A mixed exhibition featuring works by Christiane Baumgartner, Gordon Cheung, Michael Craig-Martin, Ian Davenport, Jan Dibbets, Howard Hodgkin, Julian Opie, Lisa Ruyter and Richard Serra.
Christiane Baumgartner: Himmelblau
Christiane Baumgartner is best known for monumental woodcuts based on films and video stills, often dealing with themes of war, speed and industry. By making woodcuts of video stills, Baumgartner combines the most recent and one of the oldest means of producing an image.Baumgartner filmed scenes from a World War II documentary from her own television set to use as source material for Himmelblau (which translates as Sky Blue). With imagery hovering between figuration and abstraction it is the first woodcut that she has printed in two colours.Baumgartner’s work was included in Eye on Europe, the groundbreaking exhibition at the Museum of Modern Art, New York, and is held in over 30 public collections around the world including the Albertina, Vienna, the Museum of Modern Art, New York, the Bibliothèque Nationale de France, Paris, and the Staatliche Museen zu Berlin, Germany.
Gordon Cheung: Tulipmania prints
For Cheung the stock listings, which form the background of his prints and paintings, constitute an apt vehicle from the everyday to use as a metaphor for the boom and crash of ideology. As he states, they represent ‘a global space; each tiny digit part of a global network representing a company, service, workforce and, ultimately, us the individual.’ The tulip is a recurring motif in Cheung’s recent work; referencing both the golden age of Dutch Vanitas and also an early example of a speculative bubble when, in 1636 – 1637 in the Netherlands, the frantic demand for tulip bulbs boosted prices to extremely high levels before suddenly collapsing. Cheung’s works are held in international public collections including the Whitworth Museum, Manchester, the Hirshhorn Museum, Washington DC, the ASU Art Museum, Arizona, and the UBS Collection.
Michael Craig-Martin: Art & Design
Michael Craig-Martin’s most recent series of screenprints combine instantly recognisable art-historical objects with iconic examples of 20th-century chair design. The artworks and chairs referenced are icons of art and design – signature pieces that have come to represent and symbolise an artist’s or designer’s work in its entirety. As such, the prints constitute an artistic homage to his predecessors but also a commentary on the commodification of this iconic imagery.Craig-Martin has had retrospective exhibitions at the Irish Museum of Modern Art, Dublin, Kunsthaus Bregenz, Austria, the National Art Centre, Tokyo, and has permanent large-scale installations at Regent’s Place and The Laban Center, both in London. In 2006 he was appointed a Royal Academician. His work is held in numerous museum collections including the Tate Collection, London, the National Gallery of Australia, Canberra, and the Museum of Modern Art, New York. Alan Cristea Gallery is the sole worldwide representative for his limited edition prints and animations.
Ian Davenport: Colorplan monoprints
The exploration of colour is fundamental to Ian Davenport’s work, and his editioned prints are often accompanied by a number of unique colour variations. These Colorplan Monoprints are developed from his most recent editions, Colorplan Series. In creating the editions, Davenport first makes a painted study the same size as the intended print in schematically contrasting colours. The study is photographed and the image split into three components, each containing every third dripped line. These components are then transferred to photosensitive copper plates to be bitten in acid and then steel-faced. For printing, each line is individually hand-inked and then each plate is printed sequentially to build the image part by part. Davenport’s work was part of the 2003 Tate Triennial and is held in numerous public collections including the Arts Council of Great Britain and the Tate Collection, London, the National Museum of Wales, Cardiff, the Weltkunst Collection, Zurich, and the the Dallas Museum of Art, Texas. He was nominated for the Turner Prize in 1991 and, in 1999, was a prize winner in the John Moores Contemporary Painting Prize.
Jan Dibbets: Land-Sea Horizons
The horizon has been a recurring motif in the work of Jan Dibbets since the late 1960s when he began to use photography to record and emphasise aspects of the geometry of landscape. His recent body of works which playfully ‘tilt’ horizons is the continuation of this long-standing preoccupation. The starting point for this series is a group of photographs which were taken by the artist in 1972 and have reappeared in his work since 2005. His Tilted Horizons series was the subject of an exhibition at the Musée d’art Moderne de la Ville de Paris in 2010 and, in 2011, of a three-centred exhibition in the Belgian town of Mechelen.Dibbets was one of the first artists to recognise large-scale colour photography as a medium in its own right. His exhibition in the Dutch Pavilion at the Venice Biennale in 1972 established his international reputation and he has influenced generations of younger photographers both through his own work and his teaching at the Düsseldorf Academy. His work has been the subject of numerous museum exhibitions and is in collections including Tate, London, the Stedlijk Museum, Amsterdam, and the Museum of Modern Art, New York.
