Archive for the ‘Online Works’ Category

Prem Krishnamurthy: P!DF

Thursday 28 September 2017

As part of P!CKER, designer, curator, and educator Prem Krishnamurthy presents his genre-defying talk ‘P!DF’, an interactive presentation that charts emerging forms of creative practice.

Prem Krishnamurthy is a Founding Principal of design studio Project Projects, recipient of the Cooper Hewitt’s 2015 National Design Award for Communication Design, the USA’s highest recognition in the field. From 2012–2017, Prem established and led the experimental gallery P! in New York City’s Chinatown, while also curating exhibitions andprograms at Para Site (Hong Kong), SALT (Istanbul), and the Austrian Cultural Forum New York. Recent books as co-editor include Speculation, Now and Draw It With Your Eyes Closed: The Art of the Art Assignment. He has taught and lectured in art and designprograms, non-profit spaces, museums, and universities worldwide, and is on faculty at the Bard Center for Curatorial Studies and Barnard College.

Anat Ben-David: Kairos

Watch the online documentation of Kairos by Anat Ben-David,  previewed at Stanley Picker Gallery in January 2017.

Inspired by Sadie Plant’s seminal book Zeros + Ones (1997), Kairos is a theatrical song-cycle bringing together performers and musicians from the worlds of opera, electronic and experimental composition, in a futuristic staging created with avant-garde fashion studio Boudicca. Following the poetic schema of Zeros + Ones through a cycle of nine songs, Kairos makes reference to technological developments, post-humanist writings and cybernetic theories.

Stanley Picker Public Lectures 2016 at ICA London: Sarah Michelson

“The question is, is making artand within that, I am a dancemakera self-congratulatory redundant practice, orif there is a real pursuit of the nature of the beast to ground level, knowing there is no grounda humble service?” Sarah Michelson

Sarah Michelson stays clinging to the ice mountain of dance. She has served as associate director of Movement Research, editor-in-chief of Performance Journal, and is currently an associate curator of dance at The Kitchen.

Stanley Picker Public Lectures 2016 at ICA London: Ansel Krut

On resistance in painting

“Personally I like the way that paintings can be so non-compliant – that it’s in their material nature to behave badly.  You could say that paint is resistant; it seems always to want to change to rules, upset the status quo, to resist fixed interpretation.”

For the first of the 2016 Stanley Picker lectures, South African artist Ansel Krut discusses his latest series of works, in relation to the theme of ‘resistance’ and the contemporary relevance of flowers.

Dear Pascal

… I have made these paintings in a kind of white heat, throwing myself into painting more completely than I have been able to do for some years … and I think that it has forced me into something more elemental in my own working practise.  Perhaps something more fundamental to myself as an artist.  All bar two of the images are of flowers. It is a theme I stumbled into… I have always painted flowers, maybe one or two paintings a year, but this is the first time I have settled on them as a theme for an exhibition. Historically I suppose flowers as a subject tend to be thought of as being slightly domestic, bourgeois, but of course if you look closely at flowers they are incredibly exotic, sometimes they are unbelievably so, almost to the point of seeming extraterrestrial. It is a strange thing for them to be cut and displayed as decoration, tamed as it were. I suppose I try to express this strangeness by juxtaposing them with the strangeness of their containers, vases that resemble bodies, or have something of the body about them.  Sometimes the flowers are not in vases but bound together, another kind of forced relationship…

I have painted flowers that have personal meaning for me, some I grew up with in South Africa and some I got to know later….  With one exception I have not felt the need to have the flowers in front of me when I painted them… The 2 paintings that are not of flowers are both of books burning their own content. The idea of books being burned is so freighted and seems to me to touch on something of the current climate of cultural destruction – but that they should be destroying themselves seems even more ramped up and potent. The self-awareness that this implies is shared by the flower paintings, and …there is l think … a compelling overlap of interests.

All the best


(From an email February 2016)

