It seems as though we have a very exciting and proactive collection of artists here at Gallereo, who go a long way to making things happen and to have their work shown to a potentially adoring public.
How does an exhibition in a light house, on a small island off the North East coast of England sound? Like a challenge, right?
Well, a group of artists have managed to organise such an exhibition, and they should be proud of the fact.
Fragments, as the exhibition is titled, will be showing at St Mary's Lighthouse, in Whitley Bay, from 27th August, through to the 1st September.
This is the first time that an exhibition has been held on St Mary's Island and it will feature paintings, sculpture and photography from 6 artists. Alysia Anne, and Darren Shields are two of the artists that will be showing at the lighthouse, and are familiar to us here at Gallereo.
Alysia Anne joined us back in April. As a student from New Jersey, but currently studying at Northumbria University for a BA in Fine Art. Alysia works competently in both painting and photography, exploring form and colour, and using multiple exposures in her photography to created hauntingly layered images.
Darren has also been with us since April, and working under the alias Arctoa, specialises in the abstraction of photography, drawing on influences and inspirations from dreams, memories and the dislocation that can be found in alternate perceptions of reality.
If you want to go along and check out the show, make sure to take note of the times of the tides so that you can time your trip to the lighthouse.
Printfest 2011 looks set to be a great event this year, with printmakers from across the UK, and beyond, signing up to be part of the 2011 festivities.
Printfest is the only print fair to be held in a rural location, and to be dedicated to the exhibition of contemporary printmakers works. Taking place at the Town Hall in Ulverston, in the Lake District, Printfest always has a wide array of print mediums available for viewing and purchasing, often with some truly magnificent hidden gems.
This year the fair takes place on Saturday 30th April, and Sunday 1st May, from 10am to 5pm, and more than 40 national and international printmakers are going to be taken part. We've been down to view the proceedings for the past couple of years, and have never been disappointed with the quality and variety of work on show.
With this year being the 10th anniversary of Printfest, there has been a large-scale work commissioned from this year's Printmakers of the year, Trevor Price. That work will be unveiled later this year as part of Printfest proceedings.
Gallereo is proud to say that we have been building relationships with printmakers from this Cumbrian event over the past few months, two of which will be showing their artwork at the event this year.
Marion is very much integral to the Cumbrian art scene, having previously taught art in places such as Merseyside, Newcastle and Northumberland in the UK. Moving on from there, Marion now teaches painting and printing in Adult Education, and is the County Co-Ordinator for Arts and Crafts in Cumbria Adult Education.
Having secured an MA in Contemporary Arts Practice at Cumbria University in 2000, Marion is a perfect example of the strength and variety of printmakers to come out of the North-West.
Marion creates works based on biological and geographical forms, on an intimate scale, often seeming like works of science fiction. Marion also experiments with seasonal variations of similar scenes, highlighting the way that light and nature alter throughout the year.
Marion will have a full range of prints available for view and purchase at Printfest this year. You can take a sneak peek at her linocuts, screen prints and etchings on her gallereo website.
Ben is an East Anglian printmaker, who has also been able to make a name for himself in the North-West.
Using strong narrative, and scenes taken from his own travels, Ben has built up a series of paintings, prints and collages that are colourful and humorous as depictions of human interactions with nature and their surroundings.
As well as being a prolific printmaker, Ban also runs a community based art programme called Rural Mural Community Arts, encouraging community involvement in the process of art making.
Between Ben's community work, and his own endeavours as an artist, he has been able to exhibit widely, with exhibitions in Lewisham, Peckham, Colchester, Norwich, Bradford, Manchester, and of course the Lake District. As well as being widely exhibited, Ben has also received a number of commissions and residencies including a print residency in Norfolk Schools, and a commission from Peterborough General Hospital.
Ben will also have a nice array of prints available at Printfest this year, may of which can be previewed on his gallereo website.
