Category Archives: UK

Transmitting Andy Warhol

Andy Warhol [no title] 1967 Screenprint on paper image: 910 x 910 mm Purchased 1971© The Andy Warhol Foundation for the Visual Arts, Inc./ARS, NY and DACS, London 2009

Tate Liverpool
7 November 2014 – 8 February 2015 (press preview 6 November 2014)
£8.00 / £6.00

Andy Warhol (1928-1987) remains one of the most important and influential artists of the Post War period and the central figure associated with pop art. Transmitting Andy Warhol is the first exhibition to explore Warhol’s role in establishing new platforms to disseminate art, and his experimentation with new approaches to art reception that redefined artistic practice and distribution.

The first major solo exhibition in the north of England that focuses on Warhol’s expanded practice, it brings together more than 100 works, across a range of media with major paintings to explore Warhol’s experiments with mass-produced imagery. He ‘transmitted’ these images back into the public realm using processes of serial repetition and mass dispersal, establishing new approaches to distribute his work. Warhol’s transmission of ideas and imagery brought to life his democratic conviction that ‘art should be for everyone’.

Highlights include the Marilyn Diptych, Dance Diagram and Do-it-Yourself paintings, and other loans from international collections and the ARTIST ROOMS collection. Also presented will be a spectacular evocation of the Exploding Plastic Inevitable, Warhol’s famed ‘total art’ environment which provided the framework for performances by the Velvet Underground.

It was during the early 1960s that Warhol recognised mass culture’s increasingly pervasive presence into the realms of visual representation and public experience, with a shift in the role of the artist as well as expectations of the audience. The exhibition traces how his practice expanded laterally using the theoretically limitless channels of publishing, film, music and broadcasting. From television commercials to a dazzling display of his ‘dispersed’ output including his trailblazing celebrity magazine Interview, Transmitting Andy Warhol shows how the artist combined the conceptual processes of making, marketing, publicity and distribution within a single artwork.

Transmitting Andy Warhol provides audiences with new insights into the breadth of his artistic processes and philosophies, as well as the social, political and aesthetic implications of his practice. Warhol’s expanding of the networks for distributing art is especially important today in an era when digital media offers artists, as well as any member of the public, boundless possibilities of distributing information, images and ideas. By presenting Warhol in the context of the mass information networks of his time, the exhibition reveals the artist’s role in re-defining access to culture and art as we understand it today, while challenging the traditional separation between high and low culture, and private and mass experience.

Transmitting Andy Warhol will be exhibited alongside Gretchen Bender. Also running concurrently on the ground floor Wolfson Gallery is The Serving Library to form Tate Liverpool’s autumn/winter season. Entitled, Making Things Public, visitors will explore how artists from different generations have responded to and experimented with the pervasive influence of mass and broadcast media. Transmitting Andy Warhol is made possible through support from the Terra Foundation for American Art and European Regional Development Fund (ERDF). The exhibition is curated by Darren Pih, Exhibitions & Displays Curator and Stephanie Straine, Assistant Curator, Tate Liverpool.

On the occasion of Transmitting Andy Warhol, a new title, Tate Introductions: Warhol (Tate Publishing series), by Stephanie Straine, Assistant Curator at Tate Liverpool will be published.

Daniel Buren, BALTIC Centre for Contemporary Art

Daniel Buren

Daniel Buren

11 July 2014 – 12 October 2014

Catch as catch can: works in situ

BALTIC Centre for Contemporary Art, Gateshead presents the work of Daniel Buren (born Boulogne-Billancourt, 1938), widely considered to be France’s greatest living artist and one of the most influential and important figures in contemporary art for the last 50 years. Buren has exhibited in many of the world’s major art institutions and realised numerous external commissions. This summer, a major exhibition at BALTIC will include new and existing work by Buren in its Level 3 and 4 galleries, including a large-scale commission for its renowned Level 4 gallery.

In the 1960s Buren developed a radical form of conceptual art, a ‘degree zero of painting’, creating works which draw attention to the relationship between art and context. He abandoned traditional painting and adopted the 8.7 cm wide vertical stripe, used as a ‘visual tool’ to prompt a reading of the work’s surroundings rather than just the work itself. Made with paint, fabric, paper, tape among other materials, the stripes appear in his interventions in galleries, museums, and public sites. For almost four decades, Buren has chosen to make work in situ, responding to a particular location, and colouring the spaces in which they are created.

