January 27, 2011

French Film Festival 2011 Atlanta - Bienvenue au 12th French Film Yesterday and today series organized by the High Museum of Art at the Richard H. Rich Theatre

2011 French Film Yesterday & Today Festival
Festival du film français d'Atlanta 2011
High Museum of Art, Atlanta
At Richard H. Rich Theatre
February 5 - 26, 2011

Paris view from MontmatrePhotograph by Gautier Willaume (c)2005

The High Museum of Art will host the 12th annual FRENCH FILM YESTERDAY AND TODAY series from Saturday, February 5, through Saturday, February 26. The four-film festival will include three contemporary releases—“Queen to Play,” “Kings of Pastry” and “Henri-Georges Clouzot’s Inferno”—as well as the classic production “The Rules of the Game.” This annual series is made possible with support from the Embassy of France Cultural Services and the Consulate of France in Atlanta.

“The theme of mastery that is integral to the idea of creating a masterpiece ties together the four films in this year’s ‘French Film Yesterday and Today’ program. Both ‘Queen to Play,’ a fiction film about a novice chess player, and ‘The Pastry Kings,’ which follows professional pastry chefs seeking France’s highest honors for their craft, explore the rewards and torments of seeking perfection,” said Linda Dubler, curator of media arts at the High. “‘Henri Georges Clouzot’s Inferno’ looks at the pitfalls and eventual madness that accompanies the self-conscious creation of a masterpiece. The series concludes with an undisputed masterpiece, Jean Renoir’s ‘The Rules of the Game,’ a film often listed among the top ten of all time.”

The festival begins Saturday, February 5, with “Queen to Play,” the debut film from Caroline Bottaro. Set on the island of Corsica, it tells the story of wife and mother Hélène, who works as a maid for a standoffish American ex-pat, Dr. Kroger. Hélène is used to being taken for granted and wanting little for herself, but one day she finds the nerve to ask Kroger to teach her chess after noticing a board in his study. Before long, Hélène is envisioning the black-and-white tiled floor she is mopping as a chess board and the tallest perfume bottle on her vanity as the almighty queen. On the website filmsdefrance.com, James Travers called Bottaro’s debut “an intensely moving, imaginatively crafted piece of cinema, which uses the chess motif intelligently and unpretentiously as a potent allegory for life.”

On Saturday, February 12, “Kings of Pastry” from celebrated documentarians D.A. Pennebaker and Chris Hegedus explores the quest and competition to be named “Meilleur Ouvrier de France” (Best Craftsman in France), a title that is awarded to one pastry chef after a grueling three-day contest that tries the nerves, talent and luck of its participants. The film follows to Lyon three aspiring contestants—Jacquy Pfeiffer, co-founder of Chicago’s French Pastry School; Regis Lazard, competing for the second time; and Philippe Rigollot, from Maison Pic, France’s only three-star restaurant owned by a woman—as they measure themselves against their peers. For those who labor in the kitchen making exquisite desserts, the coveted title is the ultimate honor, dream and obsession. The film was hailed by the Los Angeles Times as “marvelous” and led the Herald Scotland’s critic to declare, “This is the culinary ‘Hurt Locker.’”

Showing on Saturday, February 19, is Serge Bromberg’s César-winning documentary “Henri-Georges Clouzot’s Inferno.” In 1964, Clouzot, maker of such masterpieces as “Diabolique” and “The Wages of Fear,” made a hallucinatory psychological thriller about a man driven mad by jealousy. The unfinished project, “Inferno,” starred the gorgeous Romy Schenider as a water-skiing vixen and Serge Reggiani as her possessive husband. Bromberg’s film resurrects a treasure trove of footage shot by Clouzot and tells the story of how badly things can go wrong for even the most gifted directors. In Eye Weekly Jason Anderson wrote, “The glimpses of the dazzling, op-art inspired effects and Romy Scheider at her dishiest will provoke paroxysms of pleasure among cinephiles.”

The series closes on Saturday, February 26, with “The Rules of the Game,” both a comedy of manners and a scathing look at a corrupt society under the shadow of war. In “5001 Nights at the Movies,” Pauline Kael called it, “Perhaps the most influential of all French films, and one of the most richly entertaining. [Director] Jean Renoir’s legendary . . . masterpiece is a farce about a large house party, gathered for a hunt, where the servants and masters begin to chase and shoot each other. The party at the country chateau is a tragicomic world in motion.” Robert Altman famously said that “‘The Rules of the Game’ taught me the rules of the game,” and surely photographer Henri Cartier-Bresson, who served as second unit director on the production, was enriched by the experience.

Film Series Schedule
Unless otherwise noted, all films begin at 8 p.m. and are screened in the Richard H. Rich Theatre. The theatre is located in the Memorial Arts Building, adjacent to the High at Peachtree and 15th Streets in midtown Atlanta. All films are in French (eh oui! :)) with English subtitles (oh yes! :)). “Kings of Pastry” is in French and English (en stereo!) with subtitles.

Queen to Play > Saturday, February 5

Kings of Pastry > Saturday, February 12

Henri-Georges Clouzot’s Inferno > Saturday, February 19

The Rules of the Game > Saturday, February 26

Support: This program is made possible with support from the Embassy of France Cultural Services department and the Consulate of France in Atlanta. 35mm projection facilities in the Rich Auditorium were provided by a gift from George Lefont.