Come along to Printfest 2011, meet some absolutely excellent printmakers, and have a chat with us if you want to find out more about what we do in the art community!
A general view of several works by Chilean surrealist artist Roberto Matta that form part of a retrospective exhibition celebrating the 100th anniversary of the artist's birth, at the Instituto Valenciano de Arte Moderno in Valencia. EPA/JUAN CARLOS CARDENAS.
Today's post is a little bit of a guilty pleasure, and I say that because my fascination with painting really hit a massive surge when I was very young after I fell in love with Chilean Surrealist artist Roberto Matta. The strong graphic appeal of his work and the space-age, futuristic stylings of some of his paintings were a massive draw for me. I think that period of trying to get to know more about Matta's work, and being exposed to his creations has informed how I relate to art and the styles that I find most pleasure in now.
Personal indulgence over, the reason for the resurgence of my fanaticism is that a retrospective of Matta's work has gone on show in at the Instituto Valenciano de Arte Moderno in Spain, to celebrate the 100th anniversary of the artists birth.
This celebratory event comprises around 32 of Matta's paintings, which highlight the reasons why he is considered to be one of the greatest Surrealist artists of the 20th-century. He was integral to the continual development of Surrealism throughout the modern period and it's transference from Europe to America.
Matta began traveling in Europe in 1933, after training as an architect in Chile, having the good fortune to meet and work with famed architect Le Corbusier. He arrived in Paris in 1935 and it was there that he honed the artistic skills and styles that we now associate with his work. He was very much involved with the artistic community in Paris, working with the likes of Picasso, Miró and Magritte, before he was invited to join the Surrealist movement in 1937, thanks to an introduction to leading Surrealist André Breton.
His move to New York in 1939, at the outbreak of World War II, saw him bridge the Atlantic gap. His personality, innovative pictorial creations and fascinating technique meant that he received a great amount of attention from the American school, leading him to influence such important artists as Robert Motherwell, Arshile Gorky and even Jackson Pollock. As well as having had a huge impact on Surrealism, it's clear from these names that Matta also had a hand in encouraging stylistic developments in Abstract Expressionism, although Matta was never part of that movement.
This retrospective in Valencia runs until the 1st May and is not one to be missed for anyone with an interest in Surrealism, or who would like to learn more about one of the most interesting and influential figures in 20th-century art.
2009 marked the centenary year of MI6, the British Secret Service, and to commemorate the occasion, they invited artist James Hart Dyke behind the scenes of the legendary organisation in order to observe what truly goes on in the world of espionage.
Dyke is no stranger to top class missions and facing dangerous situations for his art. Previous projects that he has worked on have included painting in war zones with the British Forces and accompanying HRH The Prince of Wales on foreign royal tours. His latest mission with MI6 is now the subject of an exhibition at Mount Street Galleries in London, although everyone involved is quick to point out that none of the drawings or paintings that are on show reveal any sensitive information about the Secret Service or its agents.
For the first time, we can now get a glimpse at an outsiders unique rendition of the existence of those who work for MI6. The paintings and drawings are said to have a great amount of mystique and ambiguity that reflects upon the manner in which the the work of the MI6 agents is often surreal and even glamourous to us as viewers.
Dyke is said to have found the project very challenging, given that there were a great many restrictions and limitations to what he could be exposed to while at Vauxhall Cross, the Secret Service headquarters. Each and every observation that he made has been highly scrutinised and screened before being allowed to go on public view, and he was limited in the amount of time that he could spend painting on location.
The outcome of the project is certainly fascinating, and strikes up a great amount of curiosity. Here is our chance to move beyond the myth of James Bond and find out what it's really like to be a secret agent.
James Franco may be particularly well known for his acting roles in films such as Spiderman (1, 2 and 3), Pineapple Express or more recently 127 Hours. Franco has been in the press a lot recently with regards to the latter movie presentation as he plays the role of Aron Ralston; the climber and outdoor sports fanatic who notoriously ends up trapped under a boulder in an isolated canyon, where he has to remove his own arm in order to escape.