While the stripes have remained a recognisable and intrinsic element of Buren’s practice, recently his works have become more sculptural and architectural in form. The artist’s installation Excentrique(s), at the Grand Palais in Paris, commissioned for MONUMENTA, 2012, comprised a series of raised, coloured circular structures covering the 13,500 nave and providing a ‘ceiling’ that could be walked under.

At BALTIC, Buren will present a selection of rarely seen reliefs, paintings and sculptures from the last seven years on Level 3. Luminous fibre optic works from the artist’s Electric Light series (2011) continue the artist’s preoccupation with form, space, light and colour. Other works made with paint, fibreboard and tape play with depth, surface and architecture. The works will provide further insight into the breadth of his practice.

Download Daniel Buren BALTIC Exhibition Guide here

After Dark, the winning project in the inaugural IK Prize is revealed at Tate Britain

After Dark: roaming robot taking in Sir Jacob Epstein’s The Visitation, 1926

After Dark: roaming robot taking in Sir Jacob Epstein’s The Visitation, 1926 © Alexey Moskvin

Chris Hadfield in Toronto, former International Space Station commander, is first person to navigate the After Dark robots

URL – afterdark.tate.org.uk

#IKPrize
After Dark, the winning project of the inaugural IK Prize 2014 was unveiled today at Tate Britain. The Prize, supported by the Porter Foundation, is a new annual prize presented by Tate which celebrates digital creativity and seeks to widen access to art through the application of digital technology.

After Dark has been created by design studio The Workers (Tommaso Lanza, Ross Cairns and David Di Duca) who were inspired to re-create the experience of being alone in the gallery after dark using digital technology. This online experience invites people all over the world to view Tate Britain’s galleries online at night through four camera-equipped robots roaming the gallery spaces, connecting audiences with art in the BP Walk Through British Art. Live online for five consecutive nights from 13 August, the project will allow the public to view the robots on their journey through the artworks and a number of visitors will be able to remotely control their movements. A first-person, real-time video feed and live commentary will be streamed to all visitors on the After Dark website. This is the first project of its kind in a museum or gallery setting.

The robots are equipped with lights, a camera, sensors and motors allowing them to sneak through the galleries in the dark. An onboard computer streams their vision through the internet in real-time and responds to commands. The Robots have been created in collaboration with RAL Space (who work alongside the UK Space Agency – UKSA), a world-leading centre for the research and development of space exploration technologies.

Colonel Chris Hadfield, former commander of the International Space Station, who performed a rendition of David Bowie’s Space Oddity while aboard the station has been the first person to navigate the robots, doing this from his home in Toronto.
Members of the public will be able to log onto afterdark.tate.org.uk on 13, 14, 16, 17 August from 22.00 until 03.00. On 15 August, there is an evening for children to operate the robots at a slightly earlier time of 19.30 until 00.30.

The Workers said: ‘We were thrilled to be part of this ambitious and open initiative. After Dark combines behind-the-scenes intrigue with a sense of exploration. The project will give people all over the world a unique experience of 500 years of British art. Our experience of making the project has been rewarding, challenging and made possible thanks to the close and enthusiastic collaborations we have had with various teams across Tate Britain.’

Jane Burton, Creative Director, Tate Media commented: ‘The Workers’ inspired robotic takeover of Tate Britain gets right to the heart of what the IK prize stands for, coupling oustanding digital creativity with the imaginative use of technology to bring art to ever wider audiences. Their proposal really captured the jurors’ attention with its playfulness and technical ambition, and they have delivered on every count. We’re looking forward to introducing new visitors from all over the world to Tate Britain. After all, who hasn’t dreamed of wandering through a museum, alone, at night?’

After Dark was chosen by a panel of industry experts from a shortlist of four proposals. The winner was given a prize of £10,000 and a £60,000 development budget to realise a project that will connect audiences with the Tate collection.
The Workers is a digital product design studio founded in 2011 by Tommaso Lanza and Ross Cairns after leaving the Royal College of Art. The studio has produced work for, among others, Bibliothéque Design, Jason Bruges, APFEL, the London Olympics and the Berlin Natural History Museum. Their work spans multiple disciplines, from product design to web through native applications for iOS as well as bespoke visual applications for exhibitions and interactive installations.
The IK Prize, named in memory of the philanthropist Irene Kreitman, celebrates creative talent in the digital industry. Supported by the Porter Foundation, the Prize is presented by Tate to a team, company or individual for an original idea that uses the power of digital technology to connect Tate’s collection of 500 years of British Art to a wider audience.

LIVERPOOL BIENNIAL 2014

STRAUTCHEREPNIN, A Metaphysical Store, 2014. Commissioned by
Liverpool Biennial 2014. Photograph by Mark McNulty.

