Stewart Geddes is a painter. He curated ‘Albert Irvin and Abstract Expressionism’ in conjunction with the Albert Irvin Estate and Tate Gallery, at the Royal West of England Academy, Bristol (RWA) (ISBN 978-1-911408-29-1). He gained an MPhil from the Royal College of Art in 2007 for his research project ‘The Unstable Sign’, supervised by John Stezaker and Martine Margetts.
Andy Harper lives in St Just, the most westerly town in Cornwall and works from a studio at Porthmeor Studios in St Ives.
He studied Fine Art:Painting & Printmaking at Brighton Polytechnic (BA 1990–93) and then MA Fine Art:Painting at the Royal College of Art, London (1993-95).
In 1996, with some peers from the RCA, Harper co-founded NotCut which ran a studio and photographic darkroom in London (1996-2010) and curated ‘Lightness & Weight’ in Birmingham. During this time he also studied part time at Middlesex University for an MA in Visual Culture (1997-99) and had his first solo exhibition in London in 1998.
After attending the Braziers International Artist Workshop in 2000, Harper became a member of the organising committee until 2008.
Harper has taught in many institutions nationally and internationally, and had teaching posts at Central St. Martins, The City Lit and is currently a Senior Lecturer on the MFA Fine Art programme at Goldsmiths, University of London.
Harper has exhibited widely in Europe, North America, South Korea.
Andy Harper’s paintings deal with the fruits of labour in the shadow of contradictory forces. On one side they are about the immediate process of painting, the mechanical, almost automated act of laying down mark after mark on a surface. On the other hand, they are subject to long-term strategy and planning, each mark developed over time and embedded into a pre-designed structure that provides an architectural framework for the paintings. While this framework may be logically ordered, the marks themselves are organic entities, forming a broad visual library that seems to have taken on its own life, growing and developing through repetition and recombination in each new work. The paintings act almost like a Petri-dish for the culturing of this visual language, and a greenhouse for its cultivation. The forms may seem organic, but on close inspection they are unrelated to anything the natural world has to offer. Rather they are like a man-made form of nature, generated from compulsive repetition and subjective reinterpretations, a world that has somehow grown past the point of offspring to become its own independent entity.
Guillermo Martin Bermejo’s pencil drawings describe a romantic inner world populated by the creative minds that have comforted and inspired him. Some are simple portraits drawn on pages taken from old books; others develop into elaborate scenes where these characters from the canons of creative history interact with the settings and traditions of the artist’s village in the mountains north of Madrid. Their disarmingly naive quality belies the complexity of this personal realm, where fiction overlaps with reality and the narratives of famous artists interweave with Guillermo’s own life.
Guillermo Martin Bermejo is a Spanish artist from Madrid based in a small village in the mountains north of Madrid. His most recent institutional solo exhibition, ‘La Pleyade de la Espana Moderna’, was held at Museo Lázaro Galdiano in Madrid in 2019 – 2020. In 2020 Madrid’s Museum of Contemporary Art acquired a series of twelve drawings for their collection. He has also exhibited at Newchild Gallery in Antwerp (2021); Rossi Contemporary in Brussels (2021); the Real Academia de San Fernando, Madrid (2018); Museo Carmen Thyssen Málaga (2017); and the Fundación Santiago y Segundo Montes, Valladolid (2016). His works appear in a number of notable collections, including the Museum of Contemporary Art (Conde Duque), Madrid; Koc Collection, Istanbul; Katrin Bellinger Collection, London; The Perimeter Collection, London; Museum Lázaro Galdiano, Madrid; Colección Caja Madrid; Colección Caja España (Valladolid); Biblioteca Francisco Javier Martin Abril (Valladolid); and the Spanish Embassy in Tokyo, Japan.
- Guillermo Martin Bermejo – Austerlitz
- Guillermo Martin Bermejo – Bernard et sa réflexion
- Guillermo Martin Bermejo – Georg Trakl
- Guillermo Martin Bermejo – Gulliver in Lilliput
- Guillermo Martin Bermejo – Knud Rasmussen
- Guillermo Martin Bermejo – L’Apprenti antiquaire
- Guillermo Martin Bermejo – Lazarus said no
- Guillermo Martin Bermejo – Le Bastion de Jean
- Guillermo Martin Bermejo – Memento Mori I (Elegy of an education)
- Guillermo Martin Bermejo – Première idée pour une descente
- Guillermo Martin Bermejo – Return to Oak Grove
- Guillermo Martin Bermejo – River
- Guillermo Martin Bermejo – The Child Bruiseless
- Guillermo Martin Bermejo – The Gap
- Guillermo Martin Bermejo – The Gentlemanly Girl
- Guillermo Martin Bermejo – The Knight and Death
- Guillermo Martin Bermejo – The Root Ball
- Guillermo Martin Bermejo – Torrijos
Zavier Ellis combines the use of text with painterly, collage, assemblage and photographic techniques. Language is deployed to obfuscate and open new possibilities and meanings. Street signs, historical graffiti, literature and coded language are referenced by etching, collaging, painting and other means. Narrative is implied and the audience is invited into a confused dialogue with artist and artwork where the broken, derelict, incomplete and mistaken are noted but not embraced.
Combined with intense and layered application of traditional and industrial paints, drawings, collage, recycled studio detritus, and preparatory or found materials, Ellis creates a dynamic that oscillates between the cerebral and physical; conscious and unconscious; organised and chaotic; premeditated and instinctive. His hope is to give force to the reality of history and its price, rather like Ian Hamilton Finlay for Ellis the revolutions that mark the modern age are not so much to be celebrated as to be known and judged.
Zavier Ellis was born in Windsor in the United Kingdom in 1973. He read History of Modern Art atManchester University (1993-1996) before undertaking a Masters in Fine Art at City & Guilds of London Art School (2003-2005). Ellis has exhibited widely including Museum der Moderne, Salzburg; Saatchi Gallery, London; Torrance Art Museum, Los Angeles; KlaipėdaCulture Communication Centre, Klaipėda; Royal West Academy, Bristol; Dean Clough, Halifax; Paul Stolper, London; Galerie Heike Strelow, Frankfurt; Raid Projects, Los Angeles; and ENIA Gallery, Pireas. His work is featured in notable private collections including the seminal Sammlung Annette und Peter Nobel, Zurich and Beth Rudin DeWoody, Los Angeles.
