Mark Titchner

Mark Titchner (b. 1973, UK) lives and works in London and was the 2006 nominee for the Turner Prize. Focusing on an exploration of words and language, in recent years much of his production has been based in the public realm both in the UK and internationally. His work has been exhibited at Venice Biennale and is held in the permanent collections of the Arts Council England, British Council, South London Gallery, the United Kingdom Government Art Collection and the Tate Gallery.

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Stephen Prina

Stephen Prina, an artist whose deconstructive and playful approach to culture, art, language, and authorship often begets the label “post-Conceptualist”, addresses the institutions, markets, and historiography that shape our perception of art. Believing an artwork “only has meaning when it enters the social sphere and meets its audience,” Prina’s artistic practice includes installations, performance, sculpture, and painting that centers on what happens to art when it leaves the studio. For instance, he conceived a traveling spectacle for the 2008 Whitney Biennial, in which he mouthed lyrics appropriated from public testimonials by contributors. “His exhibition making can be seen as a kind of overarching work itself,” wrote critic Dominic Eichler. “Certainly, his fastidious and almost exaggerated attention to framing, labeling, forms of display, presentation and cataloguing seem to approach institutional parody without being overtly didactic.”

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Michiel Ceulers

Michiel Ceulers’s process-oriented abstract paintings are known for bearing evidence of their mistreatment in the artist’s studio, where he routinely stacks paintings against one another before they are fully dry. Often tearing, taping, sanding, and puncturing his canvases, Ceulers’s works feature imperfect geometric shapes and patterns, a playful engagement with art historical styles. “For the Love Birds” (2010) series, Ceulers affixed two paintings side by side, mismatched in size and color, evoking the randomness of human encounters.

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Allen Jones

Allen Jones RA is a British pop artist best known for his paintings, sculptures, and lithography. He was awarded the Prix des Jeunes Artistes at the 1963 Paris Biennale. He is a Senior Academician at the Royal Academy of Arts.

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Michael Staniak

Michael Staniak is an Australian artist whose experimental, digital media-inspired paintings explore process, materiality, and abstraction in a digital era. His interests are aligned with artists who use digital strategies to create objects or make works of art inspired by the culture of the web.

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Ruairiadh O’Connell

London-based O’Connell’s work investigates the psychological functions of design in all its manifestations, from abstract patterns through domestic interiors to landscape architecture.

In the past he has explored casino carpets and aeroplane seat fabric, designed to keep gamblers excited or distract from a fear of flying. For Frieze he will be presenting works inspired by the uniforms and flags of Japanese Hikeshi firemen from the Edo period.

The artist’s ‘wax paintings’ consist of cropped patterns that have been silkscreened onto industrial wax. The wax itself has been infused with oil pigments and poured into steel frames; as it hardens he “massages” the surface, a gesture that creates valleys that the patterns fall into.

His ‘railing sculptures’ appear to be traditional metal fences that have been invaded by a mysteriously textured substance. Between each custom-welded vertical bar is a mesh that supports jesmonite, a water-based resin that is moulded and coloured by contact with lace privacy curtains.

His playfulness with medium and form contrasts the research and investigations inherent in his practice. Works are both painterly and sculptural, made seductive through texture and colour, and we are excited to see what he does next.

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David Hockney

David Hockney, OM, CH, RA (born 9 July 1937) is a British painter, draftsman, printmaker, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century.

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Zhu Tian 朱田

China born, London-based artist Zhu Tian received an MA in Sculpture from the Royal College of Art in London, the UK (2014), an MA in Sound Design from Bournemouth University in Bournemouth, the UK (2007), and a BA in Economics from the University of Nottingham in Nottingham, the UK (2006). Moving effortlessly from object intervention to digital to performance to set piece installation, she presents works embodying discourse around the theme of power relations, freedom and individualism. Concerned by the automated routines of robotic individuals in today’s society, Zhu creates pieces which she describes as “hiccups – to interrupt and disturb.” Her work combines light humour with a sharp sense of critique, and is known for being ‘compelling and unsettling’.

