Peter Doig @ Serpentine, London - 'House of Music' Exhibition

Peter Doig: House of Music

Serpentine, London

10 October 2025 – 8 February 2026

Peter Doig 

Maracas, 2002-2008

Oil on canvas, 290 x 190 cm 

© Peter Doig. All Rights Reserved

Peter Doig 

Painting for Wall Painters (Prosperity P.o.S.), 2010–2012

Distemper on linen, 240 x 360 cm 

© Peter Doig. All Rights Reserved 

Peter Doig 

Fall in New York (Central Park), 2002–2012 

Oil on linen, 120.5 x 98 cm 

© Peter Doig. All Rights Reserved 

Serpentine presents House of Music, a new project by one of today’s leading British artists: Peter Doig. The exhibition marks a return to Serpentine South for Peter Doig who first exhibited at the gallery in 1991 as a finalist in the Barclays Young Artist Award.

Accompanying Doig’s paintings with sound for the first time, the exhibition will highlight the significance of other disciplines to the artist’s practice, including music and film, alongside the importance of sites of communal gathering and creative exchange.

 

Envisaged as a multi-sensory environment, visitors are invited to pause and linger as they look and listen. House of Music will transform the gallery into a listening space, bringing together recent paintings by Doig and sound broadcast through two sets of rare, restored analogue speakers, originally designed for cinemas and large auditoriums. Music selected by the artist, from his substantial archive of vinyl records and cassette tapes accumulated over decades, will play through a set of ‘high fidelity’ 1950s wooden Klangfilm Euronor speakers.

Peter Doig said: “Music has often influenced my paintings. Songs can be very visual. I’m interested in what they conjure, and I’ve tried over the years to make paintings that are imagistic and atmospheric in the way music can be. Music, being an invisible art form, is open to interpretation within the mind’s eye, and reflections from the mind’s eye are often what I’m attempting to depict in my work. Many visual artists have a connection to music, whether as listeners while working or as creators. I’m excited by the idea of inviting people to share music they love, or perhaps music they’ve made themselves.”

 

Bettina Korek, CEO and Hans Ulrich Obrist, Artistic Director, Serpentine said: “We are pleased to present House of Music, a new project by Peter Doig. Best known for his painting, Doig’s deep engagement with music and cinema is less widely known. Building on his earlier presentation STUDIOFILMCLUB, this exhibition invites audiences to explore these facets of his practice. House of Music weaves new and recent paintings with immersive sound installations, transforming the gallery into a shared, multisensory space. At its core is a fluid exchange between disciplines, an approach integral to Serpentine’s programme. Part of our ongoing series that reveals artists through unexpected lenses, this show offers a fresh encounter with Doig’s work. We look forward to welcoming him and his collaborators as they bring the space to life with their vinyl collection.”

Each painting in the exhibition engages with music in a different way: Painting for Wall Painters (Prosperity P.o.S.), 2010–2012, Music of the Future, 2002–2007, Maracas, 2002–2008 and Speaker/Girl, 2015, honour the different spaces and ways that music is experienced. Other works portray musicians performing (including Embah in Paris, 2017; Shadow, 2019) and people dancing or listening to music (Fall in New York (Central Park), 2002–2012; 2 Girls, 2017). Many of the works were created during Doig’s years in Trinidad (2002–21), a period that deepened his relationship with music through sound system culture and cinema. Blending personal memory, found photographs, and imagined scenes, these paintings are shaped by the wider cultural context of Trinidad.

At the centre of the exhibition is an original Western Electric / Bell Labs sound system, produced in the late 1920s and early 1930s. Developed to respond to the demands of modern movie sound, this extremely rare ‘loud speaking telephone’ consists of valve amplifiers and mains-energised field-coil loudspeakers, which were designed specifically to herald in the new era of ‘talking movies’. These speakers were salvaged from derelict cinemas across the UK by Laurence Passera, with whom Peter Doig has collaborated closely on this project. Laurence Passera is a London-based expert and devoted enthusiast of cinematic sound systems. His study of ‘class A triode’ sound technology ultimately led him to the early pioneering cinematic sound systems. The speakers provide a distinctive listening experience, thanks to the technical excellence of their design, which positions them as the forebears of modern high-end audio. Peter Doig says: “I invited Laurence to be part of the exhibition because of his long-running project to rescue and restore Western Electric sound systems. His labour has resulted in one of the most important systems of its kind in the world. This has been hidden away the studio in Silvertown, only to be heard by a select few, up until now.”

 

On the walls that surround the sound system are three large-scale paintings depicting lions roaming freely through Port of Spain, Trinidad. They reference the Lion of Judah, a recurring figure in Rastafari imagery across mural paintings in Port of Spain, a symbol of pride, resistance, and spiritual force. Doig has returned to this motif in his work since 2015, folding it into a larger interest in collective identity and iconography.

 

The title House of Music, refers to lyrics of the 2011 song Dat Soca Boat by Trinidadian calypsonian musician Shadow, who Doig admires and has depicted in his paintings over the years. A portrait of the musician in his iconic skeleton suit, Shadow, 2019, is also included in the exhibition.

On Sundays, the space will be activated by Sound Service, a series of live, in-person listening sessions. Musicians and artists including Nihal El Aasar, Olukemi Lijadu, Ed Ruscha, Samuel Strang and Duval Timothy, will play a special selection of tracks from their music collections on the analogue systems.

Sound Service is imagined as an integral component of the project that aims to expand the registers of experience in House of Music, foster dialogues through the act of shared listening, and construct a sonic landscape of London. These informal residencies are intended to extend the themes of the exhibition’s ideas: sound as memory, shared listening as gathering, the speaker as both sculpture and conduit.

 

Sound Service evenings will invite special guests to share their selected tracks and audio samples responding to one another in new and unexpected acoustic exchanges in front of a live audience. Participants will include Dennis Bovell, Lizzi Bougatsos, Brian Eno, Andrew Hale, Linton Kwesi Johnson and more to be announced.

 

A publication will accompany the exhibition, featuring a newly commissioned text by Michael Bracewell exploring the intersection of music and visual arts; a short history of the development of sound systems for theatres by Laurence Passera; poems by Linton Kwesi Johnson and Derek Walcott and an in-depth interview between the artist and Serpentine’s Artistic Director Hans Ulrich Obrist. The publication will also feature reproductions of paintings alongside archival images and engineering diagrams of the speakers included in the show. Designed by the Paris-based studio Faye and Gina, this publication will echo the design of a 12-inch record cover in format.

 

Peter Doig: House of Music is curated in close collaboration with the artist by Natalia Grabowska, Curator at Large, Architecture and Site-Specific Projects with Lizzie Carey-Thomas, Director of Programmes and Chief Curator, Alexa Chow, Assistant Exhibitions Curator and Hans Ulrich Obrist, Artistic Director. The live programme is co-curated with Kostas Stasinopoulos.  