Made in response to in depth historical research, his work combines text and expressive materiality with an emphasis on the reality of fragmentation. He is interested in histories and society’s conditioned responses to the multi-valent impact of tone and perspective. His work is currently being exhibited in the Pera Museum, Istanbul
- Zavier Elis – Freiheit XXI
- Zavier Ellis – Blue Terror
- Zavier Ellis – Exodus
- Zavier Ellis – Freiheit XV
- Zavier Ellis – Freiheit XVIII
- Zavier Ellis – Liberté (Repeat)
- Zavier Ellis – Liberté (Resist)
- Zavier Ellis – Liberté (Revolt)
- Zavier Ellis – Liberté II
- Zavier Ellis – Liberté IX
- Zavier Ellis – Liberté XIX
- Zavier Ellis – Liberté XV
- Zavier Ellis – Liberté XVII
- Zavier Ellis – Liberté XVIII
- Zavier Ellis – Red Terror
- Zavier Ellis – Repeat (Repeat) I (Freiheit)
- Zavier Ellis – Resist (No War) III
- Zavier Ellis – Resist (Repeat) I (Freiheit)
- Zavier Ellis – Revolt (Repeat) I (Freiheit)
- Zavier Ellis – Revolt Repeat 0
- Zavier Ellis – Uprise (No War) III
- Zavier Ellis – Vandal (No War) III
Josh Rowell generates his artistic vision by focusing on technological advances that shape our contemporary lives, communicating our increasingly mediated human interactions within the confines of visual art. The artist juxtaposes traditional, handmade techniques; with the intangible nature of the digital age. This position between the real and virtual produces a complex body of work that explores and reshapes information, highlights changes in human interation and celebrates the hand-made in a time that is increasingly being enveloped by the virtual.
Born in 1990 in Kent, England, Rowell graduated from Kingston Art School in 2013, where he received a first class BFA with honours. Following a course in Art Criticism at Central Saint Martins college, Rowell returned to Kingston Art School for an MFA in 2015, where he was awarded a first- class distinction. His works have been exhibited in London, New York, Miami, Seattle, Basel, Hong Kong and Mexico and his works are part of public collections including the Uffizi Gallery in Florence, the Gregorian Foundation in Washington, London Kingston University’s contemporary art collection, and the Matilda collection in San Miguel De Allende. In 2017/18 he had his first museum exhibition at the Palacio Nacional de Guatemala. Rowell won the Public Choice award at the VIA Arts Prize 2017, and was included in Future Now, the yearly publication by Aesthetica listing the 100 most interesting emerging artists of the year. In 2019 he was selected for the Royal Academy Summer Exhibition, London and later in the year was invited to participate in the 9th edition of the Dentons Art Prize for which he was announced as joint-winner in 2020. Later in 2020 he was selected for the group exhibition ‘False Memory’ at Rugby Art Museum, UK, curated by renowned British Artist Lindsay Seers. In 2021, Rowell was included in the exhibition NFT | IRL, at Firetti Cotmeporary, Dubai, which was the first exhibition of it’s type to show physical works each accompanied by an NFT counterpart.
Josh Rowell has work in public, corporate and private collections in UK, USA, Canada, China, Germany, France, Spain, Italy, Switzerland, Holland, Monte Carlo, Australia, Ireland, Russia, Kuwait, Bermuda, Hungary, Japan, Mexico, and Peru.
- Josh Rowell – Baucis and Philemon, After Rembrandt, After Ovid, Part 1
- Josh Rowell – Baucis and Philemon, After Rembrandt, After Ovid, Part 2
- Josh Rowell – Baucis and Philemon, After Rembrandt, After Ovid, Part 3
- Josh Rowell – Baukis und Philemon
- Josh Rowell – Daedalus and Icarus (Ovid)
- Josh Rowell – Drive To The Gym
- Josh Rowell – Justice in Utopia (Plato’s Republic, Book IV, 435a – 435c)
- Josh Rowell – Justice in Utopia (Plato’s Republic, Book IV, 435e – 436a)
- Josh Rowell – Justice in Utopia (Plato’s Republic, Book IV, 436a – 436b)
- Josh Rowell – Justice in Utopia (Plato’s Republic, Book IV, 436c – 436d)
- Josh Rowell – Midas and the Golden Touch (Ovid)
- Josh Rowell – Most Googled Questions Globally (2021), Part 1
- Josh Rowell – Most Googled Questions Globally (2021), Part 2
- Josh Rowell – Most Googled Questions Globally (2021), Part 3
- Josh Rowell – Most Googled Questions Globally (2021), Part 4
- Josh Rowell – Orpheus and Eurydice (Part 1)
- Josh Rowell – Orpheus and Eurydice (Part 2)
- Josh Rowell – Pandora’s Box (Hesiod)
- Josh Rowell – Saturn Devouring His Sons, After Goya, After Rubens, Part 2
- Josh Rowell – Saturn Devouring His Sons, After Goya, After Rubens, Part 3
- Josh Rowell – Saturn Devouring His Sons, After Goya,After Rubens, Part 1
Luca Dellaverson’s multimedia works examine how the modern world processes recent histories and cultural products. In video installations and glass and resin pieces, Dellaverson considers his generation’s relationship to the 1990s, presenting art-historical and pop culture references through cracked glass lenses and chemically altered film. These materials create layers of distance, which allude to a sense of disenchantment and question the power of nostalgia and memory in an ever-changing society.
Sir Peter Thomas Blake CBE RDI RA (born 25 June 1932) is an English pop artist, best known for co-creating the sleeve design for the Beatles’ album Sgt. Pepper’s Lonely Hearts Club Band. His other best known works include the covers for two of The Who’s albums, the cover of the Band Aid single “Do They Know It’s Christmas?”, and the Live Aid concert poster. Blake also designed the 2012 Brit Award statuette.
