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Creating Distorted Figures
28 Mar Sudo, 2010 by Damien Meade. Oil on linen on board 55 x 44.5 cm.
Tate Britain‘s exhibition Picasso and Modern British Art sets out to trace Pablo Picasso‘s influence on Britain. Hence much of the exhibition looks at British artists influenced by Picasso, including Henry Moore, Francis Bacon and Ben Nicholson, drawing upon the research carried out for other recent exhibitions and the Tate’s own collection, and the exhibition consequently features several works that have appeared recently. Therefore it seems more targeted at the casual audience and tourists during this Olympic year, trying to introduce fresh audiences to the British artists shown. A considerable space and volume of wall text is devoted to indicating works bought by British collectors. This doesn’t seem to add much to the understanding of the artist’s work, or really to indicate that British collectors had a taste for particular genres of Picasso’s practice, but does help to reinforce the country’s importance within the art world and as a powerful nation in the modern world. Indeed a more pressing reason for this section may be to encourage visitors to collect the work of contemporary artists, demonstrating that British collectors can help cultivate major artists, and that by collecting work, one day you might be remembered by being named in a museum exhibiting it in the future.
The Term Paper on Modern Art Painting Artist Work
I. Introduction Wherever man lives there is art, because art is anything made or done by man that affects or moves us so that we feel and see beauty. Man uses his imagination to invent a unique beauty in which the artist sees his feelings and inspiration affects on how he will express his art. Through the major development of technologies and social changes that have taken place in the 19 th ...
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Tags: Art, Ben Nicholson, Carlos Noronha Feio, Charlie Dutton Gallery, Contemporary art, Damien Meade, Featured, Figure, Francis Bacon, Gagosian, Henry Moore, Human form, IMT Gallery, John Stezaker, Pablo Picasso, Painting, Photographer’s Gallery, Photography, Picasso, Portrait, Portraiture, Rebecca Warren, Studio Voltaire, Tate, Tate Britain, Thomas Ruff
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Categories Art, Contemporary Art
Mapping the Collection
29 Dec Plans for a New Mausoleum at Halicarnassus (detail) (2011) by Jonas Ranson, silkscreen print on paper.
The Linear B exhibition at the Stephen Lawrence Gallery has been curated and created around the principle that each artist’s exhibited work takes inspiration from an artwork in the collection of the late artist Nikos Alexiou. What emerges are a whole series of other connections that can be seen in the work to other artists, as each individual forms a dot on an interconnected spider diagram across which you could trace connections similar to the idea of the six degrees of separation through which you should be able to link to anyone on the planet through someone you know knowing someone that knows someone, etc. I wonder how many steps would be statistically necessary to link two seemingly unconnected artists. Much as Mafalda Santos in her installation Cross Reference (2011) at The Mews Project Space has drawn out her social network across the walls and ceiling of the gallery leaving a remnant of chalk dust on the ground like the fallout from broken friendships. Occasional lines that were probably accidentally drawn at the wrong angle due to not having a long enough ruler peter off half way like a relationship that has not yet been made or has been cut off, the blue chalk slightly rubbed away as the memory fades.
Cross Reference (2011) (detail) by Mafalda Santos at The Mews Project Space
Plans for a New Mausoleum at Halicarnassus (detail) (2011) by Jonas Ranson, silkscreen print on paper.
In Linear B Jonas Ranson’s Plans for a New Mausoleum at Halicarnassus (2011) is made in response to Vassili Balatsos’ perspective drawing of, or design for, a modern minimal building, clad in industrial metal strips and with a balcony on the upper floor, made with strips of primary coloured tapes. However whilst Ranson picks up using parallel lines in a mixture of primary colours, this large print also seems to heavily reference Pierre Cordier’s Chemigrams featured in the V&A‘s Shadow Catchers: Camera-less Photography exhibition last winter. Cordier created a photographic technique he called Chemigram, painting materials such as nail vanish and oil onto photosensitive paper prior to exposure and developing. The traces left from painting, as in Chemigram 30/12/81 I (1981), leave a perfect series of parallel lines created by the brush stroke, an abstract composition which could perhaps depict cornfields with neatly arranged rows of crops. These marks are much like the parallel lines in Plans for a New Mausoleum at Halicarnassus (2011), which appear to describe buildings, roads, paths, corridors or electrical circuit diagrams, that map a building, campus, development or city, just as Balatsos’ drawing maps a building and records the parallel vertical lines of its cladding.
