Sculptor Laura Ford’s new commission for Brighton’s House Biennial draws on the history of town’s Royal Pavilion and in particular that of its early 19th century commissioner King George IV, who lived there as Prince Regent prior to taking the throne. Dany Louise talks to the artist about her work and finds out why Donald Trump has a starring role in her installation, A King’s Appetite.
International list of names announced for 10th edition of biennial which is also celebrating 20 years of presenting art in the city and region.
Artists are often asked to work for free in return for exposure via social media likes and audience praise, so for a recent commission (paid) Alistair Gentry decided to walk around Folkestone dressed in a cliched ‘artist’s costume’ asking other types of worker if they’d do the same. Perhaps unsurprisingly, they weren’t particularly keen.
A selection of exhibition highlights for the week ahead including the Zabludowicz Collection’s 2017 Annual Commission and Christian Nyampeta’s film work at Camden Arts Centre.
Perhaps I’m unusual as a visual artist but when I visit exhibitions I crave words; and usually I’m frustrated by their absence.
In November 2016 artist Keith Harrison was announced as the winner of Jerwood Open Forest, a £30,000 commission opportunity to produce a new public work for a forest context. He talks to Anneka French ahead of his sculpture-cum-performance, Joyride, which will see a full-size replica of a Rover 75 ‘launched’ from a ramp in the Staffordshire countryside.
A selection of exhibition highlights for the week ahead including a Jasper Johns survey at the Royal Academy of Arts, an art/science collaboration in Newcastle and Robyn Denny’s abstract paintings at Newlyn Art Gallery, Penzance.
Highlights for the week ahead selected from a-n’s Events section posted by members, with exhibitions and events in Bristol, Darlington, London and Beijing.
At a recent symposium in London, academics, technologists, artists and film makers gathered to discuss the politics and ethics of art technology. Artist and writer Alistair Gentry attended and was struck by the need for a much closer relationship between the tech and ethical tendencies in this ongoing and vitally important debate.
Limited edition newspaper launches a five-year programme of 50 artworks that will trace the 25km route of the new ‘super sewer’ that will help tackle sewage overflows into the River Thames.
Dutch artist Thijs Biersteker has won the $3,000 digital art prize for his work Plastic Reflectic, an interactive mirror installation that turns spectators’ reflections into silhouettes made from hundreds of pieces of plastic floating within a ‘plastic soup’.
Gary Lawrence has won this year’s first prize with his large-scale drawing, Yellow Kalymnos with Fridge Magnets.
Crowds during Notting Hill Carnival paused to observe a minute’s silence in memory of those who died in the Grenfell Tower fire, as memorial fund set up in memory of artist Khadija Saye exceeds target.
Sarah Bodman previews new book works by Déirdre Kelly and Rosie Sherwood that explore our experience of place through the use of collage and mapping.
Chris Ofili undertakes inaugral exhibition at Victoria Miro’s new space in Venice
69 works by 65 artists have been selected for the latest edition of the UK’s longest-running annual open drawing exhibition, which will also be Jerwood Charitable Foundation’s final year as the show’s key partner and funder.
A weekly briefing featuring national and international news, including: Mercury Prize-winning band Young Fathers suffer backlash over art galleries criticism; Northern Ireland considers abolishing Arts Council; Jerwood Drawing Prize artists announced.
Taking place over the next three years, the new project will include series of public art commissions and an education programme as artists create artworks with and for South London Gallery’s neighbours on the Elmington, Pelican and Sceaux Gardens housing estates.
In the midst of a growth in performative and participatory art at international art biennials, Documenta recently confirmed the site of a new permanent institute in Kassel. Inspired by an academic conference on conserving contemporary art, Laura Harris assesses the challenges the institute faces in a climate where the experiential is increasingly taking precedence over the art object.
What is the point of a national pavilion? This is the question that sticks in my mind whenever I’m at the Venice Biennale. Most specifically in the Giardini, but to greater and lesser extents throughout all the 86 national participants […]