One of the best known British pop artists, Blake is considered to be a prominent figure in the pop art movement. Central to his paintings are his interest in images from popular culture which have infused his collages. In 2002 he was knighted at Buckingham Palace for his services to art.
Following his education Bogart took a job with an advertising concern in Rotterdam. Subsequent to World War Two the then twenty-five-year-old painter settled in Paris, France where he was among the founders of Art Informel. At first he experimented with cubism and figurative drawing, depicting flowers, still life and self-portraits. In the 1950s he began to concentrate on working with impasto. With thick layers of boldly applied and colourful paint, he developed an expressionist style which became more abstract with time.
In 1961 he and his later to be wife Leni permanently relocated to Belgium and in 1969 he became a Belgian citizen. Here he began to experiment with a more three-dimensional medium, a mix of mortar, siccative, powdered chalk, varnish, and raw pigment, applied to large, heavy wooden backing structures.
Bogart exhibited frequently in Antwerp and Ghent. In 1971 he represented Belgium at the Venice Biennale.
In 2011 the Bogart presented an exhibition in celebration of his 90th birthday, a display of his Monochrome paintings, held at the Bernard Jacobson Gallery in London. A retrospective of his work was also exhibited at Galerie Jean-Luc and Takako Richard in Paris. Bogart died May 2, 2012 in Sint-Truiden, Belgium at the age of 90.
John Grenville Stezaker (born 1949), is a British conceptual artist.
Stezaker attended the Slade School of Art in London in his early teens, he graduated with a Higher Diploma in Fine Art in 1973. In the early 1970s, he was among the first wave of British conceptual artists to react against what was then the predominance of Pop art.
Solo exhibitions for Stezaker were rare for sometime, however, in the mid-2000s, his work was rediscovered by the art market; he is now collected by several international collectors and museums.
His work is surreal in tone and is often made using collage and the appropriation of pre-existing images such as postcards, film stills, and publicity photographs. Art historian Julian Stallabrass said, “The contrast at the heart of these works [by Stezaker] is not between represented and real, but between the unknowing primitives of popular culture, and the conscious, ironic artist and viewer of post-modern images.” One work included in an exhibition at Salama-Caro Gallery, London, in 1991, depicted an image of a punch clock together with the caption “Why Spend Time on an Exhibition Like This?” Colin Gleadell wrote in The Daily Telegraph in 2007 that Stezaker “is now being hailed as a major influence on the Young British Art movement,” in reference to Young British Artists.
Until 2006, Stezaker was Senior Tutor in Critical and Historical Studies at the Royal College of Art in London.
Michael Tyzack, who had been taught at the Slade in London by William Coldstream, Lucian Freud and William Townsend, was awarded the First Prize at the John Moores Liverpool Exhibition in 1965, when the American art critic Clement Greenberg was the jury chairman. During the Sixties and Seventies he exhibited at dozens of galleries, including Axiom, Demarco and Mappin; at this time he was also a professional jazz trumpeter. Tyzack moved to Iowa to fill a teaching post in 1971 – originally planning to stay only one year. However, he and his family decided to remain in America after he was offered the post of Professor of Fine Arts at the College of Charleston, where he lived until his death in 2007. Although his emigration to the United States drew Michael Tyzack away from England at a key point in his artistic career, his role as a leading figure in the development of British Abstraction during the ‘ 60s and ‘ 70s is evident from his exhibition record. His work is represented in a large number of public collections worldwide as a result.
John Knuth’s creative conjurings challenge traditional notions of art making, even in this millennium. His paintings force extreme tension between the sacred and the profane, creating stunning works by way of indelicate techniques. Knuth’s mission is to take something traditionally regarded as base, and to make it into something magnificent, where the materials feel secondary to the radical result. Knuth’s approach is alchemical. Like an art world diviner, he conjures the elements, from making burn paintings with distress flares and metallic space blankets to using fly regurgitation to make the most incandescent, shimmering paintings. He has perfected his process using flyspeck, which can be said to fall within the art historical continuum that includes the Pre-Raphaelites’ Mummy Brown or Chris Ofili’s elephant dung.
Paul Feiler was a German-born artist who was a prominent member of the St Ives School of art: he has pictures hanging in major art galleries across the world.
Dame Elisabeth Jean Frink CH DBE RA was an English sculptor and printmaker. Her Times obituary noted the three essential themes in her work as “the nature of Man; the ‘horseness’ of horses; and the divine in human form”.
Thierry Noir is a French artist and muralist based in Berlin. He is considered the first artist to paint the Berlin Wall in the 1980s.
John McAllister’s luminous, luxurious oil paintings of interiors, landscapes, and still lifes reflect the artist’s ongoing explorations of light. Inspired by the work of Pierre Bonnard, Georges Braque, and Henri Matisse, McAllister works from a seductive palette of vibrant hues, typically limited to warm reds, purples, oranges, and pinks. With their dark backgrounds and ghostly foregrounds, his canvases can suggest the coloration of film negatives—one of many nods to photography throughout the artist’s practice, along with a frequent use of off-kilter framing. McAllister has made witty paintings of images of paintings, and of overlapping images, playing the roles of both artist and viewer. McAllister has exhibited in London, Los Angeles, New York, Berlin, Brussels, Tokyo, and beyond.
Billy Childish is an English painter, author, poet, photographer, film maker, singer and guitarist. Since the late 1970s, Childish has been prolific in creating music, writing and visual art.