SERPENTINE GALLERIES, LONDON

www.serpentinegalleries.org

Chantal Joffe @ Skarstedt Paris - "The Dog’s Birthday" Exhibition

Chantal Joffe: The Dog’s Birthday

Skarstedt Paris

April 3 – May 31, 2025

Skarstedt Paris presents The Dog’s Birthday, Chantal Joffe’s second solo exhibition with the gallery and her first solo exhibition in Paris since 2001. 

As Olivia Laing notes in their essay, ‘Losing Time Again,’ ‘the paintings that comprise The Dog’s Birthday are concerned with time, especially lost time and the possibilities of time’s recovery that art presents. As the bathetic title suggests, they are focused on ordinary domestic activities – ironing, reading, washing, eating – and small festivities, a plethora of ways of passing and marking time. Time has been spent logging what would otherwise be casual moments, haphazard and unstaged. People loiter about or play with their phones, take baths, gather around a cake, cuddle a dog. It’s exactly the cargo contained in almost anybody’s iPhone library, a log of days.’

There is a particularly French precedent to art that focuses so intensely on the domestic and the quotidian, from Bonnard’s baths to Vuillard’s intimiste interiors.

 ‘I made this show,’ Chantal Joffe says, ‘thinking about Paris – about Vuillard in particular and how he painted in apartments his family lived in, and how the family dramas play out against the changing wallpaper and the newspaper reading of the everyday – and how for him colour is tone and tone is everything.’

 At the same time, the paintings in The Dog’s Birthday are freighted with a curious unease, a desire to stop time in its tracks, to freeze the frame on even the most inconsequential moment or ordinary scene. The works were made in the long shadow of grief, in the wake of a series of family bereavements. One might think again of Vuillard, and of a painting like At Table (1893), with its cast of mourning sisters at a cluttered table. But Chntal Joffe’s paintings are equally preoccupied with literature, and especially the work of Marcel Proust. Appropriately for a Paris show, the book that Chantal Joffe is reading in several of her self-portraits, including Reading in Bed (2025), is In Search of Lost Time, Proust’s mammoth meditation on time and loss, and the complex mediatory role of memory in navigating grief and change.

To quote from Olivia Laing’s essay again, ‘Time is not totally lost when it has passed into the past, so long as it can be recalled. Any event, any moment can be summoned back. But the potentially recoverable nature of past time has to be set against its plasticity, the way it is redrawn and recoloured by the changes in perspective, context, awareness that occur as the individual is drawn inexorably along the tracks of chronological time.’ 

In these extraordinary paintings, there is an accommodation between the desire to cling to time and the possibilities that art offers to experiment imaginatively with loss and leaving.

The previous exhibition Self-Portraits is on view at Skarstedt Paris through March 29.

SKARSTEDT PARIS

2 Avenue Matignon, 75008 Paris

www.skarstedt.com

J.M.W. Turner: Romance and Reality @ Yale Center for British Art, New Haven

J.M.W. Turner

Romance and Reality

Yale Center for British Art, New Haven

March 29 - July 27, 2025

Joseph Mallord William Turner, 1775–1851 

Dort, or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed, 1818 

Oil on canvas, 62 × 92 inches (157.5 × 233.7 cm)

Yale Center for British Art, Paul Mellon Collection, B1977.14.77.

Joseph Mallord William Turner, 1775–1851

Inverary Pier, Loch Fyne: Morning, ca. 1845 

Oil on canvas, 36 x 48 inches (91.4 x 121.9 cm)

Yale Center for British Art, Paul Mellon Collection, B1977.14.79.

The Yale Center for British Art (YCBA) presents J. M. W. Turner: Romance and Reality beginning March 29, when the museum reopens following a two-year closure for a major conservation project. Born 250 years ago, Joseph Mallord William Turner (1775–1851) was one of the most virtuosic and complex artists of nineteenth-century England. This exhibition will draw from the Center’s rich holdings of the artist’s work, encompassing all media and phases of his nearly sixty-year career. This is the first show at the YCBA to focus on Turner in more than thirty years, displaying the complete arc of his radical artistic evolution. The exhibition examines the contradictory nature of this revolutionary figure, who was as inspired by the past luminaries of the European landscape tradition as he was determined to surpass their greatest achievements.

“We are thrilled to welcome visitors back to the museum to reconnect with our extraordinary collections,” said Martina Droth, Paul Mellon Director. “Turner is an artist whose groundbreaking works continue to inspire. His work has long been a cornerstone of our collection and we are excited to show our returning and new visitors the full range of our Turner holdings.”

“The reopening of the museum on the eve of the 250th anniversary of Turner’s birth offers a timely opportunity to commemorate the unmatched range of one of Britain’s most innovative artists,” said Lucinda Lax, Curator of Paintings and Sculpture at the YCBA. “Turner revolutionized the genre of landscape painting in ways that continue to captivate contemporary audiences. This exhibition provides a wide-ranging overview of his transformative practice, beginning with his early meticulously rendered topographical views and ending with the evocative impressions of the natural world from his later years.”

Romance and Reality features some of the museum’s most iconic oil paintings. From Turner’s luminous masterpiece Dort, or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818) to the atmospheric, nearly abstract landscape Inverary Pier, Loch Fyne: Morning (ca. 1845), Turner developed a highly personal vision through his depictions of the landscape. Alongside these two major works, the exhibition will include outstanding watercolors and prints, as well as the artist’s only complete sketchbook outside of the British Isles. Together they reveal not only his astounding technical skill but also the powerful combination of his profound idealism with his acute awareness of the tragic realities of human life.

Joseph Mallord William Turner, 1775–1851

Staffa, Fingal's Cave, exhibited 1832 

Oil on canvas, 35 3/4 x 47 3/4 inches (90.8 x 121.3 cm)

Yale Center for British Art, Paul Mellon Collection, B1978.43.14.

Turner’s celebrated later painting Staffa, Fingal’s Cave (1831–32) opens this exhibition on the third floor of the museum—a space designed especially for the display of light-sensitive, rarely seen works on paper. This iconic image typifies the artist’s expressive handling of paint, while his confident marshaling of a series of recurring motifs—most notably a storm-ridden sea—enables him to evoke intense emotions and articulate stunning visual effects. His enduring fascination with representing the vastness of the sea was indelibly shaped by his time in the coastal town of Margate and spans his entire career, from his first oil painting of a maritime subject exhibited in 1796 to his economical drawings of the English coast in the “Channel Sketchbook” (ca. 1845), a treasure of the museum’s collection that is also on display in this show.

