Questioning the world around us is a continuous necessity and the desire to challenge everyday systems reinvigorates daily life. This special 60th edition of Aesthetica celebrates innovation and we take a look at a number of practitioners that are breaking new ground within their given fields. Inside this issue we start with a retrospective of French artist Annette Messager at the Museum of Contemporary Art Australia. For over five decades she has given ordinary objects new meaning in her large-scale installations.
Exciting times lie ahead as we move into the phase of one month left to submit your work to the Aesthetica Art Prize. Cass Art highlights this Prize as a must for emerging artists wanting to make a significant impact upon the art world today. With prizes ranging from up to £5,000 to editorial coverage in Aesthetica Magazine, which has an impressive readership of 168,000 worldwide, this is a unique opportunity to generate greater exposure. Read Cass Art’s recommendations here.
We are delighted to present the Judging Panel for the Aesthetica Art Prize 2015. The Prize is open for submissions until 31 August 2014. Spanning the arts, film, music and cultural industries, our judges lend their expertise to support the next generation of leading practitioners. The panellists will be looking for innovative artworks that display excellence in technical skill and ability. The Judging Panel includes the following art-world professionals.
Austrian artist Franz West (1947 – 2012) was a pioneer in viewer participation. He achieved worldwide fame with his furniture and sculpture for exterior and interior spaces, and his Passstucke (Adaptives). The Hepworth Wakefield currently hosts a loosely chronological course of his work, distinct for an impression of charisma born of modesty. The impression of modesty comes from light-hearted good humour in the general invitation to visitors to participate and seek dialogue with the work. The charisma that crowns this exhibition emanates from the scale of the works, and the knowledge that their conceit was grounded in involved philosophical consideration.
The Zabludowicz Collection – which celebrates its 20th anniversary this year – is presenting four solo exhibitions of sculpture, taking place simultaneously at its North London home in a former Methodist chapel. They combine new site-specific works with pieces selected from the 3,000 works spanning 40 years of modern art which are held by the Collection. Each of the artists contributing engages in a distinctive way with the question of how to make sculpture today, while at the same time a number of threads can be seen which link their approaches. A central concern is an evocation of the human body and its fragile, messy nature, as well as the passing of time.
Becca Pelly-Fry is Director of Griffin Gallery and Global Artist Outreach Programme Manager for ColArt. Based in London, Griffin Gallery supports emerging artists through its diverse programme of exhibitions and its annual art prize, Griffin Art Prize. Above the gallery space are two fully equipped artists’ studios available for short and long term residencies, and adjoining the studios is the Innovation and Development Laboratory where new artists’ materials are developed for Winsor & Newton, Liquitex, Conté á Paris and more. Pelly-Fry speaks to Aesthetica about her interest in new artists and the hurdles they have to overcome to succeed.
This summer The Hepworth Wakefield presents the first reinvention of Allan Kaprow’s Yard to be realised in the UK. First installed outside the Martha Jackson Gallery back in 1961, Kaprow’s seminal “Environment”, or “Happening” will be hosted by The Calder, The Hepworth’s latest contemporary art space. Set across 600 square metres on the ground floor of a former 19th century textiles mill in the gallery garden, the project will comprise of thousands of tyres, which visitors are encouraged to play with, rearrange and rediscover.
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.
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.
In the countdown to the Aesthetica Art Prize call for submissions deadline on 31 August 2014, we look in focus at artists from the latest award. Conceptual artist Marie Brenneis was featured in the Video, Installation & Performance category with Deliberate Digression an installation that incorporates wearable sculptures exploring themes of fantasy and conformity.
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.
Hollie Mackenzie explores the notion of the impossible Utopia by creating her own version of a dystopian landscape in the form of melting sculptures. Longlisted for the Aesthetica Art Prize in 2013 with her piece Downfall (2012), Mackenzie has been awarded a Royal British Society of Sculptors (RBS) Bursary Award. A further nine sculptors received these awards, selected from over 300 applications.