Scrawl Collective member and seasoned kite-flyer Jo Peel, has collaborated with designer Christopher Jarratt and social designer Tom Tobia on the wonderful interactive exhibition ’10 KITES’.
The project takes place in inner East London and is an invitation to come along and make your very own kites for free resulting with a mass kite flying day on Saturday 17 March. The hosts of the event are Community Kite Project and they believe fun, imagination and the art of making are precious commodities, so their plan is to share them with as many people as possible.
The Kite making workshops will be available from 1 -7 March 2012 running alongside an exhibition of kites designed and made by Christopher Jarratt with art-work by UK artists which include:
Alexander Turvey , Dave Anderson, EMA, Hattie Stewart, Jo Peel, Jon Fox, Kid Acne, Ryan Callanan, Telegramme, and Will Barras.
As well as hosting a week-long festival of kite making and workshops, there will be evening kite related screenings, including a live stream with Sayamimdu Dasgupta at MIT’s Media Lab on how to build the perfect Indian Fighting Kite!
Local community groups, schools, offices, passers-by and families are invited to all build a kite each. There is no cost, no catch, just a chance to explore your inner child, get imaginative and make yourself a fully functioning kite to keep.
What could be more fun than that?
The venue is Space 54, Rivington Street, Shoreditch, London, EC2A 3QN. For more details, visit the website at www.kiteproject.co.uk
Ménage à trios: Warhol, Basquiat, Clemente at Kunst und Ausstellungshalle
Exhibition running from Feb 10 2012 until May 20 2012
The New York art scene of the 1980s is the stuff of legend. Andy Warhol, Jean-Michel Basquiat and Francesco Clemente – three of the main protagonists of the time – are presented in this major exhibition.
At the heart of the show are the collaborative works by the three artists. To highlight their very different artistic temperaments the exhibition will also present a wide range of non-collaborative works by each of the artists that exemplify their individual style. Whereas Andy Warhol, one of the founders of Pop Art, focused on the graphic and serial aspects of art, working in a clear and often seemingly detached manner, young Jean-Michel Basquiat burst upon the scene with a style that was as furious as it was expressive, a raw mix of symbols, pictograms and letters rooted in the urban graffiti idiom. The paintings by the Italian American Transavanguardia artist Francesco Clemente, on the other hand, often seem dream-like, mystical and almost surreal.
Buoyant and creative, The New York art scene of the 1980s was open to all kinds of new media and offered young talents a spectacular arena of opportunity. Graffiti artists took art to the streets, others brought the everyday into their studios. The quest for innovation meant that all traditions were up for grabs and relentlessly questioned.
In 1983, Warhol was 55 years old and could already look back on a glamorous career that included the legendary Factory, the magazine Interview, the Velvet Underground and Studio 54. He had developed a clearly defined style that drew heavily on the collective visual memory, icons of art history and mass media.
Basquiat, 23 years of age, had made a name for himself in the late 1970s as the graffiti artist SAMO (in collaboration with Al Diaz). He embarked on painting with a raw and unfiltered dynamism that was all his own, sampling and translating his environment and experience into a new aesthetics.
The Italian artist Francesco Clemente, then 31 years old, came from an entirely different background. Having spent extensive periods of time in India, where he discovered collaborative work as a coming together of different mindsets, he had arrived in New York in 1981. His paintings explore questions of interior and exterior, self and other, mind and body. By the same token, his work with contemporary writers – two examples are shown in this exhibition – bears witness to his different approach to the concept of collaborative creativity.
Our idea of art is predicated on uniqueness, individuality and, above all, on the notion of the artist’s very own style. The collaborative works of the three artists playfully refute the concept of individuality. They reflect the era, the pop star status of artists and the new view they had of themselves, their origin, myths and their fascination with each other.
Juxtapoz magazine founder and self-described “conceptual realist” painter Robert Williams is regarded as the godfather of the Southern California based Lowbrow and Pop Surrealist art scenes.
Robert’s bold use of underground cartoon figuration and contrasting psychedelic colours set a style that was easily distinguishable throughout the 1980s and 1990s. Known as the “artist’s artist,” in early punk rock art shows held in after-hours clubs, Robert soon pioneered the first break-away art movement in California in the 1920’s.
In 2012 Douglas Blake premiered his biographical documentary of Robert Williams: ‘Mr. Bitchin’ which was a Film feature called “All the Wrong Art”.
While he was already a towering figure in the underground comic’s and music scenes, his work reached a new audience when the painting Appetite for Destruction was used as the original cover image for the 1987 Guns N’ Roses album of the same name. The work was so controversial however it was moved from the cover to the inside.
In 1968 Williams linked up with the infamous Zap Comix where he learned to function as an artist outside the walls of conventional art. In the late 1970s he helped organize the Art Boys which was a group of L.A. artists that included Gary Panter, Mike Kelley, Matt Groening, and The Pizz.
Robert began his career designing as a commercial artist for custom car builders Kustom Kulture under Ed “Big Daddy” Roth in the mid-1960s. Hot rods were was a real passion of his since a young age.
