Saturday, 30 April 2011
Thursday, 28 April 2011
Benjamin Critton
Lots and lots of ideas.
Website, publications, events...in a word DISSEMINATION.
Worth a look!
http://benjamincritton.com/
Wednesday, 27 April 2011
Wim Wenders.
http://www.pina-film.de/en/
http://www.haunchofvenison.com/en/#page=london.exhibitions.future.wim_wenders
http://www.haunchofvenison.com/en/#page=london.exhibitions.future.wim_wenders
Tuesday, 26 April 2011
8mm Film
Hey guys does anyone know where the best place to buy/develope 8mm?
Could you let me know asap please.
Thanks
Could you let me know asap please.
Thanks
Sunday, 24 April 2011
Manifesto Project
There is end result and before that there is process, but which is more interesting? Venice-based graphic designers Tank Boys, and writer Cosimo Bizzarri, would argue the latter (as perhaps we all should), and so have set up Manifesto., “an ongoing project that leaves the final result to one side so as to focus on the creative process.” Beginning life as a travelling exhibition, and next as a book, the project continues to provoke debate as a manifesto-packed website. We talked to the curators to find out more…
Guys, could you first introduce us to Manifesto.? What is it exactly?
Manifesto. is an on-going project about design manifestos. It started as an exhibition that was displayed at XYZ Gallery (Treviso, Italy) and then at Shandong University of Art and Design (Jinan, China). Then it became a book and a website. It might turn into something else in the future. It collects the personal and professional beliefs of some of the smartest contemporary designers: Bruce Mau, Stefan Sagmeister, Milton Glaser, Bob Gill, to mention just a few. Some of the manifestos are programmatic pieces of writing, others are detailed work manuals, all are passionate tributes to graphic design, creativity and the design culture. A lot of words and ideas, basically.What do you hope to achieve with the project?
Back when we started in 2009 our goal was to take some time to ruminate on how people design. The idea was that of keeping the final result in the background and focus on the working process. We thought that there was no better way to do it than by asking our favourite designers how they approached their job, day after day, in their studios. While collecting the manifestos we realised that most of them not only explained how the designers liked to do their job, but also why they were doing it. This helped us a lot to establish what the aim of the project really was. Finding the ultimate purpose that pushes designers to design and investigating the way this purpose ends up leading the working process. We would also like to boost a new debate within the design community about these topics. There is a strong need out there for going back to the basics. That’s what we feel at least.Of all the manifestos on the site (of which there are many, both old and new), which is your favourite?
We selected them all, so we can’t really say. Is that too politically correct? No, really, it’s hard. Some were written by those we consider our masters. Others by young, independent designers whose felt so fresh, witty. They even contradict each other in some cases. A special mention must be given to Bob Noorda’s Credo. Before passing away last year, Bob accepted to participate and wrote a manifesto exclusively for the exhibition. It’s as clear as the tube maps and the logos that he designed.Do you, the curators, have your own personal manifestos?
Our manifesto is this research, the collection of the manifestos. For the moment, at least.Finally, can you tell us a little about the traveling exhibition? Where is it now and where is it going next?
Since dismantling the exhibition in China we’ve been receiving requests to take Manifesto. somewhere else, but we’ve preferred to put them on stand-by until the end of April. We are thinking of a slightly different format for the next ones. More space to words, more focus on the concept of exchange and debate. After two years working on this project we realised that, despite their dictatorial reputation, manifestos are open objects, that ask to be analysed and discussed. For example, we believe that the most interesting part of Disrepresentationism Now! by Experimental Jetset is actually the foreword they asked us to add, and in which they partially take distance from what their younger selves wrote back in 2001. We want Manifesto. to boost these kind of debates. We would like it to be the beginning of a global discussion that starts on the web and continues into galleries and design schools. We are open to proposals, and anyway, the debate has started already.http://www.itsnicethat.com/articles/manifesto-projecthttp://www.itsnicethat.com/articles/manifesto-project
Matthew Brandt
Matthew Brandt
matthew brandt's work is looking at the photographic landscape and the metaphysical space generated by the image. People intrested in what a landscape can become should look at his work especially his series: Lakes and Reservoirs.
Friday, 22 April 2011
Magic Lantern show - The Last Tuesday Society
This looks really good for our group but if anyone fancies coming along..
It is a magic lantern show which looks quite interesting. I couldnt manage to copy and paste the text over so here is the link
http://thehendrickslectureseries.co.uk/magiclanterngothic.html
THE LAST TUESDAY SOCIETY PRESENTS: Walpurgisnacht - A Gothic Magic Lantern Show with Mervyn Head / Last Tuesday Society / Hendricks Lecture Series
at Viktor Wynd's Academy of Domestic Science, England - London
£10.00
http://www.ticketweb.co.uk/user?query=search&category=misc&search=last+tuesday+society®ion=xxx&beginmonth=02&beginday=23&beginyear=2010&interface=thelasttuesdaysociety
The next exhibition at Raven Row
Next exhibition
Peter Kennard
At Earth
2 May to 22 May 2011
At Earth
2 May to 22 May 2011
Open every day 11am–6pm
This three-week long exhibition celebrates the work of London artist Peter Kennard. The exhibition will represent Kennard's practice of forty years through photomontages, paintings, and new digital images made with Tarek Salhany. These works are drawn primarily from Kennard's new book (assisted by Salhany), titled @earth, a 192-page photo-essay (Tate Publishing, £9.99), which will be available from the day of the opening. The book uses images alone to argue that the attempt by a few to dominate the majority and exploit global resources has led to wars and crises of the economy and the environment.
Since the seventies Kennard has been committed to effecting political change by distributing photomontages through the mass media, with remarkable success, notably in the Campaign for Nuclear Disarmament. More recently he has used other media, including painting and installation, to address social injustice generally and globally.
Kennard makes images that are immediate and accessible. They are designed to elicit response from a society complacent to image saturation, as well as gallery audiences unused to straightforward and unapologetically emotive statements. In a gallery context Kennard's work questions how images function rhetorically, and how an art that prioritises political effect might look.
Peter Kennard was born in London in 1949. Between 1965 and 1979, he studied at Byam Shaw, the Slade and the Royal College of Art. He has had solo exhibitions at the ICA, London (1981); Barbican, London (1985); and Pump House Gallery, London (2008). Since 1990 he has also had seven solo exhibitions at Gimpel Fils, London. His work has been included in the group exhibitions ‘Rude Britannia’, Tate Britain (2010) (kennardphillipps); ‘Media Burn’, Tate Modern (2006); and ‘Forms of Resistance’, Van Abbemuseum, Eindhoven (2007). Kennard is a senior tutor in Photography at the Royal College of Art, and lives in London.
Wednesday, 20 April 2011
9 Evenings: Theatre & Engineering - a 10 DVD set of films on a legendary series of theater, dance, music and performances at the New York 69th Regiment Armory in 1966 by 10 New York artists: Robert Rauschenberg, John Cage, David Tudor, Yvonne Rainer, Deborah Hay, Robert Whitman, Steve Paxton, Alex Hay, Lucinda Childs and Öyvind Fahlström.
