Thursday, 20 March 2014

Ruin Lust

Ruins are curious objects of desire: they seduce us with decay and destruction. The ruin may remind us of a glorious past now lying in pieces, or point to the future collapse of our present culture. Certain ruins are preserved as memorials, others demolished or rebuilt. For centuries artists have been attracted to ruins, seeing new ideals of beauty in their desolation, as well as sublime warnings from past.
This transhistorical exhibition offers a guide to the mournful, thrilling, comic and perverse uses of ruins in art from the seventeenth century to the present day. The exhibition is the widest-ranging on the subject to date and includes over 100 works by artists such as J.M.W. TurnerJohn ConstableJohn MartinEduardo PaolozziRachel Whiteread and Tacita Dean.






Jane and Louise Wilson
Azeville2006

John Constable
Sketch for 'Hadleigh Castle'



Patrick Caulfield 
Ruins 1964

Patrick Caulfield
Greece Expiring on the Ruins of Missolonghi (after Delacroix) 1963












Tate Britain
4 March - 18 May 2014

Thursday, 13 March 2014

Martin Creed_What's the point of it?













































Martin Creed is one of Britain's most audacious and thought-provoking artists. Over the past two and a half decades British artist Martin Creed has pursued an extraordinary path by confounding the traditional categories of art. 
Winner of the 2001 Turner Prize, Creed is recognised around the world for his minimalistic approach that strips away the unnecessary, but preserves an abundance of wit, humour and surprise.
This exhibition surveys his work from 1984 to the present day.  Minimal gestures to room filling installations and uses music and sound. A lover of diversity, Creed orders or re-configures objects, colours and textures into unexpected series and sequences based on certain principles or limitations. His work comprises playful and emotive meditations on the invisible structures that shape our lives. Among other things, it reflects on the unease we face in making choices, the comfort me find in repetition, the desire to control, and the inevitable losses of control that shape existence.
For Creed, making work that takes on a multitude of shapes and forms is what keeps his practice situated in, and often inseparable from, the wider world.


MARTIN CREED WHAT'S THE POINT OF IT?
~27 April 2014
Hayward Gallery Southbank Centre 

Thursday, 6 March 2014

Richard Deacon_I don’t carve, I don’t model. I fabricate


 After 1998


 Art-For-Other-People No. 12


Blind, Deaf And Dumb A . 1985


Lock 1990


Restless 2005


Fold 2012


Richard Deacon CBE is a British abstract sculptor, and a winner of the Turner Prize.

His voluptuous abstract forms have placed him at the helm of British sculpture since the 1980s and, hugely influential, his works are visible in major public commissions around the world. His voracious appetite for material has seen him move between laminated wood, stainless steel, corrugated iron, polycarbonate, marble, clay, vinyl, foam and leather, as if each sculpture were defined by contrast to its successor. As he explained in an interview in 2005, “Changing materials from one work to the next is a way of beginning again each time (and thus of finishing what had gone before)”. 

Deacon describes himself as a ‘fabricator’, emphasising the construction behind the finished object – although many of the works are indeed  cast, modelled or carved by hand – and accordingly the logic of the fabrication is often exposed: sinuous curved forms might be bound by glue oozing between layers of wood or have screws and rivets protruding from sheets of steel, wearing their hearts on their sleeves.




RICHARD DEACON
Tate Britain
5 February – 27 April 2014