Post-War American Art: The Novak-O'Doherty Collection at IMMA, Dublin

Exhibition: Post-War American Art
The Novak/O'Doherty Collection at IMMA 
Irish Museum of Modern Art, Dublin 
Through 27 February 2011 

The IMMA - IRISH MUSEUM OF MODERN ART - exhibited 76 artworks by many of America’s leading post-war artists gifted to the Museum Collection by art historian Barbara Novak and artist Brian O’Doherty. The exhibition is on view since 8 September 2010 until 27 February 2011.

POST-WAR AMERICAN ART: THE NOVAK / O'DOHERTY COLLECTION, donated in association with the American Ireland Fund, comprises paintings and sculpture and an extensive range of works on paper, including watercolours, drawings, photographs and limited edition prints and multiples. Works by Joseph Cornell, Dan Graham, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg and a host of other celebrated artists are included in the exhibition.

The donation is particularly rich in works from New York of the 1960s and ‘70s; many the result of friendships with outstanding artists from that milieu. We can imagine the lives of Barbara Novak and Brian O'Doherty over 50 years – they married in 1960 – through these paintings, photographs, drawings, sculptures and prints.  Many works were swops with other artists or tokens of friendship, inscribed with dedications or personal notes; others reflect their ongoing exchanges and correspondence through postcards and letters, such as the postcards sent by Sol LeWitt over the years incorporating sketches. Still other works were gifts, while some were purchased.  Through them we see that Barbara Novak and Brian O’Doherty were central figures in the art community of the 1960s and ‘70s and beyond.

Four important works, by Edward Hopper, Marcel Duchamp, George Segal and Jasper Johns, were gifted in 2009. The forthcoming exhibition celebrates the arrival of the balance of their collection to IMMA. Other artists represented in the collection include  Christo, Mel Bochner, William Scharf, Peter Hutchinson, Les Levine, Sonja Sekula,  John Coplans, Arnold Newman, and Elise Asher. Some works were included in the recent exhibition Vertical Thoughts: Morton Feldman and the Visual Arts – appropriate since the composer Morton Feldman was a close of friend of the donors.

Born in New York, Barbara Novak is an enormously influential art historian as well as artist and novelist.  She is the author of American Painting of the Nineteenth Century, Nature and Culture and Voyages of the Self, recently published as a trilogy on American art and culture by Oxford University Press. She joined the art history department of Barnard College and Columbia University in 1958 and retired as Helen Goodhart Altschul Professor Emerita in 1998. A chaired professorship at Barnard College was named in her honour.

Born in Ballaghadereen, Co Roscommon, Brian O'Doherty variously exhibited in the Irish Exhibition of Living Art and in the RHA and Oireachtas exhibitions from 1950 to 1956. He moved to the United States in 1957, where he became a pioneer in the development of Conceptual Art and also a renowned writer and critic. He has had several retrospectives, most recently in New York University's Grey Gallery. His work has been seen in Documenta, the Venice Biennale, and Rosc. He is represented in the collections of the Metropolitan Museum and the Museum of Modern Art in New York, the Smithsonian American Art Museum in Washington and the Centre Pompidou in Paris. The influence of his ground-breaking collection of essays Inside the White Cube continues.

Commenting on the gift, Christina Kennedy, Head of Collections, said:
‘As IMMA approaches its 20th anniversary in 2011, it is its great good fortune to be the recipient of a most generous gift of artworks from the personal collection of Brian O’Doherty and Barbara Novak. Their gift to IMMA fulfills a longstanding wish of Brian O’Doherty, supported by Barbara Novak, to provide Irish artists and audiences with a collection of modern American art. While there are individual works by American artists in the Collection, the gift launches a whole new area of collecting and focus for IMMA, expanding its horizons to include an immensely rich seam of American art.
This donation cements an already important relationship: not only has IMMA in recent years acquired two superb examples of  the artist’s Conceptualist work, even more powerfully since 2008 it is the location of The Burial of Patrick Ireland.  Patrick Ireland was an identity which Brian O’Doherty assumed, in a performance enacted in 1972 called Name Change, whereby as  a gesture of patriotic protest at the Bloody Sunday killings of 13 civil rights marchers, he pledged to sign his artwork Patrick Ireland “until such time as the British military presence is removed from Northern Ireland and all citizens are granted their civil rights.” Thirty-six years later, in 2008, in a remarkable ceremony, an effigy of Patrick Ireland was interred in the formal gardens at IMMA, in a ceremony of reconciliation celebrating peace in Northern Ireland.’
IMMA’s COLLECTION comprises more than 4,500 works in a wide range of media, having grown significantly, through purchases, donations, long-term loans and the commissioning of new works. It is shown in themed exhibitions at IMMA, and also throughout Ireland via the Museum’s unique National Programme. The presence of IMMA’s Collection abroad has increased substantially in recent years, with large-scale exhibitions in Beijing and Shanghai, China, Boston, Pittsburgh and Chicago, United States, St John’s, Newfoundland, and San Sebastian, Spain, plus numerous loans of individual works to museums and galleries worldwide.

The Novak/O'Doherty Collection 

Published by IMMA, Dublin 
Exhibition Catalogue Cover
(c)2010 Irish Museum of Modern Art, Dublin
The exhibition is accompanied by an illustrated CATALOGUE, with a contextualising comment by Brian O’Doherty and individual insights on almost all of the works by both donors; an introductory essay by Christina Kennedy and a foreword by Enrique Juncosa, Director, IMMA.

