The summer exhibition at Rook & Raven showcases the work of two graduates, Vivien Zhang and Laurence Owen. Curated by Aretha Campbell, the show explores the artists’ fascination with form and the place of painting and sculpture within the prevailing art scene.
Barber Titleys is one of the leading law firms in Harrogate, North Yorkshire, offering a range of services to individuals, commercial enterprises and charitable organisations. The firm recently launched an Art and Heritage Law Department, which is multidisciplinary in nature, drawing on the varied skills and experience of the staff to offer a dedicated and holistic service to all those engaged in the visual arts and heritage sectors across the North of England including artists, galleries, collectors, museums and arts organisations. Department Head, David Walton, is responsible for the day-to-day running of the new department, he speaks to Aesthetica about his passion for art and his aims for the part of the business.
The Piano Brothers are not brothers by blood but by divine, energetic and rich music that is accessible to everyone. Bound together by the love of all-encompassing music, Dominic Anthony Ferris and Elwin Hendrijanto began performing together in 2009 whilst studying at the Royal College of Music. In the last five years they have worked hard to become one of the most sensational piano duos in London’s notoriously difficult to rise and shine music scene through their innovative outlook on how music, life and people should be brought together under one roof.
Jeannette Montgomery Barron, Scene: Photographs of the 1980′s New York Art Scene, Collezione Maramotti, Italy.
Jeannette Montgomery Barron explores the intense world of the New York art scene in the 1980s. Following her own journey to the city and her development as a photographer, Barron was part of a scene at an exciting cultural crossroads. For the first time young artists were becoming real stars and artistic success became linked to the concept of celebrity.
Australian Painter Ben Quilty was recently announced as the overall winner of the Prudential Eye Award. A competition that seeks to promote artistic talent that previously may have been overlooked, it reaches to incorporate a diverse region of Greater Asia that stretches east from Azerbaijan across Russia, China, Korea, the Philippines and as far south as New Zealand. The painter’s work is now on display at the Saatchi gallery, London providing a significant introduction to the London art scene for Quilty as his first UK exhibition.
Allan Storer paints large abstract canvases for architects, interior designers and private clients. His influences include 20th. century abstract artists and the squeegee paintings of Gerhard Richter. He is a Master of Arts, Chelsea College of Art and Design: Bachelor of Arts, University Wales and a post graduate of Kings College. Extra Curricular includes studies at the Slade School of Fine Art: St. Ives Painting School and the Princes Drawing School, He is a member of the Hesketh Hubbard Art Society and Federation of British Artists. Storer’s work embraces abstract and figurative styles, painted in thick impasto oil or water based mixed media with palette knives, brushes and squeegees on to large canvases. He is a London and Cornwall based artist and sells predominantly in the UK. and USA. with an expanding market in the Middle East.
From 1964 until 2002, a unique blend of teaching, student engagement and documentation that took place at Birmingham’s Centre for Contemporary Cultural Studies (CCCS). Founded at the University of Birmingham by sociologist Richard Hoggart in 1964, it was one of the first academic bodies to examine the impact of popular culture, particularly in Britain, from music and television programmes to fashion trends. In 2002 the CCCS was dramatically closed due to a restructuring at the university with hundreds of students being placed into new departments. Now, in 2014, the 50th anniversary of its establishment, a series of events and exhibitions, of which one is Vivid Project’s Looking Out From The CCCS, celebrate its legacy.
One of the UK’s most ambitious art exhibitions, the third edition of Folkestone Triennial commissions a number of internationally recognised artists to create a collection of new artworks that will be exhibited in Folkestone’s public spaces under the title, Lookout. Among the artists included in this year’s Triennial are Yoko Ono, Andy Goldsworthy, Pablo Bronstein, Tim Etchells and Sarah Staton.
Huis Marseille showcases the first ever retrospective of Guido Guidi (b.1941). Spanning a 40 year career, Guidi’s work in photography highlights his early interest in architecture and explores the environment around him in a unique way. After studying architecture in Venice, Guidi’s interests moved towards photography until he devoted himself fully to the medium in the mid-1960s.
This special presentation by Victoria Miro at Schloss Sihlberg in Switzerland considers the use of abstraction and repetition amongst the work of three artists: Conrad Shawcross, Yayoi Kusama and Idris Khan. Each of these artists works in series, exploring concepts through the repeated and rigorous demonstration of formal strategies.Yayoi Kusama’s ongoing series of Infinity Net paintings and her important large-scale accumulation sculpture Prisoner’s Door demonstrate gestural abstraction that provides a formal counterpoint to the geometric abstraction of Conrad Shawcross’ Perimeter Studies sequence and Plosion sculpture, which take theories of cosmic expansion and contraction as their starting point.
The notion of an entire wing of the Guggenheim Bilbao being dedicated to Film & Video phased me at first. Though increasing numbers of modern art installations seem to feature moving imagery, never had I encountered a space dedicated solely to the form. Don’t get me wrong: I consider myself a card-carrying cinephile. However, I am aware that, as the notion of ”art” becomes more porous, its boundaries, if it is to maintain its integrity, require policing, a point restated forcefully by Grayson Perry in his Reith Lectures. Surely this is a problem as much for cinematic as for fine art: where does film stop being cinema and start being “Film & Video”?
Laurent Grasso is an artist who divides his creative life between Paris and New York, so it is fitting that in September his work will take centre stage both at Paris’s Galerie Perrotin and at Sean Kelly in New York for solo shows. He will return to Paris in March 2015 for a third show at Galerie Valentin.