Tuesday, 19 April 2011
The New Gypsies
Exhibition opening tonight "The New Gypsies" at the Fashion Space Gallery (LCF). Anyone who's still in London make sure you don't miss it.
http://selfpublishbehappy.com/2011/04/sp-bh-heart-the-new-gypsies-by-iain-mckell-fashion-space-gallery-london/
http://iainmckell.iainmckell.com/
Krakow PhotoMonth
I know that Marta mentioned Krakow PhotoMonth before in the blog but here is more specific information about this event.
This year Adam Broomberg and Oliver Chanarin were invited to guest-curate Krakow PhotoMonth- a photography festival that has been continuously on for 9 years.
The festival takes place across the whole city, including the National Museum, the Contemporary Art Museum etc...
This year the curators have opted for a strategy rather than a theme: we have invited writers and artists to collaborate with a specific goal; to invent a fictional character - an artists who can be either contemporary or historical - and to then produce a piece of work / body of work in the name of this invented persona.
Two authors lead to this theme: the first is Fernando Pessoa, who wrote much of his ouvre under multiple, alternative identities - not so much pseudonyms or alias' but what he termed heteronyms - invented personalities with detailed biographies and interweaving histories. The second is Roberto Bolano, and specifically his book Nazi Literature in the Americas. It's an anthology of conservative, basically fascist authors, all of whom are invented by Bolano.
We have invited to produce commissioned works by:
Gabriel Orozco, David Goldblatt, Alec Soth, Matthew Buckingham, Johan Grimonprez, Jeremy Deller, Marine Hugonnier, Andro Wekua, Ketuta Alexi-Meskhishvili, Lisa Brice, Roe Ethridge, Emily Wardill, Celine Condorelli, Beatrice Gibson, Polly Braden, Elizabeth McAlpine, Godfried Donkor, Rut Blees Luxemburg, Clare Strand and Rafil Kroll-Zaidi.
Collaborating with the following writers:
Siddhartha Mukherjee, Lynne Tillman, Ivan Vladislavic, Brad Zellar, Fernando Pessoa, Jennifer Higgie, Clare Carolin, Sean O'Toole, John Haskell, Adrian Rifkin, Avery Gordon, Brian Dillon, David Campany, Helen Dewitt, Ekow Eshun, Alexander Düttman, Gordon MacDonald, Brown and Bri and Gemma Sieff.
The second part of the festival will take place at the prestigious Bunkier Sztuki Museum of Contempoarary Art which will take form of a survey show. This show will include works by artists who have either used the strategy of the heteronym to make their work or works by artists who explore the territory of the surrogate self, the alter ego, the disguise or alias. We are interested in works that focus on the idea of the artist inhabiting different personae as part of an interrogation about identity. This show will include work by Marcel Duchamp, Walid Raad, Roni Horn, Brian O'Doherty, Simon Fujiwara, Joe Scanlan, William Kentridge, Richard Prince, Renzo Martens, Peter Weibel, Olivier Castell, Reena Spaulings, Nate Tate, Bruce High Quality Foundation, Claude Cahun, Claire Fontaine, Salvador Dali, the Otolith Group, Wayne Barker, Roger Ballen, Gillian Wearing and many more.
The festival opens on May, 13th and will be on until June, 12th.
In addition to that you can visit: http://www.photomonth.com/index.php/en/page/1/aktualnosci.html
Also ryanair.com might be helpful as they do cheap flights to Krakow.
Hope to see you there!
Monday, 18 April 2011
Projects - this is Rosa from Germany
Hi guys,
my name is Rosa and I'm going to be here for this semester. I have been in London for some days and now I want to get started in doing some project. So I was wondering how that can be done. I study photography in Bielefeld (its in Germany) and mostly I did fine art and journalism classes there. But the way I work is not yet settled too much. Since obviously I'm the only one from Germany this semester I'm a bit depending on finding a group that will suit me and that is willing to work with me. Mostly I'm interested in photography so that's what I'm planning to do but I'm really open for installation, curating, performing or whatever. I'm interested in the different things you are doing so I would be happy reading about your projects. Especially if you need someone else in your group please contact me on rosalieto@web.de.
I'd be happy to hear from you anyway.
Okay, have a nice time and see you :)
Best,
Rosa
my name is Rosa and I'm going to be here for this semester. I have been in London for some days and now I want to get started in doing some project. So I was wondering how that can be done. I study photography in Bielefeld (its in Germany) and mostly I did fine art and journalism classes there. But the way I work is not yet settled too much. Since obviously I'm the only one from Germany this semester I'm a bit depending on finding a group that will suit me and that is willing to work with me. Mostly I'm interested in photography so that's what I'm planning to do but I'm really open for installation, curating, performing or whatever. I'm interested in the different things you are doing so I would be happy reading about your projects. Especially if you need someone else in your group please contact me on rosalieto@web.de.
I'd be happy to hear from you anyway.
Okay, have a nice time and see you :)
Best,
Wednesday, 13 April 2011
Tuesday, 12 April 2011
Blasphemy with James Frey & Mark Vernon
http://www.ica.org.uk/28663/Talks/Blasphemy-with-James-Frey-Mark-Vernon.html
on 14 April 2011
on 14 April 2011
Monday, 11 April 2011
Chris Anderson, Magnum Photographer, Publishes his Book on the iPad
Magnum Photos member Christopher Anderson has published his latest book - Capitolio - on the iPad. He tells BJP why.
Capitolio is documentary photographer Christopher Anderson's cinematic journey through the upheavals of contemporary Caracas, Venezuela, in the tradition, he says, of such earlier projects as William Klein's New York and Robert Frank's The Americans. But instead of just publishing the work in book form, the Magnum photographer has also released it on the iPad and iPhone platforms for $4.99 (£2.99). He speaks to BJP...BJP:
Why choose the iPhone and the iPad for Capitolio?
Christopher Anderson:
Christopher Anderson:
The ultimate and ideal form of the work for me is a printed book. But there are certain constraints of the printed form: it is expensive (both to produce and buy) putting it out of reach for all but a select group with the means to shell out that kind of money, and there are only a finite number of books available. It occurred to me that here was the potential to reach an infinite audience.
Continue reading the article here
Continue reading the article here
Free online tools useful for group collaboration
I know most of us are just using Facebook and Skype to keep in contact over Easter - but if you're in need of a more creative and productive online meeting place with better tools and applications, I'd recommend having a look at these websites...
All are free and very easy to use.
Writeboard
Writeboard is a free web-based tool which allows you to write ideas down, share them, edit them and collaborate with others across the web.
Dropbox
Store, sync, and, share files online. 2GB of online storage for free (100GB available to paying customers)
Twiddla
Good for online meetings and co-browsing. Groups can use it to mark up websites, photos and other content.
ReviewBasics
Great for people who are collaborating and editing different types of content. Review Basics allows users to share, annotate, and markup everything from images and videos to documents
Bubbl.us
Free web-based application for collaborative brainstorming. You can save beautiful mind maps that you can share with team members, which can also be embedded into your website.
All are free and very easy to use.
Writeboard
Writeboard is a free web-based tool which allows you to write ideas down, share them, edit them and collaborate with others across the web.
Dropbox
Store, sync, and, share files online. 2GB of online storage for free (100GB available to paying customers)
Twiddla
Good for online meetings and co-browsing. Groups can use it to mark up websites, photos and other content.