- Billy Childish – Untitled 1
- Billy Childish – Untitled 10
- Billy Childish – Untitled 11
- Billy Childish – Untitled 12
- Billy Childish – Untitled 13
- Billy Childish – Untitled 14
- Billy Childish – Untitled 15
- Billy Childish – Untitled 16
- Billy Childish – Untitled 17
- Billy Childish – Untitled 18
- Billy Childish – Untitled 19
- Billy Childish – Untitled 2
- Billy Childish – Untitled 22
- Billy Childish – Untitled 23
- Billy Childish – Untitled 24
- Billy Childish – Untitled 3
- Billy Childish – Untitled 4
- Billy Childish – Untitled 5
- Billy Childish – Untitled 6
- Billy Childish – Untitled 7
- Billy Childish – Untitled 8
- Billy Childish – Untitled 9
- Billy Childish – Untitled 20
- Billy Childish – Untitled 21
Alex Jones is an artist based in Brighton, East Sussex. His work is primarily concerned with systems of language as methods of construction. Through both painting and drawing on canvas and paper, he utilises our understanding of how language is applied to create formal structures made of language and the space around it.
He applies more rigid parameters that are loosely applied, enjoying the relationship between formal rules and an apathy towards their adherence. The painterly quality is both highly considered and ordered but with a slack looseness, a casual application to what could be strict rules. His use of language as a building tool rather than one of communication renders any descriptive or narrative imagery depicted perfunctory, the words are there for how they sit, not what they say.
- Alex Jones – Alex Gets Here Late
- Alex Jones – Behold Prince Cupids Mighty Golden Throne
- Alex Jones – Blue Eyes Good Skin
- Alex Jones – Burns Dried Black Poppy Seeds
- Alex Jones – Cake Cake Cake Cake
- Alex Jones – Chill Drive Along Ocean Roads
- Alex Jones – Clean Those Lucky Pants Today
- Alex Jones – Criminal Internet Exchange Involves Eighteen Fabulous Flawless Diamonds
- Alex Jones – Debut Short Novel Press Party
- Alex Jones – Dogs Dogs Dogs Dogs
- Alex Jones – Ducky Wilde Plays Jazzy Beats
- Alex Jones – Dumb Dumb Dumb Dumb
- Alex Jones – Every Light Touch Feels Sweet
- Alex Jones – Fish Chip Meal Deal
- Alex Jones – Generating Undeniable Flamboyant Swaggering Aggression Absolutely Destroying Remarkably Lacklustre Opposition
- Alex Jones – Heavy Grass Smoke Burns Lungs
- Alex Jones – High Cost Hair Cuts
- Alex Jones – Knock Knock Jokes Never Funny
- Alex Jones – Loves Crazy Disco Dance Moves
- Alex Jones – Order Stone Baked Pizza Again
- Alex Jones – Pay Bar Tab
- Alex Jones – Pear Pear Pear Pear
- Alex Jones – Radio Gloom Plays Moody Tunes
- Alex Jones – Serve Vodka Lemon Tonic Mixer
- Alex Jones – Shops Carry Extra Large Sizes
- Alex Jones – Takex Notes While Agent Talks
- Alex Jones – These Cheap Drugs Taste Great
- Alex Jones – Thick Cigar Smoke Hangs Heavy
- Alex Jones – Think About Prank Phone Calls
- Alex Jones – Ultra Elite Ninja Death Squad
- Alex Jones – Very Best Aged Port
- Alex Jones – Very Nice Boat Home
- Alex Jones – Vicious Ambient Signals Shatter Fragile Glacial Crystal
Sulette van der Merwe (b. 1982) lives and works in Cape Town, South Africa. She enjoys philosophy and art history, and recent works explore the theme of Heterotopia, a concept used to describe spaces that have more layers of meaning than the immediately obvious. Pop art, surrealism and digital culture also feature prominently in her paintings and video animations.
“I am interested in the narrative abstractions that arise when information from disparate spaces such as illustration, internet sourced images and photography are combined. It is an intuitive and conceptually playful experience to observe the cross chatter between the physicality of painting and the ephemeral nature of the online experience.”
Tafadzwa Masudi (b. 1988) started painting at an early age in Harare while assisting a family friend who introduced him to the visual arts.
In 2010 he moved to South Africa and started working in a clothing factory until 2020 when he was laid off. He saw this as an opportunity to paint full-time and soon his work started featuring in group exhibitions at galleries in Cape Town.
His brightly coloured paintings depict scenes filled with balloons, people and patterns. Observed through the lens of a migrant person existing in a world that is not his own, the works reflect on optimism and the pursuit of a better future.
“The balloons are not just masks of optimism or celebration, they also represent the composed pressure under which some of us are. A balloon can pop any moment, yet it represents happiness and celebration. That balloon is me staying calm under difficult circumstances while chasing the dream of a bright future”.
2021 is proving to be an eventful year with his first solo exhibition and participation in the Turbine Art Fair in Johannesburg and Art X Lagos in Nigeria lined up.
Since the 1980s, when he rose to prominence alongside artists including Julian Schnabel, David Salle, and Jean-Michel Basquiat, Neo-Expressionist Eric Fischl has painted voyeuristic, large-scale paintings of American suburbia. Inspired by his own middle-class upbringing on Long Island, the artist captures both the mundane and the taboo; in bright, gestural strokes, he depicts scenes of grief, inequality, adolescent sexuality, and political malaise. Fischl imbues his subjects, from beachgoers to poolside families, with a sense of gravity and foreboding as he manipulates light and shadow. In recent years, he has also painted deadpan scenes of art fairs. Fischl has exhibited widely in New York, Los Angeles, London, Paris, and beyond. His work has fetched seven-figure prices at auction and been acquired for the collections of the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art, and the Louisiana Museum of Modern Art, among others.
Samantha Louise Taylor-Johnson OBE is a British filmmaker and photographer. Her directorial feature film debut was 2009’s Nowhere Boy, a film based on the childhood experiences of the Beatles songwriter and singer John Lennon. She is one of a group of artists known as the Young British Artists.
Joana Vasconcelos (born 1971) is a Portuguese artist known for her large-scale installations. Vasconcelos was born in 1971 in Paris, France. Her family returned home to Portugal after their exile to France and following the Carnation Revolution in 1974. She studied at the Centro de Arte & Comunicação Visual in Lisbon. In 2009 she received the Order of Prince Henry. She lives and works in Lisbon
Roger Hilton CBE was a pioneer of abstract art in post-Second World War Britain. He was born in 1911 in Northwood, Middlesex, and studied at the Slade School of Fine Art under Henry Tonks and also in Paris, where he developed links with painters on the Continent. At the Slade he won the Orpen prize in 1930.