Howard Hodgkin: Stormy Weather
One of a new body of twelve intaglio prints that formed our recent exhibition in celebration of Howard Hodgkin’s 80th birthday, Stormy Weather combines hand-painting with carborundum printing, a technique in which the viscous carborundum compound is applied to a plate to create impasto marks which, when dry, are inked and printed, embossing the paper to give a direct impression of the original brushstrokes.In 1985 Hodgkin won the Turner Prize and represented Britain in the Venice Biennale. His work has been the subject of numerous major retrospectives most notably at the Metropolitan Museum, New York in 1995 and more recently, in 2006, at Tate Britain, London, the Irish Museum of Modern Art, Dublin, and the Museo Nacional Centro de Arte Reina Sofia, Madrid. The Alan Cristea Gallery is the exclusive publisher of Hodgkin’s hand-painted prints.
Julian Opie: Dino crawling
Dino crawling is from Julian Opie’s most recent series of lenticular pieces, in which the depicted figure appears to move in relation to the viewer. As Opie states ‘Movement has always seemed to be the 4th dimension in making a drawing. A still drawing can evoke or suggest movement but there are ways to actually make a drawing move. Since college days I have experimented with various forms of animation. Many of these tricks were developed a long time ago, before film existed. Lenticular lenses were used alongside early zoetropes and flip-books to create the illusion of movement.’ Julian Opie is one of the UK’s best known contemporary artists, exhibiting widely both nationally and internationally. His work can be found in many public collections worldwide including the Tate Collection, London, the Arts Council of Great Britain, the National Museum of Art, Osaka, and the Museum of Modern Art, New York.
Lisa Ruyter: A Room Without Doors
Lisa Ruyter’s working process always begins with one of her photographs, which is transferred onto a surface and resolved into a line drawing. The subject is reduced to a few colour zones and the delineated areas are shaded with artificial hues that bear little or no relationship with the represented scenes. The result, a semi-abstracted, two-dimensional rendering of the subject, proudly displays its own photographic lineage, while complying with the perceptive constructions brought upon us by the digital age. Earlier this year Alan Cristea Gallery held its first exhibition of paintings by Lisa Ruyter; a body of work based on her research into the FSA archive of Depression -era photographs. She has also recently exhibited at the Macedonian Museum for Contemporary Art, Athens, Museum der Moderne, Salzburg, Kunstbuero, Vienna, and the Museum of Modern Art, Ibaraki, Japan.
Richard Serra: Trajectory #3
Although best known for his monumental steel sculptures, Richard Serra is also a prolific and innovative printmaker. Trajectory #3 forms part of the Arc of the Curve series published by Gemini G.E.L. in California. The highly textured surface of this series was created by applying lithographic rubbing ink onto a sheet of frosted Mylar that had been taped to an exterior stucco wall of the printing studio. This texture sheet, along with screenprints made from Serra’s drawings, were photo-transferred to copper etching plates, which were then placed into a custom-made acid tank, where they remained for several days before being ready to print. Serra’s work has been the subject of major retrospectives at the Kunsthalle Tübingen, Germany, the Museo Nacional Centro de Arte Reina Sofia, Madrid, and twice at the Museum of Modern Art, New York. His work can be found in the collections of the Kunstmuseum Basel, the Guggenheim Museums, Bilbao and New York, the Stedelijk Museum of Modern Art, Amsterdam and the Whitney Museum of American Art, New York. Alan Cristea Gallery will be holding its first solo exhibition of Richard Serra prints in 2013.
|Duration||12 July 2012 - 10 August 2012|
|Times||Monday - Friday 10am - 5.30 pm|
|Venue||Alan Cristea Gallery|
|Address||34 Cork Street London W1S 3NU, ,|
|Contact||020 7439 1866 / email@example.com / www.alancristea.com/|