The exhibition unfolds in six thematic sections. These offer multiple insights into the rigor of his training as a draftsman, his relentless drive to outstrip his predecessors, his technical achievements, and his growing obsession with conveying light and atmosphere, as well as the sense of tragedy that tinged his later works. A broad selection of prints will illuminate the artist’s deep engagement with this medium, embodied in his ample notations for engravers, while his contributions to commercially successful print series enable visitors to glimpse his shrewd business acumen. With his “Little Liber” series (ca. 1824–26)—a body of prints apparently produced independently by the artist but never published—Turner expanded the tonal possibilities of the mezzotint, achieving new pictorial depths. Dramatic watercolor paintings such as his sublime Vesuvius in Eruption (1818), with its spectacular shower of molten magma, demonstrate his ability to render awe-inspiring scenes from the natural world with intensity and imagination without precedent in this medium. As a whole, the exhibition will convey a nuanced understanding of Turner’s artistic legacy, revealing with new clarity the tensions and contradictions that underlie his daring and brilliant oeuvre.

In spring 2026, the acclaimed oil painting Dort, or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818), along with a selection of other works by Turner, will be on loan to the Dordrechts Museum in the Netherlands. This will mark the first time that the Dort will be seen by audiences outside of North America and the UK.

About J. M. W. Turner

Born in the bohemian London district of Covent Garden to a barber and wigmaker, Turner began painting as a child. His early watercolor paintings of English monuments and landscapes reflect the precision of his initial training as an architectural topographer. By age fourteen, he started attending classes at the Royal Academy, considered Britain’s most prestigious artistic institution. He remained active with the academy throughout his career, becoming a full member by age twenty-six and assuming the role of Professor of Perspective only five years later. Over his six-decade career, he traveled extensively within England and around many countries in continental Europe, making hundreds of sketches on the spot. These drawings—admirable in their own right—were the source for some of his most extraordinary oil paintings. Following his death in 1851, three hundred oil paintings and more than twenty thousand works on paper entered the collection of the Tate Gallery in London by his bequest. 

Related Publications 

Turner, the inaugural installment in the YCBA’s Collection Series of illustrated books, explores the museum’s outstanding Turner holdings—the largest outside the United Kingdom—in a manner that engages the general reader and expert alike. Authored by Ian Warrell with an essay by Gillian Forrester, the book provides a comprehensive overview of the artist’s career, places the works within their historical and cultural context, and includes many new discoveries regarding the identification of locations, landscapes, and dates. It includes six sections of beautifully reproduced plates.

Turner’s Last Sketchbook

Published by the Yale Center for British Art 

Hardcover, 208 pages, 93 color illustrations

ISBN: 978-0-300-27584-1

Publication date: February 27, 2024

Turner’s Last Sketchbook is a facsimile of the artist’s last known intact sketchbook, now in the YCBA collection. Turner used it on the coast of the English Channel in Kent, in and around Margate, from June to September 1845. A poem by Tracey Emin (b. 1963), expressing her personal connection with Turner’s work, accompanies this book. Emin grew up in Margate, the seaside town that Turner returned to time and again to draw. Fittingly, J. M. W. Turner: Romance and Reality will coincide with the exhibition Tracey Emin: I Loved You Until The Morning, on view at the YCBA from March 29 through August 10, 2025.

YALE CENTER FOR BRITISH ART

1080 Chapel Street, New Haven, Connecticut

britishart.yale.edu

Damien Hirst: The Psalms, McCabe Fine Art, Stockholm

Damien Hirst: The Psalms

McCabe Fine Art, Stockholm 

August 29 - October 22, 2014

McCabe Fine Art presents the British artist DAMIEN HIRST’s first solo exhibition in Sweden. Known for producing art that breaks boundaries and explores the relationships between art, science, religion, death and beauty, Hirst has developed a wide-ranging artistic practice that includes installation, sculpture, painting and drawing. In the twenty-six years since he emerged as a leading member of the Young British Artists (YBA) movement with ‘Freeze’, the seminal exhibition curated by Damien Hirst in 1988, the artist has risen to international fame with iconic works that include the shark suspended in formaldehyde (The Physical Impossibility of Death in the Mind of Someone Living, 1991) and the diamond-encrusted skull (For the Love of God, 2007). Painting has also remained an important aspect of Hirst’s practice with prolific series including the ‘Spot Paintings’, ‘Spin Paintings’ and the ‘Kaleidoscopes’; in which vibrantly colored butterfly wings are arranged in intricate patterns and stuck into household gloss paint.

In 2008 Damien Hirst created a series of one hundred and fifty ‘Psalm’ paintings, each named after an Old Testament psalm. The works on display at McCabe Fine Art are the most significant selection of ‘Psalms’ ever to have been exhibited together. As part of Hirst’s ‘Kaleidoscope’ series, these striking pieces touch on all religions and offer a variety of readings that range from the specific to the universal. The symbolism referenced in the ‘Psalms’ evokes both spirituality and the butterfly’s natural metamorphosis. They allude to both Christian iconography, and stained glass church windows, whilst also seeming to possess the meditative abstract patterns of Hindu and Buddhist mandalas.

Damien Hirst attributes his long-term fascination with the butterfly to their universal appeal, once stating: “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.” The patterns of wings can’t help but celebrate the aesthetic and lyrical splendor of life. As with much of Hirst’s work, the ‘Psalms’ also have a darker, more complex meaning. Deceptively hopeful and bright, these paintings hover between life and death. Although undeniably dazzling manifestations of the natural world, each also constitutes a somber memento mori. Damien Hirst thus raises the question of whether his chosen imagery should be considered to represent that which is beautiful, poignant and uplifting or perhaps merely acts as a reminder that all existence, while it may be beautiful, is ultimately fleeting and fragile.

A fully-illustrated book of the complete ‘Psalm’ paintings is to be published by Other Criteria.

DAMIEN HIRST - BIOGRAPHY

Damien Hirst was born in 1965 in Bristol and grew up in Leeds. In 1984 he moved to London, where he worked in construction before studying for a BA in Fine Art at Goldsmiths college from 1986 to 1989. Whilst in his second year, he conceived and curated a group exhibition entitled ‘Freeze’. The show is commonly acknowledged to have been the launching point not only for Hirst, but for a generation of British artists.

Since the late 1980s, Damien Hirst has used a varied practice of installation, sculpture, painting and drawing to explore the complex relationship between art, life and death, explaining: “Art’s about life and it can’t really be about anything else … there isn’t anything else.” Through his work, he investigates and challenges contemporary belief systems, and dissects the uncertainties at the heart of human experience.

Since 1987, over 80 solo Damien Hirst exhibitions have taken place worldwide and his work has been included in over 260 group shows. Hirst’s solo exhibitions include Qatar Museums Authority, ALRIWAQ Doha (2013–2014); Tate Modern, London (2012); Palazzo Vecchio, Florence (2010); Oceanographic Museum, Monaco (2010); The Wallace Collection, London (2009–2010); Galerie Rudolfinum, Prague (2009); Rijksmuseum, Amsterdam (2008); Astrup Fearnley Museet fur Moderne Kunst, Oslo (2005); and Museo Archeologico Nazionale, Naples (2004). He was awarded the Turner Prize in 1995. The artist currently lives and works in Gloucester, Devon and London.