Robert L. Williams II was born on March 2, 1943 in Albuquerque, New Mexico. His farther Robert W. owned a sizeable drive-in restaurant in Altlanta called “The Parkmore”. This held showings of silent movies and cartoons which sparked Williams’ fascination for Hot Rods and American culture which has now become such iconic imagery associated with him.
The British sign-writing tradition serves as one of Andy’s major sources of inspiration for this show. Or as he puts it: ‘The English fairground art form spurred from the 60’s and 70’s has yet to be surpassed, these flamboyant styles translate both the mechanical pleasures and the fears of the ride to the bystander’. With this in mind, Andy has produced the largest quantity of fairground crosses and stars yet assembled. Perfect in form and ready to brighten a space, each cross has been produced in a different size, and is presented in a choice of neon or traditional jewelled bulbs.
‘Kiss me quick’ is a tongue-in-cheek neon piece that recalls Andy’s childhood seaside trips to Brighton. The artist’s skills as a glass blower and his use of hand-drawn English tubing, are a perfect demonstration of what can be mastered in this wonderful medium.
Andy’s love of travel is reflected in two works: ‘Yes’ and ‘Silence’. These two pieces, cut in rich acrylics, hand-built in a traditional fashion and lit from within with the use of neon, pay homage to 1970’s European signage, of which few examples remain.
We invite you to come by and visit our gallery: A space fully bathed in bright light and warmed-up by some of the best lighting creations around.
Edward Bawden’s Snowstorm at Brighton tackled the subject of snow in a different way. In the original lino cut he used extensive over-printing of a lighter colour the darker first print to create the impression of snow falling. The buildings at the end of the pier are only just visible through the sheets of snow falling and the only colour is the fishermen right in the foreground of the print.
To bring us right up to date you have Kozyndan’s Gray Hares (Winter Bunnies). It was the last in their ‘Seasons of the Bunny’ series of prints. It is taken from Hiroshige's 'Evening Snow Kanbara', but in their version the folds of snow form the shapes of white winter hares.
The pieces are the first stencilled street work that Trafford has produced under his own name. Trafford has intentionally left these pieces unfinished and is planning for the work to evolve with additional work being added to them by Trafford and possibly other street artists over the coming weeks.
When asked about the work Trafford said “I’m not about putting art on a pedestal or in a temple as a holy relic, it’s out and about where I live that art is needed”
Exhibition running from Feb 01 2012 until May 13 2012
The first major survey in the UK of works by David Shrigley, David Shrigley: Brain Activity, will cover the full range of Shrigley‟s diverse practice from the past two decades of the artist‟s career, including drawing, animation, painting, photography, taxidermy and sculpture.
The exhibition will feature some 175 works, the majority of which are new or never before shown in the UK.
David Shrigley is best known for his pared down drawings and animations that make witty and wry observations on a range of familiar social subjects and everyday situations. Deliberately amateurish and crude, they have an immediate and accessible appeal, while offering insightful commentary on the absurdities of life, death and everything in between. Since graduating from the Glasgow School of Art in 1991, Shrigley has produced more than 7000 works on paper exploring everything from the mundane to the sublime through text and image. For this Hayward Gallery exhibition, he will present some 80 drawings never before seen in the UK, plus around 45 larger new paintings on paper. Shrigley also presents a brand new animation, which will be shown alongside a selection of existing films including New Friends (2009) – an ironic twist on peer pressure – as well as Sleep (2009), Light Switch (2007) and Ones (2009), in which the use of repetition brings familiar behaviour into view
The exhibition will showcase the full diversity of the artist‟s sculptural work, including new works and interventions that respond to the Hayward Gallery‟s spaces. Ranging from hand-crafted sculptures made out of unusual materials, to larger series and installations, including 12 Large Eggs (2011), Insects (2007) and Black Boots (2010), many of Shrigley‟s sculptures are characterised by their odd scale, lending the works a strange, uncanny edge. Death and the macabre are recurrent themes in.
Shrigley‟s work, treated with the same deadpan humour as the everyday. His work Gravestone (2008) is inscribed with a mundane shopping list, while his taxidermied works include a puppy holding up a sign reading „I‟m Dead‟ and a series of headless animals ranging in size from squirrel to ostrich. The exhibition will also feature a specially commissioned steel gate integrating with the Hayward Gallery‟s architecture, and a new work displayed on one of the Hayward Gallery‟s sculpture terraces.
Other exhibition highlights include a large-scale in-situ wall painting as well as a set of bronze weapons, Swords and Daggers (2010). An early work, The Contents of the Gap between the Refrigerator and the Cooker (1995), is a colourful strip that, upon closer inspection, reveals itself to be a pile of miniature plasticine creatures. Additionally, a well-known series of photographs feature discreet interventions that the artist has orchestrated in various landscapes and interiors, injecting comedic irony to otherwise everyday banal imagery. Often extremely funny, these are the sort of scenarios you never come across in real life, but wish you did, such as River for Sale (1999) and Lost (1996), which depicts a paper note on a tree calling out for a lost pigeon.
“I am still always learning about how to achieve it. Every piece I do and every show I do there is always something I take out of it. It’s a constant process and it’s not just how to paint better but it’s how to be an artist I suppose, how to make a living.”—