Zhu has exhibited internationally at such venues as the V&A Museum in London, the UK, the Palais de Tokyo in Paris, France and the Centraal Museum in Utrecht, Netherlands. She was the winner of the Catlin Art Prize (UK) in 2015, the Broomhill National Sculpture Prize (UK) in 2014, and was selected as the Emerging Sound Artist in the UK in 2009.

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Jonas Wood

In his paintings, drawings, and prints, Jonas Wood merges references to art history, his memories, and visions of the people, objects, and settings that compose the fabric of his life. Working in acrylic and oil on supports including cardboard and canvas, he presents portraits of his friends and family, interior scenes, and still lifes. Through his partially abstract rendering of these subjects and use of bright colors, he emphasizes patterns and forms while flattening out the space in his compositions. Ceramic vessels and potted plants figure prominently in his works. In some, he covers the outside of a plant’s pot with an intricately realized landscape, which reads as a painting within a painting. Working with an eye toward his predecessors, Wood cites Lucian Freud, David Hockney, and Alex Katz as influences, claiming, “All three of them are superheroes.”

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Emilio Tadini

Emilio Tadini (b. 1927 – d. 2002 Milan, Italy) is considered one of the most original personalities of Italy’s post- World War II cultural landscape. A Poet, novelist, essayist, art critic, journalist and painter, he is, in the words of friend and contemporary Umberto Eco, “A writer who paints, a painter who writes.”

In 1947 he debuted with a poem in Elio Vittorini’s magazine Politecnico, which was followed by intense critical and theoretical writings on art. From 1963 to 1993 Tadini published four novels and a volume of poems. It was alongside his critical and literary work, from the late 1950s Tadini began to paint. His first solo exhibition was in 1961 at the Galleria del Cavallino in Venice, and then in 1965, in a group show, together with Mario Schifano, Valerio Adami and Lucio Del Pezzo at the newly opened Studio Marconi in Milan. 

Although stylistically ‘Pop’ Tadini, rather than the superficial gloss of American Pop Art, was greater interested in the more introspective, personal, and at times intellectual British Pop Art such as Peter Blake, David Hockney and Allen Jones, but also to that of Francis Bacon, Patrick Caufield, Ronald Kitaj, and the figurative narratives of Valerio Adami and Hervé Télémaque.

During the 1970s he had solo exhibitions in Paris, Stockholm, Brussels, London, Antwerp, the United States and Latin America, both in private galleries and museums. In 1978 and 1982 Tadini participated in the Venice Biennale, and in 1986 he had a large solo exhibition at the Rotonda di via Besana in Milan. From autumn 1995 to the summer of 1996 a major retrospective took place in the museums of Stralsund, Bochum and Darmstad. In spring 2005, the Villa dei Cedri Museum in Bellinzona had a large posthumous retrospective of his work. The Mayor Gallery in London from whom this wonderful bio is taken had an extensive exhibition of his work in February and March 2020.

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Julian Opie

Julian Opie is a contemporary British artist known for his distinctive depictions of figures, portraits, and landscapes. The highly stylized treatment Opie gives his subjects—whereby features are created by thick black outlines and filled in with solid areas of flat color—is a blend of Pop Art and Minimalism with a wholly contemporary sensibility. “The process of reading things as simulations but knowing at the same time that they are real is quite central to my work,” Opie has observed of his own art. Born in 1958 in London, United Kingdom, Opie studied with Michael-Craig Martin at Goldsmiths in London during the early 1980s. His earliest works consisted of painted steel sculptures exploring the relationship between visual and spatial observation. He is part of the group know as New British Sculpture, alongside artists such as Anish Kapoor and Tony Cragg. Over time, the artist has expanded his practice to include painting, installation, and cover art for albums. The artist’s works are part of the collections of The Museum of Modern Art in New York, the National Portrait Gallery in London, the Stedelijk Museum in Amsterdam, and others. Opie currently lives and works in his hometown of London, United Kingdom.

