Tag: british artist

Cerith Wyn Evans, Incarnation São Paulo – São Paulo – Brazil

Column (Assemblages) IX, 2010 Old fluorescent tubes and eletrical wires Variable dimensions


Until February 4, 2012 – Galeria Fortes Vilaça

Galeria Fortes Vilaça is pleased to present Incarnation São Paulo, a new exhibition by celebrated British artist Cerith Wyn Evans. In his second solo exhibition at the gallery, two sculptures of technological vein propose an intense sensorial experience in counterpoint with a third piece composed of plants in movement. A 30 minutes video complements the exhibition.

Since the 1990s, Wyn Evans has been focusing his production on works that question the nature of written and visual language with clear-cut conceptual accuracy. His installations can be seen as repositories of meanings arising from different sources, reassembled as to reveal many discursive paths. An ongoing dialog with the works of   great artists from past is established, with a direct reference or using their very works with a new approach revealing a wish to keep their ideas at play. His refined esthetics is nearly always influenced by a deep interest in the history of cinema and literature.

Cerith Wyn Evans was born in Wales, and currently lives and works in London. His participations in collective exhibitions include the Venice Biennial (1995, 2003, and 2009), Yokohama Triennale (2008), the Aichi Triennale (2010), the 9th Istambul International Biennial (2005), and the 11th Kassel Documenta (2002). His more recent individual exhibitions include the Bergen Kunsthall (2011), the Tramway, in Glasgow (2009), the Inverleith House, in Edinburgh (2009), the MUSAC, in León (2008), the ICA, in London (2006), the Musée d’Art Moderne de la Ville de Paris (2006), the Kunsthaus Graz (2005), the Museum of Fine Arts in Boston (2004), and the Frankfurter Kunstverein, [2004].

Gallery Hours


Jenny Saville – West Palm Beach – Florida

Atonement Studies: Central Panel, 2005-2006 Oil on watercolor paper 99 x 72 3/4 in. (251.5 x 185 cm) Private Collection

From November 30, 2011 to March 4, 2012 – Norton Museum of Art
The paintings of the human figure by British artist Jenny Saville (b.1970) have been infrequently exhibited since first premiered in the late 1990s.  Included in the 1997 exhibition of the collection of British marketing giant Charles Saatchi entitled Sensation, she did not earn the notoriety of her slightly older peers, “the young British artists” for unusual materials.  Instead, Saville masterfully painted with oil on canvas and concentrated on the human figure but still created provocative work.  Her monumental compositions of the female form were unromantic and suggested the reality of weight, flesh and blood.  Initially restricted to a feminist critique Saville’s skill and compositions have evolved.   She continues to paint luscious canvases that reveal that her subject has always been the medium of painting itself. Taking on the challenge of the history of modern painting through the tradition of classical figure painting her contribution is the subject of this exhibition.

This selective exhibition of 25 canvases and drawings dating from 1999 – 2011 will bring Saville’s mature work together for the first time.  Included will be such recognizable works as Fulcrum (1999) and  Reverse (2002-3) as well as examples showcasing Saville’s exceptional draughtsmanship in key works from the recent series Reproduction drawing (after the Leonardo cartoon),(2009-10) which references the iconic image found in the collection of London’s National Gallery. Works from the artist’s studio which have not been previously exhibited also will be included.

Museum Hours


Paul Noble – London – UK



From November 10 to December 17, 2011 – Gagosian Gallery, Britannia Street.

Gagosian Britannia Street present leading British artist, Paul Noble’s first exhibition in London for seven years, since his retrospective at the Whitechapel Art Gallery in 2004.

The exhibition marks the culmination of his monumental fifteen year project – the meticulous depiction of a fictional city called Nobson Newtown. The artist is a master draughtsman who makes virtuoso pencil drawings on an epic scale. These wall-sized drawings offer aerial perspectives over a fantastical cityscape that echoes the utopian ethos of projects such as the Garden City Movement and New Towns such as Milton Keynes.

Dominating the exhibition will be the artist’s monumental drawing Welcome to Nobson, measuring nearly 15 feet high and over 23 feet wide, and made up of twenty separate panels. It is by far the largest drawing of the Nobson series. The exhibition will include other large drawings, all of them closely related to particular elements and areas of the larger work.


