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Cv/Visual Arts Research series 1 to 286 1996 to 2020 >
2012 January Work Bank March David Medalla David Hockney Lucian Freud Monumenta Anish Kapoor April Wiltshire May Damien Hirst June Being Tracey July Cumbria: A County Guide August London Festival October Pre-Raphaelite Brotherhood Cahill/Lucie-Smith November The Ring of Minos
2013 January Francesco Clemente James Cahill February Edward Lucie-Smith The Decline & Fall of the Avant-Garde March Kurt Schwitters Anne Blood April Robert Rauschenberg Cahill/James Chuck Close Lucie-Smith July Photography and Art Marina Vaizey/Anne Blood John Dugger October The Dance of Death Lucie-Smith December Art, Criticism & Display
2014 January Tracks 2014 July Art, Poetry and WW1 Lucie-Smith September Les Berberes et Moi Magdalena Wasiura October Liverpool Biennal Visiting Frieze Art Fair 2014 November Between Dream and Nightmare Kiefer, Polke, Richter Modern German Art Marina Vaizey December Rembrandt and Turner Edward Lucie-Smith
2015 February The Private John Singer Sargent Lucie-Smith March Leon Golub Political Painting Goya Between Two Worlds Lucie-Smith October Ai Weiwei November Through the Lens Marina Vaizey Giacometti/Auerbach December Artist & Empire Michael Craig-Martin Julia Margaret Cameron
2018 September/October William Blake Tate Britain Frieze Masters London Beautiful and Determined: Pre-Raphaelite Sisters National Portrait Gallery November Nam June Paik Tate Modern Antony Gormley Royal Academy December London Review Museums and Galleries 2019
April Book of The Gallery Projects Between Artists Painted Vistas Book of the landscape Aspects of London and Oxford City Views Artists from Cv Archive: Phillip King Therese Oulton Hughie O Donoghue Anthony Caro June Redfern David Nash Eduardo Paolozzi John Latham Stuart Brisley Felicity Powell Louise Sheridan Geoff Uglow Sheila Vollmer Richard Wilson
May/June/July/August Aubrey Beardsley by Edward Lucie-Smith Seminar on The Gallery recorded at Flat Time House October 2019 audio here Photo Works 1972-2020 Titian at the National Gallery Andy Warhol at Tate Modern Review of Tate Britain by Edward Lucie-Smith The Art World The Lives of Others Marina Vaizey
September/October Artemesia Gentileschi at the National Gallery London. Lucy Skaer at Bloomberg Space. Damien Hirst: Early Works Newport Street Gallery.
November/December Marina Vaizey:Visible Women 1 Barbara Hepworth/Bridget Riley; Anthology of Fables
January/February Richard Hamilton Cristea Roberts ; Marina Vaizey Visible Women Rachel Whiteread, Cornelia Parker, Tracey Emin.; Damien Hirst: Mental Escapology St. Moritz
April Painters On Painting: Morag Ballard Nicola Bealing Claudia Carr Brian Clarke Jim Dine Luke Frost Leslie Hakim-Dowek Anthea Holmes Rachel Howard Ben Johnson; Tam Joseph Ansel Krut Christopher Le Brun Jock McFadyen Elizabeth Magill Therese Oulton Michael Porter Rebecca Price June Redfern Nikola Savic Terry Setch Louise Sheridan Paramjit Takhar Gerard Titus-Carmel Geoff Uglow Lara Viana Jonathan Yeo
June Rodin Tate Modern, Rosalind Nashishibi National Gallery
Forthcoming 2022 Collections of Royal Houses
Installation view, Ugo Rondinone, a sky . a sea . distant mountains . horses . spring . at Sadie Coles HQ, 1 Davies Street, London, 12 April - 22 May 2021 Credit: copyright Ugo Rondinone, courtesy Sadie Coles HQ, London. Photo: Eva Herzog
Ugo Rondinone (born Switzerland 1964) who has created notable , often large scale sculptures such as Seven Magic Mountains (2016 to 2021), with its seven painted large, car-size stones stacked in an exercise of weight and balance. Not emerging from any particular movement the artist has a studio in New York and also in Switzerland. His home is in Matttituck, Long Island, fronting on the ocean which is the primary source for the present suite of paintings, smaller scale panels in the upper space of Davies Street.
At Sadie Coles HQ Davies Street, and the second space in Kingly Street off Carnaby Streets the artist presents a new suite of paintings and sculptures of magnetic resonance.
At Davies Street, where Rondinone shielded the windows with a black out filter to intensify the experience, one encounters some engaging high rising wall works.
The new series is called Mountain Paintings, they were previously in stone, the sculptures echoed here in hand crafted stretched canvases; irregular forms painted and balanced in pivots of vertical blocks. This surfaces are built from several layers of gesso, smoothed to support freely brushed oil, brilliant layers of blue, pink, red, yellow, to a rough edge of the given shape. The stretchers are made intentionally to mimic the flattened shape of the given stone. Read more >
Damien Hirst: The Fact Paintings and Sculptures 2021
This is a major exhibition of the artist and in fact marks Damiens return to Gagosian Gallery after several years. A plethora of works selected by Hirst from his studio holdings, several seen for the first time. His choice pretty much covers his range of preoccupations with some unexpected avenues opening up. Past the foyer of imitation Bentley and Skinner cabinets displaying alluring diamond necklaces and adornments, but made of faux-materials, to encounter a vast canvas of butterfly and cherry blossom from 2009, Papilio Glaucus in Gerbera, dimensions about ten feet square. What is the technique that is employed here? It looks in its immaculate detail like a giclee print or photo transfer. The image is flawless, from the microcosmic webbing of the flattened wings of the insect to soft blush pink of backdrop blooms, resembling a deliberate imitation of a focused subject and indeterminate area beyond te camera range. The sparkling lilac wings flattened against the open petal of a brilliant yellow flower and blossom is identified against a smooth sage green ground. Most interesting is the clean whit primed side of the block canvas American style, from which the eye scans across a immaculate even surface of perfectly stretched canvas. This formula of presentation repeats through the array of different sized studies, from minute to expansive. The white unframed borders keyed against to white surface of the gallery walls, a customary mode for contemporary art, white border statement for a white culture. The work aims for an iconic statement, it holds attention with quiet deliberation, magnetising the viewer who is held in place painlessly like the moth or butterfly. Read more >