MCCABE FINE ART

Artillerigatan 40, 11445 Stockholm

www.mccabefineart.com

Phil Collins Exhibition, Museum Ludwig, Cologne, Germany - In every dream home a heartache

Phil Collins,  In every dream home a heartache
Museum Ludwig, Cologne, Germany
April 18 - July 21, 2013

For his upcoming exhibition at the Museum Ludwig in Cologne, Germany, the artist PHIL COLLINS is producing a new piece “my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught ” in collaboration with guests of GULLIVER, a homeless centre located in the centre of Cologne. There, Phil Collins installed a phone booth with a free line that anyone could use for unlimited international calls, the only condition being an agreement that the conversations were recorded. The collected material, which was then posted to a group of international musicians, served as the basis for a compilation of original new songs which will be presented in the exhibition as 7” vinyl records in specifically designed sound booths, into which the visitors can retreat, alongside a selection of video installations and photographs from recent years. 

PHIL COLLINS

Rude Boys, Leith Street #1, 2011

Lightjet print on Fuji Crystal Archive, 70 x 70 cm.

Courtesy Shady Lane Productions.

Having grown up in Runcorn, North England in the 70s and 80s, Phil Collins’ main interests lie in music, TV, and pop culture in general, originating in that time. In his films and photographs, he investigates the relationship between man and camera and the characteristics of the respective media in their everyday context. By instrumentalizing the apparatus of popular culture, he uses mass media strategies and critically applies them to an artistic context. His focus is always on direct engagement with ordinary people, who occupy center stage in his project-like videos, photographs, and sound pieces. Phil Collins travels to remote places—frequently scenes of political conflict— that fascinate him because of the changes taking place there. He uses newspaper ads and castings to encourage locals to participate in his work, especially people following their own agenda in encounters that often possess a high emotional charge.

Phil Collins is confronting today’s short-lived and noncommittal communication per text messages and constant short calls from smart phone to smart phone with an analogue and slowed-down factor, which is emphasized further through the use of the almost anachronistic medium of the vinyl record.

PHIL COLLINS

This Unfortunate Thing Between Us, 2011

Installation view, Artes Mundi 5, Chapter Art Centre, Cardiff, 2012.

Courtesy Shady Lane Productions.

PHIL COLLINS

This Unfortunate Thing Between Us, 2011

Installation view, Artes Mundi 5, Chapter Art Centre, Cardiff, 2012.

Photo: Robin Maggs.

Courtesy Shady Lane Productions & Artes Mundi 5.

Phil Collins collaborators have included men and women whose lives have been ruined by reality TV (The Return of the Real, 2006), who have had unpleasant experiences as a result of TV shopping (This Unfortunate Thing Between Us, 2011), or who have performed karaoke versions of songs by The Smiths in various parts of the world (The World Won’t Listen, 2005). 

PHIL COLLINS

the world won't listen, 2004-2007

Three-channel synchronised video installation; colour, sound; 56 min.

Production still, Gedung Medeka, Bandung, 2007.

Courtesy Shady Lane Productions.

Never judgmental, Phil Collins’s work reflects his interest in the formats and forms employed by the entertainment industry and in the personal consequences that its treatment of the individual can have. The artist is producing a new piece for his show at the Museum Ludwig. It requires the participation of local inhabitants and features collaborations with various musicians from all over Germany.

Exhibition curator: Anna Brohm

The exhibition is supported by Stiftung Kunstfonds. 

“my heart’s in my hand, and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught ” is a supported project of the Academy of the Arts of the World.

MUSEUM LUDWIG, COLOGNE
Heinrich-Böll-Platz - 50667 Köln
Museum website: www.museum-ludwig.de

Other post about this artist: Phil Collins at Cornerhouse Manchester 2010

Howard Hodgkin @ Peder Lund, Oslo - New Paintings

Howard Hodgkin: New Paintings
Peder Lund, Oslo
October 22, 2011 – November 26, 2011

Peder Lund presents an exhibition of ten new paintings by the British artist HOWARD HODGKIN (1932). The paintings are from the period 2008-2010 and the exhibition is curated by the artist. Howard Hodgkin’s new paintings are characterised by a much looser, more pastose technique. A classic Howard Hodgkin painting, of the kind that secured him international recognition in the 1980s, is relatively small, powerful, composed of dense brushstrokes and stippling, and saturated with intense, bright colours. Paintings from this period were the result of several decades of work with painting and graphics. According to Howard Hodgkin, his paintings are representational, meaning that they are not non-figurative. These are paintings whose forms and colours refer to something beyond their mere presence on the wooden panels they are painted on. They represent, or correspond with, other paintings, and they correspond to emotions experienced in real situations and with memories of those. The paintings are concurrently in dialogue with contemporary art and art history. The freedom and naturalness that we observe in Howard Hodgkin’s latest pictures are the result of over sixty years of artistic practice.

With his characteristic colour-vibrating and pastose paintings, Howard Hodgkin is considered one of the most important living painters. Howard Hodgkin received The Turner Prize in 1985, was knighted in 1992 and was made a Companion of Honour in 2003. His paintings have been exhibited at some of the most influential museum institutions in the world. In 2010-2011 the travelling exhibition Time and Place, 2001-2010 was shown at Modern Art Oxford, De Pont Museum of Contemporary Art in Tilburg and at the San Diego Museum of Art. In 2007, the exhibition Howard Hodgkin: Paintings 1992-2007 was shown at Yale Centre for British Art in New Haven and later at the Fitzwilliam Museum of the University of Cambridge. A large retrospective was held in 2006-2007 at the Irish Museum of Modern Art in Dublin, Tate Britain in London and at the Museo Nacional Centro de Arte Reina Sofia in Madrid. The Scottish National Gallery in Edinburgh exhibited Howard Hodgkin: Large Paintings in 2002 and in 1995 the Metropolitan Museum of Art in New York exhibited Howard Hodgkin: Paintings 1975-1995.

PEDER LUND
Filipstadveien 5, 0250 Oslo
pederlund.no

London Art Fair 2011 Highlights - Modern British and Contemporary Art

LONDON ART FAIR 2011 

Modern British & Contemporary Art 

Business Design Centre, Islington, London 

19-23 January 2011 

The LONDON ART FAIR celebrates its 23rd year in 2011, bringing together over one hundred leading British galleries, unique curated art projects and a contemporary photography showcase selected by a specialist panel.  

