The House of Illustration is not new. It launched in 2002 as a UK illustrators’ collective, spearheaded by Emma Chichester and indeed Quentin Blake himself, and has since attracted the attention of illustrators Peter Blake, Lauren Child, Sara Fanelli, David Gentleman and Jan Pienkowski, as well as Philip Pullman, Will Alsop and Peter Capaldi, to name a few. They’ve done travelling tours, education programmes and book illustration competitions. What’s new, however, is that 12 years down the line, they have found themselves a permanent home – and a sweet home it is too.
This new exhibition at the Marian Goodman Gallery presents a selection of artists curated by other artists. Bringing together 23 artists of different ages and from various countries including Cuba, England, Holland, Kosovo, Albania and Taiwan, Some Artists’ Artists showcases a multitude of voices in which resonances and dissonances emerge.
Kazimir Malevich (1879 – 1935) was one of the great innovators and explorers of European abstraction. He had a clear sense of the trajectory of style and purpose in the visual arts, and in his eyes, art had an exalted destiny in the modern world. Unlike the Russian artists of previous generations, Malevich could claim to be up to date with European painting: the pioneering collections of Moscow-based Sergei Shchukin and Ivan Morozov were fertile ground for him to study the most interesting avant-garde artists from Claude Monet to Henri Matisse. Accordingly his early work bears the heavy influence of successive styles – Impressionism, Symbolism, Futurism and Cubism. During the long years of his early career Malevich was devoid of an individual style that he could call his own, and his desperate search for one is all too palpable.
Following its unveiling at the Venice Art Biennale last year, Ron Arad’s Last Train project makes its way to London. Ron Arad (b.1951) opens his Camden studio to showcase the large-scale diamond engravings created by a range of artistic collaborations.
Young British artist Caroline Jane Harris, finalist for the 2013 Aesthetica Art Prize, presents her first solo exhibition at Scream in London. Featuring a intricate, detailed and labour-intensive papercutting technique, Harris’ work is inspired by the natural world and the links between natural life forms and man-made systems.
What has, for the last 16 years, been an ambitious programme of photography exhibitions throughout Madrid has shifted course. Diverging from its tradition of engaging one international curator to organize different thematic programming as was the case for the last three years, this year PHotoEspaña’s “Official” programme presents exclusively Spanish photography, organised “in house” with participating venues. This creative strategy was, at least in part, a response to the challenge that all arts organisations are facing, and particularly in austerity-challenged Spain, with significant declines in private and public funding. The silver lining, is that for the first time Spanish photography, from the medium’s earliest days to the present, is finally receiving full attention.
His first exhibition in Argentina, Mendoza Walking showcases two new site-specific works from British artist Richard Long (b. 1945) at the Faena Arts Center. This art centre rose out of the old machine room of an iconic turn of the century mill situated in the historic port of the Puerto Madero district of Argentina. Installed in the central gallery space, Los Molinos, Long’s works utilise materials native to the region and explore the relationship between art and nature.
Tatiana Rais is the Director and founding member of Espacio Odeón: Centro Cultural, a non-profit cultural centre in the heart of Bogota. She is one of the 2014 winners of the British Council Young Creative Entrepreneur Award, which celebrates young entrepreneurs from around the world who are pioneering at the intersection of culture and technology. She speaks to Aesthetica about reimagining a ruined theatre and the cultural life of the city.
London-based artist, Tom Price (b. 1973), heads across the ocean for his first solo exhibition in the USA. Debuting new work at The Nelson-Atkins Museum of Art, his show explores the notions of presence and absence and the idea that these two states are dependent on one another whilst at the same time appear conflicting. Emphasising the notion of contrast, he utilises natural coal and synthetic resin in his work which features hollow bodies and voids of coal alongside large columns of internally-fractured resin.
Jerwood Makers Open is currently on display at Jerwood Space, London, until 31 August. The initiative recognises emerging artists and offers crucial support in the early stages of their careers. The shortlisted artists are commissioned to produce work for the gallery, allowing them to develop their profile in the industry. Following commissions of £7,500 earlier this year, ceramicists Hitomi Hosono and Matthew Raw, artists Revital Cohen and Tuur Van Balen, glass artist Shelley James and spatial storytellers FleaFollyArchitects, were given the opportunity to develop new ideas central to their individual practices. Revital Cohen and Tuur Van Balen speak to Aesthetica about their approach to their project and the use of language within art.
Recently, Londoners and visitors might have found themselves sitting on concrete benches, which resemble half open books. Benches not only look like a book, they are fully dressed up by different depictions that resemble and celebrate the literary heritage of London. For the Summer 2014 the National Literary Trust and Wild in Art are the promoters of the project Books about Town whose purpose isn’t just limited to the celebration of the rich literary background that London offers, as it aims to engage the public through the joy of reading, via art.
Follow the stairs to the first floor, and there, bathed in natural light, with crisp white walls and high ceilings, you’ll find the rooms of gallery/ten. The brainchild of curator Cat Gardiner, gallery/ten is an independent gallery with a focus on Welsh, contemporary fine art. Disillusioned with the lack of risk taken by most of Cardiff’s commercial galleries, and the safe, middle-of the-road work they tend to show, Gardiner slowly made her way from pop-up displays to the current location and has built an impressive catalogue of both emerging and established artist along the way. At the start of July audiences were met by the powerful explosions of colour, texture and physicality found within Elfyn Lewis’ paintings.