ReviewBasics
Great for people who are collaborating and editing different types of content. Review Basics allows users to share, annotate, and markup everything from images and videos to documents
Bubbl.us
Free web-based application for collaborative brainstorming. You can save beautiful mind maps that you can share with team members, which can also be embedded into your website.
Sunday, 10 April 2011
Saturday, 9 April 2011
THE EMERGING PHOTOGRAPHER BURSARY AWARD
Garage Studios, Spectrum and Photoworks are delighted to announce the launch of their first exciting new Studio Bursary Award for emerging photographers.
The Bursary includes:
*1 full day of studio lighting tuition at Garage studios with one of our experienced tutors worth over £550
*7 days of studio and lighting hire at Garage Studios, with a lighting assistant provided to support you on your shoots worth over £2800.
*1 day of mentoring from Photowork’s Emma Morris, which will include discussion on creating a cohesive project, and understanding artistic practice with a view to how this can be applied to a studio environment.
*£1000 worth of Spectrum goods and services to be used for the final exhibition (including any film processing, scanning, printing mounting and framing you may need).
* An Introductory visit to Spectrum who will be on hand throughout the bursary to offer technical printing help and guidance.
*1 Full days use of one of Spectrum’s top of the range calibrated monitors, to ensure you colour management is spot-on before printing.
* A two week exhibition which will be promoted by all three companies, and held at Garage Studios in September worth approx £3,000.
To apply for the bursary all applicants should submit a 300 – 500 word submission document describing the proposed studio based project and how you envisage it developing. All applicants must also submit a minimum of 3 images of previous work, alongside a current CV to showcase their work. We are aware that is this is for emerging talent images submitted may be either work in progress or non studio based imagery- but please consider how the images will support your proposal. All applications must be received by 12pm on Monday 2nd May.
For full details of the bursary, and how to apply, visit this link
Friday, 8 April 2011
ICA Artist run events
http://www.ica.org.uk/28943/Music/Everything.html
artist curated events for free at the ICA bar.
artist curated events for free at the ICA bar.
[Research] THE PABLO HELGUERA MANUAL OF CONTEMPORARY ART STYLE
" The Pablo Helguera Manual of Contemporary Art Style, a unique book on the social dynamics of today’s artworld. Printed originally in Spanish by Tumbona Ediciones, the book is in finally available its English version.
Manual of Contemporary Art Style offers an ironic, insightful, and humorous look at the inner social workings of the contemporary art scene, while functioning at the same time as an accurate and useful etiquette manual for understanding the intricate professional dynamics that take place in the art community today.
The Manual poses daring questions such as: Should one sleep with an artist whose work one does not like? What should one say to close friends when they exhibit bad work? How should one approach a dealer tastefully? How can one escape from a never-ending video installation while in the presence of others?
Using the traditional language of old-time etiquette manuals, Helguera describes and addresses social situations in the art world that are familiar to all those who are involved in it, and yet which are barely discussed beyond casual conversation. The Manual thus becomes a portrait of today's contemporary art scene, and the strange and paradoxical contradictions that it lives between fostering its image of radicalism and its need to cater to the financially conservative art market that sustains it.
The Pablo Helguera Manual of Contemporary Art Style is an insightful and entertaining read both for the art specialist and the novice.
[Back toTop]
Author:
Pablo Helguera is a visual artist living in New York. His work, which ranges from performance art, video, and public art, often involves historical research, fiction, humor, and criticism. Previously, Helguera worked as Senior Manager of Education of the Guggenheim Museum in New York, as well as many other museums. He has described the book as follows: "The Manual is an autobiography of sorts, documenting the anecdotes, behind-the-scenes maneuvers, and interactions that I have observed in the art world over the years. But it also seeks to show the ways in which we all conform to regulated patterns of behavior in order to be admitted into the high spheres of the contemporary art scene. In the art world, we all are performers, and here I tried to describe some parts of our unspoken script".
Pablo Helguera has presented his work at the Museum of Modern Art, New York, El Museo del Barrio, the Bronx Museum, the Havana and Liverpool Biennials, and in many other museums and galleries internationally. He worked as head of public programs at the Guggenheim Museum in New York (1998-2005). He is the recent recipient of the Creative Capital Grant, for which he presented his project The School of Panamerican Unrest (www.panamericanismo.org), a ground inter-continental journey from Alaska to Tierra del Fuego. He has written a dozen plays, monologues, and performances, including The Circorama of Operistic Nostalgia (1994), The Memory Palace of Matteo Riccci (1995) The Palace (and other Pilsen Ghost Stories) (1996), From the Vocal Archives of Florence Foster Jenkins (2000), Mock Turtle (2001), Theatrum Anatomicum (or, How to Dissect a Melodrama) (2002), Parallel Lives (2003), The First Imaginary Forum of Mental Sculpture (2004) and The Foreign Legion (2005). He is also the author of the novella Babel (1993), and the essay Endingness (2005). He is represented by Enrique Guerrero Gallery in Mexico City.
[Back toTop]
Commentaries:
You’ll find all sorts of things in Helguera’s Manual that aren’t in any other book: the difference between an A-level artist and a B-level artist, how to cure the dreaded “festivalist syndrome,” how to keep your conviction that you’re the greatest artist in history, and whether it is ethical for a critic to sleep with an artist whose work she doesn’t like.
This is a very funny book. It masquerades as an old-fashioned guide to the manners and foibles of the art world, written by a savvy twenty-first century artist. But it is clever, and has many voices: snide like Miss Manners, sweet and impeccable like Emily Post, hapless like Bouvard and Pécuchet, earnest like an Art World for Dummies, sharp like Swift’s encyclopedia of clichés, sneaky like David Wilson’s fabricated documents for the Museum of Jurassic Technology. Helguera’s tongue seems to be in his cheek—that’s what you’re meant to think—but he is often very helpful, and everything he says is true.
--James Elkins, author of How to Use your Eyes and Our Beautiful, Dry and Distant Texts: Art History as Writing.
[Back toTop]
In the process of writing the rules of the game, Helguera also skewers its participants.
--Rebeca Spence, ArtNews
[Back toTop]
…An artist who dares to look at the big picture ...[Helguera] has a savvy understanding of art history and art audiences, enough to know that a little humor and a bit of irony are sometimes the best tools in an artist arsenal.
--Barbara Pollack, artist and writer
http://www.pintobooks.com/booksintransPabloHelguera.html
Manual of Contemporary Art Style offers an ironic, insightful, and humorous look at the inner social workings of the contemporary art scene, while functioning at the same time as an accurate and useful etiquette manual for understanding the intricate professional dynamics that take place in the art community today.
The Manual poses daring questions such as: Should one sleep with an artist whose work one does not like? What should one say to close friends when they exhibit bad work? How should one approach a dealer tastefully? How can one escape from a never-ending video installation while in the presence of others?
Using the traditional language of old-time etiquette manuals, Helguera describes and addresses social situations in the art world that are familiar to all those who are involved in it, and yet which are barely discussed beyond casual conversation. The Manual thus becomes a portrait of today's contemporary art scene, and the strange and paradoxical contradictions that it lives between fostering its image of radicalism and its need to cater to the financially conservative art market that sustains it.