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Sterling Ruby

Sterling Ruby (born January 21, 1972) is an American artist who works in a large variety of media including ceramics, painting, drawing, collage, sculpture, video, and textiles. Often, his work is presented in large and densely packed installations. The artist has cited a diverse range of sources and influences including aberrant psychologies (particularly schizophrenia and paranoia), urban gangs and graffiti, hip-hop culture, craft, punk, masculinity, violence, public art, prisons, globalization, American domination and decline, waste and consumption. In opposition to the minimalist artistic tradition and influenced by the ubiquity of urban graffiti, the artist’s works often appear scratched, defaced, camouflaged, dirty, or splattered. Proclaimed as one of the most interesting artists to emerge this century by New York Times art critic Roberta Smith, Ruby’s work examines the psychological space where individual expression confronts social constraint.

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Adam McEwan

Adam McEwen is a contemporary British artist whose Conceptual pieces fall between painting, sculpture, and installation. His most famous works might be his obituaries written for living luminaries—Jeff Koons and Kate Moss among them—subverting his prior work as author of these announcements. The black-and-white prints echo the layout and sentiment of real journalism, yet McEwen’s fictions offer alternative views of celebrity. “An obituary is a narrative of someone’s decisions…. And in a sense it’s optimistic, and in another sense it’s impossible, and that’s like making art,” McEwen has said of the series. Born on February 9, 1965 in London, England, McEwen received a BA in English literature at Christ Church College, Oxford University, before studying at the California Institute of the Arts in 1991. Currently living and working in New York, NY, the artist transforms ordinary objects, such as ATMs and air conditioners, and ideas through inventive use of materials, typography, and presentation.

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Nicholas Party

Born in Lausanne in 1980, Party is a figurative painter who has achieved critical admiration for his familiar yet unsettling landscapes, portraits, and still lifes that simultaneously celebrate and challenge conventions of representational painting. His works are primarily created in soft pastel, an idiosyncratic choice of medium in the 21st-century, and one that allows for exceptional degrees of intensity and fluidity in his depictions of objects both natural and manmade. Transforming these objects into abstracted, biomorphic shapes, Party suggests deeper connections and meanings. His unique visual language has coalesced in a universe of fantastical characters and motifs where perspective is heightened and skewed to uncanny effect.

In addition to paintings, Party creates public murals, pietra dura, ceramics, installation works, and sculptures, including painted busts and body parts that allude to the famous fragments of ancient Greece and Rome. His brightly-colored androgynous figures vary in scale from the handheld to the monumental, and are displayed on tromp l’oeil marble plinths of differing heights that upend conventional perspective. Party’s early interest in graffiti and murals – his projects in this arena have included major commissions for the Dallas Museum of Art and the Hammer Museum in Los Angeles – has led to a particular approach to the installation and presentation of his work. He routinely deploys color and makes architectural interventions in exhibition spaces in order to construct enveloping experiences for the viewer.

The artist’s childhood in Switzerland imprinted upon him an early fascination with landscape and the natural world, and the influence of his native country places Party firmly within the trajectory of central European landscape painting. Points of reference in his work include celebrated 19th-century Swiss artists Félix Vallotton, Ferdinand Hodler, and to Hans Emmenegger. One can also find within his works a 21st-century synthesis of the sorts of impulses and ideas that fueled the Renaissance and late 19th-century, early 20th-century figurative painting, the compositional strategies of Rosalba Carriera and Rachel Ruysch, and the visions of such self-taught artists as Louis Eilshemius and Milton Avery.

Based in New York and Brussels, Party studied at the Lausanne School of Art in Switzerland before receiving his MFA from Glasgow School of Art in Scotland.

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Thomas Ruff

Thomas Ruff (born 10 February 1958) is a German photographer who lives and works in Düsseldorf, Germany. He has been described as “a master of edited and reimagined images”.

Ruff shares a studio on Düsseldorf’s Hansaallee, with other German photographers Laurenz Berges, Andreas Gursky and Axel Hütte. The studio, a former municipal electricity station, includes a basement gallery.