Directed by Danny Boyle, the film has had a lot of press surrounding the the fact that there has been a high faint-rate amongst initial audiences.
Looking forward to 2011, it's not Franco's film career that we are curious about, it's his career as an artist. He made his move into the art scene back in June this year, where he exhibited at the New York Clocktower Gallery. The show, entitled The Dangerous Book For Boys, was curated by the founder, and former director of P.S.1 Contemporary Art Centre, Alanna Heiss; adding a certain level of validity to what may have otherwise been overlooked as a celebrity indulgence.
Franco's 2011 exhibition, which is to be held in Berlin at the Peres Projects Gallery, will be an expansion upon the work shown in The Dangerous Book For Boys show. The work looks at themes of boyhood and sexual confusion in adolescents. Reportedly, the show will contain many of the same videos as the show at the Clocktower, but will have more drawings, paintings and photographs by the artist.
Speculation about how the work will be priced, given Franco's Hollywood celebrity status, and the reasons for him opting to show in Berlin, rather than closer to home has been on the rise since the exhibition was announced. In various interviews, including one with ARTINFO, gallery owner and curator Javier Peres has commented that the works have yet to be priced, but that they are likely to be "quite reasonable".
As for having Berlin as the host city to the show, it has also been suggested that Franco may be taken more seriously as a fine artist in Europe than he would in the States. Peres has said that, "we don't have the same general fixation on [celebrity] in Germany". Whether that is true or not, Berlin is certainly an amazing city to exhibit in if you are a contemporary artist; it's a great hub of artistic energy and there are some great galleries there.
Franco's show will open in February, during which Franco will also be screening a film at the Berlin Film Festival.
Installation of Andy Warhol Enterprises at the Indianapolis Museum of Art
I think it goes without saying that not all artists are in it for the money, many artists construct, create and innovate because that's what they love to do. Andy Warhol, however, was definitely in it for the money.
The commercial and business aspects of art fascinated Warhol and infiltrated every aspect of his artistic practice. Before Warhol truly became Warhol as most of us know him, he was a commercial artist for magazines and publications, creating illustrations for articles or advertisements.
Upon breaking into fine art circles, Warhol didn't dropped the commercial drive that had brought him from Pittsburgh to New York in the first place, in fact, he saw the creation of art as an opportunity to make big bucks.
Warhol and Pop Art are inseparable; Pop Art being a movement that started in England, but really found its leg in the US where artists were truly able to grab hold of commodity culture and popular culture that was built on ease of living and excess.
Warhol was building up his Pop Art oeuvre at a time when the New York Abstract Expressionists were bringing art down to abstracted canvases depicting the emotive stroke of the paint brush or the emotional pull of colour above that of figurative depiction. There are artists like Jackson Pollock creating his 'paint splash' canvases or Franz Cline with his sweeping monotone depictions.
In parallel to the Abstract Expressionists, Warhol was working at a time when Capitalism in was viewed skeptically or even with hostility by many artists and creative types.
Warhol was never shy about his exploits in the art world, and never tried to hide his commercial goals or drive for money. He is famously quoted as having said that "Making money is art and working is art and good business is the best art". He also named his studio The Factory, opening alluding to is as a place where works are commercially produced on mass for economic gain. Throughout his career, money, consumerism and celebrity culture have filled his canvases as he depicts everything from dollar signs to Elvis Presley, sex and drugs to Superman.
Right now there is an exhibition of Warhols work at the Indianapolis Museum of Art entitled, Andy Warhol Enterprises. The exhibition takes a look at Warhol as businessman and commercially successful artist; taking views on how Warhol treated money and art during his life.
The show runs until 2nd January, visit the website for more information about visiting.
Every year, Tate Britain in London invites an artist to create a Christmas tree for the gallery and this year, Tate has commissioned conceptual artist Giorgio Sadotti to do the honours.
