The Mott Collection in Print: In Italy
ONO arte contemporanea presents
The Mott Collection in Print: In Italy
Opening Reception 4 June 2013
6.30 — 9.30pm
ONO arte contemporanea
via santa margherita 10. I-40123
‘No Pogo Dancing’ four colour screenprint
The Mott Collection in Print: In Italy
Opening Reception 4 June 2013
6.30 — 9.30pm
ONO arte contemporanea
via santa margherita 10. I-40123
tel. e fax +39 051 262465
On display will be examples of limited editions, publications and prints from The Mott Collection’s various exhibitions and collaborations with museums, galleries, institutions and publishers since 2010. This will include, Nothing in the World But Youth, LOUD FLASH: British Punk on Paper, David Bowie ‘Nacht Musik’, CRASS - 1977 - 1984, Jubilee 2012 “Sixty Punk Singles”, Kraftwerk. 45rpm, 100 Fanzines/10 Years of British Punk - 1976–1985, American Hardcore, 1978-1990
Ono Arte Contemporanea is an art gallery/concept store dedicated to art in all its forms. ONO arte works in partnership with Bologna City Council and Bologna’s Cinematheque, hosting exhibitions based on popular culture from the 1960’s to the late 1990’s.
The Mott Collection is a compelling portrait of particular moments in popular culture, It tells its story through a unique collection of posters, flyers, fanzines, record sleeves and political ephemera dating from the Punk movement and its aftermath, assembled by artist and collector Toby Mott.
The Mott Collection was first exhibited in 2010 as Loud Flash: British Punk on Paper at MUSAC, Spain and has since produced exhibitions for Haunch of Venison, London, The Vinyl Factory, London, Turner Contemporary, Margate, Honor Fraser, Los Angeles, Andrew Roth Gallery, New York, MoMA PS1: NY Art Book Fair, New York.
Our aim is to introduce the Mott Collection to a wider audience, sharing with them one of the largest collections of radical ephemera and celebrating its aesthetic legacy.
Apr 11, 2013 - May 3, 2013
Waddington Custot Galleries present an exhibition of 13 new paintings by New-York based artist Peter Halley. The paintings are new configurations of Halley’s prison and cell motifs, rendered in his signature Day-Glo colours.
Taking influence from Hard Edge abstraction and Colour Field painting, through these paintings Halley explores subjects that reoccur within the discourse of postmodernism. He addresses the overstimulation of mass communication in our digital age as multiple channels or ‘conduits’ run along the canvas, often without a logical route from one ‘destination’ to another, connecting spaces that are almost figurative depictions of a battery cell; a computer chip; a cage, or an air conditioning unit.
The cells or prisons contained within his paintings also take influence from Michel Foucault and refer to the oppressive architecture of buildings such as prisons, or make a more general statement on the city as a machine. Halley uses the powdery paint thickening agent Roll-a-Tex, a decorator’s tool, to create a textured surface. This paint mix is a very literal reference to architecture and the building industry. The Roll-a-Tex is also a satiric reference to impasto painting and stucco and also recreates the surface of a motel ceiling. When viewed in contrast to the smooth planes of the rest of the canvas the Roll-a-Tex can be the ‘white noise’ of a television losing signal or a lost telephone connection.
These confined cells have conceptual meanings too, they represent feelings of isolation or repression, or even a middle class man trapped by an uptight version of masculinity (a pun on being ‘square’). To this end Halley has indicated that the paintings are to some extent autobiographical, referring to the textured Roll-a Tex paint used in his paintings as the stubble on a man’s face.
The titles of these new paintings are derived from American television shows. Halley appropriates the names based on the relevance the particular word or phrase has to the subject matter of his work, severing the link between the content of the television programme and its title, so ‘Glee’, ‘Suburgatory’ and ‘Bang Goes the Theory’ take on their own meaning in the context of his prisons and isolated spaces.
Subject: Opening ASSIGN
SHOW Mary Ann BEALL
Tuesday, April 23 to Saturday, May 4, 2013 included
the LUCARNE WRITERS, 115 rue de l’Ourcq, PARIS 19th
CRIMEA Metro line 7
Visual artist Mary Ann Beall presents a selection of her work in progress: prints - engravings and monotypes - drawings, volumes and suspensions of wire and paper, created for an exhibition held in Moscow in late 2013. Works interact with poems and texts Osip Mandelstam, who died in 1938 and still our “contemporary.”
Poetry - art - like universal struggle is still relevant. Osip Mandelstam, sent his poetry to his contemporaries and more at (a) contacts (s) in the future. The meeting of two works, through space and time gives rise to an exhibition of visual works freely inspired by the work of Mandelstam. The artist offers an aesthetic approach that aims to vibrate the internal tensions of some poems in order to hear and see their overwhelming contemporary, creating a space for dialogue and polysemy.
OPENING Wednesday, April 24 from 18h.
This event will give rise to a unique encounter between the poetry of Osip Mandelstam and the Jluc Lavrille on a musical improvisation musicians GRÂNDOLA Jazz Collective: Marc-Antoine Perrio and Andrea Romani, between 19h and 20h.