The Essay on Art Censorship Gallery Artwork Censored
Art Censorship In recent news there was a controversy over art shown in Santa Fe Community College's gallery. The artist Pat Payne created obscene religious pictures that for the most part were mocking the Catholic religion. I feel that there is no need for artwork to be censored if in an appropriate place. Placing paintings that may seem to be obscene in an art museum, gallery, or anywhere else ...
Chemigram 30/12/81 I by Pierre Cordier
In turn it feels like Cordier’s work could have influenced some of Bernard Frize‘s abstract paintings. Whilst Ranson has produced a print and Cordier has worked with photography albeit in a painterly fashion, Frieze frequently paints bold, sweeping, continuous lines, which similarly retain the marks of a wide brush.
Meanwhile Cordier’s Chemigram 7/5/82 II “Pauli Kleei ad Marginem” (1982) has been linked to referencing Paul Klee‘s Ad Marginem (1930), which seems to depict the sun surrounded on all sides by birds, flowers and abstract figures, who could be worshipping it. However, due to its triangular centre this reminds more of the classic album cover for Pink Floyd’s The Dark Side Of The Moon by Hipgnosis and George Hardie (1973), with some edges perhaps bitten by snakes ala the computer game, whilst the curve cornered straight forms reflect upon the shape of the extending character.
Chemigram 7/5/82 II “Pauli Kleei ad Marginem” by Pierre Cordier
Across these three media we find aesthetics that function similarly across these art forms, with both linear order, aligned with architecture and planning regulations, and the unpredictability of human interaction and nature.
The Essay on Comparison Of Avant-Garde & Formal Art Work
A Comparison of Formal and Avant-Garde Artwork Modern art is a unique creation all it’s own, and since it’s beginnings there have been two very distinct groups present. They are the Formalists and the Avant-Garde. The Formalist group believes in the literal representation of the art work. They value the form used, whether it be how the colors are stressed or the techniques used, over the idea ...
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Tags: Adam Chodzko, Alex Bunn, Alex Zika, Bernard Frize, Contemporary art, Featured, George Hardie, Hipgnosis, Jonas Ranson, Linear B, Mafalda Santos, Nadège Mériau, Nikos Alexiou, Pink Floyd, Remy Rivoire, Richard Wentworth, Stephen Lawrence Gallery, The Mews Project Space, University of Greenwich, Vassili Balatsos
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Categories Art, Contemporary Art, Photography, Sculpture
The Sculpture of Gabriel Kuri and Others
9 Nov
Gabriel Kuri’s exhibition at South London Gallery includes a variety of sculptural work that appears to draw wide-ranging artistic references and political comment. Untitled (Scoop) (2011) feels like a twist between Richard Serra‘s Tilted Arc (1981), tilted further until it is elevated off the ground, and Ellsworth Kelly‘s similarly segment-shaped canvas White Curve (1974), whilst it is painted with a smooth block of dark red colour in the Field Colour Painting style of Kelly, but taking this into a more three-dimensional form. Meanwhile the steel nature of this work and red painted finish also seem to reference the sculpture of Sir Anthony Caro. Where Kelly’s work is hung away from the wall, Kuri’s similar Untitled (3/4 Blue) (2011) is raised off the ground on a blanket, seemingly suggesting installation work is still in progress.
Gabriel Kuri, Untitled (Shells and Stubbed-out Cigarettes), 2011, prototype voting table and mixed media, installation view South London Gallery. Photo: Marius W Hansen. Image courtesy the artist and the South London Gallery.
Some of the works may appeal to smokers (and those anti-smoking) as cigarettes feature. In Untitled (Charted Topography) (2011) a series of resin casts have been made in the ribbed bottom of plastic bottles which have been used as ashtrays and hence Kuri has preserved the evidential cigarette ends like fossils, probably even locking in a trace of DNA like a fly trapped in amber as used in Steven Spielberg’s Jurassic Park. Beneath the table sits a wholesale pack of water bottles, seemingly suggesting that one is used each day. I recently saw Lewisham Stop Smoking campaign advertising funding for relevant public projects; perhaps they should commission some of Kuri’s art. However, which way do you think the giant roll-up cigarettes or cigars of Untitled (Shells and Stubbed-out Cigarettes) (2011) leans? Are they a smoker’s dream, like the giant billboard cigarettes of the past or do they highlight the dangers of smoking, with the title potentially referring to them as a ticking explosive device? On the other hand, this work may discuss gender politics through sexual connotations of phallic cigarettes and concave shells, with the prototype voting table dividing the objects into heterosexual and homosexual couples, and creating boundaries between them.
