SEAN LANDERS

Posted on 2018-03-26

If the early works were considered Landers’ antidote to the aesthetics of a hyper-inflated art industry of the 1980s, these twelve new paintings (approximately 36.25 x 27.5 inches, and 71.5 x 55.5 inches) are more elegiac. The paint is delicately applied on pre-printed yellow canvas; each touch is clearly a mark in script. Disguised as ‘finished’ bozzetti, these works seem to further illuminate the private thoughts Landers unleashed almost 30 years ago. Not only do the new paintings arrest the artist’s stream-of-consciousness, but they also elevate his meditations on mortality, our current political climate, and the success of a middle-aged artist—while simultaneously injecting new urgency and amplifying scale.

Parallel to Landers first solo show at Petzel’s uptown location, the gallery will premiere a suite of new tree paintings at The Art Show, Park Avenue Armory. Some, if not all, of the quotes on the yellow legal pad paintings will find another form of expression as “carvings” in the bark of Landers’ painted trees. As if the thoughts in the gallery show were still a preliminary language (or nascent state of mind) here they are ‘realized’ as images.

Opposite – The Eternal Dawning Of Now, 2017

Exhibition runs through to April 14th, 2018

Petzel Gallery
35 E 67th Street
NY 10065
New York

www.petzel.com

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DAMIEN HIRST AT HOUGHTON HALL

Posted on 2018-03-26

A series of new paintings by Damien Hirst entitled Colour Space will be installed in the State Rooms at Houghton Hall for the exhibition Damien Hirst at Houghton Hall from 25 March – 15 July 2018. The exhibition will also include a number of the artist’s most celebrated sculptures which will be installed throughout the 18th-century house and gardens.

The Colour Space paintings have never been shown in public before and are a development of the iconic Spot Paintings which are among the artist’s most recognised works.

7 sculptures will be installed outdoors in the park featuring some of the artist’s most famous and visually arresting works. They include the celebrated Virgin Mother (2005–2006) which was shown in the courtyard of the Royal Academy in 2006, and Charity (2002–2003) which was installed on Hoxton Square in 2003 and outside the Royal West of England Academy of Art in Bristol in 2011

Those installed in the house include Anatomy of an Angel, 2008 in the entrance hall, and two smaller kinetic sculptures from the artist’s “levitation” series featuring air blowers and table tennis balls, in the celebrated Stone Hall.

Exhibition runs through to July 15th, 2018

Houghton Hall
King’s Lynn
Norfolk
PE31 6UE

www.houghtonhall.com

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MARTIN KERSELS

Posted on 2018-03-19

For his exhibition at the George-Philippe and Nathalie Vallois gallery, Kersels is showing his Disc-o-graphs (Disqueso-Graphiques); diverse objects made by arranging parts of furniture and pop music record covers. In the other rooms, a piece by Dufrêne from 1964 decomposes into distinct letters (the founding principal of letterism) the word MOT-NU-MENTAL from backward posters. Out of these two ensembles emerges a game of associations of shapes and images, all an exercise in superpositions. There is also a feeling of obsolescence, a desire to make something out of the old, to retrieve what can still exist. There is nothing digital in any of this, as though the 50s and 60s of the previous century met by separate paths. But there is above all a desire to bring together two crucial and outstanding artists, who ceaselessly “turn the tables”, as one would say to shake the codes of propriety. The word “monumental” sticks to them, both literally and figuratively.

Opposite – Record Collection 4, 2017

Exhibition runs through to April 21st, 2018

Galerie Georges-Philippe & Nathalie Vallois
36 rue de Seine
75006 Paris
France

www.galerie-vallois.com

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JASON FOX – BEWARE OF DARKNESS