STRAUTCHEREPNIN, A Metaphysical Store, 2014. Commissioned by
Liverpool Biennial 2014. Photograph by Mark McNulty.

LIVERPOOL BIENNIAL 2014

Saturday 5 July 2014, and will run until 26 October 2014.

The 2014 Biennial Exhibition, A Needle Walks into a Haystack, is curated by Mai Abu ElDahab and Anthony Huberman and will take place in a number of venues including the Old Blind School on Hardman Street, Tate Liverpool, the Bluecoat, FACT, and St Andrew’s Gardens.

As part of A Needle Walks into a Haystack, a group show is presented in the centre of the city in the Old Blind School, a neo-classical building dating from 1932. Designed by Anthony Minoprio and Hugh Spencely, the building’s 1932 extension features art deco reliefs by John Skeaping, one of the leading figures of British modern sculpture in the mid 20 th century.

Continuing its commitment to producing new work and this year, also inviting artists to show some of their previous projects, the Biennial group show includes work by Uri Aran (Israel), Marc Bauer (Switzerland), Bonnie Camplin (UK), Chris Evans (UK), Rana Hamadeh (Lebanon), Louise Hervé & Chloé Maillet (France), Judith Hopf (Germany), Aaron Flint Jamison (US), Norma Jeane (US), Nicola L. (FR), William Leavitt (US), Christina Ramberg (US), Michael Stevenson (New Zealand), Josef Strau (Austria) with Stefan Tcherepnin (US), Peter Wächtler (Germany) and Amelie Von Wulffen (Germany).

Alongside the group show, A Needle Walks into a Haystack will features solo presentations:

A transformation of Tate Liverpool’s Wolfson Gallery by the legendary French architect, Claude Parent, one of the avant-garde’s most revered and radical figures. Slanted floors and ramps require that the audience experience the museum anew, in a plan devised through his theory of fonction oblique, and including works fromthe Tate’s collection by Anni Albers (Germany/US), Babette Mangolte (France), Gustav Metzger (Germany/UK), Francis Picabia (France), Gillian Wise (UK) and others. Visitors can also enjoy a new display in the second floor gallery featuring artfrom Tate’s collection including work by Ivor Abrahams (UK), Francis Bacon (UK), Patrick Caulfield (UK), Naum Gabo (RU / US) and Susan Hiller (UK).

An exhibition devoted to James McNeill Whistler at the Bluecoat including a recreation of Whistler’s Harmony in Blue and Gold: The Peacock Room, commissioned by the Liverpool-based ship owner F.R. Leyland.

The first solo show in the UK of American artist and filmmaker Sharon Lockhart at FACT, including a newly commissioned film which will premiere at FACT on 17 October.

St Andrews Gardens will host a series of screenings and conversations around the work of experimental Belgian TV director, Jef Cornelis For A Needle Walks into a Haystack, Koen Brams (BE) has selected films by Cornelis for viewers to watch on televisions, not only introducing a UK audience to this important and recalcitrant figure, but also serving as a place for conversations about what television can be and how this medium can be used to document and represent art.

As part of A Needle Walks into a Haystack there will also be an ambitious programme of talks, screenings and other events throughout the Biennial period. Over the weekend of 19-21 September, a programme of performances titled

The Companion will take place, which will mirror and reflect on various times of the day: artists appear in cafés during breakfast, at bus stops during the morning commute, in a pharmacy during an afternoon errand, or in a theatre right after dinner.

Also featured as part of Liverpool Biennial 2014 are the John Moores Painting Prize, Bloomberg New Contemporaries and Not all documents are records at Open Eye Gallery and Adrian Henri at the Exhibition Research Centre at Liverpool John Moores University. In addition, there is work by artists and curators in solo and group shows and performances throughout the city, ranging from the artist-run space The Royal Standard to Metal and the Walker Art Gallery.

In parallel to the Biennial Exhibition, the Biennial also presents a co-commission with Tate Liverpool and 14-18 NOW, the official cultural programme for the First World War Centenary Commemorations. Venezuelan artist, Carlos Cruz-Diez, has painted a version of a ‘Dazzle Ship’, in partnership with National Museums Liverpool. The Edmund Gardner vessel, conserved in Merseyside Maritime Museum, has been ‘dazzled’ in a dry dock adjacent to Albert Dock Liverpool.

A highlight of the opening weekend is a major concert at Liverpool Cathedral on the evening of Saturday 5 July of a specially composed new work by Michael Nyman, Symphony No 11: Hillsborough Memorial. The piece will be performed by the Royal Liverpool Philharmonic Orchestra, with Liverpool-born mezzo-soprano Kathryn Rudge and Liverpool Philharmonic Youth and Training Choirs, conducted by Josep Vicent.

