Search results for ""Ridinghouse""

This generously illustrated volume provides a comprehensive survey of the career of a groundbreaking British performance artist. Rose English (b.1950) emerged in the 1970s with an interdisciplinary approach informed by performance, conceptual art, dance, feminism and installation – a pioneering combination at the time. English has gone on to become one of the most influential performance artists working today. Combining elements of theatre, circus, opera and poetry, her work explores themes of gender politics, the identity of the performer and the metaphysics of presence. She has mounted performances in ice rinks, theatres and traditional art spaces such as London’s Tate Britain, collaborating with horses, magicians and acrobats. This monograph documents English’s 40-year career to date, including legendary site-specific performances and large-scale spectaculars. Accompanying many rare archival photographs and performance scripts, a major essay by Guy Brett surveys the artist’s work and times alongside interviews with two of English's closest collaborators, Sally Potter and Simon Vincenzi.

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Frank Bowling (b.1934, Bartica, Guyana) is attracting ever-growing international recognition as an abstract painter. This is the first publication to examine Bowling’s art and ideas in relation to sculpture. Lavishly illustrated, it features an extended essay by curator Sam Cornish charting Bowling’s interactions with sculpture since the 1960s. The book asks how seeing Bowling’s sculpture, and thinking about sculpture more broadly, may extend our understanding of his pictorial language. Considering this relationship also highlights the importance of sculpture to High Modernism, from within which Bowling’s mature art emerged. Also included are an in-conversation between Allie Biswas and sculptor Thomas J. Price, and a poem dedicated to Bowling by sculptor and author Barbara Chase-Riboud.

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This first monograph on Phillip Lai (b.1969, Kuala Lumpur, Malaysia) charts the artist’s sculptural development over the course of the last two decades. From a basement soy-sauce factory to the Hepworth Prize for Sculpture, the publication surveys several of the artist’s exhibitions across London, Wakefield, Turin, Berlin and Hong Kong. The nine chapters explore an evolving oeuvre that finds form in materials like aluminium, pewter, concrete, resin, rice, cooking pots, textiles and film. It is through these technologies that Lai broaches the material limits of the everyday world, often working with casting processes that see the abstraction and changing stability of materials as they transition from fluid to solid. What comes into focus is a fascination with how objects can relieve or modulate primal human urges to food and water and how, by extension, a material world might be re-envisioned around concerns of depletion and survival. This publication includes an essay by critic and writer Jan Verwoert, with bilingual text in English and Chinese throughout.

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This publication brings together over 60 works on paper created from 2005 to the present day by London-based artist Neil Gall (born 1967, Aberdeen), whose works balance the profound with the absurd. In works that buzz with art historical reference, Gall has consistently explored matters of perception and mimesis through the visual language of household detritus. He translates the visceral and psychological interactions between materials and their surfaces – corrugated cardboard and pressed tinfoil, ping-pong balls enshrouded in black tape – to an unsettling, surreal and sometimes erotic effect. Essays by art historian Lexi Lee Sullivan and artist Alexander Ross are augmented by thoughtful insights from gallerist George Newall and an introduction from Gall's dealers David Nolan and Aurel Scheibler.

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Celebrated art critic and curator Guy Brett made a unique contribution to art criticism and exhibition making through his championing of experimental artists from across the world, writing seminal monographic essays on artists such as Susan Hiller, Rose Finn-Kelcey, Lygia Clark, Hélio Oiticica, David Medalla, Rose English, Mona Hatoum, Takis and others. The 14 essays in this book bring together a unique gathering of artists, tracing their diversity and singularity. Many of these artists make works which arise out of their responses to the situation or the environment in which they find themselves, a process that draws on the countless interactions people have and the many ways that they connect. Brett’s writing has a unique tone – lucid and widely researched, free of a narrow academicism. He has published widely in the art press, addressing topics such as the relationship between art and life, ideas about the participation of the spectator, and the importance of a kind of visual wit to both artists and writers.