Sadotti was born in Manchester in 1955 and currently lives and works in London. As a conceptual artist, his work includes instances of sculpture, sound, performance, collage and photography, with his work having been exhibited around the world at institutions such as Tate Modern in London, PS1 MoMA in New York, Kunsthalle in Vienna and The Henry Moore Institute in Leeds.
The work created at Tate Britain this winter is entitled Flower Ssnake, which consists of a Norwegian Spruce displayed in the gallery's neoclassical rotunda, without decoration. At the bottom of the plain tree lies a bull whip, coiled up under the branches.
The tree will remain naked in the gallery until the twelfth night of Christmas, when a one off performance will illuminate the tree to celebrate the end of the festive period. The performance will take place on the 5th of January at 7pm.
Respected New York Art critic Jerry Saltz has revealed the Top 10 Art Shows of 2010 in the New York Magazine. In his run down of exhibitions, the Guggenheim certainly has something to celebrate this year, with the top two positions being filled with exhibitions of their making.
Here's what Saltz had to say on the New York art scene for 2010.
1. "Chaos and Classicism" at the Guggenheim, New York
Curated by guest curator, and art history icon, Kenneth Silver, this exhibition is on at the Guggenheim at the moment, and runs through until the 9th January. The exhibition looks at art from France, Itally and Germany between 1918 and 1936. A period buried in the horrors of World War I and in which society is trying to get to grips with what art should be about and how society can moved forward after such atrocities.
Saltz comments that "Thanks to [Kenneth Silvers] show, we have a clearer, less formalist idea of what was going on across Europe between the wars. As we've long suspected, art didn't simply march forward from Cubism in the teens, through Dada and Surrealism in the twenties and thirties; it made some strange pit stops along the way, into an often disturbing realism."
View the introductory video for the exhibition, voiced by Kenneth Silver himself:
2. "This is Progress" by Tino Sehgal at the Guggenheim
In complete contrast to the Chaos and Classicism exhibition, This is Progress relied on the gallery environment, gesture and the subtlety of the lived experience for its impact, rather than on any physical objects. You would be accompanied by an actor, for a walk up parts of the ramp at the Guggenheim and able to interact in conversation with them.
What Saltz loved; "That Sehgal's creation - as real as the Mona Lisa - offered such an expansive and moving (emotional and physical) definition of art"
3. "Heat Waves in a Swamp" at the Whitney Museum of American Art
Curated by Robert Gober, this exhibition re-exposed the audience to the American visionary Charles Burchfield. In his primary subject matter of landscapes, Burchfield leads us on a unique and often mystical tour of the things that surrounded him in his life. As Saltz puts it "[Burchfield turned ordinary things into errie...utterly original, even magical art."
Charles Burchfield, An April Mood, 1946–55. Watercolor and charcoal on joined paper, 40 × 54 in. (101.6 × 137.2 cm). Whitney Museum of American Art, New York; purchase with partial funds from Mr. and Mrs. Lawrence A. Fleischman 55.39.
4. Sarah Sze at the Tanya Bonakdar Gallery, New York
Sarah Sze is always an interesting character, with her immense creations compiled out of found and everyday objects. You never quite know whether her structures are to serve some purpose or meet a desired goal. Whatever form they take, they are endlessly captivating.
In September / October this year, Sze exhibited across two storey's of this gallery, leaving little space left unexplored or "transformed into the abstract machine" that is typical of Sze's oeuvre.
Sarah Sze, The Uncountables (Encyclopedia), 2010. Tanya Bonakdar Gallery
With 6 more shows making it onto Saltz top 10 list, head over to the New York Magazine website to read about the rest and find out what Saltz had to say.
Also, why not let us know what you favourite shows of 2010 were, and why.