Royal Hospital 
Military Road 


January 26, 2011

Irvine Contemporary, Gallery artists exhibition of new works titled Saturnalia is a festival of new art to celebrate the New Year

Exhibition: Saturnalia
New Work by Gallery Artists
Irvine Contemporary, Washington DC
January 8 - February 12, 2011

The exhibition includes works by Teo González, Melissa Ichiuji, Hedieh Javanshir Ilchi, Akemi Maegawa, Alexa Meade, Susana Raab, and Nicholas Kahn & Richard Selesnick.

Alexa Meade, Double Take, 2010. 
C-print, artist's installation. 20 x 16 in. 
Courtesy Irvine Contemporary

ALEXA MEADE's new photographs extend her strategy of defining a new intersecting point for multiple genres and techniques, merging photography, performance, painting, installation, and portraiture. Her images are at once records of a performance, a portrait session in a constructed set or installation, and a reflection on three- and two-dimensional representational spaces. Meade calls attention to the expectations of representational space in the picture plane through displacements in medium. Her final photographic images read like portraits, but with the codes for fiction, illusion, truth, the index of the real, the imaginary, and pictorial representation confounded, conflated, and exposed. Alexa Meade lives and works in Washington, DC. 

Susana Raab, Cholita 1, 2010. 
C-print. 24 x 22 in. 
Courtesy Irvine Contemporary

SUSANA RAAB presents recent work from her evolving photography series, Cholita, which were shot in Peru. Raab was born in Peru, and though she moved to the US at three, Peru has always fascinated her as a land of mixed identities and cultural adaptations. "Cholo" originally referred to people from black and native parents, and is used today in masculine and feminine forms for those of mixed race and/or lower social class. Cholo/chola are also part of US urban slang for Latino/Latina gang styles, usually with deprecation. Raab has re-appropriated the term for her own personal reflection on Peruvian and Latin American identities in a series of highly original and direct portraits that only a photographer with her background, access, and identification with her subjects could produce. Susana Raab lives and works in Washington, DC. 

Teo González, Cloudy Sky, New York, 2010
Acrylic on panel. 12 x 12 in. 
Courtesy Irvine Contemporary

TEO GONZALES's new paintings challenge the boundaries of organic and geometric form through a process of abstraction from the colors of skies over specific city locations. González's new series of works are based on photographs of skies, which he uses to map a color palette in Photoshop. He then selects a restricted set of colors, matches them to pigments, and composes a painting of cells and drops of paint that snake and weave across the surface. These new paintings display González's signature method of elegant challenges to the formal categories and genres of painting, this time drawing in a reference to the world outside painting and fusing computer pixels and organic form. González has looped around the issues in abstraction, and now discovered a way to make paintings like organic stained-glass windows back-lit by a city sky. Teo González lives and works in Brooklyn, NY. 

Melissa Ichiuji, Nature's Promise, 2010. 
Fabric, wood, nylon, found objects, mixed media. 
Dimensions variable. Detail. 
Courtesy Irvine Contemporary

MELISSA ICHIUJI's new work expands on her approach to materials, identities, domestic space, and sexualities. Her sculptures and installations are performative works and staged fantasies about innocence and perversion, power and seduction, sexuality and the domestic space, and often explore the boundaries of childhood innocence and adult self-consciousness and repression. Each sculpture is sewn and assembled from many materials, including nylon, fabric, leather, bones, fur, hair, and found objects. Advancing the Surrealist tradition in the works of Hans Bellmer and Louise Bourgeois, Ichiuji's works are at once playful, humorous, and subversive. With humor and playful irony, they provide perfect three-dimensional emblems for today's anxieties about the family, childhood, sex, and the body. Melissa Ichiuji lives and works in Front Royal, VA. 

Hedieh Javanshir Ilchi, Untitled, 2010. 
Acrylic and mixed media on Mylar, 78 x 60 in. (detail) 
Courtesy Irvine Contemporary

HEDIEH JAVANSHIR IICHI presents new mixed media paintings on Mylar as provocative visual essays on Persian, Iranian, and American cultural identities. Fusing sources and references from historical Persian miniature painting, contemporary Iranian social and political imagery, and the visual codes of Western abstraction, Ilchi composes imaginary scenes where cultural and sexual identities are given space to reveal questions and contradictions without canceling or denying the significance of multiple histories and cultural positions. Ilchi uses militarist icons of the current Iranian regime as invasions and disruptions of a possible cultural coexistence. Her female figures with long-flowing, loosened hair are posed in jeans and contemporary fashion, a challenge to the current regime's restraints to be sure, but her figures seem equally at home in a Persian landscape, a modern abstract color field, or a contemporary urban scene. Hedieh Javanshir Ilchi lives and works in Washington, DC. 

Nicholas Kahn & Richard Selesnick, Adrift on the Hourglass Sea
archival pigment print, 10 X 72 in. (detail). 
Courtesy Irvine Contemporary

NICHOLAS KAHN & RICHARD SELESNICK present works from their new series, Mars: Adrift on the Hourglass Sea, an historical fictional narrative of the colonization of Mars. This body of work also represents the first time that artists have used NASA’s high-resolution imagery from Mars. Continually working like art directors for film sets, Kahn and Selesnick have created complex photo-montage compositions combining NASA shots of the Martial surface with their own sets and location photography. Through the mystery of a discovered colony on Mars, this new project explores questions of ecological and societal collapse, myths about technology and colonization, and the ideologies of utopia and dystopia. Kahn & Selesnick live and work in New York and Massachusetts, and on location in cyberspace. 