The Pablo Helguera Manual of Contemporary Art Style is an insightful and entertaining read both for the art specialist and the novice.
[Back toTop]
Author:
Pablo Helguera is a visual artist living in New York. His work, which ranges from performance art, video, and public art, often involves historical research, fiction, humor, and criticism. Previously, Helguera worked as Senior Manager of Education of the Guggenheim Museum in New York, as well as many other museums. He has described the book as follows: "The Manual is an autobiography of sorts, documenting the anecdotes, behind-the-scenes maneuvers, and interactions that I have observed in the art world over the years. But it also seeks to show the ways in which we all conform to regulated patterns of behavior in order to be admitted into the high spheres of the contemporary art scene. In the art world, we all are performers, and here I tried to describe some parts of our unspoken script".
Pablo Helguera has presented his work at the Museum of Modern Art, New York, El Museo del Barrio, the Bronx Museum, the Havana and Liverpool Biennials, and in many other museums and galleries internationally. He worked as head of public programs at the Guggenheim Museum in New York (1998-2005). He is the recent recipient of the Creative Capital Grant, for which he presented his project The School of Panamerican Unrest (www.panamericanismo.org), a ground inter-continental journey from Alaska to Tierra del Fuego. He has written a dozen plays, monologues, and performances, including The Circorama of Operistic Nostalgia (1994), The Memory Palace of Matteo Riccci (1995) The Palace (and other Pilsen Ghost Stories) (1996), From the Vocal Archives of Florence Foster Jenkins (2000), Mock Turtle (2001), Theatrum Anatomicum (or, How to Dissect a Melodrama) (2002), Parallel Lives (2003), The First Imaginary Forum of Mental Sculpture (2004) and The Foreign Legion (2005). He is also the author of the novella Babel (1993), and the essay Endingness (2005). He is represented by Enrique Guerrero Gallery in Mexico City.
[Back toTop]
Commentaries:
You’ll find all sorts of things in Helguera’s Manual that aren’t in any other book: the difference between an A-level artist and a B-level artist, how to cure the dreaded “festivalist syndrome,” how to keep your conviction that you’re the greatest artist in history, and whether it is ethical for a critic to sleep with an artist whose work she doesn’t like.
This is a very funny book. It masquerades as an old-fashioned guide to the manners and foibles of the art world, written by a savvy twenty-first century artist. But it is clever, and has many voices: snide like Miss Manners, sweet and impeccable like Emily Post, hapless like Bouvard and Pécuchet, earnest like an Art World for Dummies, sharp like Swift’s encyclopedia of clichés, sneaky like David Wilson’s fabricated documents for the Museum of Jurassic Technology. Helguera’s tongue seems to be in his cheek—that’s what you’re meant to think—but he is often very helpful, and everything he says is true.
--James Elkins, author of How to Use your Eyes and Our Beautiful, Dry and Distant Texts: Art History as Writing.
[Back toTop]
In the process of writing the rules of the game, Helguera also skewers its participants.
--Rebeca Spence, ArtNews
[Back toTop]
…An artist who dares to look at the big picture ...[Helguera] has a savvy understanding of art history and art audiences, enough to know that a little humor and a bit of irony are sometimes the best tools in an artist arsenal.
--Barbara Pollack, artist and writer
http://www.pintobooks.com/booksintransPabloHelguera.html
Thursday, 7 April 2011
Wednesday, 6 April 2011
Freeze: 20 years on
Freeze: 20 years on
In 1988, in a dingy Docklands warehouse, 16 young artists took part in a show organised by a student called Damien Hirst.
The rest is art history
Jessica Berens
The Observer, Sunday 1 June 2008
In July 1988, somewhere around the release of Crocodile Dundee and the launch of Prozac, an art show was staged in London's Docklands that has entered modern art history as a cataclysmic happening on a par with the Cabaret Voltaire and the Salon des Refusés (the exhibition held in 1863 for works that had been rejected from the official Paris Salon, including Manet's Déjeuner Sur l'Herbe). Organised mainly by Damien Hirst with support from Carl Freedman (now a gallerist and curator), the artist Abigail Lane and the late Angus Fairhurst, Freeze was, Hirst has said, 'the kind of exhibition that everybody says they saw and hardly anybody did'.
Few people, and certainly not the press, could be shagged to hack down to the Surrey Docks, wherever that was, to see boxes and light bulbs made by twentysomething Goldsmiths College art students - or, to put it in art lingo,' survey the new tendency'. Gilbert and George were the newest tendency that the galleries could cope with at that particular moment, the recession being on.
Hirst, then 23, was advantaged by more front than Brighton. As he subsequently told writer Gordon Burn: 'I'm not afraid of meeting somebody and them being shocked and going, "Oh fuck, he's just a little twat from Leeds, really."'
He also had part-time jobs with a market research company and at Anthony d'Offay gallery. The first taught him how to blag stuff on the phone, while the second provided the all-important art world connections - the names that needed to be attracted to see the work, notably the Royal Academy's Norman Rosenthal, the Tate's Sir Nicholas Serota and collector Charles Saatchi.
These three, and a few others, were presented with a selection of items whose cohesion, if there was one, lay in the fact that Goldsmiths did not differentiate between painting and sculpture ('It's just like , you go there and you can do anything,' Hirst said in 1992) - and this resulted in a dominance of confident mixed-media work. Furthermore, the students were receiving advice - and important avuncular encouragement - from tutor Michael Craig-Martin, whose art heart lay in the Duchamp 'joke' - aka Neo-Conceptualism.
The nostalgic palette has become more brightly hued thanks to the fact that time has proved these artists to be what Craig-Martin, with justifiable pride, remembers as an 'extraordinary group'. Hirst's career has been stellar, while many of the others were nominated for or won the Turner Prize, and most have pieces in public galleries all over the world. Only Stephen Park (and possibly Steven Adamson) deviated - Park now enjoys a career as a stand-up comedian, and no one seems sure about Adamson's current whereabouts.
Angus Fairhurst's name, though familiar on the art scene, entered households this year when he was found hanged in a suicide that had the carefully planned characteristics of the emotionally charged Situationist statements that had marked his life. He made the silk rope by hand and died on the day that his show closed at Sadie Coles gallery.
'It annoys me when the press says that Angus was less successful than say Damien or Sarah [Lucas],' says Abigail Lane. 'What they actually mean was that he was not as rich...'
Twenty years ago they were all, as Craig-Martin puts it, 'insanely young'. The keen merchants who did make their way to the London Port Authority building were treated to the sight of a pile of crumpled metal by Sarah Lucas, a door painted by Gary Hume, light bulbs switching on and off by Angela Bulloch and tiny pencil drawings by Richard Patterson. 'I felt reasonably confident in them,' says Patterson, 'insofar as you can be confident in an isolated set of six drawings, but I didn't feel confident about the idea of showing. It was premature for me. Everyone else seemed more intent on doing their growing up in public... I remember some poor bastard doing a performance in the exhibition space where he buried himself naked in a mound of earth with only a breathing tube. After about 15 minutes the mound started to twitch and they had to dig him out. He was getting hypothermia. Awful really.'