The Front/Back cover of David Drebin's latest book, The Morning After
One word that you often hear around the work of Canadian photographer David Drebin is cinematic. Having moved to New York to attend the Parsons The New School for Design, graduating in 1996, has has become well known for his sexy and dramatically posed images of both celebrities and non-celebrities alike.
Drebin has some impressive commercial projects on his resume, including campaigns for AMerican Express and Davidoff, as well as contributing to leading magazines like GQ, Vanity Fair, Elle and Rolling Stone.
In Europe, you are most likely to come across Drebin's work through the Camera Work gallery in Berlin, who are responsible for representing him on the Continent. As a business Camera Work AG owns one of the worlds most comprehensive collections of photography and photographic books, from photographers such as Richard Avedon, Dorothea Lange, Paul Strand, Man Ray, Diane Arbus and Robert Frank. The gallery itself presents an ever changing array of exhibitions, participates in art fairs globally and works closely with museums and collectors to encourage the acquisition of photographic works.
Camera Work is currently hosting an exhibition of Drebin's work, entitled "The Morning After", which coincides with the release of his latest photo book of the same name. His works are credited with the ability to pull the viewer from reality and to allow them to delve into the mystery and illusion of these cinematic scenes that he creates. Famed perhaps for his night shots of brightly lit cities like Hong Kong and New York, Drebin has a talent for inserting drama and intrigue into his urban settings.
This latest exhibition at Camera Work will run until the 15th January 2011.
Kurt Kranz: Programming of Beauty is the latest exhibition to be held at Bauhaus in Dessau, Germany. The exhibition is set to mark the 100th birthday of Kranz who, inspired by a lecture by Laszlo Maholy-Nagy, joined the Bauhaus in April 1930.
The Bauhau was a design school that was active between 1919 and 1933, and despite its short lifespan, is has left a lasting mark on the history of architecture, design, art and even 20th century culture as a whole. The Bauhaus was a melting pot for artists, architects and designers to come together in a place that promoted creation and debate about the relationship between modern living and cultural productions.
Founded in 1919 by Walter Gropius, the Bauhaus encouraged its teachers and students to consider how craft and design are integral to industrial production and that all aspects of art and design, and how they are used to construct objects and spaces, will be central to the development of society.
In 1923 the focus of the Bauhaus became every more industrial. The first Bauhaus exhibition, which opened in 1923, saw a unification of art and technology, covering the whole range of Bauhaus modes of production, from art and photography, right up to full scale building design.
The Bauhaus moved to Dessau in 1924 due to strict funding cuts, and it is there that many of the great works of art and design that we associate with the Bauhaus were created. Walter Gropuis resigned as director of the Bauhaus in 1928, due to the constant struggles that were necessary to keep the school alive and thriving under conditions in Germany at the time. He was succeeded by Swiss architect, Hannes Meyer, who held key Bauhaus concepts close at heart however, his Marxist sympathies saw him removed from the post in 1930, given the political turbulence in Germany in that period.
Famed architect, Ludwig Mies van der Rohe took charge from 1930 to 1933, changing the focus of the Bauhaus to concentrate more on architecture. As the Nazi party began to really take hold in Germany, the Bauhaus was first forced to move away from Dessau in 1932, before finally closing down in 1933 under increasing pressures from the Nazis.
Kurt Kranz can be counted amongst the many great artists, architects and designers that proudly attended the Bauhaus school of design, and although he joined in 1930; just three years before its closure, the things that he learned at the Bauhaus would stand him in good stead for the rest of his creative career.
Kranz took a class in photography under Walter Peterhan, learning how to experiment with the medium. Kranz went on to produce striking abstract works based on the repetition of an image or theme. As well as celebrating these abstract photographic works that were produced during the Bauhaus years, the exhibition also takes a look at Kranz's later work as an advertising graphic designer and how his earlier experiments informed his later career.
The exhibition will run until the 27th March 2011 at the Bauhaus Building in Dessau. For more information, please visit the Bauhaus website.