Akemi Maegawa, White Jizō, 2010. 
Unique glazed porcelain sculptures, 18  x 9  x 9 in.  
Courtesy Irvine Contemporary

AKEMI MAEGAWA expands her work in ceramics and Japanese pop culture with new Jizō figures in white glazed porcelain. Jizō Bodhisattva is a traditional Buddhist guardian divinity for travelers going between spiritual states and for the souls of children. Jizō figures have appeared in many forms and in both sexes over the centuries, and are now commonly seen along roadsides and graveyards in Japan. The figure has entered Japanese pop culture in a variety of styles, including cartoon and hyper-cute versions, similar to the use of Daruma images and figures. Maegawa has adopted Jizō for her playful work at the intersections of Japanese and American pop, kitsch, and fashion. Her Jizō figures welcome visitors as travelers into the gallery space. Akemi Maegawa lives and works in Washington, DC. 

1412 14th Street, NW

January 23, 2011

Expo Maibritt Ulvedal Bjelke, Paris, Galerie Maria Lund - L'exposition Twist & Tease présente de nouvelles peintures de l'artiste

Exposition : Maibritt Ulvedal Bjelke 

Twist & Tease. Peintures Nouvelles
Galerie Maria Lund, Paris 
22 janvier - 5 mars 2011 

MAIBRITT ULVEDAL BJELKE, Parisian fifty-fifty 02, 2010 
Huile acrylique papier toile - 20 x 20 cm 
Courtesy Galerie Maria Lund, Paris 

Maibritt Ulvedal Bjelke pratique depuis vingt ans une peinture où seuls comptent le processus, la couleur, la matière ainsi que l’engagement corporel et intellectuel de sa personne. Son œuvre témoigne tout à la fois d’une rigueur et d’une grande liberté, où l’acte même de peindre, d’étaler la matière lumineuse, devient respiration. 


Invitée par la Fondation Rothko (Lettonie) à un workshop en 2009, Maibritt Ulvedal Bjelke y crée étude-for-tangram qui s’inspire du Tangram - jeu solitaire de « casse-tête » chinois dont le nom d’origine Tchi’i Tchi’iao pan signifie « plaquette de sagesse » ou « la plaquette aux sept astuces ». Suivant le système d’imbrication de formes géométriques de ce jeu*, elle réalise une série d’œuvres carrées de petit format, chacune constituée de deux triangles. De la diagonale centrale jusque vers les bords, l’artiste appose de fines coulures de peinture effectuées tout en retenue, par petits mouvements concentrés, volontaires et maîtrisés. On est bien loin des grands gestes et des larges traits qui prédominaient dans l’œuvre antérieure. 

La série étude-for-tangram marque un tournant dans l’œuvre de Maibritt Ulvedal Bjelke : alors que les coulures étaient jusque-là « les témoins non-intentionnels » de ses grands gestes, elles sont désormais l’expression même, remplaçant la touche qui cherche liberté et élan. Leurs juxtapositions et leurs rencontres dessinent une grille dense et vibrante ; l’application de la couleur arrive par la pesanteur qui entraîne la matière lâchée vers la formation d’une coulure plus au moins longue. Si le choix des couleurs utilisées reste spontané et libre, le cadre de leur jeu est déterminé par le « tangram » de Maibritt Ulvedal Bjelke. Celui-ci ne se limite pas aux triangles et aux carrés ; il inclue aussi des rectangles, présentés tantôt en superposition - pour former un carré rayé de coulures à partir du centre, vers le haut et vers le bas – tantôt en juxtaposition, dans une composition horizontale. Par ce système de combinaisons, l’œuvre peut se déployer, théoriquement, à l’infini. 

L’artiste réussit, de nouveau, à défier l’espace pictural, par un processus à la fois systématique et ouvert. Le résultat attire et intrigue ; l’intensité de la lumière qui se dégage des tableaux déclenche un sentiment jubilatoire. L’expérimentation de la forme, le jeu d’optique de la couleur et les surfaces denses, parfois impénétrables, constituent un challenge pour la vue et l’esprit. 

* La base du Tangram est un carré formé par sept morceaux dont cinq triangles, un carré et un parallélogramme, qui permet de composer diverses figures. Il sert à évaluer la flexibilité, la fluidité et l’originalité créative du joueur.


Depuis ses débuts, Maibritt Ulvedal Bjelke a cherché à garder une ouverture maximale pendant la réalisation d’une œuvre : au départ, elle travaillait sur des fragments d’affiches de rue, s’offrant ainsi la liberté d’agrandir ou de réduire sa surface de travail. En trempant ces papiers dans la peinture, elle créait de grandes plages irrégulières de couleur. Par la suite, elle s’est mise à travailler la couleur par couches superposées et en larges bandes horizontales. C’est en 2003 que le désir d’un geste de pinceau plus rapide et plus puissant la pousse à coller le papier sur des toiles tendues sur châssis. Ce nouveau procédé entraine un changement majeur : les traits de pinceaux « se mettent debout », du haut vers le bas et inversement, et l’artiste explore les infinies possibilités de la surface en tournant le support dans un sens ou dans un autre. Quelques années plus tard, se sentant limitée par les dimensions prédéfinies du châssis, Maibritt Ulvedal Bjelke débute l’emploi de formats plus étroits qu’elle travaille individuellement au départ pour les réunir ensuite, créant ainsi des rencontres modulaires et modifiables. Cette démarche trouve un nouvel élan en 2008, année où l’artiste bénéficie d’une résidence à la Josef and Anni Albers Foundation dans le Connecticut : les traits de pinceaux s’allongent, s’affinent et s’imbriquent, faisant naître un filigrane qui résonne dans l’espace du papier blanc, resté nu et très ouvert. 