Mat Collishaw's Bullet Hole - a cibachrome on a lightbox which showed a head being fractured by a bullet - was to become one of the seminal images of the Young British Artist movement. It also gave the name to the show (according to the catalogue, 'the title comes from Mat Collishaw's lightbox, dedicated to a moment of impact, a preserved now, a freeze frame'). Collishaw recalls that a dealer offered him less for Bullet Hole than it cost to make. 'I said I'd rather let it rot in the car park - which is exactly what it did. Saatchi bought a remake 10 years later.'
Ian Davenport, then 21, enjoyed the first success as he was immediately taken up by Leslie Waddington, by whom he is still represented.
Hirst, generous to his friends, devoted his considerable energy to the hanging and promotion of Freeze - gathering both the money needed for the exhibition as well as sponsorship for a well-designed and professionally written catalogue.
His own contribution to the show took the form of some painted boxes stuck in a pattern on to the wall, and the first spot painting - also painted on to the wall - which remained there for two years.
'People have said that Freeze was about making money,' Craig-Martin says, 'but it wasn't. Nobody could have bought the spot painting... it was about being young, about being excited about what they were doing, and getting people to see their work.'
Hirst himself has said that a collector wanted to buy the boxes as one installation, but after attempting to pin them together with gold paper clips he smashed the thing up for being, in general, too annoying.
Carl Freedman was an old friend of Hirst's from Leeds.
His input, though supportive at the Freeze show, gelled in 1990 with the warehouse shows Modern Medicine and Gambler, held at a former factory in Bermondsey. Charles Saatchi sponsored the former to the tune of £1,000 and subsequently bought Hirst's A Thousand Years - a glass box containing a rotting cow's head, thousands of flies and an electric fly killer. 'I could understand how art acquired a monetary value, though I don't have any in-depth knowledge of art itself - this Damien supplied,' says Freedman. 'I had studied anthropology at university, and my first reading of the contemporary art world was as an exchange system of economic signs. Damien and I lived together at the time, and both fed off each other's area's of knowledge. We shared a youthful sense of unbounded ambition.'
They were both admirers of the Saatchi Collection, and it was that scale and ambition they set out to emulate. 'I think we shared the same goal - to make London a place where contemporary art could thrive and have the same vitality as cities like Cologne and New York (at that time London was somewhat of a backwater). We went different ways when Damien decided he wanted to spend more time making Damien Hirst the centre of the international art world - which on some levels he has achieved.'
While Freeze alone cannot be credited with launching the YBAs on the world, it did, as art critic Peter Timms put it, 'start an inexorable process of change'. For the first time, younger artists were taken seriously, and as the recession lifted and wealth infused the culture of ideas, art became stock and this new group began to be taken very seriously indeed.
Hirst again: 'Everything in the whole world is worth what anyone else is prepared to pay for it. And that's it. Simple.'
Career-making shows were subsequently held at the Saatchi Gallery (then in Boundary Road, north London) and the Serpentine Gallery, but the Salon des Refusés moment did not arguably arrive until the 1997 Sensation show at the Royal Academy. Then the mob got involved, and the YBA phenomenon entered the mainstream. An almost instantaneous and characteristically British backlash culminated in the jaded archetype of Birch's 'Young British Artist' comic strip in Private Eye, while the feeling of ennui is encapsulated by Stephen Park's comment: 'By the mid-Nineties I had lost count of how many friends had won or been nominated for the Turner Prize. I had shared a bed with at least three of them and genuinely lost interest. In the Turner Prize, I mean.'
Says Richard Patterson: 'The YBA thing has to rank as the silliest of all names. Certainly not a movement. I suppose it is a kind of licence to show tits and arse more than anything.'
Nobody, least of all the artists, is pretending that the work shown at Freeze was great; they mostly recall cleaning the space, being bossed about by Damien, and the irritation of fellow students who had been excluded from this court.
Richard Patterson remembers thinking that Hirst's was 'solid student work - neither good nor bad, but intelligent and honest. He was fearless. Some of the others, myself included, were dealing with what it meant to inherit postmodernism - it seemed a shitty fate. Those that didn't know what postmodernism actually meant were free to bang out whatever they saw fit and have never looked back.'
Stephen Park: 'I remember it as a kind of sociological experiment in which Damien played the alpha baboon. It was all about body language and status games. I also remember trying to persuade a group of us that Sarah Lucas's sculpture was not good enough to be included...'
Abigail Lane, whose starched white collars were arranged on the wall like flying ducks, remembers sitting in a white space in an administrative block to which 'nobody came'. But Freeze was professionally presented, with proper money and a catalogue; the artists had taken the initiative, and though subsequent successes sometimes strained friendships, 20 years later, Lane says, there is still a loyalty between them.
She herself, though not richly remunerated by her work, is happy and living in Suffolk with a new baby, Eric. She likes working and, installations being her metier, was recently pleased to arrange a circus artwork, For Your Pleasure, in the shop Matches in Marylebone High Street.
Hirst's slipstream is not something one would wish on anyone; and, though most of the Freeze artists still enjoy a respected presence in the art world, they have also learned to become philosophical, growing with themselves and in their work.
For a time, Richard Patterson gave up making art after Freeze: 'My stopping seems conspicuous in retrospect because many of the others became so successful so fast. I thought it was philosophical to not make things for a while, though in truth I simply wasn't in a head space where I could make art at the time. I was still going to see shows and openings and thinking about art. You don't really "give up" art once you've started. Fiona Rae persuaded me to hurry up and start painting again. The truth is, you're only as good the last painting you've made, so I'm grateful to her for the kick in the arse. I wanted to draw a line under that part of my life and then start a life as an artist. Why would this not be a struggle? Look at De Kooning, for instance. For many of the others in Freeze it was more seamless, and I envied them that at the time. They'll have their reassessment moments later maybe. Rehab, even. It's part of being an artist.'
'Being involved in Freeze helped my career,' says Lala Meredith-Vula, 'It always appears in my press biography with the fact that I have represented Albania in the Venice Biennale. I went my separate way from the group, though. It was not intentional to leave them, but I followed my own interests as an artist and went back to my roots to live in Kosovo for a few years.'
'The real point of being an artist is to have time to play and to decide for myself what I value,' says Stephen Park. 'I live in Devon. It's beautiful here. I stay creative. I make drawings. I perform. I write. When no one's looking I sing and dance, too. I rarely stop to envy the others. I especially don't envy Angus.'