The Essay on Famous Art Work Analysis
Paul Cézanne, Still lifeI really liked Cézanne's still life because; it is full of life, like the fruits are just taken from the tree. It is very different from the Holland's still lives. There everything is like a picture, no life just an image. In Cézanne's painting fruits look like every one of them has a soul. When I look at this picture it always make me happy and put smile on my face is so ...
Gabriel Kuri, Untitled (Shelter), 2011, mixed media, dimensions variable, installation view South London Gallery. Photo: Marius W Hansen. Image courtesy the artist and the South London Gallery.
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Tags: Anthony Caro, Art, Contemporary art, Credit card, Ellsworth Kelly, Featured, Frieze Art Fair, Gabriel Kuri, Gender politics, London, Michael Landy, Michelangelo Pistoletto, Monika Sosnowska, Paolo Cirio, Richard Serra, Scott Myles, Serpentine Gallery, Smoking, South London Gallery, Stationary, Tilted Arc
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Categories Art, Contemporary Art, News and politics, Sculpture
London Art Fairs 2011: Bold and Textured
16 Oct Not Yet Titled 7 (2011) by Nick van Woert at Frieze Art Fair
So, it’s show time for the art world in London. Across the fairs and events visited thus far it seems there are trends for colourful work in bold primary and secondary colours and for textured work.
These themes began to emerge at the Pavilion of Art & Design London, where works for sale particularly include a number of pieces by Agostino Bonalumi on Galerie Vedovi’s stand, which build geometric patterns by stretching the canvas over various obstacles, some slashed work by Lucio Fontana, several Antoni Tàpies relief paintings, and a collection of collages by Roy Lichtenstein plus a design for a contemporary tapestry. Here there seemed to be a particular choice of works with texture as the fair also contains a number of design stands, whilst the majority of work for sale is mid twentieth century.
The Term Paper on Pay Attention Art Works Chicago
This world is full of different concepts, ideas and emotions that artists tries to express in their works. Every each one has it is own unique way and in this assignment I learned about some Earth Art, Conceptual Art, Visual and Installation Art. The first artist I want to write about is Paik, Nam June who was born in 1932 in Korean. He is an American performer and conceptual artist works mainly ...
At the Frieze Art Fair, Marc Quinn has left his Fingerprints all over Galerie Thaddaeus Ropac’s stand. Indicating personal identity, authorship and uniqueness, the coloured version of this relief work seems to highlight the bacteria we may come in contact with in our daily lives, each secreting itself in a different groove in the texture of the finger print.
Fingerprints by Marc Quinn at Frieze Art Fair
Magali Reus’ Balance Sheet series on Galerie Fons Welters’ stand contrasts roughly textured silicon rubber with shiny, smooth aluminium grilles.
Balance Sheet Series (2011) by Magali Reus at Frieze Art Fair
Nick van Woert’s Not Yet Titled 7 (2011) on Yvon Lambert’s stand references Liam Gillick’s work and acts as a room divider almost akin to Richard Serra’s Titled Arc (1981), but is partially transparent. A series of equal blocks are stacked horizontally, each containing different textured materials in different bold colours, including liquids, loft insulation, wire wool, chippings and powder.
Not Yet Titled 7 (2011) by Nick van Woert at Frieze Art Fair
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Tags: Agostino Bonalumi, Alex Israel, Antoni Tàpies, Art, Barnett Newman, Contemporary art, David Birkins, Edith Dekyndt, Featured, Frieze Art Fair, Julia Vogl, Liam Gillick, London, Lucio Fontana, Magali Reus, Marc Quinn, New Sensations Prize, Nick van Woert, Pavilion of Art & Design London, Peter Peri, Richard Serra, Roy Lichtenstein
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Categories Art, Contemporary Art, Life
When Does Minimalism Become Too Minimal?
8 Oct
It was recently pointed out to me that there has been a lot of minimal art produced recently, and the exhibitions this article discusses feature minimal and monochromatic works, but can minimalism go too far?