L’exposition de Maibritt Ulvedal Bjelke (née en 1967 à Copenhague), sa cinquième à la GALERIE MARIA LUND (2004, 2005, 2006 et 2008), s’inscrit dans un beau parcours initié à l’ENSBA (1988-1993) avec les professeurs Pierre Matthey, Jan Voss, Claude Viallat et l’indien Navajo Joe Ben Junior. Le travail de Maibritt Ulvedal Bjelke a fait l’objet de nombreuses expositions en France, en Suisse, aux Etats-Unis et au Danemark d’où elle est originaire - dans des galeries (Galerie Suzanne Tarasiève, Galerie Véronique Smagghe, Galerie Zürcher, Galerie Weinberger, DCA Gallery, Galerie Proarta et Galerie Frédéric Storme) – et dans des institutions (Galerie Municipale de Vitry - lauréate du Prix Vitry en 1999 - et Kunstcentret Silkeborg Bad avec Paper revisioned). Nombreux sont aussi les articles parus dans la presse (entre autres Connaissances des Arts, AZART, le Nouvel Observateur, Politiken, Jyllandsposten et Børsen). En 2004, une émission lui a été consacrée sur France Culture (interview par Marie du Bouchet dans Etats d’art). 

Un catalogue retraçant le travail de Maibritt Ulvedal Bjelke des dix dernières années est paru en 2007. Avec des textes du philosophe Yves Michaud et de Bent Petersen, éditeur et rédacteur en chef de North Art Magazine.

48, rue de Turenne
75003 PARIS - France

Site web de la galerie : www.marialund.com

Site web de Maibritt Ulvedal Bjelke : www.ulvedalbjelke.com

Prochaine exposition à la galerie Maria Lund : exposition de peintures de YOO Hye-Sook, 12 mars - 30 avril 2011.

La galerie Maria Lund participera à DRAWING NOW 2011 Salon du dessin contemporain, 25 - 28 mars 2011 où elle présentera l'exposition PAYSAGES FEMININS avec des oeuvres des artistes Catherine- Maria CHAPEL, Elle-Mie EJDRUP HANSEN, MIN Jung-Yeon, Lyndi SALES, YOO Hye-Sook.

Précédentes expositions à la galerie Maria Lund : exposition de photographies d' Helene Schmitz (22 oct.-4 déc. 2010) ; exposition de sculptures de Bente Skjottgaard (2 sept.-16 oct. 2010).

January 22, 2011

Carl Andre Exhibition in London at Sadie Coles HQ - Sculptures in basalt and in tavertine

Exhibition: Carl Andre 
Travertine / Basalt 
Sadie Coles HQ, London 
19 January - 5 March 2011 

An exhibition of stone sculptures by CARL ANDRE is on view at Sadie Coles HQ in London. TRAVERTINE / BASALT comprising a sequence of works in Icelandic basalt and two major works in travertine.

Throughout his fifty year career, Andre has created sculptures by placing standard units of stone, metal or wood in simple geometric arrangements. In early works such as Equivalents (1966; eight different configurations of 120 bricks) and Cuts (1967; a negative variant in which eight voids were made by removing combinations of blocks from a grid), Andre articulated the concepts of horizontality, repetition and implied extension that have remained central to his methodology.

Andre’s ALTBASE series of floor sculptures, made in Reykjavik in 1996, consists of differently sized groups of basalt squares (12, 15, 21, 24), variously stepped and layered in order to occupy the same three-by-three grid. GRECRUX (Rome, 1985), one of Andre’s earliest works in travertine, uses fifty-three blocks to form a square-shaped Greek cross or crux quadrata. Its intersecting lines accord with the artist’s famous statement in 1970 that “my ideal of sculpture is a road. That is a road doesn’t reveal itself at any particular point or from any particular point … I think sculpture should have an infinite point of view.” SUM ROMA (Marseille, 1997) arranges the same material in a thirty-unit solid triangle whose stepped form recurs throughout Andre’s oeuvre.

Eschewing metaphorical connotations, the sculptures draw attention to their essential materiality and to the stone’s intrinsic aesthetic qualities. The travertine works recall the material’s use in iconic Modernist buildings and in Roman art and architecture – an association underscored by the title of SUM ROMA. Andre was indeed originally inspired to use travertine by a trip past the quarries on the road to Tivoli. In common with the majority of Andre’s work, these pieces also foreground the dynamic between work, viewer and architectural context. The artist has tellingly described the progression of his own work, and twentieth century sculpture in general, as a shift in emphasis from ”sculpture as form” to “sculpture as structure” and finally “sculpture as place”. 

Along with Donald Judd, Dan Flavin and Sol LeWitt, Carl Andre emerged in the 1960s as one of the key exponents of Minimalism. In the late 1950s he shared a studio with Frank Stella, whose minimal black paintings of that period provided a formative influence, and in the 1960s he worked as a freight brakeman on the Pennsylvania Railroad – an experience that shaped his interest in linear forms and materials excised from pre-existing masses and contexts. A similarly significant episode was his realisation during a canoeing trip that sculpture could be “as flat as water”.