Posted on 2018-03-19

Jason Fox’s first solo show was held at Feature in New York in the early nineties, just after MoMA’s High and Low: Modern Art and Popular Culture (the first major exhibition to address “the relationship between modern art and popular and commercial culture.”)and only two years before Mike Kelley organized The Uncanny at the Gemeentemuseum, Arnhem. Fox’s work itself acts as a link between these events, and they in turn allow us to chronologically situate his acts of borrowing from both art history and from record sleeves of the seventies. Although considered as common practice today, this kind of artistic approach was not so widespread at the time.   
In a recent interview with artist Joe Bradley, Fox explicits his position: “The early nineties was another death-of-painting period and to be making expressive paintings that had nothing to do with appropriation was going against the tide. […] From the start I was interested in a kind of cyborg/extreme figuration. For me Guston was the big shadow to get out from under. He did what I wanted to do. He’s this giant shadow, and to get out from under it my strategy was to go extreme. I was listening to Howard Stern, watching early Cronenberg movies, looking at S. Clay Wilson and Crumb. I wanted to blow the figure up and rebuild it in a Frankenstein-ish way. Art history and comics were the body parts.”

Opposite – George with Dragon, 2017

Exhibition runs through to April 7th, 2018

Almine Rech Gallery
20 rue de l’Abbaye
B-1050 Brussels
Belgium

www.alminerech.com

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IMAGINED CHARACTERS

Posted on 2018-03-13

Sid Motion Gallery is pleased to present a group exhibition, Imagined Characters, which includes paintings by Charis Entwisle, Pat O’Connor, Jennifer Louise Martin and Daniel Wheeler.

Charis Entwisle (b.1997, Bristol, U.K.) is currently studying Fine Art at Central Saint Martins College of Art and Design. He currently lives and works in London.

Pat O’Connor graduated from Royal College of Art London in 1996. O’Connor’s recent projects include Lived on the Bone, Govan Project Space, Glasgow 2018; Zennor Project Space Residency, Cornwall 2017; Paw, Arcade, London 2015 and Night of the Big Tops, The Dentist, London 2014. She won the Studio Voltaire, Aldeburgh Beach Lookout Residency Prize and was selected for the John Moore’s Painting Prize, 2012.
She currently lives and works in London

Jennifer Louise Martin (b. 1980, London) completed a Diploma in Art & Design at Central Saint Martins College of Art and Design before going on to do Psychology and Neuroscience at the University of Leeds, U.K. She then went onto complete a Postgraduate Diploma in Fine Art at Byam Shaw School of Art, Central Saint Martins, London.
Recent solo exhibitions have included a Brand Collaboration with Zanzan Eyewear & Laura Bailey, Alex Eagle Studio, London, 2017; The Absence of Presence, Gallery 151, New York, 2013 and (Re) Fashioning the Gaze, Oak Tree & Tiger Gallery, London.

Daniel Wheeler (b. 1976, West Yorkshire, U.K.) lived and worked predominantly in Europe, later returning to the U.K. to study Fine Art at Chelsea College of Art, 2009-2013.
In 2014 Wheeler was shortlisted for the Clyde and Co Art Award and the Jerwood Drawing Prize. In that year he was also longlisted for the John Moores Painting Prize.
He currently lives and works in Southend.

Opposite – Charis Entwisle – Some free time remains 2, 2017

Exhibition runs from March 22nd – April 14th, 2018

Sid Motion Gallery
142 York Way
London
N1 0AX

www.sidmotiongallery.co.uk

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GEORG HEROLD – BEVERLY’S COUSINE

Posted on 2018-03-12

At the beginning of the 1980s, Georg Herold, who studied under Sigmar Polke from 1977 until 1983, questioned art and the art business in a radical and sarcastic way together with Martin Kippenberger, Werner Büttner and Albert Oehlen. During the 1980s, the group developed an oeuvre which seems like a dada-inspired encyclopedia of the provisional. Their paintings, sculptures, installations, objects, texts and videos with their character of being created en passant reflect an artistic core belief that confronts the myth of perfection and masterpiece with calculated “unfinishedness.” Georg Herold’s works which are made from everyday objects and materials critically and ironically deal with art historical, social, political, ideological and religious ways of thinking and constantly surprise the viewers by confronting them with their own expectations of art.

Opposite – Beverly, 2011- 2017

Exhibition runs through to April 21st, 2018

Contemporary Fine Arts – CFA
Grolmanstrasse 32/33
Charlottenburg
10623 Berlin
Germany

cfa-berlin.de

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