THE 16 ARTISTS: WHAT HAPPENED NEXT
STEVEN ADAMSON
It's not known what Steven Adamson does now. He is thought to be living in south London
ANGELA BULLOCH
Born in l966 in Canada, she works in sculpture, installation and sound. She was nominated for the Turner Prize 1997, and her l998 West Ham - Sculpture for Football Songs is owned by the Tate. She continues to exhibit across Europe and her most recent solo show, in Germany last year, entitled Are You Coming Or Going, Around? was an installation that offered 'terrestrial and extraterrestrial perspectives on the moon, the earth and other parts of the solar system in different media'
MAT COLLISHAW
Born in 1966 in Nottingham, he is currently represented by Tanya Bonakdar Gallery in New York and Haunch of Venison in London. His most recent exhibition was an installation at Spring Projects, in north London, called Deliverance - a new large-scale projection using phosphorescent imagery
IAN DAVENPORT
Born in 1966 in Sidcup, he was nominated for the Turner Prize in l99l. In 2006 he completed Poured Lines: Southwark Street, a 50m painting which is permanently installed beneath the Western Bridge on Southwark Street. He is represented by Waddington Gallery
DOMINIC DENIS
Was listed in the catalogue but did not show work
ANGUS FAIRHURST
Born in l968 in Pembury. Committed suicide on 29 March 2008. A close friend of Damien Hirst and Sarah Lucas he is remembered for being a kind and supportive friend, generous with his ideas. Represented by Sadie Coles, his most recent solo show finished on the day he died. Was also included in high-profile group shows such as In-A-Gadda-Da-Vida at Tate Britain, with Lucas and Hirst in 2004
ANYA GALLACCIO
Born in 1963 in Paisley, she was shortlisted for the Turner Prize in 2003. Uses organic materials such as fruit and vegetables and flowers, which means that the pieces tend to whither and rot. She now lives and works in London and has had solo exhibitions at Tate Britain and the Ikon Gallery as well as across Europe. Her most recent exhibition was Comfort and Conversation at Annet Gelink Gallery in Amsterdam
DAMIEN HIRST
Born in l965 in Bristol, Hirst grew up in Leeds. A sensational career has been marked by what his former tutor Michael Craig-Martin calls an, 'elaborate game with money', culiminating this year in the £50m sale of a diamond encrusted skull entitled For the Love of God
GARY HUME
Born in 1962 in Tenterden, his early work featured life-like representations of hospital doors which were sold to Charles Saatchi. In the early Nineties he turned to painting in gloss paint on aluminium. He represented Britain at the 1999 Venice Biennale, and was nominated for the Turner Prize in 1996. He was made a Royal Academician in 2001
MICHAEL LANDY
Born in l963 in London. In 1992, Landy started an association with Karsten Schubert by making Closing Down Sale for his gallery, an installation made up of a number of objects in shopping trolleys labelled 'BARGAIN'. In 2001 he made Breakdown, in which he destroyed all his possessions. In 2003 he chaired the judging panel for the Beck's Futures art prize
ABIGAIL LANE
Born in 1967 in Penzance. A solo show at Karsten Schubert was followed by exhibitions at Victoria Miro Gallery and abroad. In October 2003, with Bob Pain and Brigitte Stepputtis, she launched the art and design company Showroom Dummies. An installation by Lane will be on show in Matches, Marylebone High Street, from 11 June
SARAH LUCAS
Born in 1962 in London, Lucas is seen as one of the more provocative contemporary female artists, and her work is exhibited all over the world. Her first two solo exhibitions in 1992 were titled 'The Whole Joke' and 'Penis Nailed to a Board'. In 1993, she and Tracey Emin rented a retail space in east London, The Shop, where they made artworks. She is now represented by Sadie Coles, where she most recently contributed to a Films exhibition. Her most recent solo show was at the Frans Hals Museum in the Netherlands
LALA MEREDITH-VULA
Born in 1966 in Sarajevo, her work is in collections all over the world. From 1989 she has lectured at various colleges in the UK, US and Kosovo. In 1995 she set up the first photography department at the University of Tirana, Albania, and in 2000 a photography department at Pristina University in Kosovo
RICHARD PATTERSON
Born 1963 in Leatherhead, Patterson is represented by Timothy Taylor Gallery, which recently presented his new sculpture Black Narcissus/Ellwood, L-word: Culture Station (Zipper) 1B, composed of rectilinear maple plywood planes and aluminium plate. He currently lives and works in Dallas with his wife, gallerist Christina, and plans to show at the Goss-Michael Foundation next year. 'The foundation is dedicated to showing Britart. There is a great opportunity for showing Brit stuff here if it is done thoughtfully. If it's not, it'll be a kind of "Carry On YBA" sort of caper in a very hot and sweaty location'
SIMON PATTERSON
Born in 1967 in Leatherhead, the younger brother of Richard Patterson, he was shortlisted for the Turner Prize in 1996. His London Underground map adaptation The Great Bear was purchased by Saatchi and shown in the Sensation exhibition. The National Maritime Museum is currently showing The Undersea World and Other Stories - an anthology of Patterson's works. He is represented by Haunch of Venison gallery
STEPHEN PARK
Born in l962 in Edinburgh, Park works as a comedian and stand-up poet as well as an artist. He is one of the hosts of a regular poetry/cabaret event in Totnes called One Night Stanza. Since 1987, Stephen has been working on a series of abstract drawings. They are made with Indian ink, gouache and typewriter correction fluid on Fabriano paper
FIONA RAE
Born in 1963 in Hong Kong and moved to England in 1970. She was nominated in 1991 for the Turner Prize, and in 1993 for the Austrian Eliette Von Karajan Prize for Young Painters. In 1992 Rae was commissioned by Tate Modern to create a 10m triptych, Shadowland, for the gallery's restaurant. She is now a Royal Academician as well as being a Trustee of the Tate Gallery. Her new paintings can be seen in a current show at Timothy Taylor Gallery
guardian.co.uk © Guardian News and Media Limited 2011
In 1988, in a dingy Docklands warehouse, 16 young artists took part in a show organised by a student called Damien Hirst.
The rest is art history
Jessica Berens
The Observer, Sunday 1 June 2008
In July 1988, somewhere around the release of Crocodile Dundee and the launch of Prozac, an art show was staged in London's Docklands that has entered modern art history as a cataclysmic happening on a par with the Cabaret Voltaire and the Salon des Refusés (the exhibition held in 1863 for works that had been rejected from the official Paris Salon, including Manet's Déjeuner Sur l'Herbe). Organised mainly by Damien Hirst with support from Carl Freedman (now a gallerist and curator), the artist Abigail Lane and the late Angus Fairhurst, Freeze was, Hirst has said, 'the kind of exhibition that everybody says they saw and hardly anybody did'.
Few people, and certainly not the press, could be shagged to hack down to the Surrey Docks, wherever that was, to see boxes and light bulbs made by twentysomething Goldsmiths College art students - or, to put it in art lingo,' survey the new tendency'. Gilbert and George were the newest tendency that the galleries could cope with at that particular moment, the recession being on.
Hirst, then 23, was advantaged by more front than Brighton. As he subsequently told writer Gordon Burn: 'I'm not afraid of meeting somebody and them being shocked and going, "Oh fuck, he's just a little twat from Leeds, really."'
He also had part-time jobs with a market research company and at Anthony d'Offay gallery. The first taught him how to blag stuff on the phone, while the second provided the all-important art world connections - the names that needed to be attracted to see the work, notably the Royal Academy's Norman Rosenthal, the Tate's Sir Nicholas Serota and collector Charles Saatchi.
These three, and a few others, were presented with a selection of items whose cohesion, if there was one, lay in the fact that Goldsmiths did not differentiate between painting and sculpture ('It's just like , you go there and you can do anything,' Hirst said in 1992) - and this resulted in a dominance of confident mixed-media work. Furthermore, the students were receiving advice - and important avuncular encouragement - from tutor Michael Craig-Martin, whose art heart lay in the Duchamp 'joke' - aka Neo-Conceptualism.