Florian Pumhösl’s part of the current exhibition at Raven Row consists of two floors filled with a series of minimal works on glass. This choice of unframed medium seems to reflect upon Joseph Kosuth‘s works including Clear Square Glass Leaning (1965) and No Number #1 (+216, After Augustine’s Confessions) (1989), and to the latter of these there also seems to be a link in David Batchelor‘s Shelf-like No. 5 (Green) (1999), currently on display at the Whitechapel Gallery in their latest exhibition of the Government Art Collection. However, where Kosuth applied text to the medium using Letraset and later silkscreen, Pumhösl has composed and painted a series of abstract black lines, numbering between two and six on each piece. These lines might describe journeys, lines of communication, horizons, or statistical graphs, but there is no information within the work for viewers to read the artist’s intention or act. To the viewer these are simply random lines, some arranged so they create intersections and others vaguely parallel, floating in the liquid plane of the glass, sometimes alike part of paintings by Wassily Kandinsky.
The Essay on Andy Warhol Art Work Factory
The first superstar of American art, Andy Warhol was obsessed with fame, glamour, and money. He is best known for his images of stars and celebrities and for his reproductions of symbols of the American society. Andrew Warhola's (he later dropped the "a") birth date is uncertain, Andy said himself that his birth certificate had been forged and June 6, 1928 became the date taken as his birthday. ...
Whilst Pumhösl’s work fits within the broad nature of minimalism and perhaps Abstract Expressionism, The Mews Project Space is hosting an exhibition of monochromatic works, which critically address minimalism and its practices from within. In the first room of Dark Matter Jonathan Lewis has set out to recreate the installation conditions of Kasimir Malevich‘s seminal Suprematist exhibition, The Last Futurist Exhibition (1915), but Lewis uses only a series of prints of Black Square on White in different size and style frames and digital printing means and materials. However the focus of The End (2011) is on the pixelation of the image, which unlike Lewis’s previous work is due to the prints being taken from a very low-resolution image found online. This includes a rather bizarre square of different shade off-white pixels in each corner like an unreadable QR code or the tags within a graphic design software package for manipulating the dimensions of a selected image. Then a greyish line of pixels forms a border between the two areas, as though the image could be of a black surface over layered with a white mount board casting a slight shadow. Such is the case that online information, particularly that resourced from search engines that pick up any text on a page, can be confused between original pieces and things inspired by a master, hence it is possible that this may not be an image of the original. Consequently the work questions the capability of communication of knowledge and ideas through the internet and the actual minimalism of artworks including Malevich’s. Do they conform to machine-accurate straight lines or is the presence of human nature visible in brushstrokes and minor imperfections?
The End (2011) by Jonathan Lewis at The Mews Project Space
Opposite, Andreas Schmidt’s Free Porn critiques censorship on Google Images suggesting that there is either too much censorship or that the pornographic images obscured in this work are too easily accessible and without payment to the models and photographer. Furthermore Schmidt may be critiquing several layers of censorship; that of the images, the power of Google and other search providers to control what you can find on the internet, and also that within the art world.
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Tags: Andreas Schmidt, Art, Barbican Centre, Black & White, Contemporary art, David Batchelor, Florian Pumhösl, Government Art Collection, Jean Keller, Jonathan Lewis, Joseph Kosuth, Junya Ishigami, Kasimir Malevich, Kazimir Malevich, London, Minimalism, Mishka Henner, Raven Row, Suprematism, The Mews Project Space, Whitechapel Gallery
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Categories Art, Contemporary Art
Works of Art for All Surfaces
26 Aug 3, 2, 1, 0 A A and away 1, 2.. (2011) by Carlos Noronha Feio
Works of art can be designed to be installed practically anywhere, but one under used area is the ground we walk on. ArtCritiqued.com has tracked down a selection of artists making work both for and with floor surfaces that could be used by the dedicated collector, if you wished, to cover that last remaining blank space in your home.