A graduate in Visual Arts and Textiles of the Ghanatta Institute of Art and Design, Emmanuel Taku studied with well-known figurative painters Amoako Boafo and Otis Quaicoe, and has been practicing different forms of portraiture for more than ten years. His subjects are often clothed in striking floral prints, which he prints on the canvas using a distinct silk screen method. Taku’s works incorporate a variety of materials, as he applies textiles and newspapers onto canvas, fiberglass, fiber net, mesh, or plywood.
Reminiscent of Malick Sidibé, the artist combines his focus on portraiture with a longstanding passion for textiles and patterns, passed on to him through his mother. Taku’s paintings depict black people striking a pose, as if challenging the viewer to take a closer look. For the artist, adding layers of abstraction to his portraits is a way to reclaim dominant narratives about black bodies and to reject their objectification. With their supernatural appearance, Taku lends his subjects the status of demi-gods or mythical heroes. His practice thereby positions black people as worthy of awe and reverence, constituting an important voice in the recent rise of black portraiture in contemporary art.
Ayşe Erkmen is a visual artist recognized as the “one of the foremost Turkish artists.” She is living and working in Berlin and in Istanbul. Influenced by specific sites, histories and geographies Ayşe Erkmen’s works takes the social and physical environment that she is in.
Carter Mull is an American artist working in Los Angeles. Mull took his BFA in Painting from Rhode Island School of Design in 2000 and MFA from California Institute of the Arts in 2006. Fluency across mediums, collaboration, and material production engender the work of Carter Mull.
Donald Clarence Judd was an American artist associated with minimalism. In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy.
John Armleder is a Swiss performance artist, painter, sculptor, critic, and curator. His work is based on his involvement with Fluxus in the 1960s and 1970s, when he created performance art pieces, installations and collective art activities that were strongly influenced by John Cage.
Mario Schifano was an Italian painter and collagist of the Postmodern tradition. He also achieved some renown as a film-maker and rock musician.
He is considered to be one of the most significant and pre-eminent artists of Italian postmodernism. His work was exhibited in the famous 1962 “New Realists” show at the Sidney Janis Gallery with other young Pop art and Nouveau réalisme innovators, including Andy Warhol and Roy Lichtenstein. He became part of the core group of artists comprising the “Scuola di Piazza del Popolo” alongside Franco Angeli and Tano Festa. Reputed as a prolific and exuberant artist, he nonetheless struggled with a lifelong drug habit that earned him the label maledetto, or “cursed”.
Loie Hollowell is an American painter. She was born in 1983 and raised in Northern California. She currently lives and works in New York City.
Hollowell creates abstract biomorphic paintings that suggest spirituality and sexuality. Hollowell’s work is inspired by tantric painting traditions, and she has been compared to the artist Georgia O’Keeffe.
Hollowell’s paintings have been described as “abstract body landscapes” by Martha Schwendener of the New York Times. Known for paintings and drawings that explore the bodily landscape, Loie Hollowell’s practice exists in the liminal space between abstraction and figuration, otherworldly and corporeal.
Originating in autobiography, her work explores themes of sexuality, pregnancy and birth. Hollowell’s geometric compositions use symbolic shapes such as the mandorla, ogee and lingam to build her distinctive visual lexicon. In referencing her own personal experiences, Hollowell’s paintings are at once personal and universal in their fierce vulnerability. Her use of symmetry – often anchoring her compositions in a central, singular axis – relates her paintings to her own body as well as the natural world.
For Hollowell, the scale of her work is particularly significant as she creates each work in direct correlation with the size of the body part depicted, be it her head, breasts, groin, or entire body. Furthering her exploration of physicality, Hollowell adheres sculpted forms onto her canvases to confound expectations of painting. Hollowell’s protruding forms are blended seamlessly, forcing the viewer to move around the canvas to determine whether it is an illusory flat surface or three-dimensional. This adds a playful, performative aspect to her work that speaks to Hollowell’s masterful manipulation of space, surface, light and shadow.
With strong colors, varied textures, and geometric symmetry, Hollowell’s practice is situated in lineage with the work of American artists like Agnes Pelton, Georgia O’Keeffe and Judy Chicago. She is also greatly influenced by the work of the California Light and Space Movement as well as Neo-Tantric painters like Ghulam Rasool Santosh and Biren De.
Alexander Calder was an American sculptor known both for his innovative mobiles (kinetic sculptures powered by motors or air currents) that embrace chance in their aesthetic, and static “stabiles” monumental public sculptures. He didn’t limit his art to sculptures; he also created paintings, jewellery, theatre sets and costumes.
Calder preferred not to analyse his work, saying, “Theories may be all very well for the artist himself, but they shouldn’t be broadcast to other people.”
Born into a family of artists, Calder’s work first gained attention in Paris in the 1920s and was soon championed by the Museum of Modern Art in New York, resulting in a retrospective exhibition in 1943. Major retrospectives were also held at the Solomon R. Guggenheim Museum (1964) and the Museum of Contemporary Art, Chicago (1974).
Calder’s work is in many permanent collections, including the Whitney Museum of American Art, the Guggenheim Museum, the Museum of Modern Art, the National Gallery of Art in Washington, D.C., and the Centre Georges Pompidou in Paris. He produced many large public works, including .125 (at JFK Airport, 1957), Pittsburgh (Carnegie International prize winner 1958, Pittsburgh International Airport) Spirale (UNESCO in Paris, 1958), Flamingo and Universe (both in Chicago, 1974), and Mountains and Clouds (Hart Senate Office Building, Washington, D.C., 1996).
Although primarily known for his sculpture, Calder also created paintings and prints, miniatures (such as his famous Cirque Calder), theater set design, jewelry design, tapestries and rugs, and political posters. He was honored by the US Postal Service with a set of five 32-cent stamps in 1998, and received the Presidential Medal of Freedom, posthumously in 1977, after refusing to receive it from Gerald Ford one year earlier in protest of the Vietnam War.