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During the mid-1980s, Riley introduced a new pictorial device, the rhomboid, to her then predominantly vertical stripes, developing her exploration of interplaying tones of green, yellow and orange. This allowed the artist to construct new visual relationships between divergent colours and forms, creating what she terms a ‘harmony of contrasts’ that animates the entire visual field. Tracking a transitional period in Riley’s career, the works on paper in this volume – studies produced between 1984 and 1995 – shift from a focus on the vertical stripe to increasingly complex diagonal compositions. Illustrated in full colour, the works are accompanied by a historic interview with the artist by Robert Kudielka and a text by Riley’s archivists Natalia Naish and Alexandra Tommasini, situating these studies in relation to major paintings produced during this period.

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Founded in 1967, Stockwell Depot heralded the emergence of the London artists’ studio movement and gained international recognition as a centre for abstraction in Britain. For over 25 years, this disused former brewery in south London functioned as a cooperative studio and exhibition space. Artists associated with the Depot – Roland Brener, Jennifer Durrant, David Evison, Katherine Gili, Peter Hide and Roelof Louw, among many others – held differing and often competing attitudes towards art. The ambitious work made and shown at the Depot tells the story of late modernism in Britain, tracing a period full of formal experimentation and critical debate. Incorporating interviews with 10 artists alongside a major essay by Sam Cornish, this volume is the first to examine the artists’ activities within a historical context and to track their development through the Depot’s pivotal annual exhibitions. Published to coincide with the exhibition Stockwell Depot, 1967–79 at University of Greenwich Galleries, London, 24 July–12 September 2015.

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This volume focuses on Bridget Riley's energetic ‘curvilinear’ works from a 2006 exhibition by Bridget Riley. The paintings incorporate complex layers of flowing forms that interlock and move with one another, reflecting the artist's exploration of curves to create paintings of great energy and movement. Using a patch of colour that is similar to a brush mark, Riley’s forms interrupt and threaten to break out from the picture plane, overhanging the frame to jostle and animate the visual field. Refining and developing this form in recent paintings, the artist's work offers an incredible melding of form and colour. Featuring over 20 full-colour illustrations, this publication includes an in-depth essay by Paul Moorhouse examining the changes within Riley’s work throughout her multi-decade career.

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A catalogue of paintings by John Golding (1929-2012) - British artist, scholar and curator. Perhaps best known for his seminal book, 'Cubism: A history and an Analysis 1907-1914' (1959) he actually considered himself primarily a painter and exhibited extensively both in the UK and internationally during a career that spanned almost six decades.

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Simon Moretti is known for his enigmatic exhibition works, presenting displays that engage with questions of agency, temporality, automatism, desire and masculinity. Incorporating appropriated images and archives as well as curatorial and publishing projects, often made in collaboration with other artists, his work addresses the role of ‘curating as practice’. Presented as a non-chronological visual essay, this publication surveys 10 years of collage works by Moretti. It includes text contributions from writer Craig Burnett, curator and art historian Yuval Etgar, novelists Deborah Levy and Chloe Aridjis, and a conversation with Andrew Durbin, editor-in-chief of frieze magazine.

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Published in association with Luxembourg + Co. on the occasion of their 2019 exhibition Reconstructing Cezanne, this catalogue features in-depth analyses of Cezanne’s works on paper by Fabienne Ruppen, based on DNA examination of the papers he used for his watercolours and drawings, as well as extensive commentary on new horizons in Cezanne scholarship by expert Walter Feilchenfeldt, co-author of the artist’s online catalogue raisonné. At the core of this exploration are two watercolours that Cezanne produced from a large sheet of paper, which he divided into two sections for the purpose of capturing different landscapes: the Courtauld Gallery’s renowned La Montagne Sainte-Victoire, from 1885–87, and a Paysage Provençal in private ownership. Reconstructing Cezanne reunites these two works for the first time. This publication follows the decision of the Société Paul Cezanne and the family of the artist to spell the artist’s name without an acute accent.