Texts and poems by Osip Mandelstam read by Jerome Cantero JLuc Lavrille and poems read by the author.
West Country Galleries recently donated a framed print of George Best to a Charity Dinner Dance for St Margarets Hospice. We are happy to say it sold at auction bid of £50. All in all, £858.00 was the final count raised for such a worthy cause. We are proud to have taken part.
Don’t miss out! Book your tickets here:benwashington.eventbrite.co.uk
Artist Ben Washington will discuss his current site responsive show at the Nunnery Gallery titled Geometric Figuring. He will talk about his interconnecting installations of sculpture and collage and his homemade arcade box that allows the viewer to navigate a virtual rendition of the installation in which you are standing. He will speak about the back and forth nature of his process, where objects and images constantly flux between different types of space; virtual, imaginary, and real.
Ben Washington will be joined in conversation with Charlotte Bonham-Carter.
Charlotte Bonham-Carter is a lecturer in arts management and curating at Richmond University, London and a PHD candidate in cultural policy at King’s College, London. Prior to entering academia Charlotte held curatorial positions at the Irish Museum of Modern Art, Dublin; Barbican Art Gallery; Institute for Contemporary Arts (ICA) and most recently, Art on the Underground. Charlotte is the author of ‘The Contemporary Art Book’ (2009) and a London correspondent for Flash Art.
Many contributors of the Post Autonomy Group came together to assemble several online mind maps in the form of drawings and texts. Let us say this is the first stage of establishing a shared language. We now need to move onto the next level of complexity “How do we start to understand and recognize these disparate thoughts and modes of expression, conceptual conflicts?”
Please go to http://www.postautonomy.co.uk/ & http://www.postautonomy.com/
Article by: David Goldenberg artist at post autonomy, London
Talented artist June Madinjune is a finalist artist, for “the 7 Arte Laguna Prize”.
Her work will be shown in the Arsenal in Venice from the 16th of March until the 31st.
This is the link of the competition: www.artelagunaprize.com
The venue of the main exhibition, Tese di San Cristoforo of Arsenale Nord, hosts for the fourth consecutive year the finalists of `the 7th edition of Arte Laguna Prize`.
On view are the artworks by the 105 international artists selected for the categories painting, sculpture and installation, photography, video art and performance.
To view June’s work, please click on her website link www.madinjune.com
If you live in Bristol or will be around on the
4th - 10th March
You should definitely go see this exhibition of Lou Reade’s paintings of San Francisco.
A Solo exhibition of paintings
By artist Lou Reade
4th - 10th March 2013
Mon - Sat 10am - 7pm
Sun 11am - 5pm
Lou Reade is highly inspired by the places she visits. Her most recent work (2010/12) is inspired by San Francisco. She is interested in the way the buildings overlap each other, seeming to create quite an abstract reality. The process of Lou’s artwork is usually quite exaggerated; distinct from the city’s first impression of natural colours and careful geometry. Lou envisions the places she visits as bright colours and expressive marks, and so her representation holds a certain truth. Lou knows that the more you look at a place, the more truthful each expressive mark becomes.
at Royal Academy of Arts - Feb 2, 2013 - May 26, 2013
For four months this year, the artist, Blue Firth, is transforming the Architecture Space in an exploration of the ways architecture informs and distorts our understanding of space, myth and history. Through the manipulation of materials and textures, the interaction of digital distortions and a hidden audio track, Firth poses intriguing questions for visitors entering the space, challenging preconceptions about architecture and how we respond to it.
Adjacent to the RA restaurant, the Architecture Space was formed in 1868 by the Royal Academy’s erection of the Main Galleries 4.25 metres north of old Burlington House. For more than a century, this ‘hinterland’ was exposed to the elements and became home to a series of temporary structures. In 1991, it was cleared out by Foster + Partners and turned into circulation space for the new Sackler Wing of Galleries, thus also creating the sloping area now known as the Architecture Space. More than 20 years later, Firth’s site-specific work will show the Architecture Space in a new light, offering a multi-sensory experience of a space heavy with history.
Manet: Portraying Life
at Royal Academy of Arts
Jan 26, 13 - Apr 14, 13
This singularly important exhibition will be the first ever retrospective devoted to the portraiture of Edouard Manet. Spanning the entire career of this enigmatic and at times controversial artist, ‘Manet: Portraying Life’ will bring together works from across Europe, Asia and the USA. Manet’s engagement with portraiture has never been explored in exhibition form before, despite it constituting around half of his artistic output. ..
Paula Rego: The Dame with the Goat’s Foot
at Marlborough Fine Art, London
Jan 25, 13 - Mar 01, 13
The centre piece of the exhibition will be a series of six large pastels inspired by Alexandre Herculano’s 19th century story, A Dama Pé-de-Cabra, romance de um jogral (The Goat-Footed Lady, romance of a minstrel), a powerful and captivating tale originally dating back to the XIth Century.