HIGHLIGHTS OF THE 2011 LONDON ART FAIR

o The main section of the Fair includes over 100 Modern British and Contemporary galleries. The Fine Art Society will be bringing a lost original illustration by Christopher Wynne Nevinson for the War edition of Blast, a key Vorticist image that was found last year in a US thrift store. Contemporary galleries this year include Vegas Gallery, Bartha Contemporary, Foley Gallery, Charlie Smith London and Danielle Arnaud.   

o  ART PROJECTS returns for its seventh edition with 31 UK, European and American galleries presenting curated displays. Engaging with contemporary economic themes, Guillochon Gallery (London) present a group show responding to the monetary crisis, including Alexis Milne’s video piece featuring footage of civil unrest, “Riot part one and two”. Meanwhile WW Gallery (London) present a range of art ‘products’ in a stand modelled on a superstore aisle complete with a checkout and roving promotions girl. International work includes emerging Korean artists including San Keum Koh exhibited by the Hanmi Gallery (London), and younger Latin American artists presented by Lodeveans Collection (London). Meanwhile there are several art projects from galleries in the East End of London: Monika Bobinska, Nettie Horn and the youngest gallery in the Fair, PayneShurvell.  

o Maurice Einhardt Neu Gallery present FADMEN, in collaboration with FAD website. In ‘DO NOT OPEN’ 15 artists are invited to deposit a piece of work in a safety deposit box which is then padlocked and closed with a wax seal. Each artist must add their signature to a document confirming that they have submitted a work. Purchasers receive a box and do not know which artist's work they have, nor the nature of the work. Each box costs £2000.  

o Installations feature prominently, with provocative work by Glaswegian art collective littlewhitehead presented by SUMARRIA LUNN (London) at various points around the Fair – outside of the traditional Fair stand - including a series of darkly humorous, lifesize, hyper-real sculptures drawn from news imagery.  

o PHOTO50 will present a fifth year of the contemporary photography showcase, featuring 50 works, all for sale, selected by a distinguished panel: Zelda Cheatle (Curator and Director of the Tosca Photography Fund Collection), Celia Davies (Head of Projects, Photoworks), Sebastien Montabonel (European Senior Specialist, Photographs, Phillips de Pury) and Joanna Pitman (The Times). The work includes a broad range of approaches to contemporary photography with established artists such as Helen Chadwick showing alongside emerging practitioners. 

o Showing as part of Photo50 is Maggie, a remarkable sequence of pictures of Margaret Thatcher taken from photographer Lisa Barnard’s series 32 Smiths Square.

o London Art Fair have Maggie’s Cancer Caring Centres as the official charity beneficiary for 2011 and in partnership with the Fair will hold an auction of 20 artworks by leading contemporary artists including Maggi Hambling and Yoko Ono at the Preview Evening on Tuesday 18 January. 

o Tours, Talks and Discussions: This year’s talks programme brings together professionals from the visual arts sector to give advice to collectors, debate key topics and consider broader themes illustrated by works exhibited in the Fair. Speakers are drawn from The Art Fund, Contemporary Art Society, National Media Museum and The Fleming Collection alongside well-known and respected curators, photographers, collectors and academics, including Iwona Blazwick. Also, responding to demand at last year’s Fair, there will be a greater number of guided tours.  

o Cass Art Trail: Cass Art is hosting a special family art trail around the 2011 Fair. Children accompanied by an adult, will be able to pick up a copy of the trail and complimentary Cass Art bag from the Information point at the entrance to the Fair. 

LONDON ART FAIR 2011: PHOTO50

London Art Fair will present a fifth year of the contemporary photography showcase, Photo50, featuring the work of 9 artists selected by a distinguished panel: Zelda Cheatle (Curator and Director of the Tosca Photography Fund Collection), Celia Davies (Head of Projects, Photoworks), Sebastien Montabonel (European Senior Specialist, Photographs, Phillips de Pury) and Joanna Pitman (The Times).   

The selection of 50 works, all for sale, includes a broad range of approaches to contemporary photography with established artists such as Helen Chadwick showing alongside emerging practitioners.    

Nominated and introduced by Zelda Cheatle:

HELEN CHADWICK (1953 - 1996) 

HELEN CHADWICK

Wreaths to Pleasure, 1992-93

Cibachrome photograph

110 cm (circumference)

Courtesy of Tosca Photography Fund

Leeds Museums & Galleries (Henry Moore Institute Archive)

photographed by Edward Woodman

Wreaths to Pleasure: “These 13 photographs present glowing clusters of flowers resting on a variety of domestic fluids - whether black red roses on household paint or an exotic orchid lying on a pool of window cleaner. Both toxic and organic, they show Chadwick as seducing the viewer, dazzling and beguiling with the sumptuousness of her images, whilst hijacking the instincts.” 

Nominated and introduced by Celia Davies:  

Lisa Barnard and David Spero 

LISA BARNARD

Maggie, 2010 

40 inches x 30 inches

Image courtesy of the artist

“Maggie is taken from LISA BARNARD’s current series 32 Smiths Square, which examines the architecture and ephemera of the former Conservative Party Headquarters in London. Found within the building during the ‘clear out’, the photographs had become stuck together and the photographic chemicals had started to ‘eat away’ at her image.” 

Nominated and introduced by Sebastien Montabonel:  

Ben Adams, Boaz Aharonovitch, Robert Rodriguez 

BEN ADAMS

Image courtesy of the artist

“BEN ADAMS establishes cinematic reference through the transfer of information from bought and acquired transparency film through to the ilfochrome prints. It is suggested that these landscapes, and the details within, are from the wilds of Western America, although this remains unconfirmed.”  

Nominated and introduced by Joanna Pitman: 

Bill Armstrong, Scarlet Hooft Graafland, Adam Hinton 

BILL ARMSTRONG

From the series Renaissance, 2006-7

C-print mounted to aluminium Framed

76.2 x 91.4 cm

Edition of 5

Image courtesy of the artist

“BILL ARMSTRONG uses a unique process of photographing found images using a camera with the lens set at infinity. His source materials are reworked master drawings, mostly from the Renaissance. Armstrong retains the essence of the original gesture so that his figures appear to be flying, floating or diving, luminous creatures exploring a fluid, ethereal world.” 

The PHOTOGRAPHY FOCUS DAY on Wednesday 19th January will feature a series of discussions and tours dedicated to contemporary photography and its place in the art market today. Partners include the Contemporary Art Society, PhotoVoice, Photoworks, Hotshoe and ORDINARY-LIGHT Photography. Sessions include Image Fatigue: Can photographs still be a catalyst for positive social change in a world saturated with images? with Jessica Crombie (Film and Photography Manager, Save the Children), and the (d)e-materialization of the photographic record in the age of technological advance with Simon Bainbridge (Editor, British Journal of Photography)

LONDON ART FAIR 2011: ART PROJECTS 

London Art Fair will this year present the seventh edition of Art Projects, featuring curated solo and group exhibitions from 31 UK, European and American galleries.  

Photography features strongly in the 2011 edition of Art Projects. Bearspace (London) presents emerging artists responding to the theme of feudal living in the Middle Ages, including Suzanne Moxhay’s imaginary vast landscapes, each image derived from a three dimensional collage of cut-outs sourced from an extensive archive of collected material, mainly imagery from the 1950s to 1970s. 