The nostalgic palette has become more brightly hued thanks to the fact that time has proved these artists to be what Craig-Martin, with justifiable pride, remembers as an 'extraordinary group'. Hirst's career has been stellar, while many of the others were nominated for or won the Turner Prize, and most have pieces in public galleries all over the world. Only Stephen Park (and possibly Steven Adamson) deviated - Park now enjoys a career as a stand-up comedian, and no one seems sure about Adamson's current whereabouts.
Angus Fairhurst's name, though familiar on the art scene, entered households this year when he was found hanged in a suicide that had the carefully planned characteristics of the emotionally charged Situationist statements that had marked his life. He made the silk rope by hand and died on the day that his show closed at Sadie Coles gallery.
'It annoys me when the press says that Angus was less successful than say Damien or Sarah [Lucas],' says Abigail Lane. 'What they actually mean was that he was not as rich...'
Twenty years ago they were all, as Craig-Martin puts it, 'insanely young'. The keen merchants who did make their way to the London Port Authority building were treated to the sight of a pile of crumpled metal by Sarah Lucas, a door painted by Gary Hume, light bulbs switching on and off by Angela Bulloch and tiny pencil drawings by Richard Patterson. 'I felt reasonably confident in them,' says Patterson, 'insofar as you can be confident in an isolated set of six drawings, but I didn't feel confident about the idea of showing. It was premature for me. Everyone else seemed more intent on doing their growing up in public... I remember some poor bastard doing a performance in the exhibition space where he buried himself naked in a mound of earth with only a breathing tube. After about 15 minutes the mound started to twitch and they had to dig him out. He was getting hypothermia. Awful really.'
Mat Collishaw's Bullet Hole - a cibachrome on a lightbox which showed a head being fractured by a bullet - was to become one of the seminal images of the Young British Artist movement. It also gave the name to the show (according to the catalogue, 'the title comes from Mat Collishaw's lightbox, dedicated to a moment of impact, a preserved now, a freeze frame'). Collishaw recalls that a dealer offered him less for Bullet Hole than it cost to make. 'I said I'd rather let it rot in the car park - which is exactly what it did. Saatchi bought a remake 10 years later.'
Ian Davenport, then 21, enjoyed the first success as he was immediately taken up by Leslie Waddington, by whom he is still represented.
Hirst, generous to his friends, devoted his considerable energy to the hanging and promotion of Freeze - gathering both the money needed for the exhibition as well as sponsorship for a well-designed and professionally written catalogue.
His own contribution to the show took the form of some painted boxes stuck in a pattern on to the wall, and the first spot painting - also painted on to the wall - which remained there for two years.
'People have said that Freeze was about making money,' Craig-Martin says, 'but it wasn't. Nobody could have bought the spot painting... it was about being young, about being excited about what they were doing, and getting people to see their work.'
Hirst himself has said that a collector wanted to buy the boxes as one installation, but after attempting to pin them together with gold paper clips he smashed the thing up for being, in general, too annoying.
Carl Freedman was an old friend of Hirst's from Leeds.
His input, though supportive at the Freeze show, gelled in 1990 with the warehouse shows Modern Medicine and Gambler, held at a former factory in Bermondsey. Charles Saatchi sponsored the former to the tune of £1,000 and subsequently bought Hirst's A Thousand Years - a glass box containing a rotting cow's head, thousands of flies and an electric fly killer. 'I could understand how art acquired a monetary value, though I don't have any in-depth knowledge of art itself - this Damien supplied,' says Freedman. 'I had studied anthropology at university, and my first reading of the contemporary art world was as an exchange system of economic signs. Damien and I lived together at the time, and both fed off each other's area's of knowledge. We shared a youthful sense of unbounded ambition.'
They were both admirers of the Saatchi Collection, and it was that scale and ambition they set out to emulate. 'I think we shared the same goal - to make London a place where contemporary art could thrive and have the same vitality as cities like Cologne and New York (at that time London was somewhat of a backwater). We went different ways when Damien decided he wanted to spend more time making Damien Hirst the centre of the international art world - which on some levels he has achieved.'
While Freeze alone cannot be credited with launching the YBAs on the world, it did, as art critic Peter Timms put it, 'start an inexorable process of change'. For the first time, younger artists were taken seriously, and as the recession lifted and wealth infused the culture of ideas, art became stock and this new group began to be taken very seriously indeed.
Hirst again: 'Everything in the whole world is worth what anyone else is prepared to pay for it. And that's it. Simple.'
Career-making shows were subsequently held at the Saatchi Gallery (then in Boundary Road, north London) and the Serpentine Gallery, but the Salon des Refusés moment did not arguably arrive until the 1997 Sensation show at the Royal Academy. Then the mob got involved, and the YBA phenomenon entered the mainstream. An almost instantaneous and characteristically British backlash culminated in the jaded archetype of Birch's 'Young British Artist' comic strip in Private Eye, while the feeling of ennui is encapsulated by Stephen Park's comment: 'By the mid-Nineties I had lost count of how many friends had won or been nominated for the Turner Prize. I had shared a bed with at least three of them and genuinely lost interest. In the Turner Prize, I mean.'
Says Richard Patterson: 'The YBA thing has to rank as the silliest of all names. Certainly not a movement. I suppose it is a kind of licence to show tits and arse more than anything.'
Nobody, least of all the artists, is pretending that the work shown at Freeze was great; they mostly recall cleaning the space, being bossed about by Damien, and the irritation of fellow students who had been excluded from this court.
Richard Patterson remembers thinking that Hirst's was 'solid student work - neither good nor bad, but intelligent and honest. He was fearless. Some of the others, myself included, were dealing with what it meant to inherit postmodernism - it seemed a shitty fate. Those that didn't know what postmodernism actually meant were free to bang out whatever they saw fit and have never looked back.'
Stephen Park: 'I remember it as a kind of sociological experiment in which Damien played the alpha baboon. It was all about body language and status games. I also remember trying to persuade a group of us that Sarah Lucas's sculpture was not good enough to be included...'
Abigail Lane, whose starched white collars were arranged on the wall like flying ducks, remembers sitting in a white space in an administrative block to which 'nobody came'. But Freeze was professionally presented, with proper money and a catalogue; the artists had taken the initiative, and though subsequent successes sometimes strained friendships, 20 years later, Lane says, there is still a loyalty between them.
She herself, though not richly remunerated by her work, is happy and living in Suffolk with a new baby, Eric. She likes working and, installations being her metier, was recently pleased to arrange a circus artwork, For Your Pleasure, in the shop Matches in Marylebone High Street.
Hirst's slipstream is not something one would wish on anyone; and, though most of the Freeze artists still enjoy a respected presence in the art world, they have also learned to become philosophical, growing with themselves and in their work.
For a time, Richard Patterson gave up making art after Freeze: 'My stopping seems conspicuous in retrospect because many of the others became so successful so fast. I thought it was philosophical to not make things for a while, though in truth I simply wasn't in a head space where I could make art at the time. I was still going to see shows and openings and thinking about art. You don't really "give up" art once you've started. Fiona Rae persuaded me to hurry up and start painting again. The truth is, you're only as good the last painting you've made, so I'm grateful to her for the kick in the arse. I wanted to draw a line under that part of my life and then start a life as an artist. Why would this not be a struggle? Look at De Kooning, for instance. For many of the others in Freeze it was more seamless, and I envied them that at the time. They'll have their reassessment moments later maybe. Rehab, even. It's part of being an artist.'