Carl Andre’s work has been the subject of a number of museum retrospectives, notably at the Solomon R. Guggenheim Museum, New York, in 1970; the Laguna Gloria Art Museum, Austin, Texas, in 1978; the Whitechapel Art Gallery, London, in 1978; the Stedelijk Van Abbemuseum, Eindhoven, in 1987; the Haus Lange und Haus Esters, Krefeld; the Kunstmuseum, Wolfsburg, in 1996; and the Musée Cantini, Marseilles, in 1997. Recent solo exhibitions include ‘@’, Alfonso Artiaco, Naples, Italy, and ‘Carl Andre’ at the Chinati Foundation, Marfa, Texas. In 2013, Dia Art Foundation, New York, will host the first major retrospective of his work in North America.

Books available at Sadie Coles HQ Bookstore: 
James Meyer ed., Cuts: Texts 1959 - 2004, The MIT Press, Massachusetts, 2005
Paula Feldman, Alistair Rider and Karsten Schubert, About Carl Andre: Critical Texts since 1965, Ridinghouse, London, 2006

4 New Burlington Place 


This month Sadie Coles HQ also exhibited work of TJ Wilcox (Through 22 January)

January 21, 2011

APOX: real-time strategy game by BlueGiant Interactive announcement and screenshots

BlueGiant Interactive yesterday announced that its game APOX is now available on Steam. Below Wanafoto show you some screenshots of this new game  (courtesy of BlueGiant Interactive).

APOX has successfully completed four months of Beta testing involving fifteen thousand players. APOX is also available on Direct2Drive. The game will also be coming to retail stores in Germany, Russia, and other countries soon.

APOX is a real-time strategy (RTS) game that uniquely includes gameplay concepts from first-person shooters. Like in a FPS, you can prone, crouch, switch active weapons, throw grenades, and loot corpses.  Soldiers in APOX have limited ammo, but ammo sharing is done seamlessly. Soldiers can be placed in vehicles, and this essentially lets you create your own unit designs.  

APOX keeps everything that makes RTS great like making bases, controlling strategic sites, and managing your resources. The eight missions included are designed to show basic combat and explain the unique aspects to APOX's gameplay. From there, players can play in one of 100 scrimmage maps against AI-controlled bots. Players can play with their friends against bots in co-op mode or play against other people in versus mode.

APOX Features
o FPS-like tactics including prone, taking cover, limited ammo, weapon drops
o 8 Combat Training Missions
o 100 Scrimmage Maps
o Massive games with up to 32 players
o Play against AI-controlled bots in single player or co-op mode
o Play against humans in versus mode
o Internet matchmaking lobby, clans, ratings, and stat tracking 

©2011 BlueGiant Interactive 

APOX Game screenshot 01

APOX Game screenshot 02

APOX Game screenshot 03

APOX Game screenshot 04

APOX Game screenshot 05

APOX Game screenshot 06

APOX Game screenshot 07

APOX Game screenshot 08

APOX Game screenshot 09

APOX Game screenshot 10

APOX Game screenshot 11

Minimum System Requirements
OS: Windows XP/Vista/7
Processor: 2GHz Processor or higher
Memory: 1GB or higher
Graphics: Pixel Shader 2.0 or higher
DirectX: DX9c


January 18, 2011

Prix Première Vision au Festival d’Hyères 2011

Un Prix Première Vision au Festival d’Hyères 2011

Il y aura désormais un Prix Première Vision au Festival d’Hyères. A partir de l'édition 2011, le Premier Salon mondial des tissus d'habillement donne son nom à l'un des deux prix attribués lors du Concours Mode du célèbre Festival International de Mode & de Photographie à Hyères. 
Dans le cadre du salon, Première Vision porte depuis toujours une attention particulière aux jeunes talents, aux marques émergentes, essentielles au renouvellement de la mode. Le partenariat avec le Festival d’Hyères s'inscrit  dans cette démarche de soutien à ceux  qui feront la mode de demain. Première Vision, dont la vocation est de favoriser les contacts entre les acteurs de la filière la plus créative, entend s’engager pleinement dans cette opération. Le Prix Première Vision sera accompagné, en amont, par un accueil particulier des 10 finalistes sur le salon de février (8-10 février 2011) et, en aval, par une collaboration avec le lauréat du Prix dont le travail sera mis en valeur sur le salon de septembre (20-22 septembre 2011). 

Au-delà de Première Vision, le lauréat bénéficiera  de l’extraordinaire plateforme que représente Première Vision Pluriel. Ainsi, pour les accessoires, aujourd’hui essentiels dans les collections de mode, des contacts privilégiés pourront être noués avec les exposants de ModAmont. 

Créé en 1986 par Jean-Pierre Blanc, qui en est le directeur, le Festival International de Mode & de Photographie à Hyères a pour vocation de promouvoir la jeune création dans les domaines de la mode et de la photographie.  

Chaque année, le Festival permet de découvrir dix stylistes de mode et autant de photographes, sélectionnés pour les deux concours par un jury prestigieux de professionnels internationaux. Du concours Mode sont issus des talents aujourd'hui confirmés, dont Viktor & Rolf, Gaspard Yurkievich, Sébastien Meunier, Christian Wijnants, Alexandre Matthieu, Stéphanie Coudert, Richard René, Swash, C Neeon, Matthew Cunnington, Romain Kremer, Felipe Oliveira Baptista... 