An important Calder work is the monumental “Floating Clouds” (1952–1953) of the Aula Magna (Central University of Venezuela) of the University City of Caracas in Venezuela. This work is a Unesco World Heritage Site. Calder’s clouds were specially designed to combine art and technology, making the auditorium one of the top 5 university auditoriums in the world by sound quality.
- Alexander Calder – Ballons et Cerfs Volants
- Alexander Calder – Circus 4, Les Gueules Dégoulinantes (from Derrière le Miroir No. 156)
- Alexander Calder – La Fleur (The Flower)
- Alexander Calder – Les Oignons
- Alexander Calder – Lion Tamer
- Alexander Calder – Loops and Yin Yang
- Alexander Calder – Our Unfinished Revolution (Octopus)
- Alexander Calder – Pinwheel
- Alexander Calder – Potpourri en Ciel
- Alexander Calder – Seascape
- Alexander Calder – Spirals
- Alexander Calder – Stars and Stripes (from the Flying Colors series)
- Alexander Calder – Sun Face, Moon Face
- Alexander Calder – The Acrobats
- Alexander Calder – The Acrobats
Donald K. Sultan (born 1951) is an American painter, sculptor, and printmaker, particularly well-known for large-scale still life paintings and the use of industrial materials such as tar, enamel, spackle and vinyl tiles. He has been exhibiting internationally in prominent museums and galleries, and his works are included in important museum collections all over the globe. Sultan is the recipient of numerous honors and awards for his artistic achievements.
Robert Longo is a Pictures Generation American artist, filmmaker, photographer and musician. Longo became first well known in the 1980s for his Men in the Cities drawing and print series, which depict sharply dressed men and women writhing in contorted emotion.
Although he studied sculpture, drawing remained Longo’s favorite form of self-expression. However, the sculptural influence pervades his drawing technique, as Longo’s “portraits” have a distinctive chiseled line that seems to give the drawings a three-dimensional quality. Longo uses graphite like clay, molding it to create images like the writhing, dancing figures in his seminal Men in the Cities series. For that series, Longo photographed his friends lurching backward, collapsing forward or sprawled on invisible pavement. After enlarging the pictures through a projector, he and an artist assistant drew them in sizes ranging from three-quarter scale to larger than life-size. In the process, Longo often dramatized poses and always standardized attire into quite formal, black-and-white clothing. The idea for this work came, in 1975, from a still image in Rainer Werner Fassbinder’s film The American Soldier. According to art critic William Wilson of the Los Angeles Times, the pictures recall nothing so much as the final scene in Ingmar Bergman’s The Seventh Seal. About four years passed before Longo turned the vision of a man shot in the back into a monumental series of drawings. He produced about 60 Men in the Cities between 1979 and 1982. One drawing from this series was used as the album cover to Glenn Branca’s album The Ascension. As a consequence, in his 30s, Longo was among the most widely publicized, exhibited and collected artists of the 1980s along with the likes of Cindy Sherman and David Salle. However, several critics have commented that Longo had lost his way as a visual artist by the mid-’80s.
Working on themes of power and authority, Longo produced a series of blackened American flags (“Black Flags” 1989–91) as well as oversized hand guns (Bodyhammers 1993–95). From 1995 to 1996 he worked on his Magellan project, 366 drawings (one per day) that formed an archive of the artist’s life and surrounding cultural images. “Magellan” was followed by 2002’s Freud Drawings, which reinterpreted Edmund Engelman’s famous documentary images of Sigmund Freud’s flat, moments before his flight from the Nazis. In 2002 and 2004 he presented Monsters, Bernini-esque renderings of massive breaking waves and The Sickness of Reason, baroque renderings of atomic bomb blasts. Monsters was included in the 2004 Whitney Biennial.
To create works such as Barbara and Ralph, Longo projects photographs of his subjects onto paper and traces the figures in graphite, removing all details of the background. After he records the basic contours, his long-time illustrator, Diane Shea, works on the figure for about a week, filling in the details. Next, Longo goes back into the drawing, using graphite and charcoal to provide “all the cosmetic work”. Longo continues to work on the drawing, making numerous adjustments until it is completed about a week later.
In 2013, Longo’s artwork was featured in an article in the men’s magazine, Man of the World along with an article discussing his life and career.
In March 2013, The Lexander Magazine reviewed Longo’s 1982-83 diptych entitled Pressure, highlighting it as the “penultimate visual anthem of the era,” expanding upon Neal Benezra’s 1988 analysis of the work as having been “the most representative work of art of the 1980s.”
John Hoyland RA (12 October 1934 – 31 July 2011) was a London-based British artist. He was one of the country’s leading abstract painters.
David John Shrigley OBE is a British visual artist. He lived and worked in Glasgow, Scotland for 27 years before moving to Brighton, England in 2015.
As well as authoring several books, he directed the video for Blur’s “Good Song” and also for Bonnie ‘Prince’ Billy’s “Agnes, Queen of Sorrow”. In 2005 he designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian‘s Weekend magazine every Saturday. Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.
Shrigley co-directed a short film with director Chris Shepherd called Who I Am And What I Want (2005), based on Shrigley’s book of the same title, with Kevin Eldon voicing its main character, Pete. Shrigley also produced a series of drawings and t-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He also designed twelve different covers for Deerhoof’s 2007 record, Friend Opportunity. In the same year he also designed the title sequence for the film Hallam Foe, as well as the drawings and the writing in Hallam’s on-screen diaries.
Shrigley’s mascot for Scottish football team Partick Thistle, “Kingsley” in George Square, Glasgow
In 2014, Jonathan Jones reviewed Shrigley’s work Brass Tooth, writing, “David Shrigley must have had a big, toothy grin when he created multiple editions of his sculpture Brass Tooth, which goes on sale for £1,200 a pop at the London art fair this week. It is a cast of a single tooth – including the roots – and is typical of Shrigley’s sly, subversive, humorous art in how it brings a modern art cliche crashing down to Earth”.