'Being involved in Freeze helped my career,' says Lala Meredith-Vula, 'It always appears in my press biography with the fact that I have represented Albania in the Venice Biennale. I went my separate way from the group, though. It was not intentional to leave them, but I followed my own interests as an artist and went back to my roots to live in Kosovo for a few years.'
'The real point of being an artist is to have time to play and to decide for myself what I value,' says Stephen Park. 'I live in Devon. It's beautiful here. I stay creative. I make drawings. I perform. I write. When no one's looking I sing and dance, too. I rarely stop to envy the others. I especially don't envy Angus.'
THE 16 ARTISTS: WHAT HAPPENED NEXT
STEVEN ADAMSON
It's not known what Steven Adamson does now. He is thought to be living in south London
ANGELA BULLOCH
Born in l966 in Canada, she works in sculpture, installation and sound. She was nominated for the Turner Prize 1997, and her l998 West Ham - Sculpture for Football Songs is owned by the Tate. She continues to exhibit across Europe and her most recent solo show, in Germany last year, entitled Are You Coming Or Going, Around? was an installation that offered 'terrestrial and extraterrestrial perspectives on the moon, the earth and other parts of the solar system in different media'
MAT COLLISHAW
Born in 1966 in Nottingham, he is currently represented by Tanya Bonakdar Gallery in New York and Haunch of Venison in London. His most recent exhibition was an installation at Spring Projects, in north London, called Deliverance - a new large-scale projection using phosphorescent imagery
IAN DAVENPORT
Born in 1966 in Sidcup, he was nominated for the Turner Prize in l99l. In 2006 he completed Poured Lines: Southwark Street, a 50m painting which is permanently installed beneath the Western Bridge on Southwark Street. He is represented by Waddington Gallery
DOMINIC DENIS
Was listed in the catalogue but did not show work
ANGUS FAIRHURST
Born in l968 in Pembury. Committed suicide on 29 March 2008. A close friend of Damien Hirst and Sarah Lucas he is remembered for being a kind and supportive friend, generous with his ideas. Represented by Sadie Coles, his most recent solo show finished on the day he died. Was also included in high-profile group shows such as In-A-Gadda-Da-Vida at Tate Britain, with Lucas and Hirst in 2004
ANYA GALLACCIO
Born in 1963 in Paisley, she was shortlisted for the Turner Prize in 2003. Uses organic materials such as fruit and vegetables and flowers, which means that the pieces tend to whither and rot. She now lives and works in London and has had solo exhibitions at Tate Britain and the Ikon Gallery as well as across Europe. Her most recent exhibition was Comfort and Conversation at Annet Gelink Gallery in Amsterdam
DAMIEN HIRST
Born in l965 in Bristol, Hirst grew up in Leeds. A sensational career has been marked by what his former tutor Michael Craig-Martin calls an, 'elaborate game with money', culiminating this year in the £50m sale of a diamond encrusted skull entitled For the Love of God
GARY HUME
Born in 1962 in Tenterden, his early work featured life-like representations of hospital doors which were sold to Charles Saatchi. In the early Nineties he turned to painting in gloss paint on aluminium. He represented Britain at the 1999 Venice Biennale, and was nominated for the Turner Prize in 1996. He was made a Royal Academician in 2001
MICHAEL LANDY
Born in l963 in London. In 1992, Landy started an association with Karsten Schubert by making Closing Down Sale for his gallery, an installation made up of a number of objects in shopping trolleys labelled 'BARGAIN'. In 2001 he made Breakdown, in which he destroyed all his possessions. In 2003 he chaired the judging panel for the Beck's Futures art prize
ABIGAIL LANE
Born in 1967 in Penzance. A solo show at Karsten Schubert was followed by exhibitions at Victoria Miro Gallery and abroad. In October 2003, with Bob Pain and Brigitte Stepputtis, she launched the art and design company Showroom Dummies. An installation by Lane will be on show in Matches, Marylebone High Street, from 11 June
SARAH LUCAS
Born in 1962 in London, Lucas is seen as one of the more provocative contemporary female artists, and her work is exhibited all over the world. Her first two solo exhibitions in 1992 were titled 'The Whole Joke' and 'Penis Nailed to a Board'. In 1993, she and Tracey Emin rented a retail space in east London, The Shop, where they made artworks. She is now represented by Sadie Coles, where she most recently contributed to a Films exhibition. Her most recent solo show was at the Frans Hals Museum in the Netherlands
LALA MEREDITH-VULA
Born in 1966 in Sarajevo, her work is in collections all over the world. From 1989 she has lectured at various colleges in the UK, US and Kosovo. In 1995 she set up the first photography department at the University of Tirana, Albania, and in 2000 a photography department at Pristina University in Kosovo
RICHARD PATTERSON
Born 1963 in Leatherhead, Patterson is represented by Timothy Taylor Gallery, which recently presented his new sculpture Black Narcissus/Ellwood, L-word: Culture Station (Zipper) 1B, composed of rectilinear maple plywood planes and aluminium plate. He currently lives and works in Dallas with his wife, gallerist Christina, and plans to show at the Goss-Michael Foundation next year. 'The foundation is dedicated to showing Britart. There is a great opportunity for showing Brit stuff here if it is done thoughtfully. If it's not, it'll be a kind of "Carry On YBA" sort of caper in a very hot and sweaty location'
SIMON PATTERSON
Born in 1967 in Leatherhead, the younger brother of Richard Patterson, he was shortlisted for the Turner Prize in 1996. His London Underground map adaptation The Great Bear was purchased by Saatchi and shown in the Sensation exhibition. The National Maritime Museum is currently showing The Undersea World and Other Stories - an anthology of Patterson's works. He is represented by Haunch of Venison gallery
STEPHEN PARK
Born in l962 in Edinburgh, Park works as a comedian and stand-up poet as well as an artist. He is one of the hosts of a regular poetry/cabaret event in Totnes called One Night Stanza. Since 1987, Stephen has been working on a series of abstract drawings. They are made with Indian ink, gouache and typewriter correction fluid on Fabriano paper
FIONA RAE
Born in 1963 in Hong Kong and moved to England in 1970. She was nominated in 1991 for the Turner Prize, and in 1993 for the Austrian Eliette Von Karajan Prize for Young Painters. In 1992 Rae was commissioned by Tate Modern to create a 10m triptych, Shadowland, for the gallery's restaurant. She is now a Royal Academician as well as being a Trustee of the Tate Gallery. Her new paintings can be seen in a current show at Timothy Taylor Gallery
guardian.co.uk © Guardian News and Media Limited 2011
Tuesday, 5 April 2011
Here is a link to a group that helps artists rent out empty shops.
Saturday, 2 April 2011
FREE EVENT TONIGHT
Charles Atlas, Mika Tajima and New Humans: The Pedestrians
http://www.southlondongallery.org/page/144/Charles+Atlas,+Mika+Tajima+and+New+Humans:+The+Pedestrians/587
also events tomorrow, wednesday and the following sunday
http://www.southlondongallery.org/page/144/Charles+Atlas,+Mika+Tajima+and+New+Humans:+The+Pedestrians/587
also events tomorrow, wednesday and the following sunday
Friday, 1 April 2011
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