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Mario Giacomelli

Mario Giacomelli  (1925-2000) was born Senigallia, Italy. As a young man, he worked as a typographer, painting on weekends and writing poetry. Inspired by the wartime movies of filmmakers like Fellini, Giacomelli taught himself photography.  The Italian photographer Giuseppe Cavalli had moved to Senigallia and was eager to form a club that would promote photography as art. In 1953 the Misa club was formed, with officers Cavalli as president and Giacomelli as treasurer. In 1956, Giacomelli joined the La Bussola group of photographers and then the national ANSA agency. He specialised in black-and-white land scenes, devising his own way of shooting, using the little-known Kobell Press camera.  

In 1954 Giacomelli began to photograph the home for the elderly where his mother had worked, completing the series in 1983. Empathetic but grittily unsentimental, the pictures show many women seemingly marooned in the sea of old age. In 1985-87, Giacomelli revisited the subject for his series ”Ninna Nanna,” which means lullaby. In this series,  the deeply lined, gaunt faces of the aged are a bleak counterpoint to the bold lines and patterns found in the fields and on the sides of houses.


Other important photographic essays that Giacomelli executed were the 1957-59 series entitled “Scanno,” named for an impoverished town in the Abruzzi region of central Italy. In the 1960s, Giacomelli worked on the project entitled ”No hands caress my face”, better known as the ”Pretini” series taken in the seminary of Senigallia and later shown at Cologne Photokina in 1963.

Starting in the mid-1950s, Giacomelli began to win photographic prizes and exhibit in group shows many of which focused on post-war humanistic photography, such as the exhibition entitled, “What is Man?” that originated in Frankfurt and then travelled internationally.  In 1975, the British photographer Bill Brandt selected Giacomelli for his major exhibition, “The Land: 20th Century Landscape Photographs,” shown at the Victoria & Albert Museum in London.  In 1980, Giacomelli published his first and only solo book, Mario Giacomelli, fotografe, edited by Angelo Schwarz. 

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François Morellet

François Morellet was a French Conceptual sculptor, painter, and light artist, known for his geometric abstract art. Morellet’s earliest work were figurative paintings, but he quickly turned to abstraction, painting a series of lines that crisscrossed to form geometric shapes. He began to work in sculpture using neon tubes and continued to experiment with Minimalism and geometry in art.  In 1963, along with artists Julio Le Parc and Francisco Sobrino, co-founded the Groupe de Recherche d’Art Visuel to research new modes of artistic expression.

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Ian Hamilton Finlay

Ian Hamilton Finlay was a Scottish artist and writer. Trained at Glasgow School of Art, following the war, he spent a period working as a shepherd and started to write poems. With time, he began to compose poetry and inscribe them into stone; the resulting sculptures are often incorporated into the natural environment. Many of them are situated within Little Sparta, his master-work, a five-acre garden he developed with his wife, near the Pentland Hills outside of Edinburgh. Gardening and art happily cohabit here, and the expanse of land is full of his sculptural work. In 2004, Little Sparta was voted most important Scottish work of art, by a panel of artists and arts professionals, ahead of Charles Rennie Mackintosh’s Glasgow School of Art and Henry Raeburn’s The Skating Minister.

Finlay was prolific, endlessly creative and collaborative. Printmaking was a large part of his artistic practice, often made in collaboration with other artists, writers and technicians and involving both text and visual elements. Finlay was nominated for the Turner Prize in 1985.

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Andy Goldsworthy

Andy Goldsworthy creates outdoor sculpture using an endless array of natural materials, from snow and ice to leaves, grass, stones, clay, petals, and twigs. While influenced by the Land Art of Robert Smithson, Richard Long, and Walter de Maria, Goldsworthy’s ephemeral yet exquisitely crafted works have a geometric elegance that harkens back to the Modernist sculptures of Constantin Brancusi, whom he has also cited as an inspiration. Whether arabesques of ice, beehive stone domes, or delicate leaf patterns on water, his sculptures grow, stray, and decay according to natural cycles, their existence preserved only through vivid photographs and drawings.