A different meditation on the past features in David Maisel’s Library of Dust, presented by Ordinary Light Photography in collaboration with Hotshoe Gallery. The photographer visited an Oregon psychiatric hospital and photographed the copper canisters containing the ashes of former patients cremated between the 1880s and the 1970s – canisters which themselves are corroding.  

Monika Bobinska from London’s East End presents American photographer Tracey Snelling’s iconic scenes of America in her series Women on the Run, work that derives from voyeurism, film noir and geographical and architectural location. Other dynamic East End galleries presenting work include Nettie Horn and the youngest gallery in the Fair, PayneShurvell. 

Engaging with contemporary economic themes, Guillochon Gallery (London) presents a group show responding to the monetary crisis, including Alexis Milne’s video piece “Riot part one and two” which plays with notions of civil unrest and protest. 

Meanwhile WW Gallery (London) presents a ‘Supermarket Sweep’, featuring a range of art ‘products’ in a stand modelled on a superstore aisle complete with a checkout and roving promotions girl.  

Installations feature prominently, with provocative work by Glaswegian art collective littlewhitehead presented by SUMARRIA LUNN (London) at various points around the Fair – outside of the traditional Fair stand – including a series of darkly humorous, lifesize, hyper-real sculptures drawn from news imagery.  

Not-for-profit spaces Chisenhale Gallery and Studio Voltaire will be collaborating, selling limited edition prints by both emerging and more established British and international artists including Wolfgang Tillmans and Henrik Olesen, to benefit the galleries’ ongoing exhibitions, events and education programmes.

LONDON ART FAIR 2011 ART PROJECT GALLERIES

AUREUS Contemporary  

BEARSPACE  

Chisenhale Gallery / Studio Voltaire  

Counter Editions  

Cross Gallery  

FAS Contemporary  

Florence Trust Studios  

FOLD Gallery | London  

GALERIE JONES  

Gazelli Art House Ltd  

Guillochon Gallery  

Hanmi Gallery (London + Seoul)  

I-MYU Projects  

ICA  

Lodeveans Collection 

Miller Art Associates  

Monika Bobinska  

NETTIE HORN  

ORDINARY-LIGHT PHOTOGRAPHY/Hotshoe Gallery  

PayneShurvell  

Platform A  

ROOM London  

Saatchi Gallery  

SALON VERT  

SUMARRIA LUNN Various locations 

The Catlin Guide 2011  

Troika Editions  

Whitechapel Gallery  

Wiebke Morgan  

WW Gallery  

LONDON ART FAIR 2011 PARTICIPATING GALLERIES: MAIN FAIR 

Adam Gallery  

Advanced Graphics London 

Agnew's 

Albemarle Gallery 

Anthony Hepworth Fine Art Dealers Ltd 

Art First 

AUREUS CONTEMPORARY 

Austin/Desmond Fine Art 

BARTHA CONTEMPORARY 

Beardsmore Gallery 

BEARSPACE 

Beaux Arts 

Beaux Arts Bath 

BendInTheRiver 

bo.lee Gallery 

Broadbent  

Browse & Darby Ltd 

Byard Art 

Caroline Wiseman Modern & Contemporary 

CCA Galleries 

CHARLIE SMITH london 

Chisenhale / Studio Voltaire

ULLA VON BRANDEBURG 

Geister Ghosts

Black and white fibre-based Lambda print

30 x 40 cm

Image Courtesy of CHISENHALE GALLERY / STUDIO VOLTAIRE

Connaught Brown 

Crane Kalman Gallery Ltd 

Cross Gallery 

Cross Street Gallery 

Cyril Gerber Fine Art 

Danielle Arnaud Contemporary Art 

Dominic Guerrini 

Duncan R Miller Fine Arts 

England & Co 

Envie d'Art 

Ewan Mundy Fine Art  

Eyestorm 

Fairfax Gallery 

FAS 

FAS Contemporary 

Florence Trust Studios 

FOLEY Gallery 

Galerie Olivier Waltman 

GalleryOne 

GBS Fine Art Ltd 

Gilden's Arts Gallery 

Glasgow Print Studio 

Golden Thread Gallery

SHALEEN TEMPLE

Grace

lamba chrome light jet print

102 x 102 cm

Image courtesy of GOLDEN THREAD GALLERY

Guillochon Gallery 

Hanmi Gallery 

Hazlitt Holland-Hibbert

LAURENCE S LOWRY (1887 - 1977)

A Lancashire Town, 1963

Oil on canvas

55.8 x 66.1 cm Signed and dated

Image courtesy of HAZLITT HOLLAND-HIBBERT

ICA Editions 

I-MYU Projects 

jaggedart 

James Hyman Fine Art 

James Kinmont Fine Art 

Jealous Gallery 

Jill George Gallery  

Jonathan Clark Fine Art 

Lemon Street Gallery 

Lena Boyle Fine Art 

Long & Ryle Gallery 

Lucy Johnson 

Mark Jason Gallery  

Martin Tinney Gallery 

MAUGER MODERN ART 

MILLENNIUM 

Miller Art Associates 

Monika Bobinska 

Offer Waterman & Co 

ORDINARY-LIGHT PHOTOGRAPHY 

Osborne Samuel  

Paisnel Gallery 

Pangolin: London  

Panter & Hall 

Paul Stolper 

Piano Nobile 

Pieroni Contemporary Art 

Platform A 

Portal Painters 

Poussin 

Pratt Contemporary 

Purdy Hicks Gallery 

Quantum Contemporary Art 

Rebecca Hossack Art Gallery  

Redfern Gallery 

Richard Green

FRANCK AUERBACH 

Portrait of J.Y.M. seated, 1976

Oil on canvas

58.4 x 50.8 cm

Image courtesy of RICHARD GREEN

Richard Saltoun 

Robin Katz 

Roger Billcliffe Gallery 

Rowntree Clark 

Saatchi Gallery 

Sarah Myerscough Fine Art 

Sims Reed Gallery, London 

Stephanie Hoppen Gallery 

SUMARRIA LUNN Gallery 

TAG Fine Arts 

Thackeray Gallery 

The Art Movement 

The Catlin Guide 2011

JACOB DAHLSTRUP JENSEN

Banana Boat

Banana, string, cotton cloth, wood

20cm x 15 cm x 8x cm

Image courtesy of THE CATLIN GUIDE 2011

The Cynthia Corbett Gallery 

The Fine Art Partnership 

The Fine Art Society

ROB and NICK CARTER

Blue Skies, 2011

Cibachrome print with Neon/ Edition 1 of 5 + 2 APs

Dimensions: 48x77x3”

Image courtesy of THE FINE ART SOCIETY

The French Art Studio 

Thomas Williams Fine Art 

Thompson's Gallery 

Troika Editions 

UNION  

VEGAS

GERALDINE GLIUBISLAVICH 

Untitled, 2008

Oil on Canvas

100 x 70 cm

Image courtesy of VEGAS GALLERY, London

Whitechapel Gallery 

Whitford Fine Art 

Wiebke Morgan 

Wilson Stephens Fine Art 

Wolseley Fine Art 

Woolff Gallery 

WW Gallery 

Zebra Gallery 

Zoe Bingham Fine Art 

LONDON ART FAIR 2011: TALKS, TOURS AND DISCUSSIONS 

This year’s talks programme brings together professionals from the visual arts sector to give advice to collectors, debate key topics and consider broader themes illustrated by works exhibited in the Fair. Speakers are drawn from The Art Fund, Contemporary Art Society, National Media Museum, Whitechapel Gallery and The Fleming Collection alongside well-known and respected curators, photographers, collectors and academics. All tours and talks are free to attend with your Fair admission ticket or invitation and a limited number of spaces can be reserved in advance via the London Art Fair website. Talks are held in the Talks and Discussions Theatre located on Gallery Level 2, above Art Projects. 