Ansel Krut (b.1959 Cape Town, South Africa) lives and works in London. Krut completed a BA Fine Art at the University of the Witwatersrand, Johannesburg, South Africa (1982), he then attended Cité Internationale des Arts, Paris (1982-1983) and received a MA painting from the Royal College of Art, London (1986). Krut was awarded the Abbey Major Scholarship in Painting, British School at Rome (1986-1987). From 2006-2015 Krut was a Lecturer in Painting at the Royal College of Art, London and from 2005-2007 he was a Drawing Fellow at Wimbledon College of Art, London and Artist–lecturer at The National Gallery, London. Krut’s recent solo exhibtions include Verbatim, Jerwood Gallery, Hastings, UK (2014); Ansel Krut, Modern Art, London (2014); Ansel Krut, Marlborough Chelsea, New York, USA (2013); Ansel Krut, Kade, Amersfoort, The Netherlands, invited by Robbert Roos (2011); Ansel Krut (solo presentation), The Armory Show (2011); Ansel Krut, Modern Art, London (2010). His recent group exhibitions include The Violet Crab at DRAF, David Roberts Arts Foundation, London (2015); Feels Like Heaven, Sommer Contemporary Art, Tel Aviv (2014); Live and Let Die, Modern Art, London (2014); The Tyranny of Grammar curated by John Strutton at Fishmarket Gallery, Northampton (2011); Art Basel Miami Beach, Modern Art (2010).

Since 2014, the ICA has collaborated with The Contemporary Art Research Centre at Kingston University, London to host the Stanley Picker Public Lectures on Art. The programme was established in 2007 by the artist Elizabeth Price to provide a platform for prominent contemporary artists and thinkers to present their ideas and work to a public audience.

Stanley Picker Public Lectures 2015 at ICA London: Doug Ashford

Doug Ashford is a teacher, artist and writer. He is Associate Professor at The Cooper Union for the Advancement of Science and Art where he has taught three-dimensional design, sculpture, public art and theory seminars since 1989.

In 1981, Ashford became a member of the artists’ collective Group Material, his principal art practice until 1996. Group Material produced over fifty exhibitions and public projects internationally, using museums and other public spaces as cultural arenas in which audiences were invited to imagine democratic forms. Prominent in this history are the exhibitions: The Castle (documenta 8, Kassel, Germany, 1987), Democracy (The Dia Art Foundation, New York, 1988) and AIDS Timeline (The Berkeley Art Museum 1989, Wadsworth Atheneum, 1990, The Whitney Museum, 1991). Group Material’s work in exhibition production, public cultural display, and the aesthetic mobilization of politics continue to affect the world of visual culture and other disciplines.

Since 1996, Ashford has gone on to make paintings, produce exhibitions and publish articles independently, with his creative labor primarily located in the classroom. His most recent publication is Who Cares (Creative Time, 2006), a book project built from a series of conversations between Ashford and an assembly of other cultural practitioners on public expression, beauty, and ethics. Recent exhibitions of paintings include the Sharjah Biennial 10, (2011) and Abstract Possible, Malmo Konsthall; Museo Tamayo and other locations (2010-12) and dOCUMENTA 13 (2012). A collection of essays, Doug Ashford: Writings and Conversation, (Mousse Publishing, 2013), was published on the occasion of his retrospective exhibition at the Grazer Kunstverein.

Stanley Picker Public Lectures 2015 at ICA London: Gavin Turk

Gavin Turk (born 1967) is a British-born, international artist. His installations and sculptures deal with issues of authorship, authenticity and identity. Concerned with the ‘myth’ of the artist and the ‘authorship’ of a work, Turk’s engagement with this modernist, avant-garde debate stretches back to the ready-mades of Marcel Duchamp. Turk uses his signature as a recurrent motif through which to explore the way an artist’s mark can embody aesthetic and commercial value.

In 1991, the Royal College of Art refused Turk a degree on the basis that his final show, Cave, consisted of a whitewashed studio space containing only a blue heritage plaque commemorating his presence ‘Gavin Turk worked here 1989-91′. Instantly gaining notoriety through this installation, Turk was spotted by Charles Saatchi and has since been exhibited by many major galleries and museums throughout the world.

Turk’s work has been included in many seminal exhibitions including the ground-breaking POP LIFE at Tate Modern as well as the Venice Biennale 2009, the 46th International Istanbul Biennial, Istanbul in 1999; Material Culture, Hayward Gallery, London in 1998 and Sensation: Young British Artists from the Saatchi Collection, Royal Academy of Arts, Saatchi Collection, London in 1995.

Stanley Picker Public Lectures 2015 at ICA London: Sophie Von Hellermann

Born in 1975 in Munich, Sophie von Hellermann lives and works in London. She studied at the Kunstakademie Dusseldorf and the Royal College of Art, London. Her subject matter ranges from Emily Bronte’s Wuthering Heights to Einstein’s revolutionary physics to the life of Nico from The Velvet Underground.

She portrays these subjects with the same token lightness, blurring public fable with romantic vision. In von Hellermann’s works, personal narratives and fantasies are the product of desire and partial perceptions, bleeding into one another within a figuration characterised by ambiguous moments and abstract spaces.