Detail of 3, 2, 1, 0 A A and away 1, 2.. (2011) by Carlos Noronha Feio
Carlos Noronha Feio has designed a series of Arraiolos carpets, which depict images of modern technology that may be used in war such as jet fighter planes, tanks, rockets and satellites, although they can also have many other peaceful technological and exploratory functions. This is highly political work, like the doormat-size carpet seen in the window of a Mayfair carpet dealers depicting a United States Five Dollar Bill across its entire width, which offers conflicting potential views of American patronism and luxury, versas walking over a past president and abandoning capitalism or commercialism. In Feio’s work the blood shed by those on the front line, along with civilian casualties in situations such as the dropping of the atomic bomb in Hiroshima, is interwoven with that of the carpet makers, whilst Feio seemingly keeps his hands clean in designing the piece like a political or military leader. This work consequently seems to question the reason for the existence and production of the depicted things, as the ownership of nuclear defence weapons seems questionable when no one would want to use them, and hence the work also addresses man as his own worst enemy.
These pieces have the feel of the tapestries worked up from Raphael’s cartoons for the Vatican. However, although the tapestries were the intended final work for Raphael’s commissioners, though not completed until after the artist’s death, the cartoons are revered and preserved in the V&A, but Feio’s designs have not been exhibited, though probably Raphael’s were never seen until after the artist’s death, apart from to be checked off by the Vatican prior to weaving, and may not have been intended to be seen.
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Tags: Abron Arts Center, Arraiolos, Art, artwork, Carl Andre, Carlos Noronha Feio, Carpet, Contemporary art, Crafts, Doris Salcedo, Film preview, Fischli and Weiss, Floor, Ian Davenport, IMT Gallery, Kate Terry, London, Lucio Fontana, Margarida Gouveia, Raphael, Red Carpet, Robert Morris, Royal Academy, Slavoj Zizek, Soheila Sokhanvari, The Mews Project Space, United States, United States Five Dollar Bill, Visual Arts, Yves Klein
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Categories Art, Contemporary Art, Design, Photography, Textile art
The Kinetic Flow of Light
15 Jul Peripheries #7 by Roy Exley
A theme emerged amongst a selection of the graduates in the Royal College of Art MA Show’s Sculpture Building of making works about the flow of light and this seems to have flowed out of this institution to the wider London art scene.
Untitled (Vents1&2) (2011) by Brendan Giles
Brendan Giles‘ works at the RCA, Untitled (Vents 1&2) are sculptures of vents in which only selected slats are open and exist whilst the rest is solid. This creates an asymmetric pattern of lines where a little daylight can be seen hitting the wall behind the work, like some of Liam Gillick’s sculptural pieces that divide space. Perhaps, however, Giles’ works are actually more about the flow of air in and out of city buildings with vast air conditioning systems.
Oscillator-Aerator (2011) by Sara Knowland
Sara Knowland’s Oscillator-Aerator at the Royal Academy Schools Show bares a similar form but in wood painted grey rather than plaster and seems to directly reference the form of Julian Opie’s H (1987).
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Tags: Aikaterina Kremasiota, Anish Kapoor, Art, Benjamin Orlow, Blinds, Brendan Giles, Ceal Floyer, Contemporary art, Goldsmiths, Julian Opie, Liam Gillick, Light, London, Mark Davey, Max Eastley, Photography, Projection, Raven Row, RCA, Robert Lye, Roy Exley, Royal Academy Schools, Royal College of Art, Sara Knowland, Sculpture, Sungfeel Yun, Vertical Blind, Visual Arts, Walter Marchetti, Window blind
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Categories Art, Contemporary Art, News and politics, Photography, Uni
The World in Miniature
5 Jul
Unit (2011) by Poppy Bisdee
Poppy Bisdee‘s Unit (2011) was one of the highlights of the Wimbledon College of Art BA show. In this work she photographed the exhibition space on all sides including the floor, without a trace of the photographic means. This includes the building supplies that are left on show in the exhibition spaces here, with the power sockets becoming a particular focal point in this piece, like Bradley Hayman‘s work Tunnel Vision at the Sassoon Gallery in 2009 featured the furniture and fire extinguisher as in the space when originally viewed.
Tunnel Vision (still) (2009) by Bradley Hayman
Bisdee has then printed her photographs on acetate and reconstructed a miniature version of the room except for the wall farthest from where it is projected back onto using an overhead projector, creating a three-dimensional effect of being inside the room, whilst being drawn to consider the relationship between the projected sockets and the real one which is projected onto. Bisdee has turned simplicity into beauty. From a simple and minimal photographic act, she has created an interesting three-dimensional piece both within the acetate form and within the spatial installation.
