Palladium has teamed with visual artist Mark Ong, aka SBTG, to release a new collection of footwear for 2015. The collaboration found the Singaporean creative working on the brand’s Pampa Hi, Pampa Oxford and Pampa Baggy silhouettes, implementing unique camouflage detailing to each shoe. SBTG pulled inspiration from his past military experience, as the Pampa releases feature a direct correlation to Palladium’s military roots.
TweetThe status of photography has drastically changed in recent years becoming a major competitor for wall space in both the home and the gallery. Whilst the debate over ‘photography as art’ rages on, there’s no doubt that with advancements in scanning and printing, framing and presentation, photography has really taken its place alongside painting in terms of scale and sophistication. With this in mind the Getty Images Gallery is proud to present its latest exhibition ‘Big is Beautiful.’ Displaying some of its finest imagery from photographers such as Herbert Ponting, Slim Aarons and Thurston Hopkins, to name a few, the exhibition is a celebration of the large scale print.With methods in printing and framing constantly having to adapt to keep up with the demand in large photographic prints, the exhibition looks at what the industry done to accommodate this and asks the question ‘how big is too big?’
Opposite – Polar Bear by Henrik Sorensen
Exhibition runs through to May 30th, 2015
Getty Images Gallery
46 Eastcastle St
London
W1W 8DX
Sharing an engagement with Surrealism, the layering of Pucill and Cahun’s work embraces the uncanny in relation to the inanimate. Their work explores the idea of a multiple ‘self’ and of looking, as both artists assert a queer gaze between mirror, camera and across two centuries.
Pucill’s film Magic Mirror combines a re-staging of Cahun’s photographs and visualisation of written text from her book Aveux non avenus (Disavowals), transforming Cahun’s work from still to moving image, whilst exploring the relationship between word, photography and sound in film.
Called ‘one of the most curious spirits of our time’ by André Breton, the exhibition will offer a unique perspective on the work of Cahun, who used subversive avant-garde art practice as a form of resistance in Nazi occupied Jersey during WW2.
Opposite – Polar Bear by Henrik Sorensen
Opposite – Self-Portrait, Silver gelatin print on paper, 1929
Exhibition runs through to June 14th, 2015
The Nunnery
Bow Arts, 181 Bow Rd
London
E3 2SJ
A finger poised on a camera – its open back revealing the film roll and mechanism – sets the scene for this exhibition of photographs about photography. Somewhere between a film director, a picture editor and an art historian, American artist Christopher Williams (b.1956) investigates photography as the defining medium of modernism.
Williams’ exquisite prints reveal the unexpected beauty and cultural resonance of commercial, industrial and instructional photography. Often working with set designers, models and technicians, Williams’ technically precise pictures recall Cold War era imagery and 1960s advertising, as well as invoking histories of art, photography and cinema. His photographs are elements at play in a larger system including architecture, exhibition design, books, posters, videos, vitrines and signage that investigates the stage sets of the art world and the publicity structures on which they rely.
Opposite – Bergische Bauernscheune, Junkersholz, Leichlingen, September 29, 2009, 2010
Exhibition runs through to June 21st, 2015
Whitechapel Gallery
77-82 Whitechapel High St
London
E1 7QX
Hull’s crayon drawings, in particular, are portraits in the form of hairdos, each one expressing a distinct visual personality rather than a representation of a particular individual. This quasi-figurative direction started with, of all things, drawing a horse’s tail for an exquisite corpse in a performative collaboration with MacArthur award-winning saxophonist and composer Ken Vandermark and the illustrator and printmaker Dan Grzeca. Hull has also been influenced by the concept of a Klein bottle, a non-orientable surface with no identifiable “inner” and “outer” side. In subsequent works, he has doubled and mirrored the tail/kidney shape, while exploring spatial relationships, both metaphorically and formally, between the geometric dualities of full and empty spaces. In Hull’s stolen portraits, horse tails now resemble looping flower petal forms – building blocks for portrait-like structures. The bulbous loops are accentuated by minute, repetitive, often concentric actions within the large masses.
The common crayons Hull uses for this body of work give each drawing a visceral, physical presence that is also transparent and ephemeral, and the heavy build up of wax allows for sgraffito, a scratch-like mark-making technique, to be applied to the various layers of color. Given that he thinks of the drawings as hairdos, it is not surprising to learn that he sometimes uses a comb to make the marks. The crayon drawings have been the primary focus of his studio work the past two years but they are not studies for paintings; Hull stated in a recent interview on Inside/Within: “I did the paintings before I did the drawings. The paintings lead me to the drawings.” The rigorous crayon drawings are distillations of the ideas achieved through Hull’s investigation of the more fluid, sensual materials associated with oil painting.
Opposite – #9, 2014
Exhibition runs through to June 13th, 2015
Western Exhibitions
845 W Washington Blvd.
2nd Floor
Chicago, IL 60607
Treib’s paintings are composed around sensuous details, absences, and shifts in perspective. While her work draws on far-ranging references – a hand glimpsed in an early 15th Century Russian icon, the outline of a sleeve in a Piero della Francesca fresco, the contours of a 35 mm camera – Treib’s true subject is the process of looking, through which she discovers new relationships while dismantling what is merely recognisable.
The paintings focus on the space between forms, making in-betweenness a primary motif. Peripheral elements become central presences, suggesting icons or calligraphic gestures in flux. Although made in one sitting, the paintings develop through an accumulation of rehearsals. Treib will frequently repeat, remove, remake, and adjust precise configurations within her compositions. Each work seeks to bring together a multiplicity of times and a history of past iterations. She will often work with a reference for several years, tracing the evolution of a motif through time.
Areas of colour that interact on a neutral ground – twisting and curving their way to become shapes that play against one another – also characterise Treib’s paintings. Colours that are clashing in hue yet close in value form correspondences while provoking disjuncture. Her paintings are delicate yet structured and formed using wide, visible marks. A sensuousness in the application of paint – at once measured and urgent – manifests in contrasts of transparent and opaque washes of matte pigment. In Hem and Pleat, a central shape is simultaneously asserted as a thing and pushed back as an immaterial aperture or opening. Similar shifts and transformations are in constant motion, in all of Treib’s paintings, in both subtle and vivid ways.
Opposite – Delft Icon, 2015
Exhibition runs through to June 6th, 2015
Kate MacGarry
27 Old Nichol Street
London
E2 7HR