In 2015, he designed “Kingsley”, a mascot for Scottish football team Partick Thistle as part of a sponsorship deal. The mascot’s design was the object of some amusement, with Scottish BuzzFeed reporter Jamie Ross describing it as “based on every nightmare I had as a child.”
Shrigley also undertook a residency at Auckland’s Two Rooms in 2015, during which he painted for the first time since his graduation from The Glasgow School of Art in 1991. He said that the residency presented ‘an opportunity to explore a different medium and explore what you can do with “that” versus what you do with “this”.’
Shrigley’s sculpture Really Good was installed on Trafalgar Square’s Fourth plinth in September 2016 until March 2018. The bronze cast of a fist with an out-of-proportion thumbs-up was the winning commission for the Fourth Plinth Project, which has been inviting artists since 1999 to make a proposal for the empty plinth, originally intended to hold an equestrian statue of William IV that was never made. “I made a drawing of an elongated thumb that said everything is good and I wrote some text that sounded like some sort of weird political satire: If we make this sculpture, we can make the world a better place through some kind of self–fulfilling prophecy.”[
In 2019, he designed the yellow and red card of the AS Velasca.[
Richard Smith, CBE (27 October 1931 – 15 April 2016) was an English painter and printmaker. He produced work in a range of styles, but was often associated with colour field painting.
Smith’s early work drew on packaging and advertising, which led to his being associated by some critics to the Pop Art movement. Smith stated that his work was “often physically related to hoardings or cinema screens which never present objects actual size; you could drown in a glass of beer, live in a semi-detached cigarette packet”. However, his concerns were largely formal. His works from this period, such as Panatella (1961) can be seen as abstract works whose scale, handling of paint and use of colour show the influence of American colour field painters such as Mark Rothko and Sam Francis, and he tried to integrate their expressive painterly concerns with an exploration of the experience of mass culture. As an attempt to make a connection between ‘high’ art and popular culture Smith’s work differs from the work of his British Pop contemporaries, who were more concerned with iconography. Smith stated that “My interest is not so much in the message as in the method”
In 1963 Smith progressed to an examination of the two-dimensional nature of painting. In Vista he added a shaped extension to the rectangular canvas, and in works such as Piano and Giftwrap progressed to extending the surface of the painting out into three-dimensional space. Despite the three-dimensional element of these works, Smith insisted on their identity as paintings: saying “Since I have always retained a wall, there is no question of a multifaceted sculptural object” Smith never produced any free standing sculptures, preferring to challenge the conventions of painting by working in an area between painting and sculpture.
In 1972 he exhibited the first of what are called the “kite paintings”, in which rather than using a conventional stretcher the canvas is tensioned by cords and structures of aluminium tubing, which become an element in the composition of the works. This both reduced the strength of the edge of the canvas while at the same time drawing attention to its contour. Smith’s new found interest in the edge of a picture is shown by the concentration of incident there in works such as 3 square 2.
The concerns of these works also appear in his small scale work of the time, where the paper was cut and folded, and often include elements fastened to the work by paperclips or pieces of knotted string.
Dorazio was born in Rome. His father was a civil servant, while his mother was interested in history and art. Dorazio attended Julius Caesar Lyceum (high school) in Rome. The family fled to their homeland province of Abruzzo in 1943. After the war, Dorazio worked briefly as a translator for the British Army and then studied architecture at the University of Rome.
He was influenced by futurists such as Gino Severini, Antonio Corpora, Enrico Prampolini, and Giacomo Balla, attracting him to painting. An aversion to their right-wing views pushed him to align instead with left-leaning artists like Renato Guttuso. Along with Pietro Consagra, Achille Perilli, and Giulio Turcato, he helped formulate a manifesto and establish a group of abstract artists in 1947 called Forma I. Although imbued with socialist leanings, the group did not follow the realist social commentary furthered by Guttuso but proposed to reclaim abstraction from Futurism. In 1947 Dorazio won a prize and a stipend from the French government to study at the École des Beaux-Arts of Paris.
Dorazio, along with artists Mino Perilli and Guerrini, helped found L’Age d’Or in 1950. It was a bookstore/gallery space dedicated to abstract art. In 1952, he promoted the foundation Origin with Alberto Burri, Ettore Colla and others, and edited the magazine Arti Visive. As a representative of Italy, in 1953 he traveled for the first time to the United States to participate in the International Summer Seminar at Harvard University. That fall, he moved to New York City and stayed through 1954. In October 1953, Dorazio had his first solo exhibition at George Wittenborn’s One-Wall Gallery.
He published La Fantasia Dell-Arte Nella Vita Moderna” in 1955, a review of modern art in Italy. Regarding this book, reviewer Christopher Masters states that Dorazio advanced his belief, perhaps with a surfeit of optimism, that “abstract art could change the world… That just as science and technology were destroying the barriers between different cultures, so the new ‘universal style’ would lead to a ‘universal civilisation’.”
He was invited to teach at the Graduate School of Fine Arts program at the University of Pennsylvania School of Design in 1959. He taught painting there for one semester each year from 1960 to 1969, splitting his time between the United States and Italy. In 1970 he returned to live and work full-time in Rome. In 1974 he moved his studio from Rome to Umbria, near Todi. Peter Iden, founding director of the Museum für Moderne Kunst Frankfurt from 1978-1987, acquired three works by Dorazio from 1981 to 1983 (Oracolo, 1959; Blue Hearttrap, 1961; Stridente, 1982-83) for the museum collection. These were part of the museum exhibitions in Frankfurt in 1985 and Milan in 1987. In the 1990s, the works were temporarily loaned to the European Central Bank. Dorazio continued to work and exhibit until 2004.
Described as an “outspoken, independent character” who was the “opposite of politically correct”, Dorazio’s use of materials and colors stayed constant over time. He is mostly known for paintings with thick bands of bright color and crosshatched grids. While abstract, his paintings do not neglect detail or complexity. His style is in line with what Clement Greenberg later described as “Post-painterly abstraction”.