T
he show will also include two monumental sculptures, standing some 12 feet tall on their bases, together with other sculptures, bead curtains, and smaller drawings, all in some way expanding or illustrating details of the Welcome to Nobson work.

Born in 1963 in Northumberland, Paul Noble lives and works in London. His was one of five founding members of City Racing, an influential artists’ space in London (1988-98) where he showed in 1990. His work has been exhibited in London at Cubitt Gallery (1995), Chisenhale Gallery (1998), Tate Gallery (1999), and Whitechapel Art Gallery (2004); and internationally at the Albright Knox Gallery, Buffalo (2003), Museum Boymans van Beuningen, Rotterdam and the Migros Museum, Zurich (2005).

Gallerie Hours


Nathan Cash Davidson – London – UK

Nathan Cash Davidson, The Anaesthetist, 2009 Oil on board; 27 x 19 cm Private collection; photo: Stephen White


8 December 2010 – 13 February 2011 – Parasol unit foundation for contemporary art

Parasol unit foundation for contemporary art is delighted to present a solo exhibition dedicated to the work of emerging British artist Nathan Cash Davidson, comprising some twenty paintings dating from 2006 to the present.
Burlesque in which we’ve thrown it on its head
An artist and lyricist with a uniquely compelling visual language, Cash Davidson makes paintings featuring such diverse figures as King Henry VIII, Mr. Punch, George Bush and Ali G. Historical and popular cultural characters and the artist’s own family members meet animated gargoyles and mournful mythological creatures in otherworldly forests, cathedrals, desert islands and council estates; boldly rendered in vital, swirling jewel colours.

Burlesque in which we’ve thrown it on its head is an encounter with Cash Davidson’s prodigious talent for figuration and architectural detail, and his wry and irreverent wit. These accomplished and confident works evoke a rich interior landscape whilst also offering an often bleak and discomfiting perspective of the contemporary metropolis.

Cash Davidson’s writing – ‘…Armoured objects selected never last / faster / than the star/ Reflect the future and the past in one’ – echoes his preoccupation with leveling history, mythology and the 21st century. The organic narrative development of his imagery is also reflected in his use of the written and spoken word: plants unfurl; buildings spring up and sprawl out; figures appear. Of his poetic visual treatment of his urban surroundings, Cash Davidson has been said to possess ‘the potential to return the power of myth to “things drawn on walls”’ .

Nathan Cash Davidson was born in London in 1988 and studied Painting at Wimbledon School of Art. Aged 22, he will be the youngest artist to exhibit at Parasol unit. Cash Davidson’s paintings have been shown in group exhibitions at Chelsea Space and the Mitchell Library, Glasgow; his first solo show, To Complete My Education, took place at Hannah Barry Gallery, London in 2008. Cash Davidson writes and performs his own raps, and in 2009 took part in the Serpentine Gallery’s Poetry Marathon.

Gallery Hours


Richard Billingham – new work – Madrid – Spain

Snowman. Richard Billingham, 2009.


From September 8th to October 23th 2010 –
La Fabrica Galeria

Richard Billingham obtained international recognition at the beginning of the 90s because of the beautiful and emotive photographies of his family. Nevertheless, from the beginning of last decade he has returned to the landscape, initially abroad and gradually increasingly near his house. His last series have showed images of animals in the zoos of several cities of the world with photographs or video. In his third individual exhibition in La Fábrica Galería, the recognized British artist presents a set of 24 recent photographies never showed in Spain.

In the series that it has developed recently, Billingham takes again his characteristics and early instantaneous of family, centred now on his son Walter, as well as the exploration of the landscape paying tribute to famous landscape painters as Constable.

In this exhibition, which will be inaugurated next September 8th and will continue opened until October 23th, there are images of the British landscape, South Downs, Gower, Constable Country or Norfolk. Images in black and white and in colour, in miniature and in large scale. There are also images ofhis own family: his baby, the family dog, the home. Billingham has been working with medium format cameras, cheap disposable cameras, panoramic cameras both high and low resolution. The variety of formats lends a further intriguing quality to the works in the exhitibion. Some are majestic, some jewel-like, there is an expansiveness and an intimacy, a generosity towards the subject and the medium.