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Bernard Cohen

Bernard Cohen is mainly known as an abstract painter. Born in London, Cohen studied at South West Essex Technical College, and, later, at Central Saint Martin’s School of Art and Slade School of Fine Art in London. Beginning in the early 1960s, he produced paintings that combined several different stylistic influences, primarily Abstract Expressionism. In the mid-1970s Cohen’s works became more colorful and precise in detail, featuring densely layered patterns and motifs.

Today, his works can be found in institutions such as the Tate Gallery in London and the Walker Arts Center in Minnesota.

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Luke Diiorio

Luke Diiorio graduated from Lehigh University in 2006 with a degree in philosophy and has been painting recreationally for 15 years. It wasn’t until 2013, however, that he emerged from the Royal College of Art in London with an MA and adopted his own contemporary form of minimalism.

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Philip Sutton

Philip Sutton was born in Poole, Dorset, in 1928 but grew up in Leyton, east London. After leaving school at the age of 14, he worked in a drawing office before carrying out three years’ National Service, during which he was involved in the Berlin Airlift.

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Alan Davie

Alan Davie is one of Britain’s most internationally acclaimed artists and is arguably Scotland’s most important artist of the twentieth century. He was the first British painter – and perhaps the first of all European artists – to realise the vitality and significance of American Abstract Expressionism.

Throughout his life Alan Davie obsessively drew and painted, producing paintings of startling originality, vitality and daring. Combining imagery derived from different world cultures with a love of music and language, Alan Davie’s paintings are a complex yet joyous celebration of creativity that combine the expressive freedom of abstraction with a wealth of signs, symbols and words.

Having seen the Jackson Pollock paintings from Peggy Guggenheim’s collection in Venice in 1948, Alan Davie was inspired to begin painting on a much larger scale, in an improvisatory way, with a vigorous, aggressive handling of paint. Alan Davie added to a concentration of colour – already a remarkable feature in Jackson Pollock’s work before 1945 – the possibility of recognizing shapes, suggestions of movement and primitive, magical rituals.

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Kika Karadi

Kika Karadi was born in 1975 in Budapest, Hungary and moved to the United States at age 11. She attended Maryland Institute College of Art (MICA) and graduated with a B.F.A. in 1997.

Karadi had her first European solo show in Naples, Italy, in 2006. In 2017, she was an artist in residence at the Chinati Foundation in Marfa, Texas. She has held solo exhibitions at the Jonathan Viner Gallery in London and The Journal Gallery in New York City.

Karadi is noted for her large-scale paintings made in response to the aesthetics of the film noir genre. Her paintings were described as “black stenciled signage on a white background”, in which she “reintroduces hints of representation – atmospheric cinematic scenes, figurative forms and symbols which welcome the impurities of cultural collision.” She approaches painting with a monographic technique. Her body of work using this process refers to the abandoned Oak Park Mall in Austin, Minnesota where she maintained her studio since early 2014.

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Christina Burch

Christina Burch’s paintings are inspired by a variety of art and cultural contexts, including her extensive travels in Italy, Acupuncture and Oriental Medicine education at the Swedish Institute in New York, Japanese and Tantric painting, and passion for Contemporary Art. Characterized by vivid color, stylized ornament, clean surfaces, lyrical imagery, and a poetic, sensuous and magical quality, Burch has gained an important global clientele for her commissioned work. The Eastern view of energy and embodiment has been very influential in her recent works which contemplate the sensual, poetic dimension of figuration in painting.

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Dylan Lynch

A member of the Brooklyn-based organization The Still House Group, Dylan Lynch constructs sculptures from everyday found objects. Mostly store-bought, Lynch’s materials are selected intuitively, for what he describes as their immediate attraction; they range from ceiling tiles and cinderblocks to shopping carts and sports equipment. He reveals his hand in the impossibly delicate and precarious constructions of his pieces—like a baseball balancing in the crux of a crowbar, a folding chair balanced on just two of its feet, or a leaning tower of drop ceiling tiles appearing constantly of the verge of toppling over.

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