To accompany the 2014 Biennial Exhibition, there is a publication co-edited by art historian Camille Pageard, and including new texts by the curators and by Keren Cytter (Israel), Angie Keefer (US), Hassan Khan (Egypt), Kari Larsson (Sweden), Eileen Myles (US), Lisa Robertson (Canada) and Matthew Stadler (US) with drawings by Abraham Cruzvillegas (Mexico).

Sally Tallant, Director of Liverpool Biennial, said: “Liverpool Biennial 2014 will activate and highlight our city’s diverse cultural ecology and host exciting artists and thinkers connecting the community with international fields. It’s been very exciting and thought provoking to initiate a conversation across the city on what a model for our Biennial can be and work together towards it. The richness of this city and its history make it an important focal point for presenting the UK Biennial.”

Full details of the programme are available from the Liverpool Biennial website: www.biennial.com

Media Enquiries: Erica Bolton/Jane Quinn, Bolton & Quinn

+44 (0) 7221 5000 erica@boltonquinn.com or jq@boltonquinn.com

Henri Matisse: The Cut-Outs

Henri Matisse Icarus 1946 Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Droits réservés © Succession Henri Matisse / DACS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tate Modern
17 April – 7 September 2014 (Press view: 14 April 2014)
Global Sponsor Bank of America Merrill Lynch with additional sponsorship from Hanjin Shipping
Open daily from 10.00–18.00 and until 22.00 on Friday and Saturday
+44 (0)20 7887 8888
tate.org.uk
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Tate Modern’s major exhibition, Henri Matisse: The Cut-Outs, isthe most comprehensive exhibition ever devoted to the artist’s paper cut-outs made between 1937 and 1954. It brings together around 130 works, many seen together for the first time, in a groundbreaking reassessment of Matisse’s colourful and innovative final works. The exhibition opens at Tate Modern on 17 April and will be in cinemas as Matisse Live from 3 June.

Henri-Émile-Benoît Matisse (1869 – 1954) is one of the leading figures of modern art and one of the most significant colourists of all time. A draughtsman, printmaker, sculptor and painter, his unparalleled cut-outs are among the most significant of any artist’s late works. In a career spanning over half a century, Matisse made a large body of work of which the cut-outs are a brilliant final chapter in his long career.

Some of Matisse’s first cut-outs were made between 1943 and 1947 and were collected together in Jazz 1947 (Pompidou, Paris), a book of 20 plates. Copies, published by Teriade and featuring a text hand-written by Matisse, will be shown alongside the original cut-outs. This will be the first time that the Jazz maquettes and the book have been shown together outside of France.

Other major cut-outs in the exhibition include Tate’s The Snail 1953, its sister work Memory of Oceania 1953 (MoMA, New York) and Large Composition with Masks 1953 (National Gallery of Art, Washington). A photograph of Matisse’s studio reveals that these works were initially conceived as a unified whole. This is the first time these three large-scale works have been exhibited together for over fifty years.

The show will include the largest number of Matisse’s Blue Nudes ever exhibited together, including the most significant of the group Blue Nude I 1952 (Beyeler Foundation, Basel).The works illustrate Matisse’s renewed interest in the figure.

When ill health prevented Matisse from painting, he began to cut into painted paper with scissors to make maquettes for commissions, from books and stained glass window designs to tapestries and ceramics. In the cut-outs, outlines take on sculptural form and painted sheets of paper are infused with the luminosity of stained glass. Using colour, Matisse evokes the convulsive surface of water and the lushness of vegetation. The result reflected both a renewed commitment to form and colour and an inventiveness freshly directed to the status of the work of art.

The exhibition re-examines the cut-outs in terms of the methods and materials that Matisse used, and their double lives, first as contingent and mutable in the studio and ultimately as permanent works through mounting and framing. The exhibition highlights the tensions in the works between finish and process; fine art and decoration; contemplation and utility; and drawing and colour.

Henri Matisse: The Cut-Outs is curated by Nicholas Cullinan, Curator, Modern and Contemporary Art, The Metropolitan Museum of Art, New York and Nicholas Serota, Director, Tate with Flavia Frigeri, Assistant Curator, Tate; and at theMuseum ofModern Art,New York by Jodi Hauptman, Curator, Department of Drawings, and Karl Buchberg, Senior Conservator, with Samantha Friedman, Assistant Curator. It will tour to theMuseum ofModern Art from 14 October to9 February 2015.