Le Festival d’Hyères est organisé dans le cadre de  la Villa Noailles, construite dans les années vingt par Robert Mallet-Stevens. Chaque année, parallèlement aux concours, il présente des rencontres et expositions explorant la perméabilité entre photographie, mode, design et architecture. 

Le Festival d’Hyères 2011 (26e édition) aura lieu du 29 avril au 2 mai. 

Epson Stylus PX720WD : pour faire son livre photo à domicile grâce à l'impression recto verso

Pour pouvoir faire soi-même son livre photo une imprimante recto verso s'avère très vite nécessaire. Il est bien sûr possible d'imprimer chaque face du papier une après l'autre mais on se lasse assez vite : cela prend pas mal de temps avec un risque d'échec assez important... on se trompe de sens, la manipulation abîme le papier... et bloque l'imprimante... Bref, j'étais assez étonné que les marques ne proposent pas plus d'imprimantes photos permettant l'impression en recto verso. 

Epson Stylus Photo PX720WD

L'Epson Stylus Photo PX720WD est une imprimante jet d'encre multifonction qui permet d'obtenir des tirages photos de qualité en RECTO VERSO. C'est cette possibilité qui m'a amené à m'y intéresser. Elle est en vente depuis début septembre 2010 à un prix, à mon avis, tout à fait raisonnable : le prix de vente recommandé par Epson en septembre 2010 était de 180 euros et aujourd'hui, elle est disponible via les sites de vente en ligne autour de 120 euros (avec des variations non négigeables d'un vendeur à un autre), ce qui offre un bon rapport qualité/prix.

Vous pouvez voir ci-dessous les principales caractéristiques de cette multifonction. S'agissant la qualité obtenue par la Stylus PX720WD, elle est des plus satisfaisante pour une utilisation traditionnelle. L'imprimante vous permet d'obtenir chez vous des tirages de qualité identique à ceux obtenus dans la plupart des labos photos, voire supérieure à certains d'entre eux. 

Par rapport à d'autres imprimantes jet d'encre photo, l'intérêt de cette Stylus est l'impression de qualité en en recto verso. Pour les particuliers un des intérêts du tirage sur les deux faces est notamment de pouvoir réaliser des petites présentations de type journal ou livre de ses photographies à domicile. A l'aide d'une agrafeuse adéquate ou avec de la colle, vous pouvez ainsi réaliser chez vous des livrets avec vos photos. Ceux que cela intéressent vraiment peuvent obtenir des résultats très sympathiques en jouant sur le choix du papier, de la mise en page et de la couverture. Bien sûr cela à un coût lié au prix de l'encre, mais cette question est plus générale et l'impression d'un livre de photos par un labo en a un aussi... Ce type d'imprimante peut d'ailleurs être utilisée comme outil pour réaliser une maquette avant le tirage professionnel à 200.000 exemplaires (je plaisante...) Pour un tirage maison c'est une bonne solution pour faire son petit livre avec ses (plus belles) photos. Les plus courageux n'hésiteront pas à utiliser un fil et une aiguille pour la reliure...

D'ailleurs, cela peut intéresser également ceux qui souhaitent réaliser un livre de leur production graphique en général (peinture, dessin, BD, fanzine... etc...) si vos réalisations ne sont pas faites sur ordinateurs et ne sont pas plus grandes que le format A4, vous pouvez même, avec le scanner de la multifonction, ne pas passer par la case photo. Sachant qu'un artiste n'a pas vraiment forcément les moyens financiers de passer par l'impression professionnelle, même numérique, on peut très bien réaliser une auto-édition à faible nombre d'exemplaires avec ce type d'équipement...


o Multifonction pour la numérisation, la copie et l'impression de photos 
o Ecran LCD de 6,3 cm et panneau de contrôle tactile avec navigation "intelligente" simple à utliser
o Impression recto verso à domicile
o Conception compacte et design sobre
o Sélection automatique des bacs papier A4 et photo
o Impression rapide de photos au format 10 x 15 cm. A ce format, une impression est possible en 10 secondes. Vitesse maximale : 40 ppm (pour du texte en couleur)
o Impression directe possible sur CD et DVD adaptés
o Visualisation et impression de photos directement à partir de cartes mémoire, de clés USB et d’appareils photo compatibles PictBridge 
o Compatible avec les encres photo Epson Claria haute définition à base de colorants qui offrent une très bonne qualité d'impression et une durée de vie des photos (estimée par Espon à 100, voire 200 ans suivant le mode de conservation et donc de protection du tirage)
o Edition facile de texte numérisé grâce au logiciel de reconnaissance optique de documents
o Economies grâce aux 6 cartouches d’encre séparées : seule la couleur épuisée est remplacée
o Conforme à la norme écologique Energy Star
o Dimension : 446 x 458 x 150 mm
o Poids : 9,6 kg 

January 17, 2011

Epson Stylus Pro Photo R3000 Printer for gallery-quality photographs

Epson at Imaging USA 2011

Epson America today introduced its most advanced 13-inch printer to date – the Epson Stylus Photo R3000. Designed for professional photographers and fine artists, the Epson Stylus Photo R3000 draws from the advanced technology of Epson Stylus Pro-series printers to deliver gallery-quality black-and-white output and vivid color prints. This printer also includes new features such as high-capacity individual ink cartridges, advanced media handling to support a wide range of paper types, and Ethernet and wireless-N connectivity.