Giulio Turcato was born in Mantua. He attended the Accademia di Belle Arti di Venezia in the early 1930s before moving to Milan and finding work in the firm of the architect Giovanni Muzio in 1937. A chronic pulmonary illness forced him to frequent stays in sanatoriums. Having taken up painting, he found inspiration in the Cubist art of Pablo Picasso, eventually developing an abstraction with expressionist overtones. He participated to the 23rd Venice Biennale in 1942. A few months later he moved to Rome and joined the Italian resistance movement.
At the end of the War, Turcato reprised his artistic activities. He was one of the signatories of the manifesto of the Nuova Secessione Artistica Italiana in 1946, and a founding member of the Marxist-leaning, abstract art group Forma 1 in 1947, together with Ugo Attardi, Pietro Consagra, Piero Dorazio, Mino Guerrini, Achille Perilli and Antonio Sanfilippo. In 1948, he helped founding the Fronte Nuovo delle Arti. The decision of the Venice Biennale to dedicate a room exclusively to his work at the 29th edition in 1958 contributed to his international standing. In 1959 Turcato was invited to Documenta II. In 1961 he joined the Continuità group.
Bernd Schwarzer is a German artist born in Weimar, Thuringia, Germany. Schwarzer’s work deals with the subject of Europe, the reunification of East and West Germany, and human rights.
Mohammad Ali Talpur is a well known contemporary Pakistani artist. He is considered as the only minimalist artist in Pakistan because of his linear drawings. He is teaching at National College of Arts and works at his studio in Lahore.
Hunt Slonem is an American painter, sculptor, and printmaker. He is best known for his Neo-Expressionist paintings of butterflies, bunnies, and his tropical birds, often based on a personal aviary in which he has been keeping from 30 to over 100 live birds of various species.
- Hunt Slonem – Aqua Diamond
- Hunt Slonem – Birth Island Northern Lights
- Hunt Slonem – Blues Again
- Hunt Slonem – Butterflies & Guardians Weds Jeffrey
- Hunt Slonem – Charm in Pink
- Hunt Slonem – Guardians Garden
- Hunt Slonem – Hombre In Pink Annapolis
- Hunt Slonem – New York Diamond District
- Hunt Slonem – Pink Diamond Dust
- Hunt Slonem – Red Butterflies Bayou Teche
- Hunt Slonem – Red Sea
- Hunt Slonem – Totem Swoon Tuesday
- Hunt Slonem – Untitled (2017)
- Hunt Slonem – Untitled (2018)
François Auguste René Rodin was a French sculptor generally considered the founder of modern sculpture. He was schooled traditionally and took a craftsman-like approach to his work. Rodin possessed a unique ability to model a complex, turbulent, and deeply pocketed surface in clay.
Drawing influences from contemporary pop art, graffiti, and the calligraphic arts, Katrin Fridriks paints hyperkinetic abstract compositions filled with swirls of vibrant color, as well as large-scale installations that address environmental and political issues such as genetic research and the exhaustion of natural resources. Fridriks has painted monochromatic works—black on white, and white on black—as well as color-rich compositions whose tangles of drips and brushstrokes have drawn comparisons with the paintings of Jackson Pollock. She has also created work for commercial brands including Land Rover and Ralph Lauren.
Marieta Chirulescu’s work is the result of an ongoing preoccupation with the aesthetic and conceptual contingencies of painting. The abstractions for which she is best known reference the formalism of Color Field painting, superimposed with the array of digital printing methods available to the public today. Drawing from an extensive archive of imagery, Chirulescu uses scans, screen shots and the technical irregularities that occur throughout digital processes to alter personal photographs as well as those taken by her father during the Romanian dictatorship.
Artist collective Leo Gabin (consisting of Lieven Deconinck, Gaëtan Begerem, and Robin De Vooght) redefines the tradition of found-object art by harvesting and recycling digital content into new configurations. Working across video, digital media, drawing, print, painting, and sculpture, they fashion their work directly from the internet’s unending proliferation of social networking content and images of celebrities, sex, and violence, often physically incorporating printed or downloaded content into their practice. The group are perhaps best known for their satirical video montages and frenzied, calligraphic, partially collaged abstract paintings, the latter revealing the influence of street art.
Bernard Aubertin was a French artist born in 1934 in Fontenay-aux-Roses, France. He died in August 2015 in Reutlingen, Germany. He met Yves Klein in 1957 and joined the Zero movement during the 1960-1961 period. One of his text was published in the Zero magazine, vol 3. July 1961.
Jose Antonio Hernandez-Diez is a Venezuelan-born artist who works with sculpture, photography and installation art. Hernandez-Diez currently lives and works in Barcelona, Spain and Caracas, Venezuela.
All of Sam Moyer’s multimedia projects have a common quality of borrowing images or materials from everyday life, and manipulating them or reproducing them into abstraction. With a background in photography, Moyer makes works that are monochromatic, modular, and rooted in geometry, with a focus on texture, pattern, and tactility. For example, her “Worry Rug” series (2009) is made from cheaply purchased Ikea rugs that she then dyed and picked apart, while another series of drawings uses pocket-sized book covers as their basis. Moyer has also become well known for using dyed and crumpled stretches of fabric that she mounts onto wood panels by ironing. These pieces frequently have subtle patterns created using bleach and ink.
Katja Novitskova (born 1984 in Tallinn, Estonia) is an Estonian installation artist. She lives and works in Amsterdam and Berlin. Her work focuses on issues of technology, evolutionary processes, digital imagery and corporate aesthetics. Novitskova is interested in investigating how, “media actively redefines the world and culture, and everything” related to art, nature and commerce.
Andrew Birk’s practice loops broadly from the traditional two-dimensional surface to writing, sound, fashion, photography, and digital media, and then back to painting; harnessing the noise by which today’s dissolving parameters sing. Often involving a sensory experience, Birk’s work articulates complex scenarios and stimuli through the course of vigorous research.