Jan 23, 2013 - Mar 17, 2013
Considered one of the most important photographers of his generation, Juergen Teller is one of a few artists who has been able to operate successfully both in the art world and the world of commercial photography. This exhibition will provide a seamless journey through his landmark fashion and commercial photography from the 90s, presenting classic images of celebrities such as Lily Cole, Kurt Cobain and Vivienne Westwood, as well as more recent landscapes and family portraits.
Teller entered the London photography scene through the music industry taking photographs for record covers, it was Teller’s photograph of Sinéad O’Connor for her single Nothing Compares 2 You that marked an important moment in his career. Teller’s photographs first appeared in fashion magazines in the late 80s, and included portraits of Kate Moss when she was just fifteen years old. Teller’s images could be described as the antithesis of conventional fashion photography seen perhaps most markedly in his campaigns for Marc Jacobs.
Picture and Words introduces a series from his controversial weekly column in the magazine of Die Zeit which often provoked outcry amongst readers, and the exhibition will feature many of the letters of complaint that the magazine received. Irene im Wald and Keys to the House are Teller’s most recent bodies of work, revealing the photographer’s more personal world in his hometown in Germany and family home in Suffolk.
Teller’s provocative interventions in celebrity portraiture subvert the conventional relationship of the artist and model. Whatever the setting, all his subjects collaborate in a way that allows for the most surprising poses and emotional intensity. Driven by a desire to tell a story in every picture he takes, Teller has shaped his own distinct and instantly recognisable style which combines humour, self-mockery and an emotional honesty.
at Tate Britain - Jan 30, 2013 - May 12, 2013
Schwitters in Britain is the first major exhibition to examine the late work of Kurt Schwitters, one of the major artists of European Modernism. The exhibition focuses on his British period, from his arrival in Britain as a refugee in 1940 until his death in Cumbria in 1948. Schwitters was forced to flee Germany when his work was condemned as ‘degenerate’ by Germany’s Nazi government and the show traces the impact of exile on his work. It includes over 150 collages, assemblages and sculptures many shown in the UK for the first time in over 30 years.
Carrying out my daily networking ritual, I came across an artists’ discussion panel putting across what appears to be an epidemic of ageism in the art world.
Blossoming artists out there must find it quite demoralising to be reminded that some people think someone over 35 can’t have fresh ideas.
I won’t ramble on, as I have decided to `paste` excerpts from various comments rendered by talented and promising artists. The art world’s attitude is pouring water onto the fire of their motivation and creativity. Talent will be recognised whatever age you are.
Take a look at the following postings to see for yourself. I have left out the names of the contributing artists in order to protect their privacy.
I have been wondering how widespread ageism is every since I’ve talked to people who have made comments like, “The gallery sent me a letter stating that they no longer represent artist under the age of 40”. And in a book called The Practical Handbook for the Emerging Artist it has a little blurb about how ageism happens often. This makes me what to know more about it.
Wow, What gallery was this ? I would think that we are all in this together .one is losing the connection part of art
I didn’t find out the name of the gallery. All I heard was that the gallery was on the east coast. I think we are all in this together also. Unfortunately I understand that some gallery ‘s want to attract investors and I’ve heard it said that many investors want to buy art from young up and cumming artist. Not art from older unknowns.
I have come across several ‘calls for submissions’ with an upper age limit. There is one in the ‘Gallery Network’ group of Linkedin at the moment that says only for under 30’s
Yes, I have often come across it and imagine it is to give younger painters more of a chance but it is annoying. A gallery told me the other day they only take contemporary work which is the same thing really because my work is also I hope contemporary!
Yes, the idea of fresh new art stars seems to be prevalent. I have also seen this phenomena in the college teaching world. Experience does not count anymore.
Forming art associations might help.
After reading all of the above you have me worried. My life didn’t permit me to attend university for my art degree until my 40s. Now at 51 I am producing solid, mature work. I consider myself an emerging artist, but not if the established galleries think I’m past my best before date simply because of my age.
older artists have just as many new ideas and just as much enthusiasm, plus they have nothing to prove and dont feel like they have to follow any trend, so the ones who go to art school 40+ are producing some really innovative work!
I find it works far more in the other direction. Young artists have an incredibly difficult time breaking into the gallery world. Simply stating that you are under 30 can be a disqualifier in the minds of many…
Jonny Briggs, Aneta Grzeszykowska, Matt Lipps, Minhong Pyo, Julie Cockburn, Noemie Goudal, Alison Jackson, Jo Metson Scott with Nicola Yeoman, John Stezaker, kennardphillips & Anne Collier
This exhibition brings together a selection of exciting and award-winning contemporary artists who distort the world on the other side of the lens within a wide variety of artistic strategies. The formerly inviolable images are now distorted and manipulated - perhaps altered, cut, layered, collaged, appropriated, painted or stitched over; the scene portrayed may be enhanced, added to or entirely faked; the images may be part of a more extensive conceptual whole, alluding to other meanings, questioning accepted ideas or referring to social, cultural or internal worlds.
Exhibition runs Friday 1 to Sunday 17 February 2013 / 11am - 6pm (Monday - Sat) 12am - 5pm (Sunday)
44AD Gallery, 7 - 9 Lower Borough Walls, BATH BA1 2QR www.44AD.net Tel 07753 378 325