THERE IS A PLACE….

Posted on 2012-01-23

There is a Place…brings together a group of artists who explore our psychic connectivity to landscape. The drawings, paintings and prints within the exhibition reveal ‘a sense of place’ as seemingly generic urban and suburban views evoke personal and collective memories. The reverie of teenage hideouts, suburban housing estates and motorway junctions, each depicted in painstaking detail, are at once familiar yet unnerving for all.

The artists in this exhibition capture the most overlooked and peripheral spaces of our towns and cities, those unremarkable and unclaimed spaces that we each make our own.

Opposite – Leytonstone, Laura Oldfield Ford, 2011

Exhibition runs through to April 14th, 2012

The New Art Gallery Walsall‎
Gallery Square
Walsall
West Midlands
WS2 8LG

www.thenewartgallerywalsall.org.uk

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DAVID HOCKNEY RA – A BIGGER PICTURE

Posted on 2012-01-23

The Royal Academy of Arts presents the first major exhibition of new landscape works by David Hockney RA. Featuring vivid paintings inspired by the East Yorkshire landscape, these large-scale works have been created especially for the galleries at the Royal Academy of Arts.

‘David Hockney RA: A Bigger Picture’ spans a 50 year period to demonstrate Hockney’s long exploration and fascination with the depiction of landscape.

The exhibition includes a display of his iPad drawings and a series of new films produced using 18 cameras, which are displayed on multiple screens and provide a spellbinding visual journey through the eyes of David Hockney.

Exhibition runs through to April 9th, 2012

Royal Academy of Arts
Burlington House
Piccadilly
London
W1J 0BD

www.royalacademy.org.uk

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FUTURA 2000 – EXPANSIONS

Posted on 2012-01-16

EXPANSIONS … is the theme of the recent artwork at the Galerie Jérôme de Noirmont. Over the past three décades ; I have tried to define a style & technique that would separate my work, from the other artists within my subculture. the process has allowed me to explore the realm of the ABSTRACT and spontaneous.

A new successor to Pollock’s “Action Painting” and Clyfford Still’s “colorfields” , FUTURA 2000 brings up to date what art critic Harold Rosenberg wrote in 1952: One after another, the American painters began to see the canvas as an arena in which to act, rather than a space in which to reproduce, redesign, analyze or express an object, real or imagined. What was produced on the canvas was not an image but an event.

Like Jackson Pollock, it is on the ground that FUTURA’s paintings most often take shape. In this way, he can understand the media as a whole and adapt it to his “paint brush”: the spray can.
A way to control the energy and impulsive creativity he projects onto his paintings.

Exhibition runs through to February 29th, 2012

Galerie Jérôme de Noirmont
36-38 Avenue Matignon
75008 Paris
France

www.denoirmont.com

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REAL/SURREAL

Posted on 2012-01-16

This exhibition, drawn entirely from the deep holdings of the Whitney Museum’s permanent collection, will focus on the tension and overlap between two strong currents in twentieth century art. Although the term “realism” has many facets, a basic connection to the observable world underlies all of them; the subversion of reality through the imagination and the subconscious lies at the heart of Surrealism. Yet there are convergences in these different and even oppositional approaches to experience, and they encourage new ways of looking at the art of the twenties, thirties, and forties in America.
For example, Edward Hopper, famous for chronicling New York urban life, is also a painter whose own subjectivity and imagination are integral to his work. Many artists who developed imagery based on new and very specific, concrete conditions of industrial American, such as Charles Sheeler, were essentially interested in artificial worlds and presented these as distillations of reality. Even totally abstract painters such as Yves Tanguy depended on techniques developed from traditional, realist art to render bizarre worlds.

By willfully distorting such techniques, Helen Lundeberg and Mabel Dwight could quietly undercut our sense of stability even while showing us recognizable and even mundane objects and settings.

Opposite – Man Ray, La Fortune, 1938

Exhibition runs through to February 12th, 2012

Whitney Museum of American Art
945 Madison Ave. at 75th Street
New York
NY
10021

whitney.org

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THOMAS HEATHERWICK – EXTRUDING AND SPINNING

Posted on 2012-01-16

Highlights of the exhibition will include four extruded, mirror polished, nickel plated, aluminium benches made without fixtures or fittings – the world’s first single component of metal furniture, extruded by machine. Heatherwick Studio commissioned a specially designed die through which a single billet of aluminium was ‘squeezed’ into a chair profile, complete with legs, seat and back. The aluminium emerges in a raw unpolished finish, which is then cut and sometimes shaped; each cut piece of bench then undergoes 300 hours of polishing.

The project, 18 years since conception, takes technology used in the aerospace industry to produce the world’s largest ever extruded piece of metal. The graceful aluminium pieces each have a unique, dramatic form that combines the back, seat and legs into one element. Until now, extrusion technology has been limited to smaller dimension profiles, and since graduating from the RCA in 1994, Heatherwick has been searching for a machine capable of producing a chair with legs, seat and back from a single component.

Opposite – Untitled, 2011, Glazed Ceramic

Exhibition runs through to February 18th, 2012

Haunch of Venison
550 West 21st Street
New York
NY 10011

haunchofvenison.com

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NICK MAUSS

Posted on 2012-01-09

For his second solo exhibition at 303 Gallery, Nick Mauss presents a landscape of images and notations, drawn across various forms. Accumulations of large aluminum sheets painted white and silkscreened with enlargements of Mauss’ drawings or snapshots from his personal archive articulate the experience of looking at something that you have seen, thought about, made, and finding it strange or alien, and working with this strangeness as a material.

Like oversized leaves from a dented manuscript, the sheets heave, drape, and fold over one another, looped with tongues and cut-out windows that transfigure the images they support, ranging from the highly stylized rendering, to the prosaic: a mannequin hunched over a computer infiltrated by reflections of trees in the window; a rebus-like drawing of a crack, a chin resting on a hand, half of a sickle; a photograph of an archway modeled after an enlarged seashell; a drawing of a figure in a pose of supplication covered in a spattering of ink; a graphic frame enclosing white space; photographs of shadows of photographing hands and a camera held over sketches for dress designs; a floating dormant head suspended over a graphic ribbon hemmed in by a corner. Often the images stutter in repetition across multiple sheets, individually hand-colored or worked over, as if to correct, underscore, or elaborate.

Opposite – Untitled, 2011, Glazed Ceramic

Exhibition runs through to February 18th, 2012

303 Gallery
547 W 21st Street
New York
NY
10011

www.303gallery.com

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