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From Bauhaus jewellery and West African textiles to contemporary portraiture and sculpture, this unique volume explores the rituals of making that underpin an artist’s work. Accompanying an exhibition curated by the groundbreaking Nigerian-born British fashion designer Duro Olowu at Camden Art Centre, London, this book offers the opportunity to re-evaluate art and textiles from the nineteenth-century to the present. Olowu selects material by more than 60 artists from around the world, including rarely seen works by Anni Albers, Wangechi Mutu, Alice Neel, Chris Ofili and Irving Penn, and newer paintings by Lynette Yiadom-Boakye. By setting up unexpected dialogues between historic and contemporary artists working in a myriad of media – textile, painting, sculpture, photography and collage – Olowu reveals a shared preoccupation with themes of gender, race, beauty, sexuality and the body. The volume includes an in-depth conversation between Olowu and artist Glenn Ligon, along with texts by Jennifer Higgie and Shanay Jhaveri, that together highlight the intricate layers of history and place that influence the making of art.

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In 1959, Bridget Riley’s copy of Georges Seurat’s Bridge at Courbevoie (1886–87) offered the artist a new understanding of colour and tone, which led her to produce her first major works of pure abstraction during the early 1960s. In 2015–16, an exhibition at the Courtauld Gallery, London, presented seven of Riley’s paintings and this key Pointillist work by Seurat from the museum's collection. Brought together for the first time, the exhibition demonstrated the two artists’ shared preoccupation with perception by looking at pivotal points throughout Riley’s career. Alongside full-colour illustrations, this publication features two essays written by Riley that offer the artist’s insights on Seurat’s importance to her own practice. An interview with the artist by Éric de Chassey, complemented by an introductory text by Karen Serres and Barnaby Wright, make this an important resource for art historians and general readers alike.

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Recounting an art dealer’s recuperation from major surgery in the famous Claridge’s Hotel in London, this idiosyncratic (and semi-autobiographical) novel interweaves reality with fantasy. Room 225–6 follows the author-character ‘The Protagonist’ – accompanied by his beloved terrier ‘The Bitch’ – around London’s Mayfair as he hosts endless art world gatherings and tea parties for twenty, and visits a multitude of local galleries and shops. Incorporating multi-layered voices and devices, the distinctive narrative introduces the reader to a memorable host of characters – from the ‘The Political Prisoner’ to ‘The Little Mondrian’ – in a tale filled with humour of observation and incident. Bringing to life this frightening yet extraordinary period in one man’s life, it is at once honest, satirical, idiotic and bold. Room 225-6 is sold to benefit the Oracle Cancer Trust (oraclecancertrust.org), the UK’s leading national charity dedicated to funding head and neck cancer research.

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As one of the leading critical voices on art of the postwar years, polymath Lawrence Gowing (1918–1991) combined a passion for close visual involvement with formidable literary skills. Edited by art historian Sarah Whitfield, four decades of Gowing’s writing are brought together for the first time in this volume, covering subjects from the Old Masters to Francis Bacon and Howard Hodgkin. Having first gained success as a painter, Gowing's 1952 monograph on Vermeer brought him early recognition as a writer with the ability to combine aesthetic experience with a meticulous historical perspective. Gowing’s foremost commitment was to the pioneering painters of the late nineteenth and early twentieth centuries, notably Paul Cézanne and Henri Matisse. The exhibitions he curated at the Tate and Museum of Modern Art famously helped to mould and reshape public perceptions. Characterised by a desire to instruct and encourage, his writing reflects a highly successful career as a curator and teacher.

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Art historian and curator Dawn Ades is a leading voice on Dada, Surrealism, abstraction and art from Latin America. This volume collects her important essays for the first time, addressing themes fundamental to the history of modern art and the avant-garde. Arranged thematically, this collection of essays represents the breadth of Ades’s critical and curatorial interests, ranging from avant-garde poster design, to photomontage, to the representation of the female in Mexico, but with an overarching foundation in abstraction, identity and the influence of new mediums. As well as working as a professor and curator – which earned her an OBE for her services to art history – Ades has written on a wide range of artists since 1980. Spanning the likes of Francis Bacon, Richard Deacon, Salvador Dalí and Hannah Höch, this body of essays is ingrained with Ades’s consistently clear and intellectually stimulating observations. To introduce the book, Ades is interviewed by Doro Globus, who explores the writer’s relationship to curating, teaching and art history.