Wednesday 19th January, PHOTOGRAPHY DAY

12.00 - 1.00  Image Fatigue: Can photographs still be a catalyst for positive social change in a world saturated with images? In association with PhotoVoice - Leading photography professionals discuss past and present campaigns that use socially driven imagery and ask whether they still have an impact in today’s media, and if so what makes these images successful in driving social change. The discussion is led by Marc Schlossman (PhotoVoice Trustee and photographer) with Monica Allende, Picture Editor, Sunday Times Magazine, Gideon Mendel (Photojournalist) and Jessica Crombie (Film and Photography Manager, Save the Children). 

  

1.30 - 2.30 On The Ephemeral in Photography - In association with Hotshoe and Ordinary-Light Photography - A panel discussion considering the etymology and characterisations of the ephemeral in photography and the wider concept of the ephemeral as it appears in culture and the arts. This session will be led by Daniel Campbell Blight (Director, Hotshoe Gallery) with Rut Blees Luxemburg (artist), Julian Stallabrass (Reader, The Courtauld Institute of Art) and Douglas Murphy (author of The Architecture of Failure, forthcoming from Zero Books). 

3.00 - 4.00 (D)e-materialization and Photography in the Age of Technological Advance - In association with Ordinary-Light Photography - A discussion of the (d)e-materialization of the photographic record in the age of technological advance. Led by Brad Feuerhelm (Director, Ordinary-Light Photography) , the panel includes Charlotte Cotton (Creative Director, London Galleries, National Media Museum ), Jason Evans (artist, writer and lecturer) and Trish Morrisey (artist). 

4.30 - 5.30 Politics in Photography - In association with Photoworks - This session focuses on contemporary photography concerned with the current socio-political climate in the UK. It considers the artists position in providing an important commentary on social change, political unrest and challenging political conventions. Speakers include: Anna Fox (artist and Professor of Photography, University of the Creative Arts), Lisa Barnard (artist, exhibiting in Photo50 at London Art Fair), Steve Edwards (Senior Lecturer in Art History, Open University) and Gordon MacDonald (Photoworks Head of Publications, Editor of Photoworks). 

6.30 - 7.15 and 7.30 - 8.15 Collecting Contemporary Art - In association with the Contemporary Art Society - Now celebrating its centenary year, the Contemporary Art Society is the UK's leading authority on contemporary collecting. Over the last 100 years they have purchased the work of seminal artists early in their careers - Paul Gauguin, Pablo Picasso, Francis Bacon and Damien Hirst – and enjoy a unique and enviable reputation for being 'ahead of the curve'. 

Thursday 20th January 

  

2.00 - 3.00 Presenting Photography - In association with John Jones - Matthew Jones (Managing Director, John Jones) and Tim Blake (Senior Frame Consultant) will discuss maximising the longevity of different print types as well as frame design and trends in presenting photography. The differences between Museum Standard, Conservation and Archival Framing will also be discussed, looking at each element of the framing process and how it can be designed with both impact and protection in mind. 

  

5.00 - 6.00 Presenting Art for Interiors - In association with John Jones - The team from John Jones will discuss recent projects and trends, focussing on the impact that artwork has on an interior environment and how the creative presentation of the work can help to incorporate art within an interior or create a statement piece. As well as frame designs and finishes, the installation of the work will be discussed, particularly the aesthetic considerations such as height, position and vista. The talk will be followed by a drinks reception. 

3.30 - 4.30 The Artist Edition with Iwona Blazwick, Director of Whitechapel Gallery - In assocation with Whitechapel Gallery - From Marcel Duchamp’s moustached Mona Lisa to Joseph Beuys’s wooden postcards to Bridget Riley’s Op Art silkscreens, great artists often make their work in editions. The print and the multiple give artists a way of democratising their ideas. They also give us an affordable way of collecting their work. Iwona Blazwick, director of the Whitechapel Gallery, gives a potted guide to the art edition, outlines how they support arts institutions and why they are the ideal way of starting a collection. 

Friday 21st January 

2.00 - 3.00 The Art Fund Talk - In association with The Art Fund - Simon Martin is Head of Curatorial Services at Pallant  House Gallery in Chichester, which boasts one of the best collections of Modern British art in the world. In 2007 the gallery won the Gulbenkian Prize (now the Art Fund Prize for Museums and Galleries) following the opening of its contemporary wing. In addition to its permanent collection, the Gallery has a strong contemporary programme with artists such as Andy Goldsworthy, Langlands & Bell and Wendy Ramshaw. Simon will be drawing on his experiences at the Gallery to discuss the challenges and possibilities of collecting and showing conceptual art versus collecting and showing more traditional work. 

3.00 - 4.00 The Scottish Colourists - In association with The Fleming Collection - Selina Skipwith, Keeper of Art for The Fleming Collection, will give a talk on The Scottish Colourists. The Fleming Collection is widely regarded as the finest collection of Scottish art in private hands and the gallery is now recognized as An Embassy for Scottish Art in London. Selina Skipwith writes and lectures extensively on Scottish art, is author of A History of Scottish Art (Merrell, 2003) and has curated numerous exhibitions in the UK and abroad. 

Saturday 22nd January, 3.00 - 4.00  The Future of Modern British Art - In association with Apollo - The panel will discuss what the future holds for Modern British Art examining how and where the market will grow. How will international critics, museums, and collectors treat this material in the next decades and who are artists who remain undervalued or overlooked? Panel to include: Oscar Humphries (Editor, Apollo Magazine), Robin Katz (Art Collector and Dealer in Modern British Art), Marco Livingstone (Art Critic and Biographer). 

