Month: September 2012
October 5, 2012 – November 3, 2012
“In ’74 I photographed the cannibals in New Guinea. They treated me OK but they didn’t make you feel relaxed…I managed to escape unscathed though, I’m pretty good at that.”
A visit to Bailey’s studio. A treasure! A box of Polaroids from 1974.
When visiting an artist as versatile as Bailey, one should always expect the unexpected. Despite this, it was a great surprise to discover a box of Polaroids taken in Papua New Guinea in 1974, fascinating for their subject matter as well as for their artistic merit.
What followed was a happy-dance and a handshake confirming the opening of “Papua Polaroids” on October 4th.
In 1974 David Bailey visited the New Guinea wilderness and pointed his Polaroid camera at the bow and arrow carrying people, resulting in photographic portraits that have been hidden from view in his archive ever since.
Today indigenous peoples are gazed at and possibly even envied by us for the seemingly simpler and more understandable world they inhabit. The nostalgic aura of Polaroid film intensifies this sense of longing for a more natural and primal way of life.
Daniel has long been interested in Oceanic Art. It is therefore a particular pleasure to find this interest mirrored in Bailey’s work of the 70s.
October 11, 2012 — October 14, 2012
For the inaugural Frieze Masters art fair in London we will be showing the third part of our exhibition trilogy “From Silverpoint to Silver Screen”, a special one-man exhibition of Andy Warhol drawings from the 1950s.
These outstanding drawings are from the personal collection of one of the 20th century’s most significant artists, presented to the public for the first time, 50 years after their creation. We are afforded a unique and comprehensive insight into Andy Warhol’s work in the 10 years following his departure from the grey city of Pittsburgh, during the period of his artistic emancipation in New York. This is an opportunity to get to know him as the grand draftsman that he was.
Excerpt from the catalogue text by Sydney Picasso:
…
And his thirst bore him through, every image was seized, and while moments of repose produced slow and steady line drawings, time passing drove him to tracing, blotting, repro, collage; in this series we observe an impressive roster of techniques. The theme is not idleness, it is haste, an irrepressible drive to get on with it, to record and thus “live” this new life he has embraced, which will turn out to be tragically short. His “Walk on the Wild Side”: thirty odd years of total immersion, and I believe revelry, in a world he had only glimpsed before arriving on the streets of New York. “I was nobody, I came from nowhere,” he repeated. And as he was willing to literally try anything, we witness here such odd subjects as children in groups, facial studies, and the infamous child shooting up “America’s nightmare,” a mercenary drawing for a CBS series of recordings based on childhood addiction: Andy won the “prize” for art direction for this project and the image became iconified in what would become the first of his many record covers. This initiated yet another chapter in his endless forays into media, to the point that certain later images would portray the Daily News heading directly incorporated in the painting, such as in Daily News, 1962, portraying Eddie Fisher and Liz Taylor’s breakup.
Special Preview: 9 Oct, 3 – 8 pm
Professional View: 10 Oct, 11 am – 7 pm
Exhibition: 11 – 13 Oct, 12 – 7 pm
14 Oct, 12 – 6 pm
Regent’s Park, London
Booth F13
September 14, 2012 – October 19, 2012
These recent drawings combine Neal Fox’s visionary depictions of the debauched and iconoclastic characters whose ideas have helped shape our collective consciousness with vivid colours that enhance the fantastical and psychedelic atmosphere of the images. Drawing on his extensive knowledge of the mythology of pop and consumer culture, Fox’s new drawings are infused with layers of narrative and populated by a vast range of celebrities, lunatics, and geniuses.
In these imagined landscapes Captain Beefheart sells a vacuum cleaner to Aldous Huxley at the Doors of Perception, while elsewhere Jesus is crucified on a McDonald’s sign and popular culture comes to resemble a neon nightmare. We present an exhibition of re-imagined reality and collaged dreams, the familiar made unfamiliar and strange.
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