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First published to accompany a 2011 exhibition, this catalogue features three new paintings that bring Bridget Riley's exploration of the circle from the wall to the canvas, and from black and white to colour. By placing Riley’s new paintings in relation to her early gouaches, this publication highlights new directions taken by the famous British artist. Through the layering of circles of yellow and orange in her exploration of interplaying colours, Riley asks the viewer's eye to continuously adjust as the shapes grow, compress and dance across the canvas. Full-colour illustrations are accompanied by a conversation between Riley and Robert Kudielka from 1978, in which the artist discusses her move away from the blacks, greys and whites of her 1960s works and towards the use of the curve ‘as a rhythmic vehicle for colour’.

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This publication – edited and introduced by his biographer Matthew Spender – provides an intimate portrait of the Arshile Gorky. The paintings of Armenian-American painter Arshile Gorky (c.1904–1948) proved nothing less than transformative to twentieth-century art in the US and beyond. Shaped by his experience of fleeing the Armenian Genocide, Gorky filtered influences of Impressionism and Post-impressionism, producing vigorous compositions that were sometimes abstract, other times figurative or a mixture of the two. In this volume, Gorky's gradual reception by the art world is seen obliquely through interviews and personal accounts, many of which are previously unpublished. Accompanying the letters and key illustrations, an introduction by Gorky biographer Matthew Spender focuses on the artist's postwar influence and continued relevance.

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Lumen, a survey of the four-decade career of British-Indian artist Sutapa Biswas, accompanies two solo exhibitions of the artist’s work held in 2021–22. Biswas emigrated from India to the UK with her family in the 1960s. Taking the long histories of colonialism together with personal memories, Biswas’s art meditates on questions of migration, identity and belonging. Her practice has consistently interrogated Western tradition and discourse, pushing past absences, exclusions and limited representations to make evident the entwined histories of culture and politics. This publication details Biswas’s career from its origins in the Black Arts Movement in the 1980s to her important photographic installations of the 1990s and her subsequent major moving-image works, including her newly commissioned film Lumen. The first substantial publication on the artist in over 17 years, it features two new conversations with the artist and two commissioned essays. It also includes a republication of Griselda Pollock’s important text on Biswas’s work, along with a postface reflecting on their relationship in the decades since the essay’s original publication. Published on the occasion of the exhibition: Sutapa Biswas: Lumen BALTIC Centre for Contemporary Art, Gateshead (26 June 2021–22 March 2022) and Kettle’s Yard, University of Cambridge (16 October 2021–30 January 2022).

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Linder’s photomontages violate, liberate and celebrate the human body to question the mechanics of gender and its ties to consumer culture and media. Linder is best known for her pioneering photomontages that replace the sexualised imagery of soft-focus pornographic centrefolds with commodities of domestic middle-class life. Surprising, humorous, and at times shocking, these precise compositions bring to light the powerful fantasies and repressions that underlie our social expectations of identity. Spanning almost four decades, this monograph interweaves numerous photomontage series from throughout Linder’s career, demonstrating the artist’s manipulation of disparate source material – from brightly saturated male pornographic imagery to softly lit portraits of ballerinas. Accompanying over 250 illustrations is a conversation between the artist and renowned art historian Dawn Adès that reconciles her provocative work with the longer history of photomontage.