Selected solo exhibitions include: Firstsite, Colchester (2013); Le Consortium, Dijon (with Josh Smith) (2009); Marc Foxx, Los Angeles (2009); Vilma Gold, London (2008); Greene Naftali, New York (2007); Chisenhale Gallery, London (2006); Neuer Aachen Kunstverein, Aachen (2006) and Patrick De Brock Gallery, Knokke, Belgium (2006). Sophie von Hellermann is represented by Vilma Gold, London, Galerie Hussenot, Paris, Greene Naftali, New York, and Marc Foxx, Los Angeles.

Stanley Picker Public Lectures 2015 at ICA London: Rose Wylie

Rose Wylie (born 1934, Kent, UK) lives and works in Kent. Wylie went to Folkestone and Dover School of Art, 1952–1956 and later attained a postgraduate degree in Painting from the Royal Academy Schools London, 1979–1981. Wylie’s imagery references current affairs and the media, as well as a diverse range of sources including ancient wall paintings, art history and film, celebrity culture, even football. She predominantly paints on large un-stretched, un-primed canvases, working on a number of paintings simultaneously. In May 2014, Wylie exhibited new and recent work at Tate Britain and in 2010 she was included in the Women to Watch exhibition at the National Museum of Women in the Arts in Washington, which promotes underrepresented and overlooked female artists. Wylie’s work will also be featured in the 2015 Venice Biennale, a group inclusion (with Andy Wahol) in the Azerbaijan pavilion.

Selected solo exhibitions include Rose Wylie, Seoul Museum, Seoul, (2014), a major retrospective at the Jerwood Gallery, Hastings, Big Boys Sit in the Front (2012); Rosemount (2011), Regina Gallery, Moscow; What with What (2010), Thomas Erben Gallery, New York and Film Notes (2010), Union Gallery, London. Wylie is represented in numerous public collections nationally and internationally and is represented by Regina Gallery, London/Moscow, Thomas Erben Gallery, New York and Union Gallery, London.

Stanley Picker Public Lectures 2014 at ICA London: Fiona Banner

Fiona Banner lives and works in London. She was shortlisted for the Turner Prize in 2002 and her installation Harrier and Jaguar, for which she placed two fighter planes in the neo-classical Duveen Galleries at Tate Britain, was in 2010.

The artist’s work centres on the problems and possibilities of language, both written and metaphorical. From her ‘wordscapes’ to her use of found and transformed military aircraft, Banner juxtaposes the brutal and the sensual, performing a complete cycle of intimacy, attraction and alienation.

Publishing, in the broadest sense, is at the heart of her practice. In 1997 she started working under the title of The Vanity Press. Under this imprint she has published books, objects, and performances.

Banner has exhibited widely in Europe and America. Her work is represented in many collections in the UK and abroad including the Museum of Modern Art, New York, the Philadelphia Museum of Art, the Arts Council of England, Tate Gallery, London and the Walker Art Gallery, Minneapolis.

Future projects include solo exhibitions at PEER, London (June 2014) and Yorkshire Sculpture Park, Wakefield, (July 2014).

Stanley Picker Public Lectures 2014 at ICA London: Marvin Gaye Chetwynd

Marvin Gaye Chetwynd (b. 1973, London) is a British artist whose practice intertwines performance, sculpture, painting, installation and video. Chetwynd’s performances and videos harness elements of folk plays, street spectacles, music videos and surrealist cinema. They generally employ troupes of performersfriends and relatives of the artistand feature handmade costumes and props. Through meandering, improvisatory and often burlesque dramas, she has ranged across a panoramic range of subjects. Chetwynd’s performances strike a darkly carnivalesque note, and tread an ambiguous line between melodrama, arcane ritual, and pop-cultural spoof.

The artist was shortlisted for the Turner Prize in 2012. Major performances include The Green Room (Nottingham Contemporary, 2014), Home Made Tasers (New Museum, New York, 2011-12), The Visionary Vineyard: Dreaming of Free Energy (Hayward Gallery, London, 2011, part of British Art Show 7: In the Days of the Comet), and A Tax Haven Run By Women (Frieze Projects, Frieze Art Fair, London, 2010). Recent solo exhibitions include Help! I’m trapped in a Muzuzah Factory (Le Consortium, Dijon, France, 2008) and Spartacus Chetywnd (Migros Museum für Gegenwartskunst, Zürich, Switzerland, 2007). Forthcoming solo presentations include those at Studio Voltaire, London, CCA Glasgow, and Cricoteka: Centre for the Documentation of the Art of Tadeusz Kantor, Poland.