Damien Hirst’s recent self portrait as model of Picasso’s portrait in his studio wearing nothing but pants: charisma, reports of sexual energy and mystical power; a minatour in his lair George Jamesone is the first recorded artist to be painted […]
‘It is with very deep regret that the Trustees announce that KUBE will close from 31st January 2010 and Abi Kremer’s exhibition, ‘Colour & Inspiration: Paintings 1979 – 2009′, will be the last in this building’ This is the email, […]
I found last night’s “Where is Modern Art Now?”, on the BBC, heartening. Gus Casely-Hayford (GC-H) explored the position of the current art scene during the recession and post YBA celebrity bling. He asked: ‘Where do you go when being […]
Did Damien Hirst start it all? Our fascination with animals, stuffed and frozen in time, like a three dimensional movie still, has been running through our blood for hundreds of years. No Damien Hirst didn’t start it all, he just […]
Frieze Art Fair, London
15 October 2009
Dan Thompson from The Revolutionary Arts Group reveals how artists are once again making use of empty spaces as a means to kick-start both the cultural and economic well being of town centres, and suggests seven steps to enable this area of practice to flourish.
I was just browsing through the comments on the One And Other website, now that the Plinth is sadly empty, when i received a phonecall to confirm that I’ve been accepted onto the AA2A scheme, so now I’ll be able […]
The New Art Gallery, Walsall
22 May – 19 July 2009
As a response to this year’s Amsterdam Art Fair, the Unfair Project was set up by the ParachutArtists Foundation to explore the phenomenon of the contemporary art fair and art economy.
I took a CD of some of my work to a gallery yesterday. Being of an age and seeing time more behind than in front of me, I am keen for my work to be shown. Later I received an […]
Interesting comments here about Mr Bourriard, his altermodern and the state of the art market of late. Does anyone think that Damien Hirst style production/ value markets will really collapse? http://www.guardian.co.uk/commentisfree/2009/mar/01/tate-britain-bourriaud-art-market
Today I read that props from the Monty Python musical Spamalot were auctioned on Ebay. Including a "lovingly recreated" model of Damien Hirst's Mother And Child Divided, so off I went to have a look- just check Ebay La Vache […]
John Jones Project Space, London
2-31 October
Cartwright Hall Art Gallery, Bradford, officially re-opened its upper galleries to the public in October with Connect, a new permanent exhibition that makes connections between works of art from different cultures and times.
Amongst all the hyperbole, buzzwords, philosophical stances, and fission and fusion of arts disciplines, there is a tendency to forget that the primary philosophical question that the visual arts sets out to address is “What is beauty?”
In the run up to the 2008 Zoo Art Fair, Jane Watt’s profile looks at the first four years of this non-profit enterprise.
Outline Proposal I propose to exhibit a show of works that are interpretations of contemporary art works and contemporary artists themselves, in the form of sculptural soft toy dolls.The exhibition would consist of an installation of fabric creations, some completed […]
Lara Farrar asks “Has technology rendered the art critic obsolete or does it hold the key for the revival of the profession?”
Exit Here, Nottingham
11 – 20 March 2008
Chris Brown introduces a rulebook to guide you through the whys and wherefores of artist-led activity.
Though the imprecision of ideas expressed in Dave Grimbleby’s letter (a-n Magazine October issue) hampers meaningful dialogue, I do think he is attempting to raise a set of common-place misconceptions and ill-conceived objections to contemporary art. Firstly, Dave is hostile […]
Emilia Telese’s opening essay offers analysis of the markets for art in the UK highlighting the ‘contradictions and idiosyncrasies’ of the relationship between artists and money,
Martine Rouleau wonders what or who is susceptible to change the market. Can artists adapt it to their own expectations and should the demands of the market influence artists’ work?
Formed in 1913, the London Group developed as an alternative to the conservatism of the New English Art Club (NEAC) and Royal Academy (RA), institutions which at that time gave (some) artists an opportunity to show their work through open submission.