LONDON ART FAIR 2011 TOURS SCHEDULE 

o Tuesday 18th January, 6.30 - 7.15 and 7.30 - 8.15 Guided Tours by Brownhill Insurance Group and AXA Art Insurance Ltd. Each tour will take in a variety of galleries in the Fair and cover a wide range of work including photography, video, painting, drawing, sculpture and installation. Tours will also include the Art Projects section and Photo50. A third of AXA Art’s staff are art historians, reflecting the company’s in-house art expertise. Led by AXA Art experts, visitors can also talking to AXA Art about insuring an art collection and the home. The tour will last approximately 45 minutes and will start from Brownhill’s and AXA Art’s stand (S1).

o Wednesday 19th January  

12.00 - 1.00 and 3.30 - 4.30 Photography Tour with Jean Wainwright. This tour will introduce photography for sale in the Main Fair, Art Projects and Photo50, introducing specific artists and giving an art historical context.  Jean has published extensively on contemporary art as well as appearing on television and radio programmes. 

1.00 - 1.45 Tour and Introduction to Art Projects. Led by Pryle Behrman, critic, curator and member of the Art Projects selection committee, this tour will explain the selection process for Art Projects and discuss the practices of the selected artists and the ideas behind their work, highlighting common and contrasting themes. 

3.00 - 4.00 murmurART Tour. murmurART is a contemporary art company dedicated to supporting and promoting emerging artists through innovative projects and bespoke services. Donald Eastwood, Director & Co-Founder and Robert Dingle, Curator, will lead a tour of Art Projects focussing on emerging artists. 

6.30 - 7.15 and 7.30 - 8.15 Guided Tours by Brownhill Insurance Group and AXA Art Insurance Ltd. As above 

o Thursday 20th January: 1.00 - 1.45 Tour and Introduction to Art Projects. As above / 3.00 - 3.45 and 6.30 - 7.15 Own Art Tour. Whether you're starting or developing an art collection, or just love art and want to know more, Own Art Tours offer an opportunity to view a range of art at this year’s Fair. Own Art is Arts Council England's interest free loan scheme designed to make it more easy and more affordable to buy contemporary works of art. 

o Friday 21st January: 1.00 - 1.45 Tour and Introduction to Art Projects. As above / 2.00 – 3.00 and 3.30 - 4.30 Contemporary Art Society Tour. Join the Contemporary Art Society for a tour of the Fair to gain tips on buying and collecting from an organisation that has been advising individuals and museums for over 100 years. Tours will cover Modern and Contemporary work across the Fair. 

o Saturday 22nd January: 12.00 - 1.00 and 3.30 - 4.30 Contemporary Art Society Tour. As above / 1.00 - 1.45 Tour and Introduction to Art Projects. As above / 2.00 - 2.45 Own Art Tour. As above      

o Sunday 23rd January: 12.00 - 1.00 and 3.30 - 4.30 murmurART Tour. As above / 2.00 - 2.45 Own Art Tour. As above      

LONDON ART FAIR 2011 COMMITTEE

Exhibitors are vetted by a selection committee to ensure work on display is of appropriate quality and suitable for the Fair. The 2011 committee comprises: 

Jonathan Burton (Director) 

Sarah Monk (Manager) 

Toby Clarke (FAS Contemporary) 

Nicola Shane (Purdy Hicks) 

Sam Chatterton-Dickson (Haunch of Venison) 

Gordon Samuel (Osborne Samuel) 

LONDON ART FAIR 2011 OPENING TIMES

o Tuesday 18 January - Preview Evening 6pm - 9pm

o Wednesday 19 January 11am - 9pm

o Thursday 20 January 11am - 9pm

o Friday 21 January 11am - 7pm

o Saturday 22 January 11am - 7pm

o Sunday 23 January 11am - 5pm

LAF ADMISSIONS PRICES

o £11 daypass, inadvance

o £15 (£10 concessions) day pass, on the door

o £25 for the preview evening ticket (12January) / £30 on the door

o £30 for six-day pass in advance / £35 on the door

£1.50 booking fee applies per ticket purchased in advance 

Long recognised for its quality and welcoming atmosphere, London Art Fair aims to provide an environment in which visitors can understand the historical importance, value and unique qualities of works from across the spectrum of the art market.  

AXA Art and Brownhill Insurance Group are sponsoring the Fair for the third year. 

LONDON ART FAIR 2011 

MODERN BRITISH & CONTEMPORARY ART 

Business Design Centre 

Islington, London N1 

19-23 January 2011 

www.londonartfair.co.uk

Richard Learoyd, McKee Gallery, NYC - Unique Photographs - Text by Martin Barnes

Richard Learoyd: Unique Photographs

McKee Gallery, New York

September 24 – October 31, 2009

McKee Gallery presents the first exhibition in America by the English photographer RICHARD LEAROYD. This is also the first ever exhibition of photographs at the McKee Gallery.

After graduating in photography from the Glasgow School of Art in 1992, Richard Learoyd has taught and lectured in various art schools, all the while experimenting in unconventional technique based on the principles of the ‘camera obscura’. The extraordinary results are best described by Martin Barnes, chief curator of photography at the Victoria and Albert Museum, London, in his 2007 essay “Reverie and Presence.” Originally published in the book Richard Learoyd: Twenty-Two Photographs 2005/2007, the essay was later reprinted in Hot Shoe International Magazine: Fresh Perspectives on Contemporary Photography, February/March 2008, p. 18-27:

Richard Learoyd’s photographs have recently emerged into the art world seemingly from nowhere. Visually, they are bold, poised, and magnetically beautiful. Beneath their alluring appearance lies a deeply inquiring and subtle intellect. Although his images convey something of their power when reproduced, nothing can compare with the wonder and presence felt when seeing one of the original, large-scale photographs. By sheer force of visual impact, they initially jolted my default tools of critique out of kilter – and replaced them with the pure pleasure of the eye. Observing his work has reinvigorated for me the profound delight of simply looking at photographs…

I am reminded of the haunting thrill particular to looking at nineteenth-century daguerreotypes, the very first types of photographs introduced in 1839, on which the images is fixed on a highly polished and silver metal plate. In daguerreotypes we come face to face with the dead, seemingly resurrected through the act of looking at them in the surface of a mirror. Learoyd’s photographs feel uncannily similar. But where monochrome daguerreotypes fit in the palm of the hand, Learoyd’s over-life-sized color works have impact on the wall. His processes of production, subjects and sitters are modern; yet the feelings his images evoke seem to beckon from the dawn of photography. Learoyd rekindles something of the marvel of this creative collision of science and art that so captivated and bewitched the Victorians. His evident passion for experimentation, his knowledge and interest in the chemistry and optics of photography, comes across I image like those who were fired by the medium over one-hundred and sixty years ago…

Learoyd’s images occupy a unique place in the practice of contemporary fine art photography. I can think of no-one else working with the same methods or in quite the same way. His pictures are refreshingly, not conceptually driven; but neither do they fall as a result into mere decoration or technical display. They carry historical relevance, but they are undeniably f our time. Due to their visual impact, we cannot help but stare at them and feel perhaps even a mild embarrassment over the painfully sensuous proximity they reach in relation to our senses …

We come to know his subjects intimately, yet they remain paradoxically and beautifully mysterious…

MCKEE GALLERY

745 Fifth Avenue, New York, NY 10151

www.mckeegallery.com