenhead at the Guardian Open Weekend. The Turner prize-winning artist took to the stage to answer readers' searching - and often surprising - questions about his life and work Guardian Conversations: see highlights from the interview at the Guardian Open Weekend