Summer Holiday Dreams (2011) by Haruka Ono
Meanwhile at the Slade MFA show Haruka Ono created a miniature world from an entirely different medium, frozen food. Summer Holiday Dreams is a three-dimensional tropical landscape made up of battered fish and chicken nuggets whilst green beans form greenery protruding from the ground or hanging as palm leaves from trees. This is a curious dialectic work, depicting a tropical place in frozen food, which is contained in a modified commercial chest freezer with a glass top. Miniature toad in the holes form small boats floating on a sea of blue ice cream (pistachio perhaps) as a wave breaks towards them in cream or vanilla ice cream. It seems this work critiques the food it uses as a medium perhaps for its healthiness but more so for its environmental impact, using electricity likely generated by burning fossil fuels to preserve it, and its absent packaging clogging landfill, whilst the freezer, likely reclaimed from scrap, contains CFC gases. This work also shows the childlike playfulness of Fischli and Weiss’ The Sausage Photographs (1979), reflecting art and creativity as skills we are born with, but which most repress as they grow older.
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Tags: Art, Bradley Hayman, Everyday, Fischli and Weiss, Food, Frozen, Haruka Ono, James Casebere, Models, Nadège Mériau, Poppy Bisdee, RCA, Royal College of Art, Scale, Slade School of Fine Art, University of the Arts London, Wimbledon College of Art
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Categories Art, Contemporary Art, Photography, Uni
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Featured Articles
Sudo, 2010 by Damien Meade. Oil on linen on board 55 x 44.5 cm.
Creating Distorted Figures
Tate Britain‘s exhibition Picasso and Modern British Art sets out to trace Pablo Picasso‘s influence on Britain. Hence much of the exhibition looks at British artists influenced by Picasso, including Henry Moore, Francis Bacon and Ben Nicholson, drawing upon the research carried out for other recent exhibitions and the Tate’s own collection, and the exhibition consequently […]
Plans for a New Mausoleum at Halicarnassus (detail) (2011) by Jonas Ranson, silkscreen print on paper.
Mapping the Collection
The Linear B exhibition at the Stephen Lawrence Gallery has been curated and created around the principle that each artist’s exhibited work takes inspiration from an artwork in the collection of the late artist Nikos Alexiou. What emerges are a whole series of other connections that can be seen in the work to other artists, […]
The Sculpture of Gabriel Kuri and Others
Gabriel Kuri’s exhibition at South London Gallery includes a variety of sculptural work that appears to draw wide-ranging artistic references and political comment. Untitled (Scoop) (2011) feels like a twist between Richard Serra‘s Tilted Arc (1981), tilted further until it is elevated off the ground, and Ellsworth Kelly‘s similarly segment-shaped canvas White Curve (1974), whilst it […]
Not Yet Titled 7 (2011) by Nick van Woert at Frieze Art Fair
London Art Fairs 2011: Bold and Textured
So, it’s show time for the art world in London. Across the fairs and events visited thus far it seems there are trends for colourful work in bold primary and secondary colours and for textured work. These themes began to emerge at the Pavilion of Art & Design London, where works for sale particularly include […]
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Index of Articles
Creating Distorted Figures
Mapping the Collection
The Sculpture of Gabriel Kuri and Others
London Art Fairs 2011: Bold and Textured
When Does Minimalism Become Too Minimal?
Works of Art for All Surfaces
The Kinetic Flow of Light
The World in Miniature
The Art of Selling and the Selling of Art
Under the Surface
Nothing’s Ever As Simple As Black and White
Explorations in Materiality and Texture
Artists Making a Mark with their Bodies
A Comparative Study in Space and Sound
The Gallery as a Dance Hall
All That Glitters Isn’t Necessarily Gold
Constructing Photography Now
Drawing in space
Curated to Confuse?
New Contemporaries
Gauguin, etc.
2011, The Year Ahead
Still (expanded post)
Welcome to ArtCritiqued.com
fotolog/
Tate Britain Summer 2010
All Systems Go
Henry Moore – More of an influence on contemporary art than you might think
The Scribble in Contemporary Art
Deutsche Borse Photography Prize 2008 at The Photographers’ Gallery
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New article Creating Distorted Figures online at http://t.co/mFFMTkHP features @Tate @StudioVoltaire @CharlieDutton @IMTgallery & @Gagosian 6 days ago
Our next article however will be on abstract portraiture though. #comingsoon #sorryforthewait 2 weeks ago
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