All these photographies, which will be exposed by the first time in Spain, form a collection of images of great beauty that together demostrate that Billingham is a consummate pictorialist, an artist with an astonishing talent for discovering a new beauty and humanity in the most common photographic subject matter.

Richard Billingham. He studied Fine Arts in the University of Sunderland, in 1995 the obtains the Felix H Man Memorial Prize and in 1997 the Citibank Private Bank Photography Prize. In 2001 it takes part in the Artists Work Programme in the IMMA, Dublin, and he become finalist of the Turner Prize. His first photographies, taken initially as sketches or studies for future pictures, present domestic scenes of his parents, brother or domestic pets, in a faithful reflection of an aesthetics of the daily thing. Between the documentary and the fiction, between the heroic and the tragicomic thing, he approaches social and psychological stereotypes of the British working class. With his later series centred on the horizontal landscapes, natural and urban, from Ethiopia to Norfolk, or, especially, of his natal Cradley Heat in Daytime, 1997, and Black Country, 2003, presents a slow and clean look, where the pictorial inspiration, between romantic and tenebrism, is demonstrated in compositions and settings.

Gallery Hours


Dexter Dalwood – Reims – France

From 11th of  June to the 15th of August – Frac Champagne-Ardenne
British artist Dexter Dalwood has built a solid reputation over the last decade in Europe and the United States. This retrospective is an opportunity to discover paintings and collages made these last twelve years.

Dexter Dalwood’s works are mostly landscapes and interiors both built and imagined, without human presence, which all reflect different times, places or historical figures. They embody some idea of the “History Painting” and as their illustrious predecessors, the quotes, allusions and references therein upset at first sight seem very elusive and codified. However, as the works of 18th and 19th centuries to which they refer, these paintings are primarily an immediate attraction and power. They cover topics ranging from major political events (Ceausescu’s Execution, 2002; The Birth Of The A, 2003; Yalta, 2006) to imagined places marked by a traumatic event, or who simply lodged in our collective unconscious (Sharon Tate’s House, 1998; Neverland, 1999; Greenham Common, 2008; Camp David, 1999).

Other works on display, “portraits” of writers, artists and political figures more or less famous, such William Burroughs (2005) Diana Vreeland (2003) Capote (2004) or Hunter S. Thompson (2009). These characters are inscribed in our collective memory, and for one reason or another, seem to continue to exert some influence or fascination with both their work and lives. These “portraits” are constructed by Dexter Dalwood through the various links and associations he imagines.

At the root of almost all his paintings, there are small collages that he assembles many compositions by cutting elements directly from the pages of magazines or catalogs of art history. Then, in his paintings of large dimensions, these sharp cuts are faithfully reproduced, preserving a monumental scale the slight disturbance they cause.

The way in which Dexter Dalwood constructs his images, referencing and juxtaposing both the form and content, is very sophisticated. It mixes personal history with social and political history of art and popular culture to produce new constellations of meaning, complex and challenging. Postmodern and post-pop, the “History Paintings” Dexter Dalwood are characterized by their finesse and seduction. The accuracy of their statements and their accessibility is transmitted through the experience offered to us to share the political and cultural history they invoke.

Born in 1960 in Bristol, Dexter Dalwood lives and works in London (United Kingdom). After playing in the English punk Cortinas from 1976 to 1978, Dexter Dalwood studied at Central Saint Martins College of Art & Design and at the Royal College of Art in London.

Dexter Dalwood has participated in several major exhibitions, including Die Young, Stay Pretty at the ICA in London in 1998 and Neurotic Realism: Part Two at the Saatchi Gallery in 1999. His work has been exhibited at the Biennale of Sydney in 2002, the Tate Triennial in London in 2003, and the Van Abbemuseum Eindhoven and the Whitney Museum in New York. He is represented by Gagosian Gallery (Athens / Beverly Hills / London / New York / Rome) and Alan Cristea Gallery (London).

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