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“As an art critic, [Hickey] doesn’t do what most people want from art criticism. He doesn’t provide his readers with a neat intellectual framework through which to view everything they see, like a Clement Greenberg or a Michael Fried, and he doesn’t really do beautiful description either ... Instead, Hickey gives you intricately structured argument and gorgeous prose ... Reading him you want to forget that the art market is a game of Hungry Hungry Hippos between Ukrainian oligarchs and Qatari princesses ... You want to be the thing you advocate; you want to ride the wave, mount the dais, and speak the truth.” – Los Angeles Review of Books Arguably one of the most astute critics working today, Dave Hickey's multi-decade career as a leading cultural commentator is characterised by his blend of high and mass culture and his fervent critique of the celebrity-driven culture of the 21st-century art world. Following his 2012 announcement of self-imposed exile from art criticism, this new body of essays once again questions and challenges the cultural status quo. With his trademark humour, Hickey has declared that: ‘I miss being an elitist and not having to talk to idiots’ in a field that, he believes, is defined by the commoditisation of art and the self-referential tendencies of criticism itself. This new body of shorter essays by the author of Air Guitar: Essays on Art & Democracy and The Invisible Dragon: Four Essays on Beauty looks at more contemporary phenomena: super-collectors, the trope of the biennale and the loss of looking.

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This publication celebrates an extraordinary collection of drawings and prints by Paul Cézanne that has been gifted and placed on long-term loan to the Whitworth Gallery in Manchester, by gallerist, collector, author and founder of Ridinghouse, Karsten Schubert. This important act of generosity means that the Whitworth now holds the best collection of Cézanne works on paper in the United Kingdom, including a version of every print produced by the artist. These works will significantly expand the research potential of the Whitworth’s important collection of late 19th-century French and Dutch drawings by artists including Van Gogh, Seurat, Gauguin and Pissarro – whose portrait of Cézanne is included in this publication. The book also draws together other artistic copies: Raimondi’s copy of Raphael’s Judgement of Paris and, bringing us to the present day, Michael Landy’s Cézanne Bathers. The publication features a lead essay by renowned Impressionist scholar Richard Thomson on the significance of the bequest, a biographical essay on Karsten Schubert by Richard Shone, an interview with Schubert by Yuval Etgar on the bequest, and an essay by Christopher Lloyd on how these works relate to Cézanne’s output as a draughtsman. It also includes a detailed catalogue section on all works in the exhibition, with contributions by Elizabeth Cowling, Rosalind McKever, Colin Wiggins and Edward Wouk.

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Paul de Monchaux (born 1934) has been an influential presence in Britain over the last fifty years, inspiring generations with his beautifully made and measured sculptures. De Monchaux began his career as a student at the Slade School of Art in 1955; ten years later he was teaching at Camberwell School of Art, where he worked for over twenty years as Head of Sculpture and Head of Fine Art. Early portraits and 'Head' and 'Handworks' from the 1960s and 1970s reveal an artist who combined thinking and making in subtle and unusual ways, privileging form over material and blending geometry with intuitive shaping. The stunning carved stone sculptures for which he has become well known reward careful and prolonged attention and reveal a subtly contemplative sculptural imagination, not unlike that of Constantin Brancusi, who was been a huge inspiration to de Monchaux over the years. His public projects, begun in the 1980s, have also been critically acclaimed, and later works such as Song (2005), Silence (2007) and Breath (2011), all illustrated in this book, show a mature artist with a rare and highly poetic sculptural sensibility.

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Examining the geometry of pattern, repetition and colour within her surroundings, British artist Tess Jaray has explored painterly perspective since the 1960s. This comprehensive and richly illustrated volume was produced in celebration of a 2014 exhibition of paintings and prints by Jaray. Although her work is resolutely abstract, Jaray’s two-dimensional work and public art – both of which celebrate the vitality inherent within archetypal rhythms and patterns – have been informed by her interest in the spaces of Italian Renaissance art and architecture, along with more contemporary influences. Jaray focuses on producing the illusion of space, using perspective to create a field of spatial paradox that equates to distance and closeness in the mind. In many of her works the area of pattern – whether polygons, waves or rectangles – is contained by a strong, grounding background colour, thereby controlling the movement of the forms. From Italian architecture and Islamic mosaics to Kazimir Malevich and Lucio Fontana, this volume situates the artist within the tradition of abstract painting and the history of art. Featuring texts by fellow artists, alongside illustrations of a large group of Jaray’s paintings, this first monograph explores her contemporary influence.

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