Featuring Epson UltraChrome K3 with Vivid Magenta ink technology and an advanced MicroPiezo AMC print head, the Epson Stylus Photo R3000 produces exhibition quality prints on a wide variety of glossy, matte and fine art papers up to 13-inches wide using advanced media handling capabilities. Its pigment ink set delivers a wide color gamut with more dramatic blues and violets, while AccuPhoto HD2 image technology provides smoother color transitions and better highlight and shadow detail.

More about the EPSON STYLUS PHOTO R3000

Designed to provide exhibition quality and professional media support, the Epson Stylus Photo R3000 delivers several innovative features, including:

o Epson UltraChrome K3 with Vivid Magenta Ink: Professional eight-color ink set with Vivid Magenta and Vivid Light Magenta provides more dramatic blues and violets for an expanded color gamut. Built on Epson's heritage of professional ink technology, this pigment ink set offers instant color stability and exceptional print permanence ratings for color and black-and-white prints.

o Advanced Media Handling: In addition to a main top-loading, high-capacity tray, this printer features a new front-in, front-out media path designed for fine art media up to 1.3 mm thick, including Epson's line of Signature Worthy papers. It also offers broad media support with BorderFree cut-sheet media handling, roll paper printing up to 44-inches long and CD/DVD printing.

o AccuPhoto HD2 Image Technology: Created in collaboration with the Rochester Institute of Technology's Munsell Color Science Laboratory, this complex mathematical architecture and advanced screening technology ensures precision placement of each individual ink droplet for smooth, grain-free images. This technology optimizes ink usage to maximize color gamut and provide smooth transitions and gradations, and reduces the metameric index to achieve consistent color under different lighting conditions.

o MicroPiezo AMC Print Head: The eight-channel, high-precision print head produces a maximum resolution of 5670 x 1440 optimized dpi and variable-sized droplets as small as 2 picoliters and places them with precision and accuracy. For decreased maintenance and increased reliability, the print head also incorporates an ink repellent coating.

o Intelligent High-Capacity Ink System: Nine individual 25.9 ml ink cartridges with pressurized ink technology ensures reliable ink delivery at all print speeds.

o Auto-switching Black Inks: The Epson Stylus Photo R3000 automatically switches between Photo and Matte black inks to produce the deepest blacks and richest color on glossy, matte or fine art media.

o Connectivity: Built-in Etherne, wireless 802.11n and Hi-Speed USB 2.0 provide flexible options for fast connectivity to multiple computers in a home or studio.

o Advanced Black-and-White Photo Mode: Professionals can choose from one of four pre-set modes – neutral, warm, cool, or sepia for stunning neutral or toned black-and-white prints. This feature provides intuitive control through custom slider bars and a color tone wheel for advanced tone adjustment. In addition, customized settings can be saved and recalled to achieve consistent prints.

The Epson Stylus Photo R3000 will be available in US in March 2011 for $849 (MSRP).

For more information on the Epson Stylus Photo R3000, visit:


January 16, 2011

London Art Fair 2011 Highlights - Modern British and Contemporary Art

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.  


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 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) 

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 

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 

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 

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 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.


AUREUS Contemporary  
Chisenhale Gallery / Studio Voltaire  
Counter Editions  
Cross Gallery  
FAS Contemporary  
Florence Trust Studios  
FOLD Gallery | London  
Gazelli Art House Ltd  
Guillochon Gallery  
Hanmi Gallery (London + Seoul)  
I-MYU Projects  
Lodeveans Collection 
Miller Art Associates  
Monika Bobinska  
Platform A  
ROOM London  
Saatchi Gallery  
SUMARRIA LUNN Various locations 
The Catlin Guide 2011  
Troika Editions  
Whitechapel Gallery  
Wiebke Morgan  
WW Gallery  


Adam Gallery  
Advanced Graphics London 
Albemarle Gallery 
Anthony Hepworth Fine Art Dealers Ltd 
Art First 
Austin/Desmond Fine Art 
Beardsmore Gallery 
Beaux Arts 
Beaux Arts Bath 
bo.lee Gallery 
Browse & Darby Ltd 
Byard Art 
Caroline Wiseman Modern & Contemporary 
CCA Galleries 
Chisenhale / Studio Voltaire

Geister Ghosts
Black and white fibre-based Lambda print
30 x 40 cm

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  
Fairfax Gallery 
FAS Contemporary 
Florence Trust Studios 
FOLEY Gallery 
Galerie Olivier Waltman 
GBS Fine Art Ltd 
Gilden's Arts Gallery 
Glasgow Print Studio 
Golden Thread Gallery

lamba chrome light jet print
102 x 102 cm

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

ICA Editions 
I-MYU Projects 
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 
Miller Art Associates 
Monika Bobinska 
Offer Waterman & Co 
Osborne Samuel  
Paisnel Gallery 
Pangolin: London  
Panter & Hall 
Paul Stolper 
Piano Nobile 
Pieroni Contemporary Art 
Platform A 
Portal Painters 
Pratt Contemporary 
Purdy Hicks Gallery 
Quantum Contemporary Art 
Rebecca Hossack Art Gallery  
Redfern Gallery 
Richard Green

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 
TAG Fine Arts 
Thackeray Gallery 
The Art Movement 
The Catlin Guide 2011

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

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 

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 


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). 


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      

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) 

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

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. 

Business Design Centre 